Like Shaking Hands with God details a collaborative journey on the art of writing undertaken by two distinguished writers separated by age, race, upbringing, and education, but sharing common goals and aspirations. Rarely have two writers spoken so candidly about the intersection where the lives they live meet the art they practice. That these two writers happen to be Kurt Vonnegut and Lee Stringer makes this a historic and joyous occasion.
The setting was a bookstore in New York City, the date Thursday, October 1, 1998. Before a crowd of several hundred, Vonnegut and Stringer took up the challenge of writing books that would make a difference and the concomitant challenge of living from day to day. As Vonnegut said afterward, ""It was a magical evening.""
A book for anyone interested in why the simple act of writing things down can be more important than the amount of memory in our computers.
"synopsis" may belong to another edition of this title.
Kurt Vonnegut (Breakfast of Champions): writer of wild, satiric, outrageous fiction. Lee Stringer (Grand Central Winter): one-time homeless crack addict who discovered that pencils are not just drug implements. Kurt Vonnegut and Lee Stringer: a mutual admiration society. Like Shaking Hands with God: a transcription of two moderated conversations between Vonnegut and Stringer--one before a bookstore audience, one over lunch.
Shaking Hands has a slender profile and a pretty cover. But the only thing slight about these conversations is that they leave the reader wanting more. The book is billed as "a conversation about writing," but it is as much about life as about writing. Neither Vonnegut nor Stringer is interested in holing up in a garret to write. Vonnegut makes any excuse to go out and rub elbows with the folks who buy lottery tickets. Stringer wonders, "Can you write anything on Park Avenue, really?" Vonnegut laments his happy childhood as "no way for a writer to begin." Stringer panics--while he wrote his first book as if on a high, the next one may emerge from an awareness of Oprah and marketability.
Vonnegut and Stringer are passionate about one another's work, passionate about life, and passionate about writing, but not so much so that they ever, for a moment, lose their sense of irony or humor. In the age of the sound bite, literature can be deemed, on some level, useless. Stringer praises writing, in that context, as "a struggle to preserve our right to be not so practical." And Vonnegut? "We are here on Earth to fart around," he proclaims in Timequake (excerpted here). "Don't let anybody tell you any different!" --Jane Steinberg
KURT VONNEGUT was among the few grandmasters of twentieth-century American letters, one without whom the very term American literature would mean much less than it does now. He was born in Indianapolis, Indiana, on November 11, 1922, and died on April 11, 2007, in New York City.
LEE STRINGER's journey from childhood homelessness in the ’60s, to adult homelessness in the ’80s, to his present career as a writer and lecturer, as told in Sleepaway School and Grand Central Winter, is one of the great odysseys of contemporary American life and letters. Stringer, the only board member of Project Renewal who is also a former patient of the facility, has demonstrated that writers are made, not born. He is the two-time recipient of the Washington Irving Award and, in 2005, a Lannan Foundation Residency. He is a former editor and columnist of Street News. His essays and articles have appeared in a variety of other publications, including The Nation, The New York Times, and Newsday. He lives in Mamaroneck, New York, where he also serves on the board of the Mamaroneck Public Libraries.
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