A 21st Century Rosetta Stone

Most writers who have an on-line presence use Google Alert, which will tell them when someone in cyberspace has mentioned their name or a recent book title.

I'm no exception. I've got my alert set for Liz Adair and for Counting the Cost (a phrase I have found is overused).


The other day, I got an alert that a blogger had mentioned my name. I clicked on the link and found that someone had re-posted an interview that Heidi Thomas had done on her blog a month or so ago. It had apparently been translated into another language and, I assume, since Google knows my language is English, when it came up on my screen, it was computer-translated back into a language I could read. Sorta.


I'm going to post selected paragraphs of the twice-translated text in blue. Under each paragraph, I'll put Heidi's original questions (and my answers) in green. I suggest you read only the blue paragraphs and use the green ones if you get stumped. Some of the twists are hilarious, though if you think about each a bit, you'll see that, in a certain situation, this could be a synonym.

Hilarious or not, it is really miraculous that something could automatically be changed from one language to another and still carry a high degree of clarity.

Here's the posting. Remember, blue is how it came back to me. I've reproduced it faithfully, punctuation and all.

If you don't read anything else, read the last question and answer.

HEIDI: I'm happy to welcome Liz Adair to my blog today. Liz is the Pacific Northwest writer of five novels, including her new Western romance, Numbering the Cost, and she is co-editor of her mother's missives in Lucy Shook's Letters from Afghanistan Liz is besides cognized for her Spider Latham enigma series, for The Mist of Target Seaport, and learns shops on "Victimisation House History in fiction."


Counting the Cost is a marvelous, bittersweet narration that fall out in Land of enchantment in 1935. I take it this is slightly of a going from your usual composition. Say us what exalted this book.



HEIDI: I'm happy to welcome Liz Adair to my blog today. Liz is the Pacific Northwest author of five novels, including her new Western love story, Counting the Cost, and she is co-editor of her mother's letters in Lucy Shook's Letters from Afghanistan. Liz is also known for her Spider Latham mystery series, for The Mist of Quarry Harbor, and teaches workshops on "Using Family History in Fiction."


Counting the Cost is a wonderful, bittersweet story that takes place in New Mexico in 1935. I take it this is somewhat of a departure from your usual writing. Tell us what inspired this book.


LIZ: This is a leaving. My other books were totally carefully plotted, hold a spot of intrigue in them, are placed in modern-day times, and are lighter menu. Numerating the Cost but welled upwards inside me and coerced itself out my fingertips. I consider it was portion of my bereft procedure after my mother went, for the narrative discharge shadows her brother's life.


LIZ: This is a departure. My other books were all carefully plotted, have a bit of intrigue in them, are set in contemporary times, and are lighter fare. Counting the Cost simply welled up inside me and forced itself out my fingertips. I think it was part of my grieving process after my mother died, for the story arc shadows her brother's life.


HEIDI: I understand that you turned upwardly in Land of enchantment on a ranches. How makes that background influence your authorship?


HEIDI: I understand that you grew up in New Mexico on a cattle ranch. How does that background influence your writing?


LIZ: Really, it was my mother who turned au fait a spreads, but she conjoined a man who worked for the Office of Rehabilitation, so we were hydroelectric gipsies. Two of my uncles worked cowses all their lives, and trips back to Nm were full of cowhand narratives and horseback equitation.


LIZ: Actually, it was my mother who grew up on a cattle ranch, but she married a man who worked for the Bureau of Reclamation, so we were hydro-electric gypsies. Two of my uncles worked cattle all their lives, and trips back to New Mexico were full of cowboy stories and horseback riding.


HEIDI: How large a office makes placing drama in your books?


HEIDI: How bit a role does setting play in your books?


LIZ: Putting dramas a major function. One of my readers mentioned that I write on settlement people. I consider that Holds because I'm a settlement somebody myself, and it Holds a comfy voice.


LIZ: Setting plays a major role. One of my reviewers noted that I write about small town people. I think that's because I'm a small town person myself, and it's a comfortable voice.


HEIDI: You give shops on applying menage history in fiction. Is all of your fiction based on your house history?


HEIDI: You give workshops on using family history in fiction. Is all of your fiction based on your family history?


LIZ: All my fiction banks heavily on household history. I name it Viridity Fiction. Recycling, you cognise? It may merely be that I make n't hold any original thoughts. Or that I'm lazy. But, it works for me.


LIZ: All my fiction relies heavily on family history. I call it Green Fiction. Recycling, you know? It may just be that I don't have any original ideas. Or that I'm lazy. But, it works for me.

* * *
HEIDI: State us about Missives from Aftghanistan Were the missives pent to you?

HEIDI: Tell us about Letters from Afghanistan. Were the letters written to you?

LIZ: Yes. I was a immature mother when my parents attended Afghanistan in 1965. My mother and begetter both worked for the Office for International Develoment (Assistance). Pa was in charge of buying machinery and learning the Afghans how to hold it, and mother ran a little hotel/restaurant that catered to the American contingent and seing diplomatists. She holded fifteen Afghan manpowers working for her, and she got really regarded in their lives. She would indite long missives place about her interactions with them. Some missives were uproarious; some were affecting, but none were dull.

I was a busy ma and instruction school additionally, and I'd savor each missive and lay it forth. It was only geezerhood afterward, in 2001, when I attended redact the missives for the menange, that I observed what a treasure these missives were and what a window they were into the psyche of the Afghan provincials.

LIZ: Yes. I was a young mother when my parents went to Afghanistan in 1965. My mother and father both worked for the Agancy for Internation Development (AID). Dad was in charge of purchasing machinery and teaching the Afghans how to maintain it, and mother ran a small hotel/restaurant that catered to the American contingent and visiting diplomats. She had fifteen Afghan men working for her, and she became very involved in their lives. She would write long letters home about her interactions with them. Some letters were hilarious; some were poignant, but none were dull.

***
HEIDI: On the dorsum of your book is a indorsement telling that constituent of your book sales attend gain Portion Women Across lands (SWAN). Say us a trifle about this grouping.

HEIDI: On the back of your book is a blurb stating that part of your book sales go to benefit Serving Women Across Nations (SWAN). Tell us a bit about this group.

LIZ: SWAN is a humanistic outreach organisation that was started by my two girls, Ruth Lavine and Terry Gifford, and I the intention is to assist women and shavers through microloans, malaria medicine, mosquito nets and school supplies and uniforms. Terry is the motivating force, and it is she who visits Bolivia each year to superintend the microloan plan there, which includes a mini-business class and proceeding didactis as the women take out loans and go enterprisers.

Most of the support for SWAN comes from the Pattie Wagoon, Terry's grant laggard that you may see at ball games or at Sedro Woolley jubilations, and SWAN too patronize a Century Motorcycle Drive that cooccurs with Sedro Woolley's Blast from the Yesteryear. You can chance out more about SWAN by seing www.swanforhumanity.org

LIZ: SWAN is a humanitarian outreach organization that was begun by my two daughters, Ruth Lavine and Terry Gifford, and I. The purpose is to help women and children through microloans, malaria medicine, mosquito nets and school supplies and uniforms. Terry is the motivating force, and it is she who travels to Bolivia every year to oversee the microloan program there, which includes a mini-business course and continuing education as the women take out loans and become entrepreneurs.

Most of the funding for SWAN comes from the Pattie Wagon," Terry's concession trailer that you may see at ball games or at Sedro Woolley celebrations, and SWAN also sponsors a Century Bike Ride that coincides with Sedro Woolley's Blast from the Past. You can find out more about SWAN by visiting www.swanforhumanity.org

HEIDI: Thank you for sharing with us Liz.

LIZ: Thank you, Heidi. What luck to hold happend you manning your booth at the Sedro Woolley July 4 Jubilation. As I read your book about your gran, Cowgirl Dreams, I see that we hold much in common. We're kindred liquors.

LIZ: Thank you Heidi. What luck to have found you manning your booth at the Sedro Woolley Fourth of July Celebration. As I read your book about your grandmother, Cowgirl Dreams, I see that we have much in common. We're kindred spirits.

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