Filthy Sugar: A Short (Sensual) Excerpt

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Happy Friday! I thought I’d share with you a very short excerpt from my debut novel Filthy Sugar on this lovely day! Enjoy!

“Unzip me, will you?” I ask, flipping my hair over to one side.

Lili Belle’s fingers fumble with my zipper. “I–I can’t, Wanda.” She turns away from me, her face burning. “You better do it yourself.”

“Why?” I let my dress fall to the floor. “What’s wrong, Lili Belle?”

She glances over at me shyly as I stand naked before her. I recognize the longing behind her glance and yet it is markedly different than the lust of Eddie, Mr. Manchester, or even Brock. Hers is a desire without entitlement. I take both of her hands and lead her to the bed.

“Come sit with me, Lili Belle.”

She keeps her head bent; her thick-mascaraed eyelashes casting shadows along her cheekbones, like the wings of a broken butterfly. She reminds me of a stray kitten. I can sense that she wants me to pet her, but if I do, she’ll run away.

“I should go, Wanda.”

“Do you want to go?” I press my open mouth to the spot where her shoulder meets the base of her neck, inhaling her apricot scent. “Is that what you want?”

The neighbour next door cranks up the phonograph. Piano teeth and trombone lungs, marshmallow clouds and upside down skies: suddenly Lili Belle is kissing me or I’m kissing her. Oh! What difference does it make? Her mouth is a chocolate cherry cream: messy and sweet, scrumptious and sticky. Kissing Lili Belle is devouring an ice cream cone in July; it is a hotdog at the ballpark; it is Jean Harlow slipping into something more comfortable, and it is better than all of those things.

Kissing Lili Belle is better than the movies.

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Want to read more? The best place to get a hold of some Filthy Sugar is with Inanna Publications or ask for it at your local bookstore! 

Note: Inanna Publications is currently having a summer sale! Use the coupon code summer20 at checkout and get 30% off!

From Dreams to Dust: Oh, the Movies You Will Never See!

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I was once asked, while volunteering for a film review website, to list the “Top Ten Greatest Films of all Time.” Of course, a “great film” is subjective but that wasn’t the only reason why I found the task daunting: cinematographic motion pictures have been around since at least the late 1890s, leaving us with – what should be – an almost limitless scope of films to watch and choose from. 

I say “what should be”, because many Silent (an estimated 80-90%) and Pre-Code movies are now considered lost.

Most Silent films were made using cellulose nitrate film stock. Nitrate stock flares up quickly – a lit cigarette nearby is enough to set it off – and can even spontaneously combust if stored improperly. The film is so flammable that it burns even when immersed in water. In 1949, nitrate was replaced by acetate safety stock but by then innumerable silent movies had already burned to death – their filmmaker’s stories forever extinguished by flames.

And sometimes they were destroyed on purpose.

Studios, not believing that future audiences would have any interest in “old” movies, junked the films to free up vault space. Not all were set on fire though: several tons of Silent movies were dumped into the Yukon river while others were used as filler for swimming pools and ice rinks.  

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(The 1919 film version of Anne of Green Gables, starring a pre-scandal Mary Miles Minter, is now considered lost)

North American society has always been “out with the old, in with the new”, but Hollywood in particular took an almost sadistic pleasure in denigrating Silent movies – essentially eating its first born. Take for example the popular musical Singin’ in the Rain (1952), a film which slanders the reputation of Silent movies as much as it celebrates the music of early talkies. In Singin’ in the Rain, Silent films are portrayed as ridiculously melodramatic period dramas. The film takes the same view as its female lead, the squeaky clean, all-American chorus girl Kathy Selden (Debbie Reynolds), who, while exaggerating pantomime, sums up silent movie actors this way: They don’t talk, they don’t act – they just make a lot of dumb show.” She goes on to state that “real” acting means wonderful lines, speaking glorious words!”. But any creative writing instructor worth their salt will tell you that it’s better to “show” than “tell”. Kathy Selden has obviously never seen Lon Chaney’s heartbreaking performance as a depressed circus clown in the deliciously demented He Who Gets Slapped (1924) or John Gilbert’s anguished soldier in the glorious WW1 drama The Big Parade (1925). Clara Bow did not need sound when she defined the roaring twenties as a vivacious shop girl in the romantic comedy It (1927). Sometimes talk is just…noise.

So why did Hollywood desecrate its early work? Well, the dominance of sound on film coincided with the stock market crash of 1929 and talkies, in comparison to silent films, were damned expensive to produce. My guess is that Hollywood was trying to justify the expense.

When the amended Production Code “to govern the making of motion and talking pictures” took effect on July 1st, 1934, many talkies suffered a similar fate to their silent sisters, such as the popular Pre-Code sex comedy Convention City (1933). Convention City, which its star Joan Blondell called “the raunchiest thing there has ever been”, was condemned under the amended Code and its studio, Warner Brothers, ordered that all prints be destroyed.  Today, Convention City (1933) is considered the Holy Grail of Pre-Code films. 

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“We must put brassieres on Joan Blondell and make her cover up her breasts because, otherwise, we are going to have these pictures stopped in a lot of places. I believe in showing their forms but, for Lord’s sake, don’t let those bulbs stick out.” – Studio memo from Jack L. Warner to Convention City’s producer Hal Wallis. (The lovely Joan Blondell pictured). 

Still, many films – such as Paramount’s Clara Bow collection – were left to languish in locked vaults for decades; celluloid dreams disintegrating into dust.

So although I know that there are still plenty of great movies that I have yet to see, I sadly fear that there are many more that I will never see, such as Cleopatra (1917) a film which, thanks to the surviving still images of a wickedly wanton Theda Bara in the title role, has managed to achieve iconic status in spite of being considered lost.

It is heartening to remember though that films considered “lost” are sometimes “found”. For example, in 2015 a complete reel was discovered of The Battle of the Century (1927), Laurel and Hardy’s ultimate pie fight, after the original film had degenerated. In April 2017, The Toronto Silent Film Festival screened the film (complete with live musical accompaniment by Ben Model and a real pie throwing!) at the Revue Cinema. I consider myself very lucky to have been in attendance (and doubly lucky not to have gotten hit by one of the pies!).

 

Check your attics and basements – you never know, you might just find a lost cinematic gem!

Written by Heather Babcock, 2020

Filthy Sugar: An Excerpt

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My debut novel Filthy Sugar is now available with Inanna Publications! I thought I’d share a short excerpt with you on this lovely Friday morning.

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“Highballs and hard times! Diamonds and breadlines!”

Clad in his trademark checked suit and comedy derby, Brock belts out “Highballin’ Hard Times,” a song he wrote to commemorate the one-year anniversary of the repeal of Prohibition. A row of chorines dressed up as nineteenth-century saloon girls dance the can-can as I bathe centre stage in an elephantine cocktail glass filled with real champagne.

Humming along with Brock’s booze tune, I joyfully kick my legs out towards the Apple Bottom’s newly installed mirrored ceiling.

“My pockets are empty but my honey’s got money!”

I dunk my head under the golden liquid, not caring if my hair gets sticky.

“As long as I’m with her all my days will be sunny!”

I take a generous gulp of fizz water before coming up again for air. Happy and dizzy, I shake my tassels at the mirthful audience, who roar their approval. I wonder if Mr. Manchester is in the theatre tonight. Just the thought of him watching me like this, with my wet, near naked body glistening under the hot lights, excites me. I have only ever known one man “in the biblical sense”: Guy Bacon, a rather plump banker, eleven years my senior, whom I had met while taxi dancing. I had not found Guy particularly handsome or interesting, but he was very persistent; I was kind of bored. So, one evening, after he had spent all of his tickets on me, I agreed to go for a ride down to the lake in his cherry-red Chevrolet Sports Cabriolet. Continue reading “Filthy Sugar: An Excerpt”

Virtual Toronto Lit Up: Inanna’s Spring Releases

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On Thursday, June 18th at 5pm, Toronto Lit Up and Inanna Publications will be hosting a virtual book launch to celebrate Inanna’s Spring 2020 releases! I am so excited to be launching with these fabulous authors! Here are the details:

Join us for a virtual celebratory evening of readings and revelry featuring authors Heather Babcock (Filthy Sugar), Nina Munteanu (A Diary in the Age of Water), Ruth Panofsky (Radiant Shards: Hoda’s North End Poems) and Mary Rykov (some conditions apply). Books discounted for the event, author Q & A and more!

Register here: https://www.crowdcast.io/e/toronto-lit-up-inanna-launch

 

Meet me at the Virtual Speakeasy: June 4th at 7:30pm!

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Yep, this “brick & mortar” gal is having a virtual party to celebrate the release of my 1930’s themed debut novel Filthy Sugar!

The music was fast, the booze was cheap, the times were tough but the dames were tougher…

Join Toronto author Heather Babcock to celebrate her debut novel, Filthy Sugar, published by Inanna Publications (inanna.ca). 

Featuring an in-depth Q&A session with Heather, moderated by Liz Worth, and a special performance by Neil Traynor on the ukulele.

Make yourself a drink from the specially-themed recipe suggestions you will receive when you RSVP, and join us in raising a toast to Filthy Sugar.

When: Thursday, June 4, 2020; 7:30pm EST // RSVP below to get all the details you’ll need to attend!

RSVP here: https://mailchi.mp/248144d4ab21/speakeasy

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Thank you to my good friend Liz Worth for organizing this!

In Honour of International Women’s Day: Remembering Film Pioneer Nell Shipman

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“Surely not many a silver screen star can write, produce and slice her own nitrate. I take pride in my skills but without a distribution deal, these talents remain ‘in the can’, as we say – invisible, worthless. Tomorrow the studio heads will wave their magic wands of approval – or not. I believe we have good prospects if I can dodge the (creditors) by the fire escape one more day. (…) There are so many stories yet to be told and sold in our future. Tomorrow. Thank God, there is tomorrow.” – Nell Shipman

One hundred years ago, before Wall Street moved in and before the domination of the large studio system, women ruled Hollywood: in front of and behind the scenes, they wrote the stories, shot the scenes, managed production budgets and dreamed up the publicity scenarios that turned everyday shop girls into superstars. One of the most fearless of these early film pioneers was Nell Shipman, a Canadian born director, actress (who performed all of her own stunts!), producer, screenwriter, novelist and animal rights activist and trainer. I recently discovered Nell during a midnight screening of Back to God’s Country (1919), an action-adventure blockbuster that she both wrote and starred in. I was equal parts surprised, delighted and enchanted by Nell’s earthy sensuality (her infamous skinny-dipping scene is more joyful than salacious) and the feminist tone of the film (her character – a woman surviving in the harsh Canadian wilderness – is no damsel in distress but rather a defiant dame).  The thoughtful portrayal and gentle handling of the many animals in the film is also refreshing; at a time when most other nature filmmakers were as likely to shoot animals as they were to film them, Nell Shipman emphatically advocated for the humane treatment of animals in movies and spoke out against animal cruelty.

Continue reading “In Honour of International Women’s Day: Remembering Film Pioneer Nell Shipman”

Forgotten Her-stories: Pioneer Women Filmmakers

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(Pictured at top: Director, actress, screenwriter & comic genius Mabel Normand)

“Not only is a woman as well fitted to stage photo-drama as a man, but in many ways she has a distinct advantage over him because of her very nature.” – Alice Guy-Blaché

When you hear the words “movie director” what do you immediately picture? Someone in sunglasses and a flat-cap barking out orders into a megaphone? Whatever you envision, it’s probably a man and he’s probably white. Yet many of the pioneers of film-making – the very people who carved the way for the movies that we watch today – were women and people of color.  In fact the first narrative film, La Fée aux Choux (1896) – also known in English as The Cabbage Fairy – was directed by a French woman named Alice Guy-Blaché. Comb through film history books however, and you’ll find chapter upon chapter devoted to Charlie Chaplin and D.W. Griffith but you’ll be lucky to find a sentence, let alone a paragraph, about Guy-Blaché or Mabel Normand, the woman who taught Chaplin how to direct film comedy, or Black filmmaker Oscar Micheaux, whose anti-lynching drama Within Our Gates (1920) remains as vital and important today as it was upon its release. It’s doubtful you’ll find a chapter in those history books devoted to Marion E. Wong, who established the Mandarin Film Company in 1916 in Oakland, California and who wrote and directed The Curse of Quon Gwon: When the Far East Mingles with the West (1916/1917), the first American feature length film with an all Asian-American cast.  Nell Shipman, the Canadian screenwriter/director and actress who performed all of her own stunts, is also MIA from the pages of most film history books.

Racism, misogyny, economics, the advent of sound and the domination of the big studio system all played a role in erasing the work of many of these pioneers, who may have lacked the finances needed to preserve their films and who – unlike Chaplin and Griffith – did not have access to, or the help of, the mainstream media to promote their legacies.

Continue reading “Forgotten Her-stories: Pioneer Women Filmmakers”

Breezy Stories: Beautiful 1918 Magazine Cover Art

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I don’t mind when my beau spends the weekend in Buffalo record shopping…not when he brings me back goodies like this! This magazine is 101 years young; I love the cover artwork, particularly the woman’s bathing suit which was probably considered quite daring at the time. This magazine accepted short stories and novelettes from new and established writers; their only request was that you typed your manuscripts or wrote them out by hand (!) “neatly”. Ah, to be a writer in 1918…