The Points Interview: Dan Malleck

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Dan Malleck

Dan Malleck is an Associate Professor of Health Sciences at Brock University in St. Catherines, Ontario. He is the author of Try to Control Yourself: The Regulation of Public Drinking in Post-Prohibition Ontario, 1927-1944 (University of British Colombia Press, 2012) and co-editor, with Cheryl Krasnick Warsh, of Consuming Modernity: Gendered Behaviour and Consumerism Before the Baby Boom (UBC Press, 2014). Try to Control Yourself won the Canadian Historical Association’s Clio Prize for Best Book in Ontario History in 2013, and Malleck’s writing has appeared in news outlets including the Globe and Mail and The National Post. He earned his PhD from Queen’s University in Kingston, ON. Malleck’s most recent book is When Good Drugs Go Bad: Opium, Medicine, and the Origins of Canada’s Drug Laws (UBC Press, 2015), which he discusses below.

Describe your book in terms your bartender could understand.

This book examines the social and cultural forces that combined to encourage the creation of Canada’s drug laws.  It argues that we need to get past the simplistic statement that drug laws were racist reactions to foreigners in our country, and have complex roots.

What do you think a bunch of alcohol and drug historians might find particularly interesting about your book?

The book is not a political history, but it looks at how various cultural, economic, professional and social forces converged in the early 1900s to make it seem necessary to create federal laws restricting opiates and other mind altering drugs.  It takes long time-
line, following the threads of influence as they grew and expanded, gathering energy and cultural currency. I use the metaphor of streams converging into raging river.  

The main question driving the research was “why did we decide that addiction was a problem that needed federal intervention” and “when did it become okay for the government to severely restrict sales of certain substances that were previously generally unrestricted.”  I argue that Canada’s first drug laws were not laws against recreational use, but pharmacy laws that made it restricted certain substances determined to be dangerous. These laws, the results of political lobbying to deal with a social problem, made such restrictions acceptable.  From that point, the definition of “danger” expanded from the potential of death, to the potential for serious damage, to the potential for dependency.  The precedent for national drug regulation, then, was set in the pharmacy acts, which were a combination of professional pressure and social concern over access to poisonous substances.  

whengooddrugsI also challenge a dominant and reductionist narrative that the opium acts of the early 1900s were simply attacks on Chinese people in Canada.  This argument misses the power of the idea that drugs were a problem.  When William Lyon MacKenzie King argued, in his preamble to the 1908 report encouraging parliament to create the Opium Act, that opium’s “baneful influences” were “too well known to require comment” he was channeling that broader concern based upon the familiarity of most Canadians with the challenges of opium as a medicine and a habit-forming drug. He himself had experience of these baneful influences in his personal life, and most Canadians probably knew someone who had an opium habit. Most had probably consumed opium at some point.  To reduce this to an attack on the Chinese is simply a distortion of the past, often for current political reasons.  Moreover, the same session of parliament that passed the Opium Act also passed a Proprietary and Patent Medicines Act, dealing with another significant drug problem.  This book springs from that contention that reducing the drug laws to racist reactionism doesn’t do the story justice, nor does it help us understand the complexity of our drug laws in general, and the challenges of reforming them.

Now that the hard part is over, what is the thing YOU find most interesting about your book?

It’s the same page length as my first book even though it’s much longer, but took less time to write. Figure that out.

Every research project leaves some stones unturned. What stone are you most curious to see turned over soon?

One thing I was never able to do due to the sheer volume of material and time it would take was track the changes in prescribing patterns as different laws came into effect. I have a database of probably hundreds of thousands of prescriptions from pharmacy records that span various provincial and federal law changes, and I wonder if those laws, restricting access to substances like opium, affected the way doctors prescribed, or the way customers purchased (or pharmacists dispensed). I suspect it did, but without a massive team, grant, and hiccup in space/time, I won’t be able to do that.

BONUS QUESTION: In an audio version of this book, who should provide the narration?

Aaron Paul.

 

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The Points Interview: Chris Finan

chrisChris Finan is the author of the books Alfred E. Smith: The Happy Warrior (Hill & Wang, 2002), From the Palmer Raids to the Patriot Act: A History of the Fight for Free Speech in America (Beacon Press, 2008), and Drunks: An American History (Beacon, 2017). He currently serves as Executive Director for the National Coalition Against Censorship and was previously President of American Booksellers for Free Expression. Finan received his PhD. in American History from Columbia University in 1992 and has been involved in anti-censorship efforts for the past 35 years. He lives in Brooklyn.

Describe your book in terms your bartender could understand.

Actually, one of the first persons I described the book to was a bartender.  I was at a reception at book convention in Minneapolis, and he wandered over before it was time to start pouring drinks to talk about my book, which was on display.  He had been lucky enough to get sober in the “land of 1,000 rehabs.”  I told him that my book tells the stories of the people who have led the recovery movement since the colonial period and ultimately saved his life–and mine.
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Fiction Points: Sarah Gerard

SarahbyDavidSarah Gerard is the author of a novel, Binary Star (2015); two chapbooks, BFF (2015)  and Things I Told My Mother (2013); and a forthcoming collection of essays, Sunshine State, centered on her childhood in Florida, the home state she shares with PointsShe also writes a monthly column on artists’ notebooks, “Paper Trail” for Hazlitt. Gerard’s chapbooks garnered praise from tastemakers such as Hobart and The Rumpus, and Binary Star received glowing reviews from, among other publications, The Huffington Post, The New York Times, NPR, Vanity Fair, and The Los Angeles Times, which chose the book as a finalist for its Art Seidenbaum Award for First Fiction.  Buzzfeed, Flavorwire, Largehearted Boy, NPR, and Vanity Fair put Gerard’s debut novel on their 2015 year-end lists. Her short stories, essays, and criticism have appeared in venues including BOMB Magazine, The Los Angeles Review of Books, The New York Times, New York Magazine’s “The Cut,” The Paris Review Daily, and Vice, as well as in anthologies for Joyland and The Saturday Evening Post. She teaches writing in New York City and has been a visiting writer at the University of Maine, The New School, Pratt, and other institutions.

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

I write about the intersection of arctic birds and religion. Can I interview you?

Points is a blog primarily for drug and alcohol historians. What do you think this audience would find most interesting about your work?

Well, the protagonist of Binary Star is anorexic and addicted to diet pills. Her boyfriend is an alcoholic and takes his psychiatric medication not exactly as prescribed. So, they may find that interesting. I write about drugs and alcohol in a rather different way in my essay collection, which I’m finishing now. I kind of toy with the boundaries of what is a drug: alcohol is a drug, ecstasy is a drug, but is religion also a drug? Is capitalism? Is success? Also, I don’t like to categorically vilify drugs and alcohol. Sometimes recreational drugs are a lot of fun, and sometimes they’re used as medication when another isn’t available. Read More »

Fiction Points: Eileen Cronin

CRONINEileen Cronin is a writer and clinical psychologist. Her book Mermaid: A Memoir of Resilience (2014) centers on her search for the truth about her body and the role that the drug thalidomide played in its shape, her childhood in a large Catholic family, her mother’s mental illness, her marriage, and her own struggles with alcohol. In addition to nonfiction, Cronin writes poetry and fiction. Her work has appeared in The Washington Post, Bellevue Literary Review, Los Angeles Times, Third Coast,  and Best American Essays, among other venues. She also writes for The Huffington Post. Mermaid appeared on O, The Oprah Magazine‘s Best Memoirs of 2014 list and Pop Sugar‘s “Must Reads of 2014.” In 2008, Cronin won the Washington Writing Prize for Short Fiction. Her nonfiction has earned her a Pushcart Prize nomination, and her two novels were finalists for the Pirate’s Alley Faulkner Award for Novels-in-Progress. Cronin serves as an assistant editor for Narrative Magazine and lives in Los Angeles. 

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

I can’t help but to notice the resemblance between these folks at the bar. But I don’t ask about that, nor do I tell them that I have written about a nun who looked like a penguin when she ran. Instead I tell them what I have in common with them. I write about Catholics, sort of like Alice McDermott but with a bit more of an edge.Read More »

Fiction Points: Chloe Caldwell

Chloe Caldwell in Kingston, NY for Grazia 5/31/14Chloe Caldwell is the author of the novella WOMEN (2014) and the essay collection Legs Get Led Astray (2012). Her work has appeared in VICE, Salon, The Rumpus, The Sun, Men’s Health, several anthologies (including Goodbye to All That: Writers on Loving and Leaving New York)and elsewhere. Lena Dunham named WOMEN among her 10 Favorite Books in the New York Times, and Caldwell’s work has earned her praise from Bitch Magazine, Buzzfeed Books, The Master’s Review, and Publisher’s Weekly, among others. Coffee House Press/Emily Books will publish her next essay collection, I’ll Tell You in Person, in October 2016.

 

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

This is my worst nightmare. I change what I write about depending on who I’m talking to and what I think they can ingest. I meet them where they are. So female! When I’m talking to a parent’s friend or something, I say, travel essays. I really dislike talking about my work with strangers. It takes away the magic of the work. I suck at talking about my work. I’d rather have it speak for itself. So I’d probably get guarded and weird and tell them I wrote a novella. Then I’d text my friends saying OMFG there’s a penguin and a nun in this bar.

Points is a blog primarily for drug and alcohol historians. What do you think this audience would find most interesting about your work?

I’m stumped!

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What led you to write about drugs and alcohol in the first place?

Because I was using drugs and alcohol and writing about my life. So….was inevitable.

How would you describe the way that drugs function in your work, whether in terms of thematic concerns or the choices you make about how to craft a narrative? Do you think there are things that you wouldn’t be able to explore as successfully if drugs weren’t in your writing arsenal?

The essay I wrote “Heroin and Acne” for Salon is a good example of this. I like exploring gray areas and middle grounds of themes. Our culture always wants people to be black or white: you’re either a drug addict or you’re not. You’re either a lesbian or your straight. I’ve struggled with identity issues throughout my twenties (like everyone) because often I fell in between, and there weren’t many narratives for me to read that were coming from that place, so I wanted to write them.

What do you personally find most interesting about how drugs work in your writing, and where do you see that interest leading you in future projects?

WOMENI like how drugs and alcohol inform the narrator’s choices in WOMEN. One event in the book is the narrator moves to a new town to get away from the drugs she’s doing, but she finds Finn and begins an addictive relationship with her. I’m interested in any addictive behaviors. in my own life, in books and films, in my friends’ lives, and I don’t mean with drugs and alcohol specifically—with the internet, chocolate, fruit, exercise, coffee.

I’m not sure where it will lead me in future projects. I don’t do drugs anymore, but I still reflect on them a ton and am always fascinated with them as much as I am with recovery and health. It’s important to me to un-cliche the way addiction and recovery stories are told. The ways people stay physically and mentally healthy are just as if not more fascinating than addiction stories.

BONUS QUESTION: Let’s hope that your novella Women gets made into a major motion picture. If you have your choice, which is it, and what song do you fantasize about hearing as the credits roll?

Better Off” by Haim or “My Baby Don’t Understand Me” by Natalie Prass or “Daydreaming” by Dark Dark Dark.

Fiction Points: Scott McClanahan

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Scott McClanahan (credit: HTMLGiant)

Scott McClanahan is the author of the novel Hill William (2013), the nonfiction work Crapalachia: A Biography of Place (2013), and the short story collections Stories (2008), Stories II (2009), Stories V! (2011), and The Collected Works of Scott McClanahan Vol. 1 (2012), which includes the out-of-print Stories and Stories II. He cofounded the production company and press Holler Presents with Chris Oxley, who plays beside McClanahan in the band Holler Boys. McClanahan also makes films, available online via Holler Presents. Crapalachia received positive reviews from the New York TimesThe Paris Review, Paste, and The Washington Post, among others; The Huffington Post gave Stories V! a heartfelt rave, and The Fader has called McClanahan “one of [its] favorite writers.”  He appeared on Dzanc Books’ “20 Writers to Watch: An Alternate List” list in 2010 and won Philadelphia’s third Literary Death Match in 2012. He lives in West Virginia with his wife, the writer Juliet Escoria, who has also been featured on Points.

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

First, I’d never introduce myself as a writer, but I’d probably ask them about being a nun or a penguin. That seems a hell of a lot more interesting. I think if you found a penguin talking you should probably ask the talking penguin about how it learned to talk rather than babbling about your stupid writing. “Well, it’s called flash fiction Mr. Penguin because it’s really short and flashy.” Nah.Read More »

Fiction Points: Elissa Washuta

elissawashutapicElissa Washuta is the author of Starvation Mode: A Memoir of Food, Consumption, and Control (2015) and My Body is a Book of Rules (2014), the latter of which was a finalist for the Washington State Book Award. Washuta has received fellowships and awards from Artist Trust, 4Culture, Potlatch Fund, and Hugo House. Her essays have appeared in Buzzfeed, The Chronicle of Higher Education, Literary HubSalon, Third Coast, and elsewhere. Washuta is a member of the Cowlitz Indian Tribe and teaches nonfiction in the Institute for American Indian Arts’ MFA program, where she is also the faculty advisor for Mud City Journal. Additionally, she serves as the undergraduate advisor for the Department of American Indian Studies at the University of Washington, from which she earned her MFA. She lives outside Seattle.

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

Differently than I would answer almost anyone else, probably, because my first book, My Body Is a Book of Rules, is about sex, (psych) drugs, violence, alcohol, Indigenous identity, and the nuns who tried to teach me how to live. I might whisper to the penguin that I still have all the issues of Cosmopolitan from December 2007 to May 2011 that I used to create a quote-comparison of the magazine’s sex tips and text from The Catechism of the Catholic Church.

Points is a blog primarily for drug and alcohol historians. What do you think this audience would find most interesting about your work?

Prescribing Information,” one of the chapters in My Body Is a Book of Rules, takes the form of a list of the prescription drugs for bipolar disorder I used and, occasionally, abused between 2006 and 2009. The voice is inspired by that of the information pharmacies dispense alongside prescription drugs. Throughout the book, I write about the effects—helpful and harmful—of those drugs, including Seroquel, Abilify, Xanax, Ativan, and lithium.Read More »

Fiction Points: Elizabeth Ellen

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Elizabeth Ellen reads from Fast Machine

Elizabeth Ellen is a writer and editor who resides in Ann Arbor, Michigan. She is the author of the story collections Before You She was a Pit Bull (2006) and Fast Machine (2012), an assemblage of her best work from the last decade. A chapbook of her flash fiction, entitled Sixteen Miles Outside of Phoenix, appears in Rose Metal Press’ A Peculiar Feeling of Restlessness: Four Chapbooks of Short Short Fiction by Four Women (2008), and Ellen released a poetry collection, Bridget Fonda, in 2015. Her short story “Teen Culture” won a Pushcart Prize in 2012, and her work has been published online or in print by American Short FictionBOMBHTMLGiant, The GuardianLazy Fascist ReviewMcSweeney’s, MuuMuu House, and Vol. 1 Brooklyn among other venues. Ellen also co-edits the journal Hobart and oversees its book division, Short Flight/Long Drive Books.

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

I tell them the same thing I tell everyone who asks that question: myself. Because I’m a narcissist and solipsistic. And the two nuns and the penguin don’t interest me half as much as I interest myself. LOL. Though I can’t imagine telling anyone in a bar I’m a writer. Read More »

Fiction Points: Mira Gonzalez

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Mira  Gonzalez (credit: her Tumblr)

Mira Gonzalez is the author of the poetry collection i will never be beautiful enough to make us beautiful together (2013) and Selected Tweets (2015), a collaborative double-book with recent Fiction Points interviewee Tao Lin. Her work has appeared in Vice, Hobart, MuuMuu House, The Quietus, and elsewhere. Gonzalez’s poems, tweets, essays, and musings are also available for your reading pleasure on her Tumblr page, at Thought Catalog, and in the two drug-infused columns she writes for Broadly. In 2014, i will never be beautiful enough… made the shortlist for the Believer Poetry Award; Flavorwire named Gonzalez among its “23 People Who Will Make You Care About Poetry in 2013,” and her book has been reviewed by The RumpusNylon, Vice, and other publications. Gonzalez lives in Brooklyn and hails from Los Angeles.

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?
I would probably be too confused by the penguin in a bar and concerned that my writing would offend the nuns to even tell them my name. I get worried about offending people. I want everybody to like me.
Points is a blog primarily for drug and alcohol historians. What do you think this audience would find most interesting about your work?
I mean, if drugs and alcohol are what they find most interesting then I guess they would be most interested in my drug and alcohol use, particularly my use of less common drugs such as DMT. Or, I guess what I’m saying is that if I were an alcohol and drug historian, I would be most interested in less common, particularly psychedelic drugs, such as DMT.

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Fiction Points: Sean H. Doyle

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Sean H. Doyle

Sean H. Doyle is the author of This Must Be The Place (2015), a memoir in fragments. The book received praise from the Chicago TribuneVol. 1 Brooklyn, Gawker, and Poets & Writers. His work has appeared in MonkeybicyclePANKVol. 1 Brooklyn, WhiskeyPaper, and other venues, including on his own website, which offers a wonderfully overwhelming and oft-updated look into his brain. Doyle also makes music as shenxian. He lives in Brooklyn.

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

Did the nuns ask me to confess some character flaw? I don’t normally tell people—or penguins—that I write. In my experience, folks who offer that up right away are usually welders or CEOs in disguise. I’d probably answer by telling them that I write about my inability to unsee the world and the things that happen around me or to me or inside of me.

Points is a blog primarily for drug and alcohol historians. What do you think this audience would find most interesting about your work?

Maybe the audience would find my work interesting because my work doesn’t apologize at all? Drugs and alcohol are a part of every life, even those lives seemingly free of imbibing. My life has not been perfect, will never be perfect, and my experiences with drugs and alcohol have been important to my understanding of my past/current/future self and how I fit into and out of the world around me.Read More »