If you are a regular listener to NPR, you likely have heard one of novelist Diana Abu-Jaber‘s frequent essays. Next week (September 6, to be exact) marks the release of the award-winning author’s newest novel, Birds of Paradise. While I was already aware of Abu-Jaber, thanks to NPR, I did not realize she had finished her new book until an early July tweet by Bethanne Patrick (aka @thebookmaven). Soon after learning of the new novel, I reached out to Abu-Jaber for an email interview — and she was more than happy to entertain my queries. As described by her publisher (W.W. Norton & Company): “In the tropical paradise that is Miami, Avis and Brian Muir are still haunted by the disappearance of their ineffably beautiful daughter, Felice, who ran away when she was 13. Now, after five years of modeling tattoos, skateboarding, clubbing, and sleeping in a squat house or on the beach, Felice is about to turn 18. Her family — Avis, an exquisitely talented pastry chef; Brian, a corporate real estate attorney; and her brother, Stanley, the proprietor of Freshly Grown, a trendy food market — will each be forced to confront their anguish, loss, and sense of betrayal. Meanwhile, Felice must reckon with the guilty secret that drove her away, and must face her fear of losing her family and her sense of self forever.” In addition to the book, we also delve into her recent mention in a New York Times piece on email manners.
How early in the development of Birds of Paradise did you realize it had to be set in Miami — and what appealed to you in terms of setting it there?
Miami was present from the very first page. My husband and I moved to Miami eight years ago and I knew I wanted to use it as a setting. Ever since my second novel, Crescent, I’ve been very inspired by sunlight and water and I always like to use a strong setting for my stories — like the city of Syracuse and the blizzard that seems to keep blowing throughout Origin, my third novel. Birds of Paradise is a reflection of Miami’s many layers — its outward dazzling tropical colors and beauty, its racial and cultural collisions. I’m fascinated by that complexity and challenged by it. Setting my new novel here gave me a way to reflect on my adopted city and to push myself to learn more about it.
Structurally the story is broken down into chapters alternating their focus/perspective between varying characters — with the chapters labeled by character names. How challenging was it to structure the story in such a manner?
Actually, I found it easier to use the alternating perspectives than a single unified point of view because it gave me a way to break up the action and to tell the story from different vantage points. It did mean that I really had to become deeply familiar with each of those characters — more than, perhaps, with a novel governed by just one or two central characters. But I felt that this helped enrich the story, so that I couldn’t rely on “prop characters” to tell my story.
With the Muir family, was there any family member that you struggled to find the right voice for them in particular (or vice versa, any family member who was easier for you write and why)?
Brian, the father, was a real challenge for me, because he was of a species that I found very mysterious — the corporate executive. At first he was pretty ruthless and unsympathetic and the people who read my early drafts pointed out that they felt like I wasn’t being fair to him. Getting his character right became an important challenge for me — to push myself past my own preconceptions and to find his uniqueness and humanity.