Bridget Hoida: On Magazine Glossy

Okay… I know if L.A. has taught me anything, it’s that I’m supposed to play it cool and pretend like this is a regular occurrence, but OMG! you guys… A magazine glossy!

“This is an exceptional first novel. […] So L.A.is a little autobiographical and a lot experimental as Magdalena’s subsequent unraveling turns the city into a sometimes trite but often revealing “soul” window. Hoida’s style makes the story seamless–for instance, she avoids using quotation marks in passages of dialogue. But in the end, as in all good endings, her protagonist finds a new determination and a new dream. We leave Magdalena anticipating a successful rebuilding in her altered, but more realistic, lifestyle.”

-Jane Glenn Haas, “True Grist,” Orange Coast Magazine, September 2012

TLC Book Tour: Hopelessly Devoted Bibliophile

The following review by appeared on the blog Hopelessly Devoted Bibliophile.

You can find the full article here: Hopelessly Devoted Bibliophile

At first glance So L.A. might draw you in with its gorgeous cover. It might entice you with its chick-lit feel. However I can promise you that what is in these pages is so much more than that. A mixture of dry satirical humor, and a no-holds-barred look at the culture that is L.A., this is a story that is hard to define. What I can say, is that it is brilliant.

I think it’s fitting that I read this book while sitting in a 60 story sky rise in Downtown L.A. Overlooking the hub of the busiest parts of Wilshire Boulevard. This is the setting that Hoida chooses for her book, and it works wonders with Magdalena’s story. From small town girl, to big city business owner, Magdalena’s point of view is a fresh and honest take of the high society that is Beverly Hills. Her life is by no means perfect. Sure, she has the perfect shoes, the perfect house and even the perfect nose. She soon finds though, that all those things don’t add up to a happy life.

It’s honestly hard to like Magdalena because of how exasperating she can be sometimes. She is definitely a character that you want to save and slap in equal measures. Trying, and failing, to cope with the death of her brother is all that Magdalena does the majority of the book. However, it’s definitely true to life. She tries to fill the gap with things, with fake people, with fake smiles. All the time falling deeper and deeper into the craziness that her life has become.

In the end So L.A. is about hiding from oneself. About changing what is on the outside to try to compensate for what’s on the inside. I won’t say that Magdalena’s story is happy. It does show how easy it is to fall into a life that isn’t your own. About how easy it is to feel lost, but hide it from the outside world. Briget Hoida’s book may look like chick-lit at first glance, but it’s infinitely more than that. I loved it, and I think you will too.

TLC Book Tour: Peppermint Ph.D.

The following review appeared on the blog Peppermint Ph.D.

You can find the full article here: Peppermint Ph.D.

So L.A. by Bridget Hoida
Lettered Press, 2012
Format – oversized paperback
Source – the publisher via TLC Book Tours
**FTC Discolosure – I received a complimentary copy of So L.A. from the publisher via TLC Book Tours in exchange for a review.  However, the opinions and comments below are all my own and made without bias.

Why?  I have 3 daughters so the very real pressure on women to fit an ideal image is a serious issue to me. Those pressures exacerbated by the L.A. lifestyle was indeed something I wanted to know more about.
 –
What Now?  I’m happy to pass this one along to another blogger friend who would like to read it.  Just let me know in the comments that you are interested and leave your blog address as well as email so I’ll be able to contact you should you win :)
Bridget Hoida has also generously donated another copy of So L.A. to another Peppermint Ph.D. reader so next Friday, August 24, I’ll choose two winners :)
 –

Golden Lines


But contrary to the advice of seismologists, L.A. is virtually made of glass, its reflective surfaces sweeping and expansive, and so Junah was with me everywhere I went.

Puck and a drink or two is how I get through parties.

Jameson up, I said, looking at his salty hair and wondering if my instinct to push it out of his eyes meant I was ready to be a mom.  And a tall glass of gin with a straw and some ice so it looks like a Sprite.

Unlike Puck I didn’t mind being from a dusty place that sold Hydraulic Harvesters instead of Maseratis.  In fact, I missed it in a way that made my teeth ache.  But like him I slid on pair after pair of designer sunglasses and hid my origins well.  Not because I was afraid someone would call me out, but rather because I was afraid they’d ask me in.

Dean was a family man.  One of the good guys.  What the hell was he doing giving drunken tongue to a woman other than his wife on reality television?

What I meant was, if I worked at home, if I set up shop in one, three, seven of the bedrooms inside the house, I would actually have to work because there might actually be the possibility of Ricky or Immelda or the guy who does the bills suddenly walking in on me and expecting to see art, work, product, something other than a bedraggled girl, still in her pajamas, drinking gin with a straw and playing with rhinestones.

No, Magdalena, you already left and last time I checked, son trumped brother so take that to your shrink and smoke it.

When we first moved to L.A. my favorite thing to say was, That’s so L.A.  I used it to describe just about everything from fake boobs to traffic.  Then I got implants and started to drive.

And yet, here’s the thing: sitting silently next to Quentin felt all right.  It was comfortable even.  I had all sorts of things I could say, like: where are you from? or What do you do when the sadness gets so heavy you think it will crush you? or Ever killed anybody? but for the first time in a long time I didn’t feel the need to say anything.  And it felt good.  To sit.  And drink.

Standing in front of the Guadalupe Wedding Chapel I waited for a cab, and when it arrived it wasn’t yellow.  It was green with a billboard for Viagra on the roof.
Why isn’t anything like the movies?

Seriously, I snatched my keys from his outstretched hand.  I am just barely holding on here and you think a weekend with Mom and her bottle, watching Dad barbecue his dinner in the shed, is going to snap me back to reality?

We could have bought bikes and gotten inked and revved our engines, together.  But instead I was left.  In a hotel room.  Alone.  

Had I been there, had I not driven back to the ranch to work on water, you could have trusted me when I told you Junah didn’t fall from anything, but as you know I left him and down he went.  

He was the most level headed, until…
He was the safest climber they had ever met, until…
He was a badass soloer until…
…he fell to his death.
Until he fell to his death.
Until.


…Los Angeles, beneath the pixie dust and beyond the Sunset strip, is really nothing more than a desert where the water is scarce and we’re all thirsty.

Summary


Magdalena de la Cruz and her husband Ricky have made their fortune in bottled water and are living in L.A. among the filthy rich and famous.  Trips to the wax studio, power lunches, Pilates, gin, and business fill Magdalena’s days until her brother Junah is killed in a climbing accident…an accident that Magdalana feels responsible for.  Magdalena literally crawls under her bed for days and from there, her life begins to spiral out of control…retreating further and further within herself and physically re-constructing the outside.
 —

What I Liked

The chapter structure – from one paragraph to 3 pages, the chapters are very short and sometimes just seem to be a stream of consciousness…always from Magdalena’s point of view but jumping around in time as she explains her predicament and how she became a woman fighting within a woman.  Magdalena’s story is a complex one that would have been overwhelming I think without Hoida’s smart style in getting us inside Magdalena’s head.The complications woven throughout the plot…death, grieving, self image, the other woman, plastic surgery, therapy, marriage, fidelity/infidelity, sexuality, money, dysfunctional families, friendship…you name it; it’s here.  While this complex of a plot could be cumbersome, it isn’t in So L.A.  Hoida never brings it all back into a neat little package because it can’t be one…but she gives the reader enough information and enough insight to at least think about what the reader would do in Magdalena’s shoes.  So L.A. is so full of complications that I’m still thinking about it and trying out ideas as I get ready to post this review.

Puck – we’d all be lucky to have a true friend like Puck.  Someone who believes in you no matter what and accepts you just the way you are…freaky drama included.

Quentin – I won’t say too much about this character to keep from spoilers…but he’s a good guy.  Besides the obvious (and you’ll find that out when you get to that part), I think he really wants to help Magdalena…but unlike everyone else around her, Quentin realizes that she must want to help herself first.

What I Didn’t Like

No quotation marks – I’m an English teacher but this isn’t just a mechanical issue for me.  I really did have to re-read portions to make sure of who was saying what sometimes.
 —
Magdalena – pulling the seams out of Ricky’s clothes when she gets mad?  about things she’s just made up in her head???…there are times when Magdalena seems like nothing more than a spoiled brat.  Reading about her sometimes was like watching a horror movie…everybody in the theatre knows what’s going to happen when the young heroine decides to check into the old abandoned Bates Motel.  I wanted to scream at Magdalena more than once and say, “You dummy…THINK about this decision for a minute or two!!  Don’t go THERE!!”  But Magdalena goes there anyway.  It’s as if sometimes she’s trying to make things just as bad as they can possibly be.

Ricky – I’m sorry…I really feel guilty for this…but I didn’t like him.  How in the world he put up with Magdalena for so long, I’ll never understand.  He’s caught up in the L.A. lifestyle even more so than she is…and maybe that’s how he does it.  But, I just couldn’t see it.

Overall Recommendation


So L.A. is an intense look at the “power” of reinvention in a culture that values the outside of a person more than the inside…a Stepford Wives kind of culture that is L.A. as described by Hoida.  How can someone deal with real life in a world that is so make believe??  So L.A. is not a happy story by any stretch of the imagination…but neither is the issue of  stripping self image from individuals based on what others deem worthy…in any situation but especially not in Magdalena’s.  What complicates this story even more  is that Magdalena de la Cruz seems to choose a fabricated way of life in order to retreat into herself and protect herself from her grief…letting the outside world see a “costume” of sorts instead of who she truly is…possibly even a psychic protective measure after the trauma of Junah’s death and her perceived role in the accident.
Deep stuff this is.


The language and a few graphic sex scenes/fantasies would keep me from recommending this to everyone…it doesn’t bother me and I never felt that any of the scenes or language were gratuitous; I was shocked from time to time, but I think that was the point.  The rawness helps the reader see and even feel how deeply Magdalena is falling into her own trap.

Bridget Hoida on: Book Club Reading Guide

Lettered Press Reading Group Guide for So L.A.

 

Introduction to the Author

Bridget Hoida grew up in the San Joaquin Valley on an eight-mile road flanked by grapevines and asparagus.  She remembers “ducks, guinea pigs, goats, all kinds of bunnies”; kids frolicking on levees and splashing in the cooling water; and machines rumbling across fields at night to avoid 109-degree heat.

Reading, Hoida told the The Stockton Record, was her thing: “My parents would take us to an A’s game and I’d sit there eating popcorn and reading a book.”  Obsessed with words, she assembled them effectively for school publications when, as a sophomore, she became part of the first two classes to attend Bear Creek High School in 1992. As a senior, she wrote a column (“Bridget’s World” in the era of “Wayne’s World”) for the Bruin Voice and was the paper’s editor. “We created the newspaper from scratch,” explained Hoida, “We Xerox-ed it and stapled it together.”

Always an avid reader, writing was a natural progression.  At UC Berkeley, she studied English and fiction writing where she was tutored by Stockton-born author Maxine Hong Kingston.  From Kingston, who had “a sheer love of the Valley,” Hoida learned to embrace her roots.  After Berkeley it was on to San Francisco State University where Hoida earned a masters degree in fiction.

The move south came when she joined the first of University of Southern California’s Literature and Creative Writing Ph.D. program.  There, she lived cheaply on Sunset Boulevard while absorbing Hollywood culture and earning a doctorate in California literature.  Hoida’s research into the mythos of California twinned with her cultural navigation led to the development of So L.A.: a satirical and critical look at the city through a revision of the “ranch-novel” genre.  She spent the next ten years working on what started as a blonde joke.

Hoida has taught at USC, UC Irvine and Saddleback College in Orange County, where she and her husband Jesse are raising two young children.  Currently, she is busy at work adapting the novel as a screenplay and editing a collection of writings about motherhood.

-Courtesy of The Record reporter Tony Saro & Lettered Press editor C.L. Cardinale

 —

Description

Magdalena de la Cruz, born Magdalena Bamberger—awkward, gangly San Joaquin valley girl—trades her agrarian central California upbringing for the glamour and glare of Los Angeles.  She heads south to escape reminders of the traumatic and sudden death of her twin brother Junah who falls to his death in a Yosemite National Park rock-climbing accident. Haunted by guilt and obsessed by her dead brother’s presence, Magdalena uses her body as a canvas of reinvention. “When Junah died I stopped wanting to be me,” Magdalena explains, literally cutting any resemblance between herself and her brother “out with sleek scalpels.” She is reborn as an L.A. bombshell in a body “temporarily scarred with puffy red staples” in order “to erase the light brown spots of San Joaquin sun.” As Magdalena takes refuge in boutiques and Botox—seeking desperately for something to fill the void her brother has left—her marriage to Ricky, a socially conscious first-generation Mexican-American, is in jeopardy; her few friendships begin to unravel; and Diamond Myst, her booming designer water business, is drying up.

 —

Discussion Questions

1. How is the reader introduced to the narrator and protagonist, Magdalena de la Cruz, in the first chapter? What is she inviting the reader “to believe,” and what kind of narrator does she promise to be?

2. Rather than quotation marks or numerical chapters, the book offers five takes and chapter headers with titles like “The Problem of Surprise” or “Characters Are Not People.”  How does the structure of this, inspired by STORY! a primer for how to write a winning screenplay by Robert McKee, tell us how to read the novel?

3.  In American literature there is a rich tradition of rural and urban opposition. With this in mind, what are the ways the agrarian San Joaquin Valley is constructed as the opposite of the city of Los Angeles?

4. How does Magdalena’s body, covered in a “Los Angeles vixen varnish” (327), work both as a metaphor and a critique of the city? How does the city work, like Magdalena, to “hide its roots”?

5. What does Ricky’s story—from the A&E Biography version to the Moses in the basket version (114-119)—suggest about the American immigrant (or California migrant) mythos?

6.  One reviewer has described the story of Junah as a kind of mystery: “At the heart of Magdalena’s story is her attempt to cope with the death of her brother [ . . .]. We read to find out what really happened to Junah, her brother, and what Magdalena’s part in his death truly is, for she clearly carries much guilt for his too-soon death.”  What really happens to Junah and does knowing the “truth” change our perception of Magdalena?

7. Magdalena is, to borrow from the epigraph by Michael Ventura, “a hard beauty to love.” What moments do you sympathize with, and perhaps even despise Magdalena?  What are her forgivable and unforgivable sins? Where are your loyalties in the end?

8. Alone, in the Beverly Hills Hotel Magdalena asks: “Who am I to Quentin?”.  Discuss the necessity of Quentin in Magdalena’s emotional journey. He functions as a reckless undoing of her marriage to Ricky, and yet he is also the redemptive force that allows Magdalena to come to terms with Junah’s death. Who is Quentin to Magdalena and how does he function within the novel?

9. Magdalena’s success as a Los Angeles diva is made possible by the selling of bottled water where “underneath all the rhinestones and the pixie dust [. . .] water is scarce and we’re all thirsty” (374). The story of California, both the San Joaquin Valley and Los Angeles, is really the story of water.  How does Magdalena’s story of water mirror the very nature of the narrative of California?

10.  What do you make of the “Director’s Cut”?  What does the addition of another “version” suggest about the narrative itself? How does it both unravel the narrative, beginning with the “story problem” in the first chapter, and suggest other possibilities for ending? What is the “truth,” and does it matter?

After Reading the Novel

In many ways this novel is a narrative of California, contributing to a rich history of dystopian literature.  In So L.A, California may not be a literal paradise lost, but the protagonist certainly is. Magdalena favors feeling over historical accuracy, or what most people call “the truth.” She’s an incurable nostalgic in that she wishes for a past that is so idealized that it probably never occurred. You may want to consider Thomas Pynchon’s Crying of Lot 49, Joan Didion’sPlay It As It Lays or John Fante’sAsk The Dust as interesting companion novels.  So L.A. also begs to be read alongside filmic filmic adaptations of Los Angeles, from Roman Polanski’s Chinatown to Robert Altman’s The Long Goodbye.  And of course, Bravo’s The Real Housewives of Beverly Hills paints a similar, albeit celluloid, portrait.

Lettered Press is pleased to offer a Book Club Bundle

where Book Clubs can order discounted copies of So L.A. in bulk.

To order please visit the Lettered Press store and click on Book Club Bundle!

Bridget Hoida on: Eating Bookmarks

So L.A. was featured in the BookClub CookBook’s July newsletter as a “terrific new book for summer reading.” In the BookClub CookBook authors are asked to create a Book Club menu (yum!) for readers. This is what I recommend:

Call me old fashioned, but when I’m asked, “What pairs well with books?” My go to answer is: “Libraries, readers, and a cozy deck chair.”  So, as you can imagine, I was a bit taken aback when I was recently asked to “pair” my book with “something edible.”

 —

“Like a bookmark?” I replied, because as my mother tells it, when I was a baby, and she was speeding through a novel holding me on her lap, I devoured an entire cardboard placeholder while she made her way to the end of the chapter.

“I wondered why you were being so good,” she says in the retelling, “and then I saw the bits of bookmark in your drool.”

I love this story almost as much as I love my mother because it shows equally my early passion for literature and my mother’s unwavering commitment to raising me right, which is to say, she raised me with, among, and inside of books. She not only read to me, but she read near me and that matters almost as much now as it did then.

I’ve been told, however, one cannot live on books alone and so I offer you the following Book Club recipes inspired by So L.A. as featured in this month’s BookClub CookBook’s “Buzzing About Books!

To be paired with So L.A. (and because I know everyone likes options, I’ve given you two menu choices!)

Menu you have SO got to be kidding me

 (conforms to The Hollywood Supermodel Diet)

Gin, Up:  A tall glass of Tanqueray Ten. With a paper straw. So it looks like a Sprite.

Peanut M&Ms: A grande package of peanut M&Ms. (To be eaten one at a time on the half hour beginning with red and proceeding in rainbow order.)

Menu L.A.

 (for those among us who are happily

NOT on the Hollywood Supermodel Diet)

Spiced Cucumber Collins: Made best bar side, by the tenders of Public at the Roosevelt Hotel in Hollywood, the Spiced Cucumber Collins is crafted with Hendricks’s Gin, lime, Shishito pepper, cucumber and mint. Embellished with cucumber, cut in a half-moon, for some cool summer flair this dazzling drink brings the heat with Shishito peppers that are abSOlutely So L.A.

Salsa Bar Trifecta
Mango-Avocado Salsa
  • 1 avocado, halved, pitted, peeled, and diced medium
  • 1 ripe mango, peeled, pitted, and diced medium
  • 1 small red onion, diced small
  • 1/4 cup finely chopped fresh cilantro leaves
  • 1/2 to 1 habanero chili (stem and seeds removed), minced
  • 2 tablespoons fresh lime juice
  • 1 tablespoon extra-virgin olive oil
  • 1/2 teaspoon coarse salt

Pico de Gallo
  • 2 pounds tomatoes, ripe but firm
  • 1/4 cup green onion, minced
  • 1/2 cup red onion, chopped finely
  • 1/2-3/4 cup cilantro, chopped
  • 1-2 hot peppers, or to taste
  • 4-5 Key limes,
  • 1-2 garlic cloves, minced or pressed
  • 2 teaspoons kosher salt
  • 2 teaspoons extra virgin olive oil

Black Bean Salsa
  • 2 (15-ounce) cans black beans, rinsed and drained
  • 1 (17-ounce) package frozen whole kernel corn, thawed
  • 2 large tomatoes, seeded and diced
  • 1 large avocado, peeled and diced
  • 1 small onion, diced
  • 1/8 to 1/4 cup chopped fresh cilantro leaves
  • 2 tablespoons lime juice
  • 1 tablespoon red wine vinegar
  • Salt and pepper

Homeboy Tortilla Strips: Dip with Homeboy Tortilla Strips, handmade in L.A., where their motto is “Jobs not Jails,” Homeboy Industries “offers hope, training and support to formerly gang-involved and recently incarcerated men and women, allowing them to redirect their lives and become contributing members of our community.”

Lettered Press is pleased to offer a Book Club Bundle

where Book Clubs can order discounted copies of So L.A. in bulk.

To order please visit the Lettered Press store and click on Book Club Bundle!

Bridget Hoida on: Blue Bottle, Angel Food & Words

The lovely PB and I talk about Blue Bottle Coffee, angel food cake and books on her blog: PB Writes.

The following article originally appeared on PB Writes: http://pbwrites.wordpress.com/, June 18, 2012

Introducing Bridget Hoida, whose first novel, So LA, is due out in bookstores June 20th. I happen to personally know that Bridget is brilliant, but I can also tell you without a hint of bias that she writes about Los Angeles with an original, fresh voice you won’t want to miss. Her prose is exquisite and full of surprises. You can purchase your copy here at Lettered Press, or on Amazon. Bridget’s website is here and from there you will find many interesting links. One of the truly fun things about Bridget’s website is that various blog posts are written in the voice of So LA’s heroine, Magdalena de la Cruz. If you have ever been to Los Angeles, if you are a Californian, if you want to be a Californian, if California attracts or repulses you, even if you can’t imagine ever visiting Los Angeles, you will want to read this book (go ahead, live vicariously!). And now, the interview (10 questions + 1–yes, that’s right):

1.      Describe your heroine, Magdalena de la Cruz, in five words or less.

nostalgic, impulsive, desperately lonely, brave-ish, and tall

2.      Now describe her like you really want to—don’t hold back, feel free to go beyond the book’s synopsis (which is excellent, by the way).

She scares me sometimes, both in her boldness and in her very public exclamations of sadness and grief. She’s a bit “off-kilter” as one reviewer described her, and she haunts me. I’m still not sure if I want to be her or if I just want to give her a hug.

3.      The Book Club Member in me wants to know what was most challenging for you with this novel and why? Then please counteract the bland, institutional quality of this question by telling us where you would most like to eat a piece of your favorite cake—and tell us what flavor that might be.

Selling it. Seriously. I wrote a satirical novel about Los Angeles and if editors didn’t want to slap a pink cover and a pair of high heeled shoes on the cover, then they wanted to impregnate Magdalena with a happier ending and a bundle of joy to “counterbalance her anger.” Her brave outpouring of emotion, her startling display of loneliness, these were all VERY intentional and VERY real emotions for me. Necessary to the telling of a “L.A. story” and I refused (at the expense of a “bigger book deal”) to compromise. I stand by that decision. I’m thrilled with stubbornness. I’m also thrilled with angel food cake, heavy whipped cream and berries.

4.      Revision: BF or Nightmare? How do you handle/attack/plead with/embark upon?

Although I did refuse to “Pollyanna” the book, and/or the ending (and I also refused on more than one occasion to “make it the Sex and the City of L.A.) I was VERY open to revision and revised this novel, fully, at least seven times. Seven full-scale, all-encompassing, 300+ page revisions. In fact, the short story that started it all, “The Blonde Joke” that Magdalena tells about herself (and a story that won several awards) has been completely edited out of the book. Sometimes the spark is just that: a small light that eventually becomes engulfed by the flames.

5.      Robert Mckee’s book STORY was an important resource for you when writing SO LA. What other resources would you recommend for writers? Also, what types of coffee resources would you recommend for writers?

I recommend a mompair. I recommend a best friend, an understanding mother, and children who can entertain themselves with glue sticks and glitter while you write into the wee hours of the night. You need other people, and their honesty, and their generosity in order to succeed. I also fully, and without reservation recommend Blue Bottle Coffee. Specifically the Bella Donovan blend. (Really, even your mailman, once he smells the priority mail package, will invite himself in for a cup. It’s that lovely.)

6.      What color and circumference are your sunglasses?

My best pair of Sunnies, by far, were a vintage pair of off-white Dior glasses. They were HUGE in the best possible way. And they died a tragic death in the hands of my daughter, who, when she was two, went on a spiteful sunglass busting bender. She just snapped every pair she could find: crack, pop, burst, like a wishbone the week after Thanksgiving. I was devastated. In fact, I still am. I keep the left “arm” as well as the right “three-quarters” of these glasses on my desk as a reminder of who I used to be. They are joined by four other, less meaningful pairs, that were also busted by my baby. It’s a variable vintage sunglasses graveyard.

My current Sunnies are newer and slightly smaller (not by choice) and much less fabulous, but in quintessential Didion fashion, they are about three-and-one-half inches round and a muted grey (perhaps because I am still in mourning?)

7.      Do you have a critique group (and, if so, do they adore champagne, Joan Didion and chocolate)?

My group is The Groop. We found each other as undergraduates in Tom Farber’s creative writing workshop at UC Berkeley and after the workshop ended that semester we met at a wooden house on Ashby Ave. When the house burned down (true story), we took to meeting in various locations from San Francisco to Davis. We’ve known each other over 16 years and I still depend on their daily advice and critique (now virtual or phone-based). We prefer whiskey and gin, but we devour dark chocolate and Didion on a regular basis.

8.      Music: Yes, or huge no-no when writing?

Absolutely! Is there any other way? In fact, I’ve been known to create full soundtracks based on a single chapter, and if you’ve read the book, you’ll know my chapters are maybe three paragraphs in most instances. This means I have a lot of “mixed tapes.”

9.      Has your perception of Los Angeles changed/evolved since writing SO LA? Is it the same city for you, or better, or worse?

I was raised in Northern California, which is to say I was raised (through no fault of my parents) to hate Los Angeles. Even still, So L.A. is my love song to a city I adore. Sure, I’ve divorced the 405 freeway on several occasions, and La Cienega and I are still not speaking, but L.A. is my girl. I have always had a terribly difficult relationship with Los Angeles.  It’s messy.  It’s tumultuous.  It’s like that with things you love enormously. So when I came across this breathless quote by Michael Ventura, in his essay “Grand Illusion” I knew it was my epigram, it was the only place to start:

“The beauty [of Los Angeles] is the beauty of letting things go; letting go of where you came from; letting go of old lessons; letting go of what you want for what you are, or what you are for what you want; letting go of so much—and that is a hard beauty to love.”

So L.A. –dare I suggest like Los Angeles itself– is fraught with beauty and self-loathing. Not only do the palm trees of Sunset clash with the Central Valley combines that supply L.A. with the organic soy for its venti lattes, but I’m convinced that the tanned and toned flesh of most every Angelino secretly yearns for the soothing balm of an aloe wrap in San Joaquin starlight. When I first moved to L.A. I was told I would have to give up the levees and lakes of Northern California, where I was raised, in order to embrace the wave-crashed beaches of the Los Angeles enigma. Twelve years later, I realize that you can let go without relinquishing everything and that beauty, no matter how hard (or hard earned) is always, still beautiful.

10.  What are your exorbitant whims as a writer?

I (gasp, sigh) refuse to use quotation marks. Does that make me a diva? Can you even “quote” this?

11.  And, finally, what are you working on now?

I have a stack of fragments. I thought at first they were poems, but then I attended Tin House as a poet, which was new for me, and I learned they were most certainly NOT poems.  So I’m sticking with fragments. Collectively I call them “And Down We Went” after T.S. Eliot’s “The Burial of the Dead” (which I am told certainly WAS a poem). They are about magic, and madness, and motherhood. In the opening “segment” a woman marries a house. It makes perfect sense to me.

Thank you, Bridget! #3 is FASCINATING, the quote in #9 so true it hurts. Thank you for such a wonderful interview. The next time you visit, this blog will be serving generous mugs of Blue Bottle coffee.

This article originally appeared on PB Writes: http://pbwrites.wordpress.com/, June 18, 2012