Liquid Ink

The official website of Gint Aras, Finalist 2016 CWA Book Award


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This Podcast Will Change Your Life

I was fortunate to be invited to speak to Ben Tanzer on This Podcast Will Change Your Life. We discuss, among other things, men’s issues, marriage, The Fugue, Robert Duffer, Finding the Moon in Sugar, Robert Duffer, The Good Men Project, Tortoise Books, coping mechanisms, refugees, trauma, meditation, forming an identity, migration patterns and much more.

Give it a listen! Click here.

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Photo of me with Ben Tanzer courtesy of This Podcast Will Change Your Life.


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At the Bloghop!

I’ve been asked by fel­low author, Nancy Agabian, to par­tic­i­pate in a Blog Hop in order to intro­duce new authors to new read­ers. If you’ve come here from the link posted on Nancy’s blog, wel­come! If you’re a regular Liquid Inker or came upon my blog by chance, this is an oppor­tu­nity for you to get know some­thing about the memoir I am work­ing on and to check out some writ­ers who might be new to you by fol­low­ing the links at the end of the post. They are all fine authors whose work I would highly rec­om­mend. Again, spe­cial thanks to Nancy Agabian for ask­ing me to participate.

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Ten Inter­view Ques­tions for The Next Great Read

Q: What is the work­ing title of your book?
A: Ghetto Blueblood

Q: Where did the idea come from for the book?
A: I published an essay titled Baptism Party in Antique Children’s Revolt of the Underdog issue. Another contributor, Rene Vasicek, told me I should expand it to a memoir. Then another writer, Daiva Markelis, told me to expand it into a memoir. Later on, a fan of my writing, someone who’s been following my work since before I published my first story, told me I should expand it into a memoir. I finally took the advice seriously.

Q: What genre does your book fall under?
A: Non-fiction (memoir)

Q: Which actors would you choose to play your char­ac­ters in a movie ren­di­tion?
A: I myself should be played by a rock star, preferably a resurrected one, maybe Kurt Cobain. My brother should be played by a young Arunas Storpirštis. The rest of the cast should be made up of Russian, Lithuanian, English and American actors currently in drama school.

Q: What is the one-sentence syn­op­sis of your book?
A: PTSD isn’t as bad as the trauma that caused it, but you won’t know it without getting PTSD.

Q: Will your book be self-published or rep­re­sented by an agency?
A: I have no way of predicting this. Just the other day I ordered a pizza and it came to my neighbor’s house. In the meantime, a young girl came to my door asking if I’d like to subscribe to some strange local newspaper advertising pizza delivery.

Q: How long did it take you to write the first draft of your man­u­script?
A: I have yet to complete the first draft. I actually haven’t finished a draft of the first chapter. Ha!

Q: What other books would you com­pare this story to within your genre?
A: It’s a mix of influences, so I’ll use them to answer this question, even though comparing myself to these masters is idiotic. I can’t believe I’m doing this: Paul Auster’s Hand to Mouth, A Chronicle of Early Failure. Nabokov’s Speak, Memory. Orwell’s Down and Out in Paris and London (He claims it’s a novel, but that’s BS). Capote’s Music for Chameleons.

Q: Who or What inspired you to write this book?
A: I was diagnosed with PTSD a short time after my daughter was born. Anyone who has the condition (or anyone close to someone with the condition) will tell you how dramatically everything changes; life becomes a 3D (truly terrifying) horror film, and one cannot tell between dream states and their alternative. I don’t want to get into the vile symptoms here. Writing through it, even gibberish, helped. I also started treating it naturally, doing yoga and practicing Zen. A completed memoir will crown my victory over PTSD, as there was a time when I had lost any ability to read and could barely write anything beyond crude e-mail messages.

Q: What else about your book might piqué the reader’s inter­est?
A: I have a way of telling stories about the lower-middle class and the American underclass that’s extremely rare, primarily because my perspective is international, but also because I don’t pity the poor or the destitute. I don’t pity any human experience. As a student of zen, I try to reveal what’s before me, just as it is.

Here are the writ­ers whose work you can check out next: