Ten Questions for Marwa Helal

This week’s installment of Ten Questions features Marwa Helal, whose second poetry collection, Ante body, will be published later this month by Nightboat Books. In this innovative volume, Helal meditates on how to live both inside and against systems of oppression: patriarchy, capitalism, racism, and carceral government, among others. In lines that mingle pathos with bleak humor, Helal considers what it means, and what it costs, to belong—to the world, to nations, to one another. Deploying a poetic form she invented called “The Arabic,” in which verse is read from right to left in the manner of Arabic, Helal powerfully critiques the role of English in perpetuating global injustice. Poet and essayist Cathy Park Hong called Ante body “a memorable and ferocious argument for radical fugitivity.” Nightboat Books published Helal’s first full-length poetry collection, Invasive species, in 2019. The winner of a 2021 Whiting Award and fellowships from the Jerome Foundation, Poets House, and Cave Canem Foundation, Helal was born in Al Mansurah, Egypt, and lives everywhere.

1. How long did it take you to write Ante body?
Approximately five years. With lots of breaks for writing and research, and to make space for the work to take shape.

2. What was the most challenging thing about writing the book?
The most challenging thing was finding the right overall structure, which turned out to be the most fun and rewarding part of the process. 

3. Where, when, and how often do you write?
I try to keep a steady practice of writing daily morning pages, which lends itself to feeling like I am writing all the time.

4. What are you reading right now? 
I’m currently rereading Create Dangerously by Edwidge Danticat. As a teaching artist with PEN America’s Writing as Activism fellows, I’ve been reading a lot of June Jordan’s work.

5. Which author, in your opinion, deserves wider recognition? 
I trust these writers will eventually get their due recognition: Ana Božičević, a true genius and guide; Hayan Charara, whose latest book just dropped; as well as Zaina Alsous, Jess Rizkallah, Roberto Carlos Garcia, Kyle Carrero Lopez, Alejandro Heredia, and John Paul Infante. 

6. What is the biggest impediment to your writing life? 
Impediments are excuses. I don’t have the time or privilege to make those. So, most likely, alternating cycles of anxiety and depression are my impediments, which writing helps to manage. See what I mean?

7. How did you know when the book was finished? 
I knew it was finished as I was writing, “WHO REAL؟” That was the poem that made the whole thing snap together. I could see I was making a book that read both ways. 
PS: If you call it “backwards,” it’s you who’s backwards.

8. If you could go back in time and talk to the earlier you, before you started Ante body, what would you say? 
This book has its own life force. All you have to do is allow it to come together. It’s going to take care of you and a lot of people you don’t even know you care about yet.

9. Who is your most trusted reader of your work and why? 
I’m grateful to have a few. Xan Phillips and Ricardo Maldonado are usually my first and last readers. I know I’m on the right track if Xan plays the language and wordplay back to me. Ricky helps me refine my vision and find that missing potential or extra energy for the poem. They’re both phenomenal writers, teachers, thinkers, and artists. 

10. What’s the best piece of writing advice you’ve ever heard? 
“Don’t be so precious about it.”—Tracie Morris. Very liberating. We get it down to get to the next thing.

Ten Questions for Soon Wiley

4.26.22

This week’s installment of Ten Questions features Soon Wiley, whose debut novel, When We Fell Apart, is out today from Dutton Books. Set in Seoul, this brooding literary thriller explores the complicated relationship between Yu-jin, a young South Korean woman from a powerful family, and Min, a biracial Korean American who feels as out of place in his mother’s birth country as he did in his native United States. Chapters alternate between Min and Yu-jin’s perspectives to weave a story about the struggle to fit in while remaining true to oneself. After Yu-jin is found dead of an apparent suicide, an incredulous Min seeks greater insight into the woman he had been seeing, only to uncover further mysteries. Kirkus Reviews describes the narrative as “fueled by deep feeling and a powerful sense of place…capturing the despair of striving individuals pushed to the margins by conformist norms.” Wiley holds an MFA in creative writing from Wichita State University. His writing has been nominated for a Pushcart Prize and earned him fellowships in Wyoming and France. He lives in Connecticut with his wife and their two cats.

1. How long did it take you to write When We Fell Apart?
From start to finish, it took me around seven years to write When We Fall Apart. After I wrote Min’s chapters, I realized that I needed to include a second point of view. While this was a pretty daunting task, it was refreshing in the sense that I felt like I was writing a completely new book. I worked solely on Yu-jin’s chapters for about a year, and only after I’d really polished them did I go about fitting them together with the preexisting chapters from Min’s perspective. In a lot of ways, it felt like I was writing two books at once. I’m not sure if this was the most effective way to go about writing the novel, but working on each point of view individually really allowed for a full immersion in each character.

2. What was the most challenging thing about writing the book?
This might come as a surprise to some readers, but I found plotting the novel quite difficult, especially during the later stages of revision, when my editor and I were tweaking small things to raise the narrative tension or build suspense. Once you’re at that stage of editing, the process can feel a bit like pulling on a loose thread. Adjust one small plot point in the second half of the book, and you realize you’ve got to go back to the beginning and account for that change. When it comes to plot, the interconnectedness of every detail is immense.

3. Where, when, and how often do you write?
Unless I’m traveling, I always write in my office at home. I do my best writing in the early morning and sometimes at night. I try to write for at least one or two hours. But depending on my work schedule, I might only be able to squeeze in thirty minutes a day. As I’ve gotten older, I tend to lean toward the philosophy of “anywhere, anytime, for however long,” when it comes to writing.

4. What are you reading right now?
I’m a high school English teacher, so I’m always reading a lot of books. Right now, for work, I’m reading Never Let Me Go by Kazuo Ishiguro, Ender’s Game by Orson Scott Card, and Into the Wild by Jon Krakauer. For pleasure, I just finished Min Jin Lee’s Pachinko, and I’m now reading The Cold Millions by Jess Walter and Middlemarch by George Eliot.

5. Which author, in your opinion, deserves wider recognition?
Gosh, that’s a hard question—there are so many brilliant authors who have done or are doing amazing work. I’ve always felt like Evan S. Connell should be more celebrated. How Mrs. Bridge [1959] isn’t widely recognized as a masterpiece is somewhat of a mystery to me. For a more contemporary writer, I’d have to say Don Lee is an author who is certainly deserving of more recognition. His short story collection, Yellow, is just brilliant. And if you’ll allow me to squeeze one more name in: Michael Knight. His short story “Jubilee” in his collection Eveningland will absolutely wreck you.

6. What is the biggest impediment to your writing life?
While I love teaching, I’d have to say that my job is probably the biggest impediment to writing. Time is the most valuable resource a writer can have, so if you’re trying to write while also working full-time, you really need to be dedicated and structured with your writing routines. That said, I’m lucky enough to have my summers off; so then the only real distraction from writing is the warm weather. It’s really hard to sit down at a desk when it’s a beautiful summer day outside. I also think writers are highly adept at coming up with all sorts of obstacles to their writing. If it wasn’t my teaching gig, I’m sure it would be something else that I was convinced was taking time away from writing.

7. What trait do you most value in your editor (or agent)?
Good communication skills and honesty. Working with both an editor and agent requires a lot of trust, and those traits make trusting them with your work a lot easier. Having an editor and agent who will e-mail or call you back in a timely manner is immensely helpful, because writers are known to be a bit paranoid and frenetic—not speaking of myself, of course. After the actual writing and revising of a book, I think having a shared vision with your agent and editor is the single most important thing for a writer. Despite what we might like to think, books aren’t written by the author alone; there’s a whole team of people—editors, agents, and readers—who help shape the book into a finished product. It really takes a village. Knowing that everyone is on the same page and envisioning the same finished product makes the editing and prepublication process a lot easier.

8. What is the earliest memory that you associate with the book?
When I first started working on what would become the novel, I was teaching high-school English at a school in Washington, D.C. I’d just moved to the city, and it was really the first time I’d had anything resembling a nine-to-five job. I was worried about how I’d get any writing done with the responsibility of a full-time gig, so I set about following a very rigorous and structured writing regimen. I was living in this great one-bedroom apartment in the Adams Morgan neighborhood, and I remember getting up around 5:30 AM each day, which meant that if I was at my desk by 5:45 AM I’d have almost two hours to write before catching the 7:20 AM bus to my school. My desk at the time was this mammoth slab of wood on two sawhorses that I’d purchased from some guy in Maryland and lugged back to the city in my pickup truck. What it lacked in drawers it made up for in sheer surface area. There was enough room for a huge external monitor, keyboard, and loads of books and scrap paper. I have these vivid memories of working at that desk in my dark living room in near total silence, before the city was really awake. While I worked, the room would go from this gloomy darkness to light gray, then to bright yellows when the sun would press through the blinds. I associate those early mornings in that apartment with the beginnings of the novel. I found it easier to write before the world really got moving. It took the pressure off, knowing that I could spend this time however I wanted because everyone else was either asleep or getting ready for work. I still write at the same desk, even though it’s completely impractical to have a desk without drawers!

9. Who is your most trusted reader of your work and why?
I have a few friends from graduate school who I usually ask to read early drafts of my work, but really my wife is the person I trust the most. She reads fiction, but she isn’t a writer, and she never took a creative-writing class, which actually makes her the ideal reader. Writers aren’t always the best readers; we tend to get caught up in craft, and we can often see the strings being pulled. In other words, we can’t really read books like normal people. Whenever I give my wife something to read, I know she’s going to read it and critique it like someone who is looking to read a good story, and I think that’s a really valuable trait in a reader.

10. What’s the best piece of writing advice you’ve ever heard?
Two anecdotes come to mind. In Stephen King’s amazing book On Writing: A Memoir of the Craft, I remember reading that a young writer will eventually come across a piece of fiction, read it, and think, “I can write better than this.” I’m paraphrasing, but that idea has always stayed with me. The attitude might seem a bit arrogant, but trying to write a novel is a completely crazy endeavor, and you’ve got to have that belief in yourself and in your work. I’m also a huge fan of E. L. Doctorow’s quote: “Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.” Writing fiction, especially a novel, is a huge leap of faith, and it’s easy to be discouraged when you look up from the page and realize how far you have to go. But if you keep your head down and chip away, page by page, chapter by chapter, you’ll find that writing a novel doesn’t feel so daunting.

Soon Wiley, author of When We Fell Apart.   (Credit: Rachel EH Photography)

Ten Questions for Dana Levin

4.19.22

This week’s installment of Ten Questions features Dana Levin, whose fifth poetry collection, Now Do You Know Where You Are, is out today from Copper Canyon Press. Working in a variety of forms, Levin explores the disorientations of personal and political trauma through individual and collective transformation. She writes: “So many bodies a soul has to press through: personal, familial, regional, national, global, planetary, cosmic— // ‘Now do you know where you are?’” Investigating a broad emotional, political, and literary landscape, from climate devastation to the global pandemic, Trump’s tweets to Google’s memory, Levin calls on beloveds and ancestors, great thinkers and religions to piece together a map of existence. “Through the fog of doubt, Levin summons ferocious intellect and musters hard-won clairvoyance,” a critic for Publishers Weekly writes in a starred review. “This terrific book will ground readers in the art of questioning, even as the ground quakes.” Dana Levin is the author of four previous collections of poetry, most recently Banana Palace (2016). Her first book, In the Surgical Theatre, was chosen by Louise Glück for the 1999 APR/Honickman First Book Prize and went on to receive numerous honors, including the 2003 PEN/Osterweil Award. Copper Canyon Press published her second book, Wedding Day, in 2005, and her third, Sky Burial, in 2011. Levin’s fellowships and awards include those from the National Endowment for the Arts, the Witter Bynner Foundation, and the Library of Congress, as well as the Rona Jaffe, Whiting, and Guggenheim Foundations. Levin currently serves as Distinguished Writer-in-Residence at Maryville University in Saint Louis, where she lives.

1. How long did it take you to write Now Do You Know Where You Are?
Six years, with the most intense phase being 2017 to 2020.

2. What was the most challenging thing about writing the book?
Oh, what wasn’t a challenge. Our collective conditions 2016-2020, my midlife crisis of creative confidence, leaving Santa Fe after nineteen years for the unknowns of Saint Louis—the whole book is this question.

3. Where, when, and how often do you write?
I am a fitful writer: long periods of not writing followed by intense engagement. As a young writer I could only work in the early morning, but now it’s late afternoon and early evening. I write at home: I pace around, I sit on the floor of my living room, I move to the computer, I pace around, I sit on the floor, etc. I also do a lot of musing on my back porch.

4. What are you reading right now?
Paul Tran, All the Flowers Kneeling—one of the strongest debuts I’ve read in a while: The subject matter is intense and the formal chops are inventive and sharp. I also just finished reading Vapor by Sara Eliza Johnson, out this fall from Milkweed: wow. This quote! “My infidel, before the wind tears our flesh: one more photon for your tongue.”

5. Which poet, in your opinion, deserves wider recognition?
Ted Mathys. Read his books Null Set and Gold Cure from Coffee House Press. Brainy, brilliant, grounded in the real in eccentric ways, always deep and surprising.

6. What is the biggest impediment to your writing life?
Distraction, impatience, and lack of discipline.

7. What is the earliest memory that you associate with the book?
Pacing around my sublet in Saint Louis, Fall 2015, saying out loud the words “No,” “Yes,” and “Stop” over and over: to feel how they felt in my mouth, my throat, my chest.

8. How did you know when the book was finished?
When I removed all the pandemic poems written during that first lockdown. I’d submitted the final manuscript to Copper Canyon in April 2021, but hadn’t felt completely right with it. Then one day, in late May, sitting out on the back porch, I had a late-breaking Aha!—to let the pandemic be a kind of foreshadowed presence, rather than actuality. Many poems were already suggesting this: Pandemic showed up in poems written before 2020, as an idea, and in a 2017 conversation recounted in the poem “Appointment.” Once I removed the lockdown poems, the book just clicked into a shape that felt right. Then in Fall 2021, I put one pandemic poem back in: “Into the Next Eden.” This poem answered a call: I’d written a poem called “No,” and one called “Maybe,” and kept attempting a “Yes” poem that could never get going. Then I realized “Into the Next Eden” was the “Yes” poem! I love how all three titles—“No,” “Maybe,” “Into the “Next Eden”—answer the question, Now Do You Know Where You Are?

9. Who is your most trusted reader of your work and why?
I have many initial readers, some who look at just one poem, some who engage whole manuscripts. For this book, the poet Gary Jackson was instrumental to my attempts at writing about race; Victoria Chang, to keeping the poems grounded in the strangeness of the ordinary. My sister, Caryn McCloskey, as well as Gaby Calvocoressi and Erin Belieu, offered encouragement to keep going (so crucial). G. C. Waldrep and Louise Glück are and have been primary readers for years: They are direct, they believe in my art, and they always tell me the truth, even when it stings.

10. What’s the best piece of writing advice you’ve ever heard?
A paraphrase from Jack Kerouac: Don’t stop to think of the words, stop to see the scene better.

 

Dana Levin, author of Now Do You Know Where You Are  (Credit: B. A. Van Sise)

Ten Questions for Eloisa Amezcua

4.12.22

This week’s installment of Ten Questions features Eloisa Amezcua, whose second poetry collection, Fighting Is Like a Wife, is out today from Coffee House Press. The formally inventive poems in Fighting Is Like a Wife reconstruct the love story and tragedy of two-time world boxing champion “Schoolboy” Bobby Chacon and his first wife, Valorie Ginn. In fierce visual poems that incorporate direct quotes from sports commentators and Bobby himself, Amezcua reveals the brutality and vulnerability of boxing, love, and poetry. “These brilliantly tactile, visceral poems excavate the relentless combinations of jabs and apologies that come from men who only know how to talk with their hands,” writes Adrian Matejka. “It takes a poet of exceptional empathy and uncanny dexterity to turn the difficult lives of Valorie Ginn and Bobby Chacon into verse as Amezcua has done.” Eloisa Amezcua’s first book, From the Inside Quietly, was published by Shelterbelt Press in 2018. A MacDowell fellow, her poems and translations have been published in the New York Times Magazine, Poetry magazine, the Kenyon Review, Gulf Coast, the Academy of American Poets’ Poem-a-Day series, and elsewhere. She is the associate director of the Antiquarian Booksellers’ Association of America and serves on the faculty of Randolph College’s low-residency MFA program.

1. How long did it take you to write Fighting Is Like a Wife?
I began drafting poems about boxing in June 2016, but after Bobby Chacon passed away in September of that year, the project that would become Fighting Is Like a Wife began to take shape. I drafted and revised poems up until the summer of 2021, so all in all it was about five years.

2. What was the most challenging thing about writing the book?
The Valorie poems were by far the most difficult to write. There’s a lot of information about Chacon and his career available in newspaper articles, interviews, and video footage, but in all of the research I did, I was only able to find two or three direct quotes from Val. I wanted to present her as a full person—someone who loved deeply, who struggled in the shadow of the men in her life.

3. Where, when, and how often do you write?
I don’t have a regular writing practice. I take notes often in a small notebook that I carry with me or as text messages to myself and I’m constantly thinking about form—how can I say the things I want to say in a way that surprises me (and hopefully the reader). When I do sit down to put those pieces together, it’s typically in the morning or while the sun is still out. I’m useless creatively after dark.

4. What are you reading right now?
An Oresteia translated by Anne Carson! I’ve always admired Carson’s translations, the way she cuts a sentence down to its essence and builds from there. Her translation of Elektra by Sophokles is just brilliant.

5. Which author, in your opinion, deserves wider recognition?
I think contemporary poets in translation (and their translators) deserve much more recognition! Lee Soho, trans. Soje; Tadeusz Dąbrowski, trans. Antonia Lloyd Jones; Ana Lúisa Amaral, trans. Margaret Jull Costa; Kim Hyesoon, trans. Don Mee Choi; and so many more!

6. Would you recommend writers pursue an MFA?
To be a writer, the best thing someone can do, in my opinion, is read. Read everything. Read widely. Read and reread with an eye towards the “how” of the writing they love. How does this author build tension? How does time function in this essay? How does the poet elicit one emotional response over all others? How can I implement this into my own writing (i.e. craft!)?

If someone needs or wants to be enrolled in a formal graduate program to do this, they should. If someone can or wants to do this learning on their own, that’s great too.

7. If you could go back in time and talk to the earlier you, before you started Fighting Is Like a Wife, what would you say?
Don’t shy away from your obsessions. Keep playing. Be kinder to yourself.

8. How did you know when the book was finished?
The book was finished when the amazing team at Coffee House Press told me I had to hand in the final draft. The project and the obsession continues. That’s not to say I’ll publish another book about Chacon or boxing, but I’ve been creating pieces in different mediums that are directly related to this book.

9. Who is your most trusted reader of your work and why?
It’s not one person but the community of writers—faculty, staff, students—at the Randolph College MFA program (where I teach) that I trust most with my work. It’s a group of thoughtful, supportive, active listeners and readers who have my best interest at heart. What more could a girl ask for?

10. What’s the best piece of writing advice you’ve ever heard?
Take your time.

 

Eloisa Amezcua, author of Fighting Is Like a Wife.    (Credit: Amelia Golden)

Ten Questions for Dara Barrois/Dixon

4.5.22

This week’s installment of Ten Questions features Dara Barrois/Dixon (formerly Dara Wier), whose poetry collection Tolstoy Killed Anna Karenina is out today from Wave Books. “[T]here are so many kinds of us / coming in various versions of ourselves,” she writes in the poem “Capitalism,” and it is to these various versions of ourselves that the poet applies her characteristic honesty and curiosity, reflecting on the self—as well as animals, books, skyscapes, movies, poems, other human beings—in songs of “love humor despair loving kindness love humor empathy / humor joy sympathy love kindness courage.” Dara Barrois/Dixon (formerly Dara Wier) is the author of numerous collections of poetry, including In the Still of the Night (Wave Books, 2017), You Good Thing (Wave Books, 2013), and Selected Poems (Wave Books, 2009), among others. She has received awards from the Lannan Foundation, American Poetry Review, the Guggenheim Foundation, the National Endowment for the Arts, and the Massachusetts Cultural Council. She lives and works in factory hollow in Western Massachusetts.

1. How long did it take you to write Tolstoy Killed Anna Karenina?
It’s usual for me to be writing more than one book at a time; my guess is Anna’s book unfolded over the course of around five to seven years start to finish. When I write a poem I’m not necessarily thinking of it as a poem for a certain book unless I’m working in a form (e.g. Reverse Rapture’s nine-line, nine-stanza poems; in progress since 2020, something I’m calling Is a Citroen Xsara Braque even imaginable? half-sonnet, half-prose); most of things take shape as they go along, because of what’s happening in the world and in my life, in others’ lives at the time. In fact I’m afraid if I self-consciously try to write a poem to fit a certain book I’m going to fail miserably.

2. What was the most challenging thing about writing the book?
Oh, god. It’s all challenging. Maybe I’d saychallenge came when trying to see the book’s title. I like how titles can do so much. They can set a tone, suggest a scene, take care of a situation, jumpstart something, imply alternatives. The place they hold is a powerful place, isolated up there all by themselves.

3. Where, when, and how often do you write?
19551967: everywhere, all the time, second nature, main preoccupation, unconsciously; I especially liked a cedar-lined closet with a typewriter stored on its floor, and a spot on the Mississippi River I thought of as my place to be at home.

19671970: anywhere I could find to be alone, not as often as I wanted, awkward writer’s self-consciousness awakening, by hand in lined journals, on Royal tabletop gifted me by my father.

19701980: anywhere with time and privacy, by hand in lined journals, and on Royal, often in rented rooms I’d turn into a room of my own and for keeping nearby books of all kinds, with a big dictionary on a dictionary stand across the room so I’d have to walk over to it, changing my mind as I walked, finding other words than the one I stood up to go find.

19801990: in a room in Tuscaloosa, Alabama, and then in a tiny place in Austin, Texas, then mainly in my room in my house in North Amherst, Massachusetts, usually between 8 AM and noon or 3 PM, when either my children or my work determined my hours, much handwriting in lined journals in between scheduled responsibilities.

19902014: often in my room at my husband James Tate’s house in Pelham, Massachusetts, anywhere from two to five or six days a week, typically from 2 PM on until what we wrote that day would be in shape enough for him to read mine to me and me to read his to him; with occasional interruptions for travel, switched to IBM Selectric then eventually to laptop, kept unabridged Merriam Webster across the room as usual, handwriting in journals especially on days when not in Pelham or on Royal desktop.

20152022: at any one of three tables and one desk in my house, I’d say about half of the day, most days, by hand in journal, on laptop, occasionally especially when not home, on phone usually in e-mails to myself.

As of March 7, 2022 I’m writing every morning for an hour or so on a long prose poem that I’ll hope to see to completion on March 7, 2023, and I’m writing the rest of any given day’s writing times on other books, poems, prose, in various stages of progress.

4. What are you reading right now?
Just as with writing I’m always reading more than one book at a time; this week those books include Herta Müller’s Father’s on the Phone With the Flies (2018) translated by Thomas Cooper, short aphoristic, surprising; Bianca Stone’s What Is Otherwise Infinite (2022), audacious, dauntless, the opposite of tame; Lewis Thomas’s Late Night Thoughts on Listening to Mahler’s Ninth Symphony (1983), this book’s first ten pages seem written for right nowone sentence: The final worst-case for all of us has now become the destruction, by ourselves, of our species.

5. Which author, in your opinion, deserves wider recognition?
Just this morning I was reading in Hyperallergic an article by Naz Cuguoglu called “The Art World’s Tainted Love for ‘Discovering’ Artists: The Case of Etel Adnan,” in which she rightly claims the art world, and by extension the literary world, claims to be righting wrongs of exclusion and underrepresentation while mostly ignoring reasons why recognition and wide appreciation occur in the first place. She quotes Adnan: “To be honest, I did not expect recognition. I was happy to keep going.”

Cuguoglu calls attention to and asks us to consider words such as discovery, finally getting their turn, forgotten, overlooked, and ignored. On a planet with a population of close to 8 billion, speaking over seven thousand languages, it has to be some kind of roll of the dice that determines who’s recognized and for what, when, and why, how, and what for. I hope everyone who writes begins by recognizing their own value and the value of the very act of their having chosen to write. I hope they pass their gift on to others who will in turn pass it on beyond themselves.

6. What is one thing you might change about the writing community or publishing industry?
Are you with this question vesting in me the superpower I’ll need to see the one thing I’d change changed? I’ll pretend you arepoof!value not determined by money or data.

The diverse and unruly lives of artists and many of those who support artists can’t be summed up. Hundreds, thousands of independent and independent-minded people spend resources of time and money publishing others and sometimes themselves. Thousands, tens of thousands and sometimes fewer than ten writers and readers benefit. A circle of friends, a culture in common, unity from coincidental habitation in space, authentic and not institutionalized gatherings, these naturally celebrate and benefit from their close associations. Some of us are natural-born loners, in life, while addressing, in spirit, an unseen, unknown universal audience of beloved strange familiars.

The trail from private to public is complicated beyond summary. I’ve always taken heart from the story of a Barcelona-based poetry prize that awarded third place a silver violet, second place a golden rose, first place a real rose.

7. What is one thing that surprised you during the writing of Tolstoy Killed Anna Karenina?
The suddenness of its title appearing, it seemed, out of nowhere. And thank goodness.

8. How did you know when the book was finished?
When the title went on it.

9. Who is your most trusted reader of your work and why?
Emily Pettit, my daughter, can claim that difficult role. I trust her every time. She has no problem questioning what always turns out to be questionable. I’m lucky to have her imaginative, principled, and quick understanding and her knowledge of all the ins and outs of poetry’s range. I trust her willingness to take on what has to be sometimes challenging, and I’m thankful for it.

I also trust strangers who are far away from my daily life, people I’ll never meet, never know.

And I trust a handful of friends I know it’s okay to send something new or in progressnot as often as I’d like, ha, for I don’t want to outstay my welcome. I’m not looking for advice so much as that scary electric sensation you get when you hit Send, or rarer still, drop something into a mailbox.

Knowing me, I’d like to send a lot of people a poem when I just finish it and am especially eager to have it seen by eyes other than mine, and taken in by another mind. But I resist it. I like the feeling of thinking of someone reading what I’ve sent, it tells me something. Picturing them reading what I’ve sent gives me insight into something I might want to do differently or feelings about something I’ve done being maybe okay.

And, of course, I trust every editor who’s ever published anything I’ve ever sent them!

10. What’s the best piece of writing advice you’ve ever heard?
Ha, let me think…………

Dara Barrois/Dixon (formerly Dara Wier), author of Tolstoy Killed Anna Karenina.  

Ten Questions for Maud Newton

3.29.22

This week’s installment of Ten Questions features Maud Newton, whose first book, Ancestor Trouble: A Reckoning and a Reconciliation, is out today from Random House. “I came into being through a kind of homegrown eugenics proj­ect. My parents married not for love but because they believed they would have smart children together. This was my father’s idea, and over their brief courtship he persuaded my mom of its merits,” Newton writes early on in her debut, setting the stage for the story of her wildly unconventional Southern family, including her father, an aerospace engineer turned lawyer who extolled the virtues of slavery and obsessed over the “purity” of his family bloodline, which he traced back to the Revolutionary War. Ancestor Trouble traces Newton’s attempt to use genealogy to expose the secrets and contradictions of her own ancestors, and to argue for the transformational possibilities that reckoning with our ancestors has for all of us. “Newton takes this extraordinary journey not only for herself, but to illuminate this present moment in this country we all love,” writes Honorée Fanonne Jeffers. “‘Look,’ she tells us. ‘This is America. This is how we came to be.’” Maud Newton is a writer, critic, and former lawyer. Her writing has been published in Harper’s magazine, the New York Times Magazine, Bookforum, Narrative, the New York Times Book Review, Tin House, Granta, the Los Angeles Times, Oxford American, and elsewhere. Born in Dallas and raised in Miami, Florida, she lives in Queens, New York.

1. How long did it take you to write Ancestor Trouble?
I worked on it as a book for seven years, a little less than eight counting the months I spent writing an article about genealogy and my family for Harper’s. But if I’m honest, this is a tricky question to answer. I started writing about my genealogical research on my blog in 2007, and I’ve been writing about my family since I first learned to write.

2. What was the most challenging thing about writing the book?
Purely on a technical craft level, the most challenging thing was figuring out how to write about the different avenues I went down in the same voice I was sharing my family stories. The book centers on my family history but also considers genealogy; genetic genealogy; genetics, epigenetics, and ancient ideas about what we call heredity; psychoanalytic conceptions of ancestors and their importance for us; debates about intergenerational trauma; generational wealth; systemic racism; spiritual ideas of the importance of ancestors across the world and across time; and how we can use troubled family histories for the better. I knew I was asking a lot of the reader to follow me through all of this, and I did my best to write it all truthfully and without pretension.

3. Where, when, and how often do you write?
I do most of my best writing in the middle of the night but I write at all times of day except the early morning. I’ve always been a night owl. When I was younger I wrote everywhere. The subway was a favorite venue. Nowadays I do a certain amount of writing in bed or in the rocking chair my great-grandfather made in the early 1900s that I like to sit in with my coffee in the morning. But even before the pandemic I’d worked my day job from home for many years, and between book and essay writing and holding down a job that also involves a lot of writing, for the most part I just shuttle between my writing desk and my work desk. Weekends are a break in the sense that I only need to show up at one desk. I have dogs who get me outside on walks every day, but otherwise I generally feel like I should be writing whenever I’m not.

4. What are you reading right now?
I’m reading Imani Perry’s South to America, Tanais’ In Sensorium, a story collection edited by Hillary Jordan and Cheryl Lu-Lien Tan called Anonymous Sex, which is a sort of guessing game in that you don’t know which piece is written by which contributor. I’m also reading some books for my next project.

5. Which author, in your opinion, deserves wider recognition?
I love the essays of Sheree L. Greer, who writes about addiction, family, and much more, and I’m looking forward to reading her stories at book-length one day, in whatever form that takes.

6. What is one thing you might change about the writing community or publishing industry?
Because of my other job and maybe also my general disposition, I’m a little more at a distance from writing communities and the book publishing industry than a lot of writers, so I don’t feel equipped to speak to the day-to-day, but I hope publishers will commit themselves long-term to the inclusivity they promised for BIPOC and LBGTQ+ writers in the summer of 2020. 

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
So many things, from both of them! But my editor encouraged me early on not to be afraid of what I thought of as the ghost-story aspects of the book. With a different kind of editor, this book could easily have ended up being a lot more cerebral and a lot less satisfying to me.

8. What, if anything, will you miss most about working on the book?
It was easy to feel tender toward the world, committed to making the best and truest book I could, and not invested in the outcome while I was holed up working for so long. I hope to hold on to some of that spirit as the book moves out to find its readers. I’ll also miss all of my arcane research. I had never expected to immerse myself quite so deeply in Aristotle.

9. Who is your most trusted reader of your work and why?
That’s a tough question. I’m grateful beyond words to my friend Elizabeth Bachner, an incredibly talented writer and a fantastic conversationalist and thinker, who read many iterations of many parts of this book and always responded with gentle enthusiasm, no matter what a mess each draft was. She very rarely offered criticism, only excitement, and only in hindsight do I realize how much I needed that as I worked.

10. What’s the best piece of writing advice you’ve ever heard?
One bit of advice I love from James Baldwin that rings true for me is that writers inevitably write out of their own experience. “Everything,” he said, “depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give.”

 

 

 

 

 

 

Maud Newton, author of Ancestor Trouble: A Reckoning and a Reconciliation. 

Ten Questions for Roger Reeves

3.22.22

This week’s installment of Ten Questions features Roger Reeves, whose second poetry collection, Best Barbarian, is out today from W. W. Norton. In vivid, haunting poems written with lyrical precision and elegiac intensity, Best Barbarian traverses the literary and social landscape to probe stories of climate change, anti-Black racism, catastrophe, love, loss, joy, and rage, transcending time and space, speaking to and through the work of writers such as Walt Whitman, James Baldwin, Sappho, and Dante. “Borrowing and turning on its head the Western canon’s repeated warnings of civilization’s fall, Roger Reeves counters that the apocalypse ran contiguously with the inception and height of Western civilization because the white man’s rise was contingent upon the destruction of Black personhood,” writes Cathy Park Hong. “From that perspective, Reeves sees America as a necropolis to which he leads us―like Virgil―down into the underworld, where we meet the shades of Emmett Till, Oya, and Ezra Pound, among others.” Roger Reeves is the author of King Me (Copper Canyon Press, 2013) and the recipient of a National Endowment for the Arts fellowship, a Ruth Lilly and Dorothy Sargent Rosenberg Fellowship from the Poetry Foundation, and a 2015 Whiting Award, among other honors. His work has appeared in Poetry, the New Yorker, the Paris Review, and elsewhere. He lives in Austin, Texas.

1. How long did it take you to write Best Barbarian?
That’s an odd question because I had written another book of poetry, one I’m still working on, while writing some of the poems in Best Barbarian. If am going to speak solely chronologically, Best Barbarian took nine years because King Me, my first book of poems, came out nine years ago. So let’s go with nine years for simplicity.

2. What was the most challenging thing about writing the book?
The most challenging thing about writing a book is thinking of “poems,” which are discrete art objects, as a book. I think of myself like a cabinet-maker. I like to make cabinets. I’m not an interior designer, which is what making a book is. When putting together a book, you must switch from making individual poems (which feel like books to me but that’s another discussion) to making something for which people will inhabit. In a book, the cabinets must fit in the kitchen. The vanity must slip into the bathroom and give you plenty of room to get to the shower. When making a book, you’re thinking about relations—how does this poem I wrote two years ago relate to a poem I wrote four years ago or two days ago?

Despite my reticence for becoming an interior designer, I enjoyed the process of putting Best Barbarian together. I structured the book more like a modal jazz tune with two very distinct solos, longer poems that were sections unto themselves—the middle of the book. The first and last sections announce the concerns, the melody and harmonics, of sorts. So when the book plays, it plays like one long song. You hear the original melody then you get these two solos, then you go back to the melody, but when you hear the melody again, it’s slightly different because the solos have changed your understanding of what the original melody was doing and could do.

What I also found difficult in writing Best Barbarian is what I find difficult in writing in general—giving up the poem, allowing it to go out into the world. I’m constantly tinkering, radically changing poems, asking it what else it has. I think this sort of process doesn’t always lend to making and publishing books quickly.

3. Where, when, and how often do you write?
Where do I write: anywhere—at a desk, in an office, in bed, in the bathroom, on a run, in the shower, walking to the corner store, in an airplane. Though mostly, I write at a desk.

When do I write: in the mornings generally—first thing.

How often do I write: six days a week. I take off one day, sometimes two days, a week. I am often writing on several projects simultaneously, in several genres, so I do a bit of crop rotation. But if I’m honest, I’m writing everyday—changing a comma here, reworking a sentence.

4. What are you reading right now?
This morning I was reading Donald Revell’s White Campion and Dan Charnas’s Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm. Over the weekend, I had a hankering for some Elizabeth Bishop and reread Geography III (such a great book). I have also been reading Solmaz Sharif’s Customs and revisiting LOOK for an essay I’m revising. In terms of fiction, I have been rereading Morrison’s Beloved and Paradise. I’m excited to get into Gary Jackson’s book of poems Origin Story and Geoffrey Hill’s The Book of Baruch by the Gnostic Justin.

5. Which author, in your opinion, deserves wider recognition?
Lorenzo Thomas. He was poet, born in Panama, raised in New York City, and taught at the University of Houston, downtown campus. His work straddled many writing camps and collectives. A few days ago I was marveling at this wonderful poem titled “Diplomacy,” which appeared in the African American literary journal Callaloo in 1999. Thomas does such an amazing job of thinking inside a poem. The last stanza of “Diplomacy” reads: “Nothing is gained, perhaps / Except to understand / The eye-piercing cologne men wear / To transact filthy business.” More of that. I wish his work was discussed and lauded more. I wish we understood how many Black poets were writing truly transcendent, timeless poems, but we’ll never get to see them because they ran into the buzz-saw of American racism and lived in and through American apartheid.

6. What is one thing you might change about the writing community or publishing industry?
If I could change one thing about publishing, it would be that poets could make a living just writing poems. And do nothing else unless they chose to. And that we’d have a wider, more generous notion of excellence. And, that we—writers, editors, presses—had more funding opportunities to put on more audacious programming and collaborations. 

7. What, if anything, will you miss most about working on the book?
I will miss writing “Something About John Coltrane.” I like the soloing that happens in that poem. It was the type of poem that felt amazing to be inside of it. I will miss reading the poems in proofs and realizing that indeed it is a book, and it’s a book that I always wanted to write, a book that surprised me in its vulnerability, in its reaching toward and addressing freedom.

8. How did you know when the book was finished?
When my editor at W. W. Norton, Jill Bialosky, said I couldn’t make anymore changes. But seriously, I’m always working on the manuscript up until the last moment. I want to make sure I’ve gotten the poems some place that I couldn’t see when I started them. I want the poems to journey somewhere emotionally, meditatively. I always think of the adage from Robert Frost—“no surprise for the writer, no surprise for the reader; no tears for the writer, no tears for the reader.” This adage has guided and continues to guide me

9. Who is your most trusted reader of your work and why?
I have several trusted readers. Solmaz Sharif, Chris Loperena, and Monica Jimenez. They are my trusted readers and listeners because they have big ears; they can hear diverse and wildly different sorts of music. They also want more for the world, for the poem in the way that I want more.

10. What’s the best piece of writing advice you’ve ever heard?
Write. Get out of the way of the writing. Don’t make it precious. Sit down and get to it.

Roger Reeves, author of Best Barbarian (Credit: Ana Schwartz)

Roger Reeves Craft Capsule: Chicago 2015

Poet Roger Reeves presents “The Work of Poetry in the Age of Ferguson, Baltimore, and Charleston: Towards a Klepto_Poetics” as part of the Craft Capsules portion of Poets & Writers Live in Chicago on June 20, 2015.

Tags: 

Ten Questions for Eloghosa Osunde

3.15.22

This week’s installment of Ten Questions features Eloghosa Osunde, whose debut novel, Vagabonds!, is out today from Riverhead Books. A tour de force of magical realism, the novel traces a vivid array of characters in Lagos for whom life itself is a form of resistance: “a driver for a debauched politician with the power to command life and death; a legendary fashion designer who gives birth to a grown daughter; a lesbian couple whose tender relationship sheds unexpected light on their experience with underground sex work; a wife and mother who attends a secret spiritual gathering that shifts her world; a transgender woman and the groundbreaking love of her mother.” Vagabonds! takes us deep inside the hearts, minds, and bodies of a people in duress—and in triumph—in a way that only the best fiction can do. “In Vagabonds! you will discover queer people finding ways to love each other in a society that outlaws queerness, and an explosive portrait of Nigeria that will blow your mind—in prose that feels so alive it practically vibrates off the page,” writes Lidia Yuknavitch. “A masterpiece.” An alumna of the Farafina Creative Writing Workshop, the Caine Prize Workshop, and the New York Film Academy, Eloghosa Osunde has been published in the Paris ReviewGulf Coast, Guernica, Catapult, and other venues. Winner of the 2021 Plimpton Prize for Fiction and the recipient of a Miles Morland Scholarship, she is a 2019 Lambda Literary Fellow and a 2020 MacDowell Colony Fellow.

1. How long did it take you to write Vagabonds!?
Mm, my answer could be three years, or five months. I wrote the first short story, “Night Wind,”  as a standalone in 2017. I wasn’t trying to write Vagabonds! yet. I’d been working on something else—a better-behaved novel—and that was my main focus, even as I wrote and placed other short stories in publications. A while into doing that, I started to see my work more clearly, and also just paid attention to what I respect and don’t respect in stories, and why. It hit me properly in late 2018 that a book that moves like Vagabonds! is the specific kind of novel I would 100 percent want to enter the world with, and stand by for a long time. I think of that moment as the starting point of the manuscript, the nudge that got me started on sculpting this book. That process took about five intense months and then it was done.

2. What was the most challenging thing about writing the book?
Putting my complete faith in my work and a sure doubt in the voices inside and outside me that wanted me to play it safe. We talk a lot about the role of faith in achieving things, but I also believe in the power of doubt, especially here. So much of the book, so much of what I dared to allow myself to imagine was a direct result of me training myself to doubt certain stories and limitations I’d believed all my life. Doubt is a useful weapon to have on you if you’re in a world that will continue to tell you terrible stories about yourself, just because. It’s good to know who to trust, I’ve been learning, but also who to doubt. Getting a hang of this took time; getting used to the sound of my own voice took time; catching up to my inherent worthiness took time; becoming brave enough to write this book took time. That was harder for me than the writing itself.

3. Where, when, and how often do you write?
Where: I write at home, from my bed or couch, because tables are too serious and I don’t get as much done on them. Taking the pressure off, for me,  usually involves a duvet. When: at night, mostly. Or in the dark—a situation I’m able to create in my apartment regardless of what time it is outside. Usually, I’ll have some music or rain sounds playing in the background, AC’s on—always. How often: as often as feels true, which is, at this point, almost everyday.

4. What are you reading right now?
I just finished Milk Blood Heat by Dantiel W Moniz. The collection finds such an impressive equilibrium between vulnerability and restraint. I was reading Warsan Shire’s Bless the Daughter Raised By a Voice in Her Head at the same time, which I’d been waiting for since I heard it was coming. I’m going into This Here Flesh by Cole Arthur Riley now. I’m impressed already.

5. Which author, in your opinion, deserves wider recognition?
Arinze Ifeakandu. His stories are so particular about their pace, so sincere. There is no hurry there. Even beyond plot, I love admiring the skill it takes to collaborate with silence on storytelling, to let it know that you take it seriously enough to need it too. His book God’s Children Are Little Broken Things, out in June, displays this flawlessly. Preorder it! Logan February, whose poems affect me so personally. Pemi Aguda. Her books are coming.

6. What is one thing you might change about the writing community or publishing industry?
If there was something I could change about the publishing industry, it would be the abysmal pay gap that exists because of systemic racism. I think very often about the number of brilliant writers who get told no for vague reasons, who get told There is no market for this by people who begin with the conclusion that white markets are the main (or only) markets. It’s so obvious to me that there are multiple markets active at once, different demographics with purchasing power still heavily un(der)represented in print, and many readers of all sorts of stories who would reach for the books if they were actually there. Money is what allows people to (continue to) write without worry. So, because I’m so tired of hearing about how many writers I love—dead and alive—were severely underpaid for groundbreaking work, even when their names were everywhere, that’s the first thing I’d change. We need more range of experience, people of varying nationalities in positions of power, so that we can get more brilliant, textured stories out into the world. Oh also! I’d make sure people got paid their advance in less than four installments for sure. Three. Two. Whatever. Just not four. Bills are real.

7. What trait do you most value in your editor (or agent)?
Certainty, for sure. My agent, Jackie, met and signed me off just one short story, one essay and a proposal for a novel. I have always appreciated this, because I know it’s the industry norm to wait on the finished manuscript before taking a chance—especially with fiction. She met me and knew. Kristi, who is Jackie’s assistant, has also just made my life so much easier with her sturdiness. Jessica Bullock, my UK agent, is ever ready to do what my journey requires, and my film agent, Kristina Moore, is this way too. The trait I value the most in my editors—Hi Cal! Hi Kish!—is also the same: certainty. Both editors read the manuscript and knew they wanted it exactly as it was, then worked with me on the book from inside that assuredness. I can see what a blessing that has been.

8. What, if anything, will you miss most about working on the book?
Building the world it’s set in. I assembled this world with care, so I know how everything works inside it, even when it appears chaotic. I’ll miss fussing over the mechanics, but thankfully my next book is set there too.

9. Who is your most trusted reader of your work and why?
I’m my most trusted reader, because I know all about the knot my interests form when joined together. I really respect my judgment, trust my taste and know I can be honest with myself in the readback about what doesn’t work. If I’m stretched by the story’s unfolding, moved by the places where all those interests overlap, then I know that the work is moving. If I’m not, it’s not. I always know the difference. My friend Joshua Segun Lean as well, who is the most attentive reader I know; my best friend Fadekemi, because she sees me and loved me for fifteen straight years, has been in my life long enough to know my truths from my lies; and my partner, who reads my work from a familiar place, with both seriousness and joy, and shares thoughtful responses that help me connect deeper with the work.

10. What’s the best piece of writing advice you’ve ever heard?
“Please build heart work into your practice. Tend to your heart everyday and don’t just assume because you’re writing from the heart that you’re tending to your heart… Please please tend to your heart when creating the art our hearts need, the art that helps your family eat. We all deserve healthy hearts. Please believe. I’m trying to believe too.” —Kiese Laymon

Eloghosa Osunde, author of Vagabonds!  

Ten Questions for NoViolet Bulawayo

3.8.22

This week’s installment of Ten Questions features NoViolet Bulawayo, whose second novel, Glory, is out today from Viking. The novel opens onto a crowded square on Independence Day in Jidada, a fictional African country populated by animal citizens. Some animals attempt to escape the heat and leave early but are pushed back by military dogs—“violent, morbid beasts”—who later brutalize protestors who disrupt the Father of the Nation’s speech. Throughout the novel, Bulawayo expertly renders such dramatic set-pieces of dictatorship and revolution, while also zooming in on the stories of individual animals, their wounds and resilience. Both witty and harrowing, Glory is inspired by the aftermath of the 2017 removal of Robert Mugabe in Zimbabwe, but the novel offers insight into the cruel absurdities of politics the world over. “Bulawayo keenly displays the perspectives of political players and the civilians who bear the brunt of their violence,” writes Publishers Weekly. “With satire that feels necessary and urgent, Bulawayo brings clarity to a murky political morass.” NoViolet Bulawayo is the author of We Need New Names (Reagan Arthur Books, 2013), which was a finalist for the Booker Prize and won the PEN/Hemingway Award, the Art Seidenbaum Award for First Fiction, a Hurston/Wright Legacy Award, and the Etisalat Prize for Literature. She grew up in Zimbabwe and lives in the United States.

1. How long did it take you to write Glory?
About three and a half years of the most intense focus I’ve ever had to pull off, an experience that reminds me that sometimes we write only because of those who make it possible for us to do so. I’m especially grateful to all who supported me during that time, including the then-director of creative writing at Stanford, the late Eavan Boland, who understood my near desperate need to go to the wilderness, and sent me off with such grace, understanding, and encouragement.

2. What was the most challenging thing about writing the book?
Writing against an unfolding public narrative driven by forces I couldn’t control sometimes complicated the story’s focus, raised questions like how much of new storylines to include or leave out, how to reconcile unforeseen traits or actions with a character I’d framed a specific way. Still, working through these issues gave me the opportunity to really push my imagination in interesting ways.

3. Where, when, and how often do you write?
It depends on the project, but I generally write when the draft that happens in the head is ready to come to the page. Whatever it is will normally tell me how it wants to be done; Glory demanded to be written every day, beginning in the wee hours of morning till about late evening. The first shift was the bed-shift (I insist on large, comfortable beds for this purpose); the second and the third shifts were divided between my apartment and an office. I must work in isolation because my process tends to be messy.

4. What are you reading right now?
Lost in the City by Edward P. Jones, one of my favorite books to reread.

5. Which author, in your opinion, deserves wider recognition?
Far too many to mention. It’s strange to pick just one author when the world is full of incredible writers who aren’t recognized, but outside of the spotlight is where one finds some of the most surprising and exciting work.

6. What is one thing you might change about the writing community or publishing industry?
I’d get rid of the gatekeeping at every level so we not only have a fair system, but also one that reflects the real world.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
Somewhere in the preliminary drafts (Glory was a monster of about 700 pages then) my editor mentioned in her comments to figure out how to maintain the steam; this really helped me keep my finger on the pulse of the story, and of course with the much-needed pairing and polishing.    

8. If you could go back in time and talk to the earlier you, before you started Glory, what would you say?
I’d tell me to proper brace up; I wasn’t ready for how much this novel would demand.

9. Who is your most trusted reader of your work and why?
My agent and editors are my trusted dream team; for their critical but caring eyes, for being ready to say what must be said, no matter how difficult, for their generosity, and most importantly, for understanding me. What they brought to Glory, and how they handled the project especially in its infancy, thoroughly humbles me. I don’t even know how to thank them.

10. What’s the best piece of writing advice you’ve ever heard?
“Figure out how you work best.” ⏤Toni Morrison

NoViolet Bulawayo, author of Glory (Credit: Nye’ Lyn Tho)

2013 First Fiction Sampler

by

Staff

7.1.13

For our thirteenth annual roundup of the summer’s best debut fiction, we asked five established authors to introduce this year’s group of debut writers. Read the July/August 2013 issue of the magazine for interviews between Paul Harding and NoViolet Bulawayo, Karen Russell and Bushra Rehman, Nathan Englander and Bill Cheng, Curtis Sittenfeld and Anton DiSclafani, and Chimamanda Ngozi Adichie and Chinelo Okparanta. But first, check out these exclusive excerpts from the debut novels and story collections.

We Need New Names (Reagan Arthur Books, September) by NoViolet Bulawayo
Corona (Sibling Rivalry Press, August) by Bushra Rehman
Southern Cross the Dog (HarperCollins, May) by Bill Cheng
The Yonahlossee Riding Camp for Girls (Riverhead Books, June) by Anton DiSclafani
Happiness, Like Water (Mariner Books, August) by Chinelo Okparanta 

We Need New Names
By NoViolet Bulawayo

“Hitting Budapest”

We are on our way to Budapest: Bastard and Chipo and Godknows and Sbho and Stina and me. We are going even though we are not allowed to cross Mzilikazi Road, even though Bastard is supposed to be watching his little sister Fraction, even though Mother would kill me dead if she found out; we are just going. There are guavas to steal in Budapest, and right now I’d rather die for guavas. We didn’t eat this morning and my stomach feels like somebody just took a shovel and dug everything out.

Getting out of Paradise is not so hard since the mothers are busy with hair and talk, which is the only thing they ever do. They just glance at us when we file past the shacks and then look away. We don’t have to worry about the men under the jacaranda either since their eyes never lift from the draughts. It’s only the little kids who see us and try to follow, but Bastard just wallops the naked one at the front with a fist on his big head and they all turn back.

When we hit the bush we are already flying, scream-singing like the wheels in our voices will make us go faster. Sbho leads: Who discovered the way to India? and the rest of us rejoin, Vasco da Gama! Vasco da Gama! Vasco da Gama! Bastard is at the front because he won country-game today and he thinks that makes him our president or something, and then myself and Godknows, Stina, Sbho, and finally Chipo, who used to outrun everybody in all of Paradise but not anymore because somebody made her pregnant.

After crossing Mzilikazi we cut through another bush, zip right along Hope Street for a while before we cruise past the big stadium with the glimmering benches we’ll never sit on, and finally we hit Budapest. We have to stop once, though, for Chipo to sit down because of her stomach; sometimes when it gets painful she has to rest it.

When is she going to have the baby anyway? Bastard says. Bastard doesn’t like it when we have to stop doing things because of Chipo’s stomach. He even tried to get us not to play with her altogether.

She’ll have it one day, I say, speaking for Chipo because she doesn’t talk anymore. She is not mute-mute; it’s just that when her stomach started showing, she stopped talking. But she still plays with us and does everything else, and if she really, really needs to say something she’ll use her hands. 

What’s one day? On Thursday? Tomorrow? Next week?

Can’t you see her stomach is still small? The baby has to grow.

A baby grows outside of the stomach, not inside. That’s the whole reason they are born. So they grow into adults.

Well, it’s not time yet. That’s why it’s still in a stomach. 

Is it a boy or girl?

It’s a boy. The first baby is supposed to be a boy.

But you’re a girl, big head, and you’re a first-born. 

I said supposed, didn’t I? 

Just shut your kaka mouth, you, it’s not even your stomach. 

I think it’s a girl. I put my hands on it all the time and I’ve never felt it kick, not even once. 

Yes, boys kick and punch and butt their heads. That’s all they are good at.

Does she want a boy?

No. Yes. Maybe. I don’t know. 

Where exactly does a baby come out of?

The same place it goes into the stomach.

How exactly does it get into the stomach?

First, Jesus’s mother has to put it in there.

No, not Jesus’s mother. A man has to put it in there, my cousin Musa told me. Well, she was really telling Enia, and I was there so I heard. 

Then who put it inside her?

How can we know if she won’t say?

Who put it in there, Chipo? Tell us, we won’t tell.

Chipo looks at the sky. There’s a tear in her one eye, but it’s only a small one.

Then if a man put it in there, why doesn’t he take it out?

Because it’s women who give birth, you dunderhead. That’s why they have breasts to suckle the baby and everything.

But Chipo’s breasts are small. Like stones.

It doesn’t matter. They’ll grow when the baby comes. Let’s go, can we go, Chipo? I say. Chipo doesn’t reply, she just takes off, and we run after her. When we get right to the middle of Budapest we stop. This place is not like Paradise, it’s like being in a different country altogether. A nice country where people who are not like us live. But then you don’t see anything to show there are real people living here; even the air itself is empty: no delicious food cooking, no odors, no sounds. Just nothing.

Budapest is big, big houses with satellite dishes on the roofs and neat graveled yards or trimmed lawns, and the tall fences and the Dura walls and the flowers and the big trees heavy with fruit that’s waiting for us since nobody around here seems to know what to do with it. It’s the fruit that gives us courage, otherwise we wouldn’t dare be here. I keep expecting the clean streets to spit and tell us to go back where we came from. 

At first we used to steal from Stina’s uncle, who now lives in Britain, but that was not stealing-stealing because it was Stina’s uncle’s tree and not a stranger’s. There’s a difference. But then we finished all the guavas in that tree so we have moved to the other houses as well. We have stolen from so many houses I cannot even count. It was Bastard who decided that we pick a street and stay on it until we have gone through all the houses. Then we go to the next street. This is so we don’t confuse where we have been with where we are going. It’s like a pattern, and Bastard says this way we can be better thieves.

Today we are starting a new street and so we are carefully scouting around. We are passing Chimurenga Street, where we’ve already harvested every guava tree, maybe like two-three weeks ago, when we see white curtains part and a face peer from a window of the cream home with the marble statue of the urinating naked boy with wings. We are standing and staring, looking to see what the face will do, when the window opens and a small, funny voice shouts for us to stop. We remain standing, not because the voice told us to stop, but because none of us has started to run, and also because the voice doesn’t sound dangerous. Music pours out of the window onto the street; it’s not kwaito, it’s not dance-hall, it’s not house, it’s not anything we know. 

A tall, thin woman opens the door and comes out of the house. The first thing we see is that she is eating something. She waves as she walks towards us, and already we can tell from the woman’s thinness that we are not even going to run. We wait, so we can see what she is smiling for, or at. The woman stops by the gate; it’s locked, and she didn’t bring the keys to open it.

Jeez, I can’t stand this awful heat, and the hard earth, how do you guys ever do it? the woman asks in her not-dangerous voice. She smiles, takes a bite of the thing in her hand. A pink camera dangles from her neck. We all look at the woman’s feet peeking underneath her long skirt. They are clean and pretty feet, like a baby’s. She is wiggling her toes, purple from nail polish. I don’t remember my own feet ever looking like that; maybe when I was born.

Then there’s the woman’s red chewing mouth. I can tell from the cord thingies at the side of her neck and the way she smacks her big lips that whatever she is eating tastes really good. I look closely at her long hand, at the thing she is eating. It’s flat, and the outer part is crusty. The top is creamish and looks fluffy and soft, and there are coin-like things on it, a deep pink, the color of burn wounds. I also see sprinkles of red and green and yellow, and finally the brown bumps that look like pimples.

Chipo points at the thing and keeps jabbing at the air in a way that says What’s that? She rubs her stomach with her other hand; now that she is pregnant, Chipo is always playing with her stomach like maybe it’s a toy. The stomach is the size of a football, not too big. We keep our eyes on the woman’s mouth and wait to hear what she will say.

Oh, this? It’s a camera, the woman says, which we all know; even a stone can tell that a camera is a camera. The woman wipes her hand on her skirt, pats the camera, then aims what is left of the thing at the bin by the door, misses, and laughs to herself like a madman. She looks at us like maybe she wants us to laugh with her, but we are busy looking at the thing that flew in the air before hitting the ground like a dead bird. We have never ever seen anyone throw food away, even if it’s a thing. Chipo looks like she wants to run after it and pick it up. The woman’s twisted mouth finishes chewing, and swallows. I swallow with her, my throat tingling.

How old are you? the woman asks Chipo, looking at her stomach like she has never seen anybody pregnant.

She is eleven, Godknows replies for Chipo. We are ten, me and her, like twinses, Godknows says, meaning him and me. And Bastard is eleven and Sbho is nine, and Stina we don’t know because he has no birth certificate. 

Wow, the woman says. I say wow too, wow wow wow, but I do it inside my head. It’s my first time ever hearing this word. I try to think what it means but I get tired of grinding my brains so I just give up.

And how old are you? Godknows asks her. And where are you from? I’m thinking about how Godknows has a bigmouth that will get him slapped one day.

Me? Well, I’m thirty-three, and I’m from London. This is my first time visiting my dad’s country, she says, and twists the chain on her neck. The golden head on the chain is the map of Africa.

I know London. I ate some sweets from there once. They were sweet at first, and then they just changed to sour in my mouth. Uncle Vusa sent them when he first got there but that was a long time ago. Now he never sends anything, Godknows says. He looks up at the sky like maybe he wants a plane to appear with sweets from his uncle.

But you look only fifteen, like a child, Godknows says, looking at the woman now. I am expecting her to reach out and slap him on the mouth but she merely smiles like she has not just been insulted.

Thank you, I just came off the Jesus diet, she says, sounding very pleased. I look at her like What is there to thank? I’m also thinking, What is a Jesus diet, and do you mean the real Jesus, like God’s child? 

I know from everybody’s faces and silence that they think the woman is strange. She runs a hand through her hair, which is matted and looks a mess; if I lived in Budapest I would wash my whole body every day and comb my hair nicely to show I was a real person living in a real place. With her hair all wild like that, and standing on the other side of the gate with its lock and bars, the woman looks like a caged animal. I begin thinking what I would do if she actually jumped out and came after us.

Do you guys mind if I take a picture? she says. We don’t answer because we’re not used to adults asking us anything; we just look at the woman, at her fierce hair, at her skirt that sweeps the ground when she walks, at her pretty peeking feet, at her golden Africa, at her large eyes, at her smooth skin that doesn’t even have a scar to show she is a living person, at the earring in her nose, at her T-shirt that says Save Darfur. 

Great, now, stand close together, the woman says.

You, the tall one, go to the back. And you, yes, you, and you, look this way, no, I mean you, with the missing teeth, look at me, like this, she says, her hands reaching out of the bars, almost touching us.

Good, good, now say cheese, say cheese, cheese, cheeeeeeeese— the woman enthuses, and everyone says cheese. Myself, I don’t really say, because I am busy trying to remember what cheese means exactly, and I cannot remember. Yesterday Mother of Bones told us the story of Dudu the bird who learned and sang a new song whose words she did not really know the meaning of and who was then caught, killed, and cooked for dinner because in the song she was actually begging people to kill and cook her. 

The woman points at me, nods, and tells me to say cheeeeeese and I say it mostly because she is smiling like she knows me really well, like she even knows my mother. I say it slowly at first, and then I say, Cheese and cheese, and I’m saying cheese cheeeeese and everyone is saying cheese cheese cheese and we are all singing the word and the camera is clicking and clicking and clicking. Then Stina, who is quiet most of the time, just starts to walk away. The woman stops taking pictures and says, Hey, where are you going? But he doesn’t stop, doesn’t even turn to look at her. Then Chipo walks away after Stina, then the rest of us follow them.

We leave the woman standing there, taking pictures as we go. Then Bastard stops at the corner of Victoria and starts shouting insults at the woman, and I remember the thing, and that she threw it away without even asking us if we wanted it, and I begin shouting also, and everyone else joins in. We shout and we shout and we shout; we want to eat the thing she was eating, we want to hear our voices soar, we want our hunger to go away. The woman just looks at us puzzled, like she has never heard anybody shout, and then quickly hurries back into the house but we shout after her, shout till we smell blood in our tickling throats.

Excerpted from We Need New Names by NoViolet Bulawayo, published in May by Reagan Arthur Books. Copyright © 2013 by NoViolet Bulawayo. All rights reserved.

Corona 
By Bushra Rehman

“Abandoned Bread Truck”

Corona, Queens 
January 1985

Every few weeks, and really it could have been less, an abandoned car showed up outside our dining room window. The car would be left there sometime on a Saturday night, whole for just a moment before it would start to decay. Every morning after that, pieces would go missing. The tires would be the first to vanish. Then the windows would be shattered and the insides gutted. Finally, the engine lid would pop open and pieces would disappear. Then, as suddenly as the car had come, it would be gone. Its space wouldn’t be empty for long before another car would show up to take its place. 

On winter mornings, I would sit on the radiator by the window. Some days, it was the only way to stay warm. I would see the abandoned cars and imagine I was living in the desert, or the high distant plain, walking past the same dead animal, wolf, laid to rest on the sand and in the heat. I’d watch the way pieces of it would disappear, stripped by secret claws and beaks. Pieces would always disappear while I was asleep.

Then there was one day, a bitter January morning, when a bread truck delivering fresh Italian bread, stalled right outside of our house. The truck driver was a big Italian. He got out and cursed and kicked the truck. His curses made smoke in the air. He walked off to find a pay phone, but there was no working pay phone anywhere in Corona. He walked around the corner and disappeared. 

It was a snow day, and already children were coming outside to make snow angels and pretend they were skating on patches of ice. They came out in their boots and their cheap coats from Alexander’s. It was Julio and his friends who noticed the abandoned bread truck first. There was always a group of boys who moved around Julio like wobbly planets. 

I leaned against the window and watched them. They circled the truck, a child they were ready to gang up on. Julio jumped up to the cab and tried to pull open the door, but it was locked. His friends threw snowballs as if they were handballs. The white on white hit the metal and bounced off the truck. But soon even they got bored with that and wandered off to make trouble somewhere else. 

Across the street in the buildings, I began to see faces in the windows: the three old Italian ladies who always wore black, the young Dominican mothers of the kids in my school holding baby brothers and sisters on their hips. The bread truck had made the mistake of stalling on the street where all the abandoned cars were left. Everyone was watching to see what would happen. 

The old Italian ladies were the first to disappear from their windows. As if they had been given a signal, they all vanished from their different apartments. They showed up again, on the snow, like black crows on ice. I saw them creep up to the back of the truck. I ran to tell my mother. She was in the kitchen scrubbing the counters with Mr. Clean. 

“Ammi, something’s happening.” By the time my mother washed her hands and came back with me to the dining room window, there was a mob on the street. 

Julio had come back with his father and a crowbar. His father looked around for the driver, and when he saw no one, he popped open the back like he was opening a can of soda, then jumped into the truck. He was gone for a few minutes. We all waited, not knowing what to do. When he came out, his arms were full of loaves of bread. He threw an armful to Julio who ran home with it. 

Slowly, other people started coming to the back of the truck. The old Italian ladies were at the head, but behind them was the Korean grandmother, the young Dominican mothers, and other kids from my school. Some of them waited for Julio’s father to throw them bread. Others jumped in themselves and grabbed armfuls of Italian bread with or without seeds, rolls and whole loaves. They ran home hugging the fresh bread to their chests. 

I looked up at my mother, waiting for her to say something about the people in our neighborhood, but instead she said, “Put on your coat.” 

“Kya?” I said, afraid I would get in trouble if I had misheard. This was the same mother who made me walk back to the bodega on the corner to give back even five cents any time they gave me too much change. 

She said again, “Put on your coat and get some bread.”

When I got outside, it felt like someone had thrown a block party in the middle of the winter street. I had never seen my neighbors smiling at each other this way. I walked to the back of the truck, feeling cold in my thin coat. 

But the ice of January was nothing when Julio’s father put a loaf of steamy, soft bread in my arms. It was like a baby, a new baby, for us to have. The snow crunched under my feet, and I looked up to see my mother smiling down at me, her face pressed against the glass. 

Excerpted from Corona by Bushra Rehman, published in August by Sibling Rivalry Press. Copyright © 2013 by Bushra Rehman. All rights reserved.

Southern Cross the Dog
By Bill Cheng

“The Flood (1927)”

The rain kept on like a dust and it was the oldest boy G.D. who said it wasn’t nothing, crossing through the woods behind Old Man Crookhand’s. The wind swooped through, chattering the branches, and blew the grit against their faces. They put up their hands and trudged on, G.D. ahead of the others, cutting his switch into the bushes. Whack, whack. Come on, you babies, he said, and he whipped again, the vines and leaves opening around his blows.

They followed close, the boys wolfing on, whispering their jokes, trying to make the girls laugh and shiver. One at a time, they crushed across the underbrush, skimming spider vines and breaking off bits of sweetbark from the trunks to chew and spit.

The trail began to climb and G.D. bound up the hill in wide strides. At the top, he stopped and waited for the others. He could see Crookhand Grove, a cleft of cleared land that dipped below the path. At the center was the Bone Tree. It had been dead for years, its leaves rotting in a carpet around the trunk.

One by one, the others crowded around him. They gazed out into the grove and fell quiet. There’d been stories about dead Injuns and their ghosts living inside the hollows. The wind came through and the naked branches clattered. The gang looked at one another, then up at G.D. 

He spit a wad down into the grove. 

Keep moving, he said.

The mule path broke out into a clearing where the lumbermen had already come through. G.D. chose the tallest tree stump and mounted it. He splayed out his arms, waving the switch like a sword before touching the edge against his cheek—a nub of twig snagging on his tooth. It was time. His eyes drooped into lazy buttonholes, looking the others over. They fidgeted under his gaze, shifting from side to side, holding up their hands, rubbing rain into their fingers.

G.D. sized them up. Their ragged clothes, the yellow mud caked to their shins. A girl unbraided a slip of hair. Her small fingers eased through the knots. A boy dug his toes into the soil, trying not to meet G.D.’s eye. Another stood with his arms folded across his chest, shifting his weight from knee to knee. He spotted her. She was tall and willowy compared to the other girls. Her hair was brushed back and she sloped her shoulders as she tried to hide her size.

G.D. pointed with the switch.

Dora, he said.

The girl furrowed her brow.

Not me!

He moved the switch to the sharp of his smile.

Yes.

That’s not fair! I done it last time, G.D.!

You, Dora. Again.

It’s gonna rain, she said. I don’t want to get soaked.

G.D. shrugged and grinned at the others.

Best get started then.

G.D. brought the switch down against his leg. Thwack. They made a circle around her. He beat down again. Thwack. Thwack. The girl looked up but it was too late. Already the circle had tightened and they’d begun to sing.

Little Sally Water, settin’ in a saucer.

Rise Sally rise, wipe your weepin’ eyes.

The girl sighed, slumping. She hunched down on her knees and listened for the rhythm. Her backside bucked up, kicking out like a mule and swinging.

Shake it to the east, Sally.

Shake it to the west, Sally.

Shake it to the one you love the best, Sally.

Her frilled bloomers flashed out under her dress as she spun. The world swished inside her head. When the song ended, she righted herself and turned to see who she’d chosen. If it was a girl, they would have to start again, this time even faster as G.D. lashed out mercilessly with his switch.

Slowly the world glided back into place. She righted herself and saw him. He was big cheeked and wet eyed, and he was at least a good head shorter than her. The boy looked blankly at her through his long lashes. She’d seen him before. He was always so quiet, never laughed or cussed, floating behind the others like some tattered kite tail. He fidgeted now with his hands in his pockets, looking unsure of himself until G.D. nudged him forward.

Well, don’t just stand there looking dumb.

G.D. led Dora and the boy out to Crookhand Grove where the earth was cracked and split along the roots of the Bone Tree. They were alone, the three of them, caught under the storm clouds. Thunder sounded out like split wood and they looked cautiously at the little bits of sky coming through the branches.

G.D. took both their hands and grinned.

My, my, Dora. I never knew you was such a tasteful lady.

Dora slapped his arm and his eyes sparked.

I’m gonna count to a hundred. Then you come on out.

We know how it works, G.D.

G.D. winked at the boy and headed back to the clearing, arms crossed over his head. She could hear him beginning to count.

Dora smoothed down the sides of her dress. The boy was looking at a spider threaded between two branches. It sat fat and blood-filled in its web, its legs spread like fingers.

Dora could hear the other children starting in on their singing again. They had begun another round.

Well, come on then, she said.

Come on what?

Ain’t you played Sally Water before?

The boy plucked up the spider. He turned it over and watched its legs bicycle. He held it up to Dora and she made a face. Then he set it down on a trunk and watched it race up the bark.

You’re Billy Chatham’s brother, ain’t you?

The boy shrugged.

My uncle told me your brother was wild. That he loved up a white girl and he—Dora

stopped herself. The boy sat down against the trunk and started scabbing at the bark, pulling it away in chips. He put them together in a pile, counting them out in his palm.

What’s your name?, Dora asked.

Robert, he said. He seemed to think for a moment then he added, Robert Lee Chatham.

Dora looked back from where they came.

Well, let’s not take too long then. Come here, she said. Stand up against the trunk there.

He dusted the bark off and pushed his sleeves up to his elbow. They drooped back down, past his knuckles. His shirt was too large. It hadn’t been sized for him.

Now shut your eyes so you can’t see nothing.

Everything was still for a moment. Just the slow breath of the magnolias and the sound of mosquitoes making the air goosebump and tremble. He thought he could hear the other children laughing in the distance—their small twinkling voices in the breeze. Then he felt the kiss—the damp spongy pressing against his mouth, something cold skimming the underside of his tongue, warm air brushing against the slope of his upper lip. Something small and hard pressed into his hand. When he opened his eyes, the sky had split open.

Excerpted from Southern Cross the Dog by Bill Cheng, published in May by HarperCollins. Copyright © 2013 by Bill Cheng. All rights reserved.

The Yonahlossee Riding Camp for Girls
By Anton DiSclafani

I was assigned to Augusta House. All of the cabins were named after the founders’ relatives—we had Mary House, Spivey House, Minerva House. Mr. Holmes led me and my father through the Square, but I trailed a foot or two behind so I didn’t have to speak. Mr. Holmes’s stride was enormous; he was tall and lanky and towered over my father, who had always been on the small side. Sam, who had shot up like a weed over the past few months, was taller than him now. Sam might be eating at the moment, or maybe dinner was done. Perhaps he was still wearing his day clothes: shorts and a button-down linen shirt, an outfit chosen to make the sun bearable. We never wore sleeves in the summer, but in Atlanta every man I’d seen had worn a full suit, despite the heat. Mr. Holmes wore a suit now, had emerged with Father from his office wearing a jacket.

My father walked quickly to keep up and wanted to leave his hands in his pockets, but kept removing them, instinctively, for balance.

I wondered if I would recognize the back of Father’s head in a crowd. Surely I would recognize Sam’s, his coarse, thick hair that Mother coaxed to lie flat every time she passed by, drawing a hand over his head by habit.

Mr. Holmes opened the door to Augusta House and walked through first, but before he did he turned and gave me a little smile; I could hear him tell the girls they had a visitor, and when my father and I walked in a moment later, five girls stood by their bunk beds, hands behind their backs, motionless. It was almost dark now, and the light from a wall sconce was the only source of illumination in the room. I thought it odd that Mr. Holmes, a grown man, had entered a cabin full of girls without knocking. But they had known he was coming. I wondered what else they knew.

“This is Theodora Atwell, she has come to us from Florida.”

The girls nodded in tandem, and a panic seized me. Did they do everything in tandem? How would I know?

“And this,” Mr. Holmes said, starting with the girl on the left, “is Elisabeth Gilliam, Gates Weeks, Mary Abbott McClellan, Victoria Harpen, and Eva Louise Crayton.”

“Pleased to meet you,” I said, and all of the girls inclined their heads slightly. Elisabeth, the first girl, broke her stance and broke the order, and I was so grateful. These were just girls, like me. She tucked a piece of ash-brown hair behind her ear and smiled; her smile was crooked. She seemed kindhearted. I liked her blue eyes; they were wide set, like a horse’s. She would be my Sissy.

I wondered, in that dimly lit cabin that smelled so strongly of wood, what had brought each girl there. Or who had brought them.

We each had half of a bunk bed, a tiny closet, a washstand, a desk, a vanity. Our house mistresses roomed with each other in another cabin; we girls were to be left completely alone. I took my father’s hand, which hung by his side, and hoped the other girls would not think me childish. His grip surprised me, and then I knew it was true, he meant to leave me here. I tugged my hand free of his and stepped forward.

“I’m pleased to be here.”

My father kissed my cheek and pressed me to him in a sort of clumsy half hug; now I was embarrassed instead of sad, all these girls watching. Mr. Holmes turned his head politely. Then they left, and I stood there alone in this room full of girls and felt terrified. I was accustomed to the feeling of fear—it threaded itself through my brain each time I tried a higher jump—but that fear was accompanied by a certain exhilaration.

Now I watched the unreadable faces of all these girls and they watched me and I felt frightened in a way I had never felt frightened before. There was no place to go but here, no one to take comfort in except myself. I started to cross my arms in front of my chest but then an instinct told me to stop: I didn’t want any of these girls to know I was scared.

“Theodora?” the pretty girl with the full figure asked, and I remembered her name. Eva.

“Thea,” I mumbled. But I wasn’t from a family that mumbled. I cleared my throat. “Thea. A nickname.”

“Well, that’s better,” Eva said, and grinned. “Theodora’s a mouthful.”

I hesitated—was she making fun of my name? But then she patted the bunk beside her. “This is you. You’re my bottom.”

Sissy laughed. The sound startled, then comforted me. “Have you ever slept on a bunk bed?” she asked. “I have the bottom, too. It’s the worst, but you’re here so late.”

I pointed at my trunk, which rested at the foot of my bottom bunk; pointing was bad manners, now the girls would think I had none, but poor manners were better than explaining why I had come so late.

“My trunk’s already here,” I said.

“One of the men brought it,” Mary Abbott chimed in. Her voice was fragile-sounding.

“But not the handsome one!” Eva said, and Sissy laughed.

Gates turned from her desk, where she had been writing something—a letter? I wondered to whom—and I could see she did not approve.

“Oh, Gates,” Eva said. “Don’t be so serious. It’s just chatter.” Eva turned to me, languidly; she moved about like she didn’t have a care in the world. “There are two men here who do chores. One is very handsome. And the other . . . you’ll see.” I felt my face go hot, and quickly walked to my bunk so the other girls wouldn’t see. I blushed at the drop of a hat. I busied myself with my trunk, and after a moment I noticed that everyone was changing into their nightclothes. I changed out of my clothes quickly—no other girl had ever seen me naked. Only Mother, and she was not a girl. I was careful to hide the handkerchief as I disrobed—the other girls would think me childish if they saw I’d hidden a piece of fabric from my brother beneath my clothes. Or worse than childish: odd.

Our nightgowns were all the same—mine had been laid upon the bed—soft cotton shifts with V-necklines, a mid-calf hemline, YRC embroidered over our left breasts. Over our hearts. The nightgown I had brought with me was high collared, ankle length, ruffled at the wrists. It would have given me away immediately. Mother had told me that I’d be wearing a uniform, so I didn’t need to pack much; the idea had made me furious back home. I was going to be treated like everyone else! But now I was glad. I had not known my nightgown was all wrong.

The girls left in pairs—Eva and Sissy, Gates and Victoria—until only Mary Abbott and I remained. I had no choice but to follow. I didn’t want to ask where we were going, but I did.

“The privies. I know what you’re thinking, how can we not have a toilet in our cabins?” she asked. She dropped her voice conspiratorially: “They think it’s good for us.” Her accent was very Southern. Mr. Holmes had an accent, but I couldn’t place it—he spoke in clipped tones, the opposite of how everyone in Augusta House spoke. I didn’t have an accent, not compared to these girls. “But at least there’s indoor plumbing. And running water for our baths.”

I nodded at Mary Abbott, unsure of how to respond. I’d always had indoor plumbing, and running water.

Eva and Sissy passed us on their way back to the cabin, along with pairs of other girls from other cabins. We looked like ghosts in our nightgowns, and I hated this place, hated these girls, my first clear, unconfused sentiment since I’d arrived. I wrapped my shawl tighter around my shoulders and hated my mother.

The privies were spotless—I was grateful for that. I didn’t wait for Mary Abbott, rushed back to the cabin without once meeting anyone’s eye. When we’d passed Eva and Sissy, I knew by how they smiled that Mary Abbott was not someone I wanted to align myself with. I was already in bed when Mary Abbott came in; she looked at me for a long second, wistfully, I thought, but that was unreasonable, she’d known me for an hour and then someone entered the cabin, too young to be a woman, too old to be a girl. She barely looked at any of us. When she saw me, she nodded—“Theodora Atwell. Glad to see you’ve settled in.” And then she turned off our lights.

“Good night, girls,” she called as she left the room.

“Good night, Henny,” everyone called back, in unison.

The girls said good night to each other then, in sleepy whispers; I thought they were done when Eva spoke.

“Good night, Thea,” she whispered, and all the other girls followed suit, my name whispered five times, and it seemed astonishing that I knew which voice belonged to whom; it seemed astonishing that already these girls laid claim to me.

The last girl I had known was Milly, a neighbor, and she had moved away years ago. She carried a doll with her, always. I thought she was boring, which in my family was least what you wanted to be. Other people were boring; the Atwells were interesting.

Sam liked Milly, though. She would watch him tend to his terrariums, help him carve branches of trees into a more manageable size, listen with interest as Sam explained how his huge cane toad transmitted poison from the glands behind its eyes. Only Sam was able to pick the toad up; when I tried, it puffed to twice its normal size. Sam had a carefulness about him that animals trusted. People, too.

I did not like Milly there with Sam when I returned from a ride. And so I stole Milly’s doll and buried it behind the barn. She never came back.

Sam knew what I had done. I had been cruel, and Sam hated cruelty. I think he did not understand it, the impulse to harm another living creature. It’s why he couldn’t ride. The thought of pressing a spur into a horse’s tender side, or lifting a whip against a dumb animal—well, Sam could not imagine it.

He was ashamed of me, and I was almost ashamed of myself, but Milly was quickly forgotten, ground into the dust of a child’s memory.

A girl muttered something nonsensical, talking in her sleep.

“Shh,” Gates said, “shh,” and the muttering stopped.

In Atlanta, my father and I had slept in separate rooms. We’d never traveled alone before, so I didn’t know how to interpret this, but in my great big room I’d cried, and then slapped myself for being so silly and desperate: this was nothing, I told myself, take hold of yourself. I’d fallen asleep to the noise of cars underneath my window, wondering if my father heard the same in the room across the hall, wondering if he was even awake to hear it or dead to the world.

The cars outside my window had made me feel less lonely, though that was silly—the men and women in those cars were no friends of mine.

I wondered if Sam was still awake now, listening to the Emathla crickets. I wondered what else he had heard, today, what else he had done. Mother would still be awake, reading, listening to the radio; Father would still be driving if I had to guess, twisting carefully through the mountains.

I thought of my cousin, Georgie, and wanted to weep, but I would not let myself. I had wept enough for a lifetime. Two lifetimes. Three.

Excerpted from The Yonahlossee Riding Camp for Girls by Anton DiSclafani, published in June by Riverhead Books. Copyright © 2013 by Anton DiSclafani. All rights reserved.

page_5: 

Happiness, Like Water
By Chinelo Okparanta

“America”

We became something—an item, Papa says—in February, months after Gloria’s visit to the school. That evening, I was hunched over, sweeping my apartment with a broom, the native kind, made from the raw and dry stems of palm leaves, tied together at the thick end with a bamboo string. I imagine it’s the kind of broom that Gloria no longer sees, the kind that Americans have probably never seen.

Gloria must have come in through the back door of the flat (she often did), through the kitchen and into the parlour. I was about to collect the dirt into the dustpan when she entered. She brought with her a cake, a small one with white icing and spirals of silver and gold. On top of it was a white-striped candle, moulded in the shape of the number thirty-four. She set it on the coffee table in the parlour and carefully lit the wick. I set the broom and dustpan down and straightened up. Gloria reached out to tuck strands of my tattered hair back into place. I’d barely blown out the flame when she dipped her finger into the cake’s icing and took a taste of it. Then she dipped her finger into the icing again and held the clump out to me.

‘Take,’ she said, almost in a whisper, smiling her shyest sort of smile.

Just then, the phone began to ring: a soft, buzzing sound. We heard the ring but neither of us turned to answer, because even as it was ringing, I was kissing the icing off Gloria’s finger.       

Mama still reminds me every once in a while that there are penalties in Nigeria for that sort of thing. And of course, she’s right. I’ve read of them in the newspapers and have heard of them on the news. Still, sometimes I want to ask her to explain to me what she means by ‘that sort of thing’, as if it is something so terrible that it does not deserve a name, as if it is so unclean that it cannot be termed ‘love’. But then I remember that evening and I cringe, because, of course, I know she can explain; she’s seen it with her eyes.

That evening, the phone rings, and if I had answered, it would have been Mama on the line. But instead, I remain with Gloria, allowing her to trace her fingers across my brows, allowing her to trace my lips with her own. My heart thumps in my chest and I feel the thumping of her heart. She runs her fingers down my belly, lifting my blouse slightly, hardly a lift at all. And then her hand is travelling lower, and I feel myself tightening, and I feel the pounding all over me. Suddenly, Mama is calling my name, calling it loudly, so that I have to look up to see if I’m not just hearing things. We have made our way to the sofa and, from there, I see Mama shaking her head, telling me how the wind has blown and the bottom of the fowl has been exposed.

Mama stands where she is for just a moment longer; all the while she is staring at me with a sombre look in her eyes. ‘So, this is why you won’t take a husband?’ she asks. It is an interesting thought, but not one I’d ever really considered. Left to myself, I would have said that I’d just not found the right man. But it’s not that I’d ever been particularly interested in dating men anyway.

‘A woman and a woman cannot bear children,’ Mama says to me. ‘That’s not the way it works.’ As she stomps out of the room, she says again, ‘The wind has blown and the bottom of the fowl has been exposed.’

I lean my head on the glass window of the bus and I try to imagine how the interview will go. But every so often the bus hits a bump and jolts me out of my thoughts.

There is a woman sitting to the right of me. Her scent is strong, somewhat like the scent of fish. She wears a head scarf, which she uses to wipe the beads of sweat that form on her face. Mama used to sweat like this. Sometimes she’d call me to bring her a cup of ice. She’d chew on the blocks of ice, one after the other, and then request another cup. It was the real curse of womanhood, she said. The heart palpitations, the dizzy spells, the sweating that came with the cessation of the flow. That was the real curse. Cramps were nothing in comparison, she said.

The woman next to me wipes her sweat again. I catch a strong whiff of her putrid scent. She leans her head on the seat in front of her, and I ask her if everything is fine. ‘The baby,’ she says, lifting her head back up. She rubs her belly and mutters something under her breath. 

‘Congratulations,’ I say. And after a few seconds I add, ‘I’m sorry you’re not feeling well.’

She tells me that it comes with the territory. That it’s been two years since she and her husband married, and he was starting to think that there was some defect in her. ‘So, actually,’ she tells me, ‘this is all cause for celebration.’

She turns to the seat on her right where there are two black-and-white-striped polythene bags. She pats one of the bags and there is that strong putrid scent again. ‘Stock fish,’ she says, ‘and dried egusi and ogbono for soup.’ She tells me that she’s heading to Lagos, because that is where her in-laws live. There will be a ceremony for her there, and she is on her way to help with the preparations. Her husband is taking care of business in Port Harcourt, but he will be heading down soon, too, to join in celebrating the conception of their first child. ‘Boy or girl?’ I ask, feeling genuinely excited for her.

‘We don’t know yet,’ she says. ‘But either one will be a real blessing for my marriage. My husband has never been happier,’ she says.

I turn my head to look out the window, but then I feel her gaze on me. When I look back at her, she asks if I have a husband or children of my own.

I think of Mama and I think of Gloria. ‘No husband, no children,’ I say.

The day I confessed to him about Gloria, Papa said: ‘When a goat and yam are kept together, either the goat takes a bite ofthe yam, bit by bit, or salivates for it. That is why when two adults are always seen together, it is no surprise when the seed is planted.’

I laughed and reminded him that there could be no seed planted with Gloria and me.

‘No,’ he said, reclining on his chair, holding the newspaper that he was never reading, just always intending to read. ‘No, there can be no seed,’ he said.

It had been Mama’s idea that I tell him. He would talk some sense into me, she said. All this Gloria business was nonsense, she said. Woman was made for man. Besides, what good was it living a life in which you had to go around being afraid of being caught? Mobile policemen were always looking for that sort of thing – men with men or women with women. And the penalties were harsh. Jail time, fines, stoning or flogging, depending on where in Nigeria you were caught. And you could be sure that it would make the news. Public humiliation. What kind of life was I expecting to have, always having to turn around to check if anyone was watching? ‘Your Papamust know of it,’ she said. ‘He will talk some sense into you. You must tell him of it. If you don’t, I will.’

But Papa took it better than Mama had hoped. Like her, he warned me of the dangers. But ‘love is love’, he said.

Mama began to cry then. ‘Look at this skin,’ she said, stretching out her hands to me. She grabbed my hand and placed it on her arm. ‘Feel it,’ she said. ‘Do you know what it means?’ she asked, but did not wait for my response. ‘I’m growing old,’ she said. ‘Won’t you stop being stubborn and take a husband, give up that silly thing with that Gloria friend of yours, bear me a grandchild before I’m dead and gone?’

‘People have a way of allowing themselves to get lost in America,’ Mama said when I told her that Gloria would be going. Did I remember Chinedu Okonkwo’s daughter who went abroad to study medicine and never came back? I nodded. I did remember. And Obiageli Ojukwu’s sister who married that button-nosed American and left with him so many years ago? Did I remember that she promised to come back home to raise her children? Now the children were grown, and still no sight of them. ‘But it’s a good thing in this case,’ Mama said smugly. She was sitting on a stool in the veranda, fanning herself with a plantain leaf . Gloria and I had been together for two years by then, the two years since Mama walked in on us. In that time, Gloria had written many more articles on education policies, audacious criticisms of our government, suggesting more effective methods of standardizing the system, suggesting that those in control of government affairs needed to better educate themselves. More and more of her articles were being published in local and national newspapers, the Tribune, Punch, the National Mirror and such.

Universities all over the country began to invite her to give lectures on public policies and education strategy. Soon she was getting invited to conferences and lectures abroad. And before long, she was offered that post in America, in that place where water formed a cold, feather-like substance called snow, which fell leisurely from the sky in winter. Pretty, like white lace.

‘I thought her goal was to make Nigeria better, to improve Nigeria’s education system,’ Papa said.

‘Of course,’ Mama replied. ‘But, like I said, America has a way of stealing all our good ones from us. When America calls, they go. And more times than not, they stay.’

Papa shook his head. I rolled my eyes.

‘Perhaps she’s only leaving to escape scandal,’ Mama said.

‘What scandal?’ I asked.

‘You know. That thing between you two.’

‘That thing is private, Mama,’ I said. ‘It is between us two, as you say. And we work hard to keep it that way.’

‘What do her parents say?’ Mama asked.

‘Nothing.’ It was true. She’d have been a fool to let them know. They were quite unlike Mama and Papa. They went to church four days out of the week. They lived the words of the Bible as literally as they could. Not like Mama and Papa, who were that rare sort of Nigerian Christian, who had a faint, shadowy sort of respect for the Bible, the kind of faith that required no works.

‘With a man and a woman, there would not be any need for so much privacy,’ Mama said that day. ‘Anyway, it all works out for the best.’ She paused to wipe with her palms the sweat that was forming on her forehead. ‘I’m not getting any younger,’ she continued. ‘And I even have the names picked out!’

‘What names?’ I asked.

‘For a boy, Arinze. For a girl, Nkechi. Pretty names.’

‘Mama!’ I said, shaking my head at her.

‘Perhaps now you’ll be more inclined to take a husband,’ she said. ‘Why waste such lovely names?’

The first year she was gone, we spoke on the phone at least once a week, but the line was filled with static and there were empty spots in the reception, blank spaces into which our voices faded. I felt the distance then.

Still Gloria continued to call, and we took turns re -constructing the dropped bits of conversation, stubbornly reinserting them into the line, stubbornly resisting the emptiness.

The end of that first year, she came back for a visit. She was still the same Gloria, but her skin had turned paler and she had put on a bit of weight.

‘You’re turning white,’ I teased.

 ‘It’s the magic of America,’ she teased back. And then she laughed. ‘It’s no magic at all,’ she said. ‘Just lack of sunlight. Lotsof sitting at the desk, writing, and planning.’

It made sense. Perhaps she was right. But it was the general consensus in Port Harcourt (and I imagine in most of Nigeria)that things were better in America. I was convinced of it. I

heard it in the way her voice was even softer than before. I saw it in the relaxed looks on the faces of the people in the pictures she brought. Pictures of beautiful landscapes, clean places, not littered at all with cans and wrappers like our roads. Snow, white and soft, like clouds having somehow descended on land. Pictures of huge department stores in which everything seemed to sparkle. Pictures in which cars and buildings shone, where even the skin of fruit glistened.

By the time her visit was over, we had decided that I would try to join her in America, that I would see about getting a visa. If not to be able to work there, then at least to study and earn an American degree. Because, though she intended eventually to come back to Nigeria, there was no telling how long she would end up staying in America. The best thing for now was that I try to join her there.

Excerpted from Happiness, Like Water by Chinelo Okparanta, published in August by Mariner Books. Copyright © 2013 by Chinelo Okparanta. All rights reserved.

Ten Questions for Yanyi

3.1.22

This week’s installment of Ten Questions features Yanyi, whose second poetry collection, Dream of the Divided Field, is out today from One World. Many of the poems in Dream of the Divided Field concern a separation of lovers, and the poet’s use of the second-person singular implicates the reader: “We get to the room and I’m dared / to agree: you’re the monster. / I neither lie nor tell the truth / for both of us.” Throughout the collection, Yanyi remains this attuned to relational dynamics, and troubles the reader’s expectations. In a Caesarean section, is it the doctor or the newborn that cuts the mother open? “My mother has a long scar from where I, or they, cut her.” Written with great tenderness and intimacy, Dream of the Divided Field reveals what we do (and do not) owe to others, and what we owe to ourselves. “Here is a book of the body, a book like no other,” writes Ilya Kaminsky. “Yanyi is a terrific poet, one who’s written for us a book to read when we wake in the middle of the night and need a voice that is filled with longing, truth, and delight of being, despite all the painful odds.” Yanyi is a writer and critic. He is the author of The Year of Blue Water, which won the 2018 Yale Series of Younger Poets Prize. His work has also been featured in Tin House, Granta, and A Public Space, and at the New York Public Library. The recipient of fellowships from the Asian American Writers’ Workshop and Poets House, he is the poetry editor of Foundry and gives creative advice at the Reading.

1. How long did it take you to write Dream of the Divided Field?
Active work on the book was between 2019 and 2021. The composting scraps, though, came mostly in 2018. For half of 2019 I plowed forward with an idea of a book without the book. Then summer came and there was a lightning moment, a moment when the cup overflowed.

2. What was the most challenging thing about writing the book?
It being my second. There is a strange tension between fear and hubris. Fear of never publishing again—the Yale Younger Poets curse—and fear of running out of money and therefore running out of time. Hubris because having written one book, I thought I knew the way for another. What I wrote, how it was ordered, how I edited it—this book was completely different. I had to fumble through again. My comfort is in how that is the same.

3. Where, when, and how often do you write?
I have an office and I like to write in the early morning. But reality rarely follows intention. I still write almost anywhere, often on my phone or a notebook, chasing dreams or the dog. But in the office I will write in a word processor. Recently, in Adobe Garamond.

4. What are you reading right now?
The Complete Adventures of the Borrowers by Mary Norton and, intermittently, a translation of the I Ching.

5. Which author, in your opinion, deserves wider recognition?
A few years ago I would have said Linda Gregg, but I feel as though she has been receiving exactly that. Linda Gregg led me to Laura Ulewicz, whose work is not currently in print, a fate that comes to many deserving writers for systemic reasons. Kazim Ali, who innovates hybrid forms from book to prolific book. I also love Agha Shahid Ali, a poet whose work challenges, eludes, and inspires me in lyric and epic ways. I would also say any work in translation, which makes up only 3 percent of all publications in the United States.

6. What is one thing you might change about the writing community or publishing industry?
Sustainable instead of survivable wages for the stewards of the arts—the program coordinators, the teachers, the editors, the publicists, the booksellers, the critics, the librarians—the people who bring this work into their communities, without whom these poems would remain private words on the page.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
The first draft of this manuscript elegized a relationship. But then my editor, Nicole Counts, helped me find how it was also about homes, which helped me understand how it was about me—the book within the book. I learned that every book I write is about me, no matter what I think about it.

8. How did you know when the book was finished?
When I can read it straight through without reaching for my pen. This is a fleeting window: As I change, what I want from my writing changes. So the other part of finishing is to let it finish.

9. Who is your most trusted reader of your work and why?
I rarely show single poems to others any longer. I know they are still cooking, so why serve the cake raw in the middle? I have a small group of friends who I turn to for full manuscripts. I will name one as an example, the Canadian writer Emma Healey, whose first book of essays comes out in April. I love Emma’s heart, her matrixed and tender intellect, and that we met in high school before any of this book business.

10. What’s the best piece of writing advice you’ve ever heard?
I think often of Toni Morrison saying that racism is a distraction. Evil is determined to convince me my life cannot be mine. It applies to so much else.

Yanyi, author of Dream of the Divided Field

Ten Questions for Jane Pek

2.22.22

This week’s installment of Ten Questions features Jane Pek, whose debut novel, The Verifiers, is out today from Vintage. As an ardent fan of mystery novels, Claudia Lin is almost too invested in her work at Veracity, a company that offers discreet investigative services to people using online-dating platforms. One day a client is reported to be found dead, and while Claudia’s superiors believe this is none of Veracity’s business, she secretly begins to explore the case. Through Claudia’s perceptive and entertaining narration, The Verifiers underscores the pitfalls and absurdities of modern technology. The novel is also an intimate portrait of a young, queer Chinese American person forging her own path. “A clever and thought-provoking mystery laced with wit and insights about technology and relationships, who we are and who we pretend to be,” writes Charles Yu. “Smart, twisty fun.” Jane Pek was born and grew up in Singapore. She holds a BA from Yale, a JD from New York University, and an MFA in fiction from Brooklyn College. Her short fiction has appeared in the Brooklyn Review, Conjunctions, Witness, and twice in Best American Short Stories. She lives in New York City, where she works as a lawyer at a global investment company.

1. How long did it take you to write The Verifiers?
A very long time…. I came up with the original premise for the book seven or eight years ago at this point. I worked on various versions of it during my MFA, got so far as to start submitting to agents—and then realized the book wasn’t ready and spent nine months overhauling it before going out to agents again. From there it took another year of revisions before I sold the book, and then several more months of editing.

2. What is the earliest memory that you associate with the book?
I was living in Singapore for a year in between my job at a law firm in New York City and starting my MFA. While sitting on a bus and staring out the window, the thought came to me: What if there was an agency that verified people’s online-dating personas? I had recently heard a BBC Radio segment about wedding detectives in India who would be hired when a couple got engaged—typically by the parents of one or even both sides—to check up on the prospective bride/groom and their family. I thought it’d be interesting to apply that concept in the online-dating context.

3. What was the most challenging thing about writing the book?
Tying things up. Given that I was playing with tropes of the murder mystery, it felt essential to resolve the question of how the crime was committed, by who, and why—and how my protagonist Claudia Lin figures it out—in a way that was both surprising and satisfying, while keeping within certain parameters I set. That took a lot of head banging against figurative walls.

4. Where, when, and how often do you write?
I write at my desk in my room. I’m not a coffee-shop writer, mainly because I’m constantly eating as I write, so I need a kitchen close by. When my partner sees me in the kitchen, I tell her that I’m still working because I’m thinking about my writing as I prepare my food. I write best in the mornings, but I try to squeeze in a bit of work in the afternoons and evenings as well. And I write every day.

5. What are you reading right now?
I’m always halfway through a number of books. Right now: Visitors by Anita Brookner, which I picked up because I was interested to read something about aging and what it’s like to grow old; Last Tang Standing by Lauren Ho, a hilarious debut rom-com by a fellow Southeast Asian writer; The Life and Death of Sophie Stark by Anna North, which does such an amazing job of pinpointing those moments when a person’s interior world changes; and The Sports Gene by David Epstein, which looks at the science behind extraordinary athletic performance.

6. Which author, in your opinion, deserves wider recognition?
Rosalie Knecht—I loved her coming-of-age spy novel Who Is Vera Kelly? and I’m so excited that it’s now a trilogy.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
They have both said many insightful things in the course of this process. To pull one out: As we moved closer to publication, my agent, Julie Barer, told me that I should think about what is important to me, in terms of what happens with this book once it is out in the world. I hold on to that because there are so many books coming out all the time, and so many different indicia of external success and validation, and it can be easy to feel overwhelmed.

8. What is one thing that surprised you during the writing of The Verifiers?
How long it takes to publish a book! My day job is in law, and there everyone always wants everything done ASAP—an acronym I have come to revile. It’s refreshing, if also sometimes frustrating, that writing and publishing a book, from start to finish, is typically a multiyear journey.

9. Who is your most trusted reader of your work and why?
My partner, Angela, because I know that if she doesn’t like something or thinks it doesn’t work, she will tell it to me straight.

10. What’s the best piece of writing advice you’ve ever heard?
Again there are so many. But one that I use as a guidepost in everything I write is that plot should follow character, versus character following plot.

Jane Pek, author of The Verifiers. (Credit: Angela Yuan)

Ten Questions for Angel Dominguez

2.15.22

This week’s installment of Ten Questions features Angel Dominguez, whose epistolary poetry collection, Desgraciado (the collected letters), is out today from Nightboat Books. In the letters that comprise Desgraciado, Dominguez, who is of Yucatec Maya descent, speaks back to Diego de Landa, the sixteenth-century colonizer who nearly eradicated the written Maya language. It is not an easy task to conjure the dead: “It’s always this approximation that lacks a temperament,” writes Dominguez. “You lack a temperature. You lack a sense of woe. Sometimes, I fold you up into an idea. Sometimes, I let myself eat what’s left of you.” But the poet persists, and with each letter and repetition of “Dear Diego,” they refuse to let their voice go unrecognized. They challenge the dead man, but they also find their own “organs in the rubble.” They offer evidence of themselves and all the nuances of the legacy of colonialism. “Angelito’s letters to the pinche colonizer are portals, cenotes on the page that open up a profundo space in this Western void that allows our brown skin movement and luz and gives us answers to preguntas we have not been allowed to ask,” writes Josiah Luis Alderete. Angel Dominguez was born in Hollywood and raised in Van Nuys, California, by their immigrant family. They’re the author of ROSESUNWATER (Operating System, 2021) and Black Lavender Milk (Timeless Infinite Light, 2015). Angel earned a BA from the University of California in Santa Cruz and an MFA from the Jack Kerouac School of Disembodied Poetics at Naropa University.

1. How long did it take you to write Desgraciado?
This project first started back in the summer of 2014 during the fabled Summer Writing Program hosted by the Jack Kerouac School of Disembodied Poetics. I was fortunate enough to be taking a workshop with Farid Matuk and Susan Briante. That class opened me up to a lot of things that continue to open me and my work in unexpected ways. Farid gave us a prompt that was something like, “Write a love letter to your worst enemy,” and I could not think of a worse enemy than Diego de Landa. And so that first letter was written then and there: June 6, 2014, in Boulder, Colorado. The last letters/pieces, including the first line of the book, were written when we were down to the wire with proofs and edits in fall 2021. So all things told this book took seven years and some change to get to where it is now. Between the first and the last letters lives a whole other lifetime of the project existing as a chapbook with Econo Textual Objects, and there were countless fragments, files, and even whole notebooks lost to being alive. That’s what makes this book the collected letters.

2. What was the most challenging thing about writing the book?
I think among the most challenging things about writing this book was reckoning with what it means to be honest, not only as a poet and writer, but what it means to be honest as a human being living in the world. Determining how to best communicate the vast interconnected experiences of the interior. How do you reconcile hundreds of years of atrocities? How do you reconcile the constant colonization or neocolonization of the mind? How do you navigate a life in opposition to and in spite of systemic racism, with poetry? I don’t know. I think in all honesty the most challenging thing about writing this book was realizing that I was fighting a fight I could not win with poetry. Decolonization is a verb. An ongoing process and not an imaginary destination.

3. Where, when, and how often do you write?
I used to think I needed idealistic conditions—the right space, pen, notebook, and so on—in order to write, and it was really in the writing of this book that I realized writing happens all the time, it’s just a matter of capturing the thing. I write anywhere/anywhen I can. I once took this practicum with Harryette Mullen over a snowy weekend in Colorado. She said, “Give yourself permission to write,” and that’s exactly what I’ve been trying to do from that day on. Writing wherever the writing occurs. I’m always listening to wherever poetry/writing comes from, trying to catch whatever rogue language it might speak/sing or otherwise bring through to me. I think it also needs to be said that time spent thinking is time spent writing. Thinking is writing. In that way I’m always writing—it’s all part of the “project” whatever that might be in the moment of thought. It’s all attending to the cultivation of one’s own craft. That all being said, I’ll write wherever the writing arrives, whether at a table, desk, or on the road. But I recommend using a voice memo or pulling over; I do not recommend scribbling the thing while driving. I’ll write with whatever’s at hand, be it a notes app, notebook, receipt. The importance lies in capturing the immediacy of the thing. These days the writing has slowed down a bit, mutated into essays—like “A Backyard Funeral Afterparty para Latinidad” published by Open Space SFMOMA last fall—and little and not so little poems, stories, and dreams of other projects.

4. What are you reading right now?
Recently I’ve been reading Blood on the Fog by Tongo Eisen-Martin, The Dawning of the Apocalypse: The Roots of Slavery, White Supremacy, Settler Colonialism, and Capitalism in the Long Sixteenth Century by Gerald Horne, a book on the Caste War of the Yucatán by Nelson A. Reed, and Kit Schluter’s new translation of Rafael Bernal’s ecofiction His Name Was Death. I’m also really excited about Raquel Salas Rivera’s new book, antes que isla es volcán / before island is volcano, and Tatiana Luboviski-Acosta’s La Movida.

5. Which author, in your opinion, deserves wider recognition?
There are far too many to name all at once. The names that immediately come to mind are: Jzl Jmz (fka Jayy Dodd), Francisco X. Alarcón, Joey De Jesus, Wanda Coleman, and one name that sticks out in my mind is Ronaldo V. Wilson, who is criminally under-celebrated/recognized for his contributions to poetry, writing, and art making at large. His two most recent works, Carmelina: Figures and Virgil Kills, are truly stunning and I hope they bring Ronaldo the flowers he deserves.

6. What is the biggest impediment to your writing life?
Capitalism! Which also happens to be the biggest impediment to everyone’s life. The systems and structures of power that prop up capitalism value these imaginary notions of capital and currency above human life, and that alone is impediment enough. The “Dow Jones” doesn’t have a pulse. People do. It’s like they think we’ll forget that if only we have enough distractions.

7. What trait do you most value in your editor (or agent)?
I don’t have an agent at this time, so I’ll answer for what I value most in an editor: honesty, clear communication, and trust. Those three things all feel like the same thing to me, and I’ve been very fortunate to work with a number of absolutely stunning editors whose clarity and questions have helped my work grow in ways I wouldn’t have been able to make it grow myself. It has to be said: The first real editor of this work was Raquel Gutiérrez, whose editorial eye and kinship pushed Desgraciado to be a polished Obsidian Mirror and become a chapbook. In working on the final manuscript with Nightboat, I got to work with Andrea Abi-Karam, who pushed the book further toward becoming a reality, asking the tough questions and bringing in the importance of the overall energetic wavelength of the book, its shape, and flow.

8. How did you know when the book was finished?
They had to take it away from me! In all seriousness, it was when I was on a Zoom call with Kit Schluter, who designed the book and worked tirelessly with me and the Nightboat team to bring together the cover you see today. I’d worked forever on this collage that appears on the cover, and when Kit sent over the proofs of the current cover, I just knew. This is it. This is the book.

9. Who is your most trusted reader of your work and why?
There are a few names that immediately come to mind, each with their own reasons for being a most trusted reader. My partner, Hannah Kezema, is a brilliant artist-writer and an obsidian-sharp editor—someone whose eye and ear I trust to tell me if something is actually garbage or worth salvaging. I also keep a close circle of artist-writer friends with whom I’ll check in about new work or work that’s going to print. I’m forever indebted to my Kin: Daniel Talamantes, Tatiana Luboviski-Acosta, Raquel Salas Rivera—who wrote the brilliant foreword for Desgraciado—Erick Sáenz, Domingo Canizales III, and MJ Malpiedi for always being so generous with their time and energy when it comes to reading/reviewing my work. I would be nothing without my Kin.

10. What’s the best piece of writing advice you’ve ever heard?
It feels really cheesy to say this, but my high school English teacher Mr. Peter Chase once told me, “Write what you know,” and I’ve been trying to ever since.

Angel Dominguez, author of Desgraciado (the collected letters). (Credit: Kit Schluter)

Ten Questions for Sarah Manguso

2.8.22

This week’s installment of Ten Questions features Sarah Manguso, whose first novel, Very Cold People, is out today from Hogarth. The setting of Very Cold People, Waitsfield, Massachusetts, is cold in both the literal and metaphorical senses. Heavy snow blankets the streets in winter, but the town is cloaked in loneliness and secrecy year-round. Coming of age in this environment, the young narrator, Ruthie, lives in a dissociated state: “I spent those days feeling half-there, not quite committed to that life.” But she is nevertheless watchful, and through her eyes the reader is introduced to the nuanced class dynamics and legacy of violence in Waitsfield, and by extension, the many towns like Waitsfield in America. “Very Cold People knocked me to my knees,” writes Lauren Groff. “So precise, so austere, so elegant, this story is devastatingly familiar to those of us who know the loneliness of growing up in a place of extreme emotional restraint.” Sarah Manguso is the author of eight books. Her previous book, 300 Arguments (Graywolf Press, 2017), was named a best book of the year by more than twenty publications. She is the recipient of a Guggenheim Fellowship, a Hodder Fellowship, and the Rome Prize. Her writing has also appeared in the New York Times Magazine, the New Yorker, and O, the Oprah Magazine, among other publications. She grew up in Massachusetts and lives in Los Angeles.

1. How long did it take you to write Very Cold People?
In 2015 I sent an e-mail to my agent that read, “I might be writing a novel.” I was testing myself, seeing if I could actually say that to someone. But I’d been wondering how to exorcise Massachusetts from myself for more than thirty years. Very Cold People finally did it.

2. What was the most challenging thing about writing the book?
Leaving aside my received ideas about what a novel was. I knew the Massachusetts book had to be a novel, but I hadn’t begun writing any of my other books with any fixed ideas about their form. And of course the novel is not a form! It is a name for a very large number of possible forms. But for a long time I was terrified that knowingly writing a novel would trick me into producing a boring novel, the average of all existing novels. I got over the fear of writing an average novel only by writing slowly through that dumb fear until the book was done. As soon as I finished it the fear dissipated, and I immediately started writing another novel.

3. Where, when, and how often do you write?
Wherever, whenever, and as much as possible. Until recently writing was a mostly interstitial activity for me; paid work and parenting and household management and illnesses took up most of my time, and those activities didn’t leave long stretches of time to write. But I was almost always thinking about writing, and I integrated the other parts of my life, as much as I could, into the writing. And I still do that.

4. What are you reading right now?
Samantha Hunt’s forthcoming The Unwritten Book: An Investigation.

5. Which author, in your opinion, deserves wider recognition?
I immediately freeze when asked to pluck a single name out of the panoply. American writers ought to read more work in translation, and Katie Kitamura has listed some excellent English-language publishers of translated work in her own Ten Questions interview. There are also plenty of English-language writers who are underrecognized. The way to find them is simple: Read small-press books. If you are able, go to independent bookstores, used-book emporia, book swaps, and library sales and browse the physical shelves. Don’t let an algorithm tell you what to read. Disobey the algorithm.

6. What is the biggest impediment to your writing life?
At the risk of sounding coy, I’ll say that the biggest impediment to my writing life was recently removed from my life. I currently feel unimpeded.

7. Would you recommend writers pursue an MFA?
There are so many kinds of writers with all sorts of lives! I prefer to tailor advice to the individual, when asked. And there are so many different sorts of MFA programs now. But I don’t think an MFA is strictly necessary or sufficient.

8. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
That the anchor story, the main relationship depicted in the book, was between the narrator and her abusive mother. As soon as my editor said that, I realized it was true, and had been true all along.

9. Who is your most trusted reader of your work and why?
Sheila Heti, who vigorously corrects my course when I stop writing like myself and start pandering to some imagined general audience. She lives on another planet where artists don’t worry constantly about money. The name of that planet is Canada.

10. What’s the best piece of writing advice you’ve ever heard?
This isn’t exactly advice, but during the first semester of my poetry MFA, I confessed to my teacher Jorie Graham that I’d started writing short prose pieces and couldn’t stop and wasn’t writing poems anymore. I was disappointed in myself and felt that I was letting everyone down—my teacher, the program, and the foundation that was paying for me to become a poet. Jorie said, “So?” That one-word response gave me permission to write whatever I wanted to write for the rest of my life.

Sarah Manguso, author of Very Cold People.

Ten Questions for Lan Samantha Chang

2.1.22

This week’s installment of Ten Questions features Lan Samantha Chang, whose third novel, The Family Chao, is out today from W. W. Norton. Written as a homage to The Brothers Karamazov by Fyodor Dostoevsky, The Family Chao is a philosophical murder mystery with richly imagined characters. At the heart of Chang’s telling are the three brothers James, Ming, and William (also known as Dagou, meaning, big dog). Each has a distinct personality and relationship to their tempestuous father, Leo, and each comes under scrutiny after their father is found dead. Set in and around the family’s Chinese restaurant in Haven, Wisconsin, the novel dramatizes the unique fault lines of immigrant family life. “Devastating and searing, laugh-out-loud funny and profound, Chang’s latest novel is infused with beautiful, evocative writing that will quicken your heart and mind,” writes Jean Kwok. “A masterpiece.” Lan Samantha Chang is the author of two previous novels, Inheritance and All Is Forgotten, Nothing Is Lost, as well as the collection Hunger. A recent Berlin Prize Fellow, she has also received grants from the National Endowment for the Arts and the John Simon Guggenheim Foundation. Chang is the director of the Iowa Writers’ Workshop and lives in Iowa City.

1. How long did it take you to write The Family Chao?
The earliest sentences in the novel were written more than fifteen years ago, in 2005 or 2006. After one hundred pages I could tell I’d started a book with multiple perspectives. I put the project aside after I moved to Iowa. Between my job and becoming a parent, I didn’t have time to tackle anything complicated. When I took it up again around 2013, I realized that the book would be an homage to The Brothers Karamazov. I dumped almost all of the early work and started over.

2. What is the earliest memory that you associate with the book?
Here is the seed from my writing log: “The story takes place in one night: It is a huge dinner party.” The idea of a dinner party raised many questions for me. Whose party was it? What happened at the party? And what did everybody eat? It was a wonderful, loaded situation.

3. What was the most challenging thing about writing the book?
There were two big challenges to writing The Family Chao: First and foremost, The Brothers Karamazov is a towering masterpiece of world literature. The very idea of writing an homage to that book was daunting, and it took me more than a year to put aside my fear of attempting it. Second, it was a challenge to find time to write. During the academic year I had to carve out half an hour here, an hour there.

4. Where, when, and how often do you write?
I lived alone for the first fifteen years of my writing life. I married at thirty-nine, and at forty-two I found myself living in Iowa with a husband and daughter, working full-time running a program of almost a hundred highly gifted graduate students. I had to get away in order to dig into the novel. For six years I went to residencies twice a year. At the residencies I would write in bed, sometimes waiting long days and evenings until the real world quieted down and words came to me. My husband is a visual artist, and he understood. When I came home from one of these super-infusions of creative time, I would work for maybe an hour a day until the next residency.

5. What are you reading right now?
I’m rereading The Brothers Karamazov. While writing my novel I couldn’t look at it for five years; it would have been impossible to sit with my own frail project in the face of that masterpiece. Now that my book is coming out, I get to enjoy Dostoevsky again.

6. Which author, in your opinion, deserves wider recognition?
Hundreds of them. Every year good books fail to get attention while the world focuses on only a few. But since you asked, the late James Alan McPherson deserves many more readers. He was one of the most brilliant and least self-promoting writers I’ve ever met.

7. What is the biggest impediment to your writing life?
My job as director of the Iowa Writers’ Workshop is both an inspiration and an impediment to getting my own work done. The Workshop is a very special community of highly gifted emerging writers, and it’s inspiring to read their fiction and to get to know them. I work with assistant director Aleksandra Khmelnik, and it’s our job to try to protect their time and space from a world of academic bureaucracy and financial stress, to provide support so that they can get work done. It’s hard to write when so many people are depending on you to make it possible for them to write.

8. If you could go back in time and talk to the earlier you, before you started The Family Chao, what would you say?
“You will be very surprised at how much you will change and grow during the writing of this project. You are going to find yourself moving in directions you never thought possible. Just enjoy the process. It’s going to work out.”

9. Who is your most trusted reader of your work and why?
I eventually relied on a number of friends to help me with this novel. After nine drafts on my own, I sent it to two writer friends. They had entirely different reactions. What this taught me was that the ninth draft was neither one thing nor another. I had to move it in a definitive direction before it could come into itself. After two more drafts I sent it to several other friends. One helped me think about the community perspective; another brilliantly suggested ways to make the story even closer to the bone. A number of issues came up in our conversations. For example, how could I balance the different points of view? How to include perspectives of the female characters in a novel about brothers? Ultimately I had to figure out the answers myself, but I might never have defined the problems if I hadn’t shown the novel to others. For example, a former student explained to me that most young people don’t use the expression “make love” anymore. This led me to consider how fiction has evolved since I started writing. I’m beyond grateful to everyone for reading the book.

10. What’s the best piece of writing advice you’ve heard?
Lately my husband and I have been watching Get Back, Peter Jackson’s eight-hour documentary reworking of the material used for the film Let It Be. The documentary follows the Beatles through a couple of weeks as they come up with new material for a performance—and the album Let It Be. There is something so inspiring about seeing this process. The members of the band come in to work every morning. They spend hours—days, weeks—messing around, playing other peoples’ songs, arguing, trying out riffs or lyrics, patiently waiting for new ideas to come to them. There’s something amazing about watching music you love being created through experimentation. Sometimes an iconic progression springs full-blown as if from nowhere, and you realize that it wouldn’t have been possible without all of the hours spent trying things out. It’s a cliché, but I suppose the best advice I’ve heard would be, “Just keep trying.”

Lan Samantha Chang, author of The Family Chao. (Credit: IfeOluwa Nihinlola)

Ten Questions for Tochi Onyebuchi

1.25.22

This week’s installment of Ten Questions features Tochi Onyebuchi, whose latest novel, Goliath, is out today from Tordotcom. In the world of Goliath, humans are more segregated than ever. The most privileged have absconded to space colonies, while those who remain on earth suffer from the fallout of climate change and at the hands of “cyberized” police. In one scene on earth, a group of laborers look on as a friend is evicted by a “large metal sphere with arms like a spider.” Up in the colonies, a space-dweller named Jonathan convinces his lover, David, to move down to New Haven. “We’ll be like the pilgrims,” he says. With these contrasting worlds and a large cast of characters, Goliath offers a new staging of urgent issues of race and class. “Onyebuchi sets fire to the boundary between fiction and reality, and brings a crumbling city and an all too plausible future to vibrant life,” writes Leigh Bardugo. “Riveting, disturbing, and rendered in masterful detail.” Tochi Onyebuchi is also the author of the Beasts Made of Night series and War Girls series. His novella, Riot Baby, was a finalist for a Hugo, a Nebula, a Locus, an Ignyte, and an NAACP Image Award, and won the New England Book Award for Fiction and an American Library Association Alex Award. Among his degrees, he holds a BA from Yale and an MFA in screenwriting from the Tisch School for the Arts.

1. How long did it take you to write Goliath?
The short story that served as its seed was written in the summer of 2013. No one wanted to buy it, so I let it sit for some time while working on other things. But I realized that the world and the characters had more to say and do than could be captured in a single short, so around the end of 2014 I returned to it and began writing some of the scenes that would become the “SUMMER” section of the book. I worked on it periodically since then.

2. What was the most challenging thing about writing the book?
I knew the scope I wanted it to have. Inspired by books like Neel Mukherjee’s The Lives of Others and A Brief History of Seven Killings by Marlon James, I knew I wanted it to be a big book, physically and emotionally, but I didn’t know what that meant. I didn’t have the translation software to know what “big” would turn these characters and this setting and this narrative into. So much of the writing process was figuring that out.

3. Where, when, and how often do you write?
Anywhere, all the time. Or, rather, whenever I’m not answering e-mails, which is an increasingly small amount of time. I used to write whenever—between classes, after finishing homework, during train commutes, and so on—back when the administrative work of “being a writer” didn’t overly intrude on the act of writing. But now I’m much more subject to the vagaries of “time-sensitive” e-mails, which means the “write when I can” has taken different shape. All of which is to say that there’s no rhythm or routine to my writing. I do it because I love it, which means I don’t need to be self-cajoled or self-bullied into doing it. I can’t avoid writing, not just because it pays my bills, but because it’s the thing I love to do more than anything in the world. It’s compulsion. It’d be easier for me to stop talking than to stop writing.

4. What are you reading right now?
I’m doing some work-related reading that I can’t quite talk about, but next in my queue is Hanya Yanagihara’s A Little Life. I’ve wanted to get to it ever since I first picked it up in 2016, but events conspired against me. I recently finished Mason & Dixon by Thomas Pynchon and found myself surprised by the humanity thrumming underneath the literary pyrotechnics and the kinda math-metal post-modernism of the text. Definitely more accessible than Gravity’s Rainbow.

5. Which author, in your opinion, deserves wider recognition?
John Crowley. Which is maybe weird because he’s very much a revered figure for certain few generations of science fiction and fantasy writers. To be honest I think a lot of my picks might fall prey to that dynamic of being acclaimed in SFF, but poorly known outside of it. Crowley completely demolishes what may be a lingering prejudice against SFF: that the genre prioritizes plot over prose, that you can’t find some of the most beautiful sentences in the English language there.

6. Would you recommend writers pursue an MFA?
Ah, the MFA Question. I loved my MFA program but for reasons that were specific to the program and that make me realize my MFA experience was, in many ways, a unicorn experience and not at all what appears to be the norm. My background is prose; I’d been writing it since I was maybe eight or nine or ten. By the time I was MFA age, I knew how to write a book—a publishable book, in fact—even if I hadn’t sold one yet. But I wanted to know how to write for film. I wanted to know how to write for TV. And I didn’t want to spend a decade and a half figuring it out, so an MFA in dramatic writing was an accelerant for me. It helped, I think, that I received instruction in a thing I didn’t already know how to do—I’d written a few features and some TV stuff before, but I was like a kid kinda messing around on the piano, not able to read sheet music—as opposed to something I was pretty sure I could do at a more-than-competent level. Another component was that my class was extraordinary. I had titanically brilliant writers for classmates, writers who’ve gone on to write for shows like Vida and The Underground Railroad. One classmate, in fact, wrote the script for Halle Berry’s directorial debut, Bruised. What served as foundation for our experience was the abundant love we had for each other. It was nothing but support in those workshops. We cheered each other in class, praised each other, celebrated each other, even as we pushed each other to improve. I’ve since discovered that a lot of MFA programs are not like that, and that even our year in that program was unique. But I wouldn’t trade that experience for the world. There’s a lot of writing stuff you can learn for free. I think the utility of a program can come from doing one in a field you’re unfamiliar with, where it can feel like you’re actually learning something new as opposed to being told what to do differently in a field you may already know. It’s easier to get pride out of the way for me that way.

7. What trait do you most value in your editor (or agent)?
The ability to meet the story where it lives. Folks in those positions sometimes submit to the temptation to turn a client’s story into what they think it should be. But I think part of having real vision and talent in those positions is seeing in the story the best possible version of itself and having your tuning fork ring at the same frequency as the writer’s. I don’t think it’s the writer’s job to worry about marketability or about audience or about all the externalities that can determine or thwart a book’s success. That’s the ambit of publicity and marketing departments. The goal of the editor-agent dyad, I think, is to make the author’s book its most actualized self.

8. If you could go back in time and talk to the earlier you, before you started Goliath, what would you say?
I don’t know that I’d say anything. Novikov self-consistency principle notwithstanding, I’m still too frightened of potentially altering that boy’s course. So I’d just watch and smile.

9. What, if anything, will you miss most about working on the book?
Working on a book at all. Returning to the distinction between writing and being a writer, there’s a period after a book is written where processes attendant to publication begin to take over. Promo work begins, maybe adaptation talk ramps up, an ecosystem grows around the thing. As lovely as all that is and as blessed as I feel being able to live in those spaces, it’s not writing. The thing I’ll miss most about working on this book is working on a book, period. I take consolation in the fact, however, that there is more writing on the horizon.

10. What’s the best piece of writing advice you’ve ever heard?
“Fail brilliantly.” I think I got that from Elizabeth Bear, but I may be misattributing it. But that’s gotta be it. Felt like I was being given permission to do the dangerous thing, the weird or unconventional thing, the thing I wasn’t quite sure I could pull off. Writing at the edges of my abilities thrills and terrifies me, and it’s in those moments that I feel most connected to whatever higher state or power this writing thing puts me in communion with. The advice isn’t just to do the dangerous thing, it’s to put all of your ability, your wisdom, your knowledge of the craft, your experience, all of that into the effort. Stretch yourself as far as possible. Who cares that you didn’t get the moon if you come back with a fistful of stars?

Tochi Onyebuchi, author of Goliath. (Credit: Christina Orlando)

Ten Questions for Weike Wang

1.18.22

This week’s installment of Ten Questions features Weike Wang, whose second novel, Joan Is Okay, is out today from Random House. By her own account, Joan is not a creative or social person. An ICU doctor in New York City, she prefers numbers and the company of machines. “Machines can tell you things that the people attached to them can’t,” she says. Then a series of changes force her to confront her life anew: Her father dies, her mother travels from China for what is intended to be a temporary visit, a new neighbor moves in on her floor, and a crisis descends on New York City. As Joan navigates new and uncertain terrain, she offers up subtle, yet startling insights on work, family, and identity. “Unflinchingly, Joan Is Okay challenges some of our fundamental views on home, belonging, family,” writes Ha Jin. “A smart, quietly engaging novel that is also warm and moving.” Weike Wang is a graduate of Harvard University, where she earned her undergraduate degree in chemistry and her doctorate in public health. She received her MFA from Boston University. Her debut novel, Chemistry (Knopf, 2017), won the PEN/Hemingway Award, and Wang was selected as a 5 Under 35 honoree of the National Book Foundation. She lives in New York City.

1. How long did it take you to write Joan Is Okay?
In total about three years. Coming up with the idea, though, took about two, which I’m not including in the total because I was writing something else during that time, a failed novel about two friends. I kept getting stuck and discouraged. Then one of the friends began to interest me more and this character went on to become Joan, while the other character slowly morphed—and was trimmed down—into Joan’s neighbor.

2. What was the most challenging thing about writing the book?
There are two most challenging things to book writing in general, and Joan Is Okay was no exception.

1. Not knowing where you’re going in the middle and perpetually wondering if you should give up. Middle equals muddle—what Peter Ho Davies calls it in his fabulous book about revision, which I’ve just finished.
2. Working through the crazy inefficient process of writing and being asked, almost immediately upon bumping into someone I know and who knows I’m writing a book, “Hey, how’s that book going?”

For this book in particular, a challenging aspect was the incorporation of certain present-day events, without letting those events consume the story. But no spoilers here, so you will have to read and find out how I did it!

3. Where, when, and how often do you write?
I write at home, at my desk, on a desktop, surrounded by cups of fluids like coffee, hot water, sparkling water, and later in the day, wine. I prefer to write in the morning before anyone else is awake and when it’s still dim outside. Then throughout the day, while I’m working/teaching, I will jot down ideas for the next morning on a small white pad that I keep next to my keyboard. During the editing process of Joan Is Okay, I got up at 6 AM for many months to write. If I’m immersed in a project, I will write every day for as long as I can. For all housekeeping matters like buying more paper towels, dog food, and so on, my husband will try to catch me before I get to my desk. He says once I’m at my desk, I tend to disappear and not acknowledge him. I don’t disagree. I can’t write with anyone else in the room. I can’t write in new, exotic locales or in public locations. Which rules out libraries, coffee shops, artist communes, writing retreats in dilapidated castles—basically any place inspired writers are supposed to write. 

4. What are you reading right now?
I was reading The Art of Revision: The Last Word by Peter Ho Davies over the holiday break. It was recommended to me by a writer-friend, Linda Feng, and now I highly recommend it to you all. Davies studied physics in college so with that STEM similarity between us, I found his analytical approach to revision both reaffirming and insightful. The book is short but packed with craft wisdom that’s worthy of close study. Before that I’d—finally—finished As I Lay Dying. The previous times I’d tried to read that book, I embarrassingly never made it past page fifty. I wasn’t sure what Faulkner was trying to do, I wasn’t sure if he was trying to be funny—he was—so I would put the book down. Once I got over myself and finished the book, I knew I would never forget it. But this semester in particular I wasn’t able to read as I would’ve liked, beyond the occasional magazine short story. Because of how adjunct teaching works—you get work when you can and when you get it you feel obligated to accept—I had a three-class load plus a handful of graduate theses to advise. In total I was reading two to three hundred pages per week of student work. That much reading of nascent writing can slow a person down, can make her want to just zone out in front of a television or any white noise producing bright light.

5. Which author, in your opinion, deserves wider recognition?
Hard question. The writers whom I read and love are all fairly well known in the literary world. If I’m thinking fantastically, I suppose I would wish for literary fiction writers to see the same kind of wide recognition that more commercial writers do, like J.K Rowling. I only mention J.K Rowling because whenever I introduce the concept of creative writing to someone unfamiliar with it, they always ask or joke if I’m going to be the next J.K. Rowling. In the short span of a conversation, we might never move past J.K. Rowling. I’m either her or I’m not. And sometimes that can feel like an existential crisis, which I’m sure many aspiring literary fiction writers experience when faced with external confusion around their ambitions and questions like what is literary fiction and why is it important?  

6. Would you recommend writers pursue an MFA?
Yes, but at the right time. Don’t do it straight out of college. Don’t do it because you don’t know what else to do or as a way to tread water and escape “real life.” Do it because you’re deeply interested in pursuing a writing career, a teaching career, and can handle feedback, however critical. Do it because you’re ready to put in whatever it takes to improve as a writer and reader.  

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
During our many calls about Joan, and as we kept pushing back deadlines, my editor Robin Desser reminded me a few times, “Weike, you can only do a book once.” That’s an obvious point, but also an important one to remember. Publication is always desirable though not at the expense of quality or what’s best for the story.

8. What, if anything, will you miss most about working on the book?
I will miss thinking about Joan and her world every second of every day, even when I wasn’t writing, even when I didn’t want to think about her, even in my sleep. But I also won’t miss this so much—a character’s ability to usurp the writer’s entire mind, and to stay there for an unknown amount of time, maybe years, like an unwelcome guest who offers nothing, but also a guest I desperately wanted to please and get to know.

9. Who is your most trusted reader of your work and why?
My husband. He’s usually my first and last reader. How I function is anything I want him to read I paste directly into an e-mail with the subject line Please Read Now. Often, he does read it right away or within the hour because he knows I can panic and then delete too much. He is a very careful reader and helps me pinpoint what exactly I want to say. For Joan Is Okay, he’s had to read hundreds of my e-mails. Not so surprising, most of that novel was grammar-checked by Gmail, and I often found myself editing a scene I’d just sent my husband via e-mail, via another e-mail. My husband says living with a writer who has access to this type of technology is incredibly difficult. So, I try to make him look good when I can, like in this question.

10. What’s the best piece of writing advice you’ve ever heard?
No best, just a few, collected from generous teachers I’ve had along the way:

1. Trust the process.
2. You do just have to sit down and do it.
3. Don’t be afraid to knock down your house of cards, i.e. start over.

What I like to tell my students on the first day of class: I come from a research-centric background, and writing is a lot like research. In the beginning, what you don’t know greatly surpasses what you know, and while that can be daunting, it doesn’t stop true scientists from pushing forth and testing ideas. Similarly, a writer has to be willing to take risks and be uncomfortable for a long time, tinkering, fixing, rearranging in the dark, before a story starts to take shape.

Weike Wang, author of Joan Is Okay. (Credit: Amanda Peterson)

Ten Questions for Edgar Gomez

1.11.22

This week’s installment of Ten Questions features Edgar Gomez, whose debut memoir, High-Risk Homosexual, is out today from Soft Skull Press. In the first chapter of High-Risk Homosexual, Gomez recalls a trip to Nicaragua at thirteen in which their uncles attempted to curb their queerness and train them to be a man. But Gomez admits the mission was not one-sided: “What would always nag me, though, beyond anyone else’s complicity, is my own. As much as my family wanted me to be a man, I wanted it more.” Here and throughout the memoir, Gomez reckons with both the world and themselves, examining their memories and identities with unique tenderness and honesty. Back home in Florida, and later in California, they continue the difficult work of becoming. Always questioning and seeking, they model how to embrace and build a queer future. “High-Risk Homosexual is a keen and tender exploration of queer identity, masculinity, and belonging,” writes Laila Lalami. “Edgar Gomez writes with honesty and humor about the difficulty of straddling boundaries and the courage of finding oneself.” Edgar Gomez is a Florida-born writer with roots in Nicaragua and Puerto Rico. Their writing has appeared in numerous publications, including Longreads, Ploughshares, and the Rumpus. A graduate of the MFA program at the University of California in Riverside, they live in Queens, New York.

1. How long did it take you to write High-Risk Homosexual?
I worked on it off and on for around seven years, which sounds wild, but a lot of that time I wasn’t sure what I was doing, and I was still trying to figure out how to tell a story. When I started I didn’t know about things like plot, or characters having motivations, or stakes, or structure, or how to manage time, or really anything. It was a learning curve. One of the reasons it took so long is because those things weren’t discussed in many of the early nonfiction creative writing classes I took, which was a real disservice to me, because those are tools that every memoirist needs to know, not just novelists. Don’t get me wrong, we did have some useful conversations about ethics, about research and stuff like that. But that was all big picture. I needed to know what a scene was first. I was totally lost during many of those years.

2. What is the earliest memory that you associate with the book?
Oh god, this is something that I used to be super embarrassed of that now makes me proud. So when I say the book took around seven years, it’s because I’m counting a few chapters that I started writing while I was an undergrad. One of them is “Boy’s Club,” which is about a night I went to a gay bathhouse when I was twenty-one. I remember that at the time I wrote that story, I needed to come up with something for this creative nonfiction workshop I was in. I really wanted to go to that bathhouse, but I was too afraid and had a lot of shame around my queerness, so I sort of used the workshop as an excuse. In my mind, I was like, “Okay, I’ll get to see what it’s like there, but I’m going to treat this like it’s journalism.” That way, I’d get to go, and I’d also be able to pretend like it was just for the assignment and maybe that way my classmates wouldn’t judge me. Even so, I wasn’t that naïve. I knew some people in my class would still probably judge me. I knew they’d see through my little act. That’s what I’m proud of. That I did it anyway.

3. What was the most challenging thing about writing the book?
Figuring out my intended audience! Early on I wanted it to do too much for too many people. I was trying to satisfy my classmates in my workshops, all queer folk, all Nicaraguans, all Puerto Ricans, all Latinx folk, the publishing industry….There are so few queer, Central American memoirists. I felt this pressure to represent us all, and I also thought, “If this isn’t successful, when will another one of us get the chance?” Part of that is valid, but another is actually quite egotistical of me. I mean, I struggle enough representing myself. Once I realized that this book couldn’t be everything for everyone, that it was unreasonable to put the weight of the entire industry on myself, I was free.

4. Where, when, and how often do you write?
Wherever I can, whenever I can, and as often as I can. In the beginning I wrote a lot at Starbucks and cafés, because I still lived with my mom, or else in extremely loud environments and I found more peace there. That, or I was working several jobs and hardly ever home, so I treated them as little writing sanctuaries between shifts. For that reason, it bugs me when I hear people make fun of “Starbucks writers.” It’s like, okay? You have stability and a nurturing space to write? Is that not enough? Why do you have to come for people who don’t? That was where I wrote before the pandemic. Now I mostly work in my bedroom with the door closed. I need to write something, even if all I do is tweak a sentence, at least twice a week, or I start getting this itchy feeling in my brain. My ideal writing session begins at around noon and runs about five hours, which is when I start getting lightheaded because I probably haven’t eaten.

5. What are you reading right now?
Sister Outsider: Essays and Speeches by Audre Lorde and I’m Not Hungry but I Could Eat by Christopher Gonzalez. I’m taking in Sister Outsider slowly because Audre Lorde packs so much into her writing and I don’t want to miss anything. I like to chew over her ideas for days. I’m Not Hungry but I Could Eat is a collection of short stories about bisexual Puerto Rican men. Reading it a little faster, but also definitely don’t want to miss anything….

6. Which author, in your opinion, deserves wider recognition?
Minda Honey. Her forthcoming memoir, An Anthology of Assholes, is going to be everywhere—trust. Vulnerable. Heartbreaking. Hysterical. Nuanced. Compulsively readable but never easy. What Minda does with words is magic. Know her!

7. What trait do you most value in your editor (or agent)?
Both my editor, Sarah Lyn Rogers, and my agent, Danielle Bukowski, are genuinely good people. Sarah is especially patient with me. Maybe I think that because I’ve been socialized to feel like a burden, but she always takes her time to walk me off the edge when I start panicking and is all-around reassuring. Danielle is great and so supportive. One of the first things she told me when I met her was that she’d never ask me to write about trauma. Oddly, that made me more comfortable writing about trauma. In general I’ve had a lot of anxiety around publishing because I’ve internalized the gatekeeping that’s been put in place to keep people like me out. I’ve worried about being perceived as difficult to work with for objecting to anything, or “risky” because of what I write about or trivial because I use humor in my stories. But they’ve always had my back.

8. If you could go back in time and talk to the earlier you, before you started High-Risk Homosexual, what would you say?
Your writing is important, but it’s not the most important thing in the world. Make sure to prioritize other parts of your life, too, especially your friendships. Your words can only support you so much. That, and don’t stress about the rejections. In retrospect I’m grateful for nearly every story rejection I’ve gotten. Those stories weren’t ready. I write much better now.

9. Who is your most trusted reader of your work and why?
I’m grateful to be in a writers group with Minda Honey, Natassja Schiel, Asha French, Elizabeth Owuor, and Natalie Lima. They’re the only people I’m showing my early drafts to right now. There’s a lot of reasons why I trust them, but number one is that I respect their work. I love what they write. I truly enjoy their art. I don’t take that for granted. You have to be in community with people you admire.

10. What’s the best piece of writing advice you’ve ever heard?
I can’t remember who said this or in what context, but it’s something I think about a lot, especially when I’m writing something I’m worried will never make it beyond a Word doc on my computer: “You have to make yourself undeniable.” I like that it acknowledges that not everyone will love your work, but at the same time asks you to make it so good they can’t reject it.

Edgar Gomez, author of High-Risk Homosexual. (Credit: Joseph Osborne)

Craft Capsule: Bisexuality on the Page

by

Christopher Gonzalez

11.1.21

This is no. 113 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

In a review of Sally Rooney’s Beautiful World, Where Are You (Farrar, Straus and Giroux, 2021) for the Atlantic, Caleb Crain writes of the character Felix, who is identified in-text as bisexual, “I came to think of his bisexuality as a bay leaf that was said to have been added to the soup but hadn’t been.” To Crain, the matter of Felix’s bisexuality “goes largely unsubstantiated.” Fascinating! And I mean that sincerely. I do not wish to debate or analyze the role of bisexuality within Rooney’s novel specifically, but I think this nugget of criticism, the idea that queerness must be substantiated on the page, is a far more interesting discussion to have.

When I started writing the stories that became my debut collection, I wasn’t fully out yet. I began writing the oldest story, “Half Hearted,” about a man who fears his heart may devour itself, back in 2015. I was a senior in college and just figuring out that I was maybe, kinda, could be into men. In my first drafts, the protagonist, Hector, was straight, lonely, and in love with a woman, living his life in a fog of isolation. It was a mess. I tried writing it in the second-person, in the first, and in the third (which is where I landed). I tried and failed writing it as a piece of flash fiction. Nothing stuck. But later, when I was in the process of slowly coming out to myself and then friends, I decided to make Hector queer and turn his love interest into a man. Something clicked into place. I finally figured out how to finish his narrative. The story was less about loneliness and more about his fear that he might not be able to open himself up fully to another person, to the intimacy he most desired. This same fear roiled inside of me.

This is not to say that swapping out names is the key to making something queer. That switch was a first step for me, but not an end point. And the more I wrote, the more I wondered if queerness wasn’t something I needed to try so hard to make explicit; the emotions I explore and interrogate in my fiction will always be inseparable from my place in this world as a bisexual man of color. Whether any particular story of mine is about lovers of the same gender, different genders, or friendships without sexual attraction, I still feel they are layered with a humming pulse of queerness—in the portrayals of intimacy and desire, in the characters’ longing hearts, in their fierce uncertainty.

Labels can be valuable, after all, without them, there will always be a chance that a character intended as bisexual will be read as gay or straight. But how much does this matter? And if labels are included, is it an invitation for readers to test their validity? Is that a test one can truly pass? Is any of this actually the point of fiction?

I only ask questions, because I honestly don’t know.

Just as my writing has shifted and grown over the last seven years so has my relationship to my queerness. And so, it’s possible my stories about bisexual characters may feel surface-level to another reader, perhaps one that is more familiar with a wider canon of bisexual fiction, or perhaps one expecting it to look like something else entirely. What that something else is, I’d love to know.

 

Christopher Gonzalez is a queer Puerto Rican writer living in New York City. His debut story collection, I’m Not Hungry but I Could Eat, is forthcoming from Santa Fe Writers Project in December. His writing has also appeared in Catapult, Cosmonauts Avenue, the Forge, Little Fiction, Lunch Ticket, the Millions, and the Nation, among other publications. He serves as a fiction editor for Barrelhouse and spends his waking hours tweeting about Oscar Isaac, book publishing, trash television, and the Popeyes spicy chicken sandwich @livesinpages.

Thumbnail: Hossein Rivandi

Craft Capsule: On Writing Fat Characters

by

Christopher Gonzalez

10.25.21

This is no. 112 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

You might consider it a bit of a cop-out that I open my short story collection I’m Not Hungry but I Could Eat (Santa Fe Writers Project, 2021) with an author’s note: “Every narrator in this collection is a bisexual Puerto Rican cub with the exception of one—in that story, the narrator is gay.” And maybe it is! What started out as a joke I made on Twitter became a necessary signpost. Make no mistake, I beg, these characters are not Latinx in the vague sense; they’re Puerto Rican. They’re queer, yes, but with an experience more specifically rooted in bisexuality. All these elements are important to me, though perhaps the word with the most weight, pardon the pun, is cub. (I also considered using bear. In any case, situating their body sizes and type within a queer framework was vital to the project.) I have consumed so much queer media focused on bodies that were white and slim, or muscular and white, or tall and white, and I wanted my fat bisexual characters of color to exist in all their realities without an ounce of doubt from the reader.

You could say I’m unnecessarily defensive. I am. It was hammered into me as a young writer that the cruel default in fiction is characters who are white and straight and cisgender unless marked as some kind of “other.” What, then, becomes the presumed default for the body?

Writing the body is absolutely a matter of craft. How much should we foreground physical description, particularly when it comes to the narrator? I’ll admit I’m quite lazy on this front. I prefer to keep my details lean. First-person narrators don’t need to weigh themselves or stare in the mirror and describe the shape of their gut, unless, of course, they must. Jeans may fit snuggly, or a jacket may not close, or a zipper may break. I think there are times when such incidents work, but can our fat characters exist without the body becoming a playground for everyday violences? The fat body can be greatly loved as well, and the language for describing it can be lush, velvety, and serve the narrative—in which case, yes, bring it on. I’ll gulp up every word! But what if that’s not the project either?

With my own book, I wondered if I could write characters for whom fatness was not always an immediate concern. Could such a point be highlighted in fifteen stories side by side? I chose to create my own baseline and, on the matter of when and when not to include descriptions, I ultimately landed on: It just depends. I’m most hyperaware of my own body in specific situations—during sex, while eating among friends, or while trying on clothes, to name a few. Where does it feel most natural for a character to take a beat to consider their own body? And what is illuminated when you do mention it?

These questions were also on my mind while reading Jaime Cortez’s phenomenal and hilarious debut story collection Gordo (Black Cat, 2021). The main character’s nickname “Gordo” does a lot of the heavy lifting (again, sorry, sorry) in establishing his physique, and his size is mentioned by other characters offhandedly or more pointedly in arguments, but I was primed and much more interested to look at the observations made by Gordo himself. In “Ofelia’s Last Ride,” the final story in the collection, Gordo reflects on his body during a visit to Mexico: “Normally, I don’t like it when people tell me I’m fat…I better get used to it, because here in the barrio everybody and their dog are going to remind me I’m fat. People who don’t even know me call me Gordo.” Later, he describes how the only outfit he has to wear to a funeral doesn’t quite fit over his stomach. This scene feels so perfectly placed: Life and death, the end of childhood. A familiar frustration against a new loss. The comedy of a too-small shirt. The moment also serves as a continuation of his earlier thought, that his fatness is always there, a fact of his existence. I then revisited Gordo in the stories where his body wasn’t directly acknowledged. I considered how he moved through the narratives, always visible whether he was a passive observer or active participant. The full picture we get is this tenderhearted kid who is overwhelmingly kind and sincere, and alive with laughter.

After reading Gordo, I felt more confident in my decision to prompt readers of my book. I want them to have a similar kind of understanding from the jump. These characters grappling with loneliness and heartache and anxiety, who fuck and love and contain anger, who are frustrated by their own inability to takes risks, who, yes, love or at the very least feel passionately about food, are all fat. Their fatness is neither an obstacle to overcome nor portrayed in an overly positive light. Their fatness, like mine, just is.

 

Christopher Gonzalez is a queer Puerto Rican writer living in New York City. His debut story collection, I’m Not Hungry but I Could Eat, is forthcoming from Santa Fe Writers Project in December. His writing has also appeared in Catapult, Cosmonauts Avenue, the Forge, Little Fiction, Lunch Ticket, the Millions, and the Nation, among other publications. He serves as a fiction editor for Barrelhouse and spends his waking hours tweeting about Oscar Isaac, book publishing, trash television, and the Popeyes spicy chicken sandwich @livesinpages.

Thumbnail: Bruno Dias

Craft Capsule: Body in the Mirror

by

Susan Stinson

3.22.21

This is no. 92 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was an undergraduate, I saw a call for writing about fatness for the anthology Shadow on a Tightrope: Writing by Women on Fat Oppression (Aunt Lute Books, 1983), which became a feminist classic, still in print decades later. I was a young writer who very much wanted to be published. I had been fat all my life. I knew that the shape of my body had been central in defining the shape of my life, but I had no language for how to write or even think about that. The cultural tropes for fat women were virulently dismissive. I knew that they did not represent who I was. The hate language that was regularly shouted at me on the street didn’t either, but I didn’t know how to start to say anything else.

Soon after I graduated, I moved from Colorado to Boston. I got a job at a drugstore and started figuring out how to be a writer. I gave myself the simple assignment to look in the mirror and try to describe myself accurately and, to the best of my ability, without judgment. I chose to do this naked, but the exercise can be equally powerful if the writer is wearing clothes.

It proved to be enormously difficult, both emotionally and because I found that I had extremely limited options for language with which to describe my body. I have said elsewhere that it took participation in grassroots feminism and reading great poets (for me, Gertrude Stein and Walt Whitman) before I could find my belly with my hands and write that it was soft to the touch. Eventually, though, I got there. This is from a lyric essay in my chapbook of poetry and essays, Belly Songs: In Celebration of Fat Women:

My belly pours, hangs, moves, grows hair, shines in marks that fall like fingers curing up around its sides. I am loose, I hang. There are not enough names for the places where my fat gathers on me; there is belly, thigh, hip, chin, but no simple way to say soft-mound-between-breast-and-arms, or low-full-folds-that-are-sides.

I didn’t just observe my body. I also touched it.

I take my belly in my hands. It’s warm. My fingers feel cool, but quickly warm, too. It has a good weight, is soft. I sit very still, and feel the pulse in my thumbs, then find the pulse in the place of my thickest fat. It’s delicate and regular, there, yes, there, yes, there. It comes from the underside where my palms are resting, from the left half and the right half, from veins that curve out the with rest of me. This is not dead lard. It’s my body. It’s my living fat.

Writing Belly Songs opened a vein of literary exploration that eventually resulted in three novels. It changed the way I move through the world too. Having language for fatness—for that aspect of my body I had once understood to be too shameful to speak of—allowed me to begin to know, say, and be more fully who I am. All of that anguished silence was distracting. Living with less of it makes me more present for every other aspect of life. I’ve written about other things, but I know that I’m not done with this topic.

This exercise is useful for any writer. The body is the vessel for all sensory knowledge. Describing one’s physical self with accurate, nuanced attention is like plugging into an electrical socket. There’s a charge. If a writer runs into obstacles to finding language for his, her, or their specific body, then the strategies that arise from grappling with that, or even just touching it lightly, can be revelatory. It has been for me.

 

Susan Stinson is a writer, editor, and teacher. She is the author of four novels, including Spider in a Tree (Small Beer Press, 2013) and Martha Moody (Spinsters Ink Books, 1995; Small Beer Press, 2020). Her writing has appeared in numerous publications, including Curve, Lambda Literary Review, Seneca Review, and Kenyon Review Online. She is also a recipient of the Outstanding Mid-Career Novelists’ Prize from Lambda Literary. Born in Texas and raised in Colorado, she lives in Northampton, Massachusetts.

Thumbnail: Oscar Blair

Craft Capsule: Queer Characters Who Behave Badly

by

Peter Kispert

2.15.21

This is no. 88 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

It did not occur to me, while drafting the stories in my debut collection, I Know You Know Who I Am (Penguin Books, 2020), that they might ever become a book. I had not considered anyone would ever read or judge or enjoy or review my writing, beyond some appearances in literary magazines. After a few years of writing stale straight characters, I had finally begun to write queer stories featuring queer people, who to my great relief felt alive on the page. Late at night on my bed, a dim bulb flickering in the kitchen, screen light white on my face, I conjured it all up, and let my heart lead. In my fiction, I tried to articulate the truth.

But the “truth” felt slippery, uneasy. My queer characters, as I found them, were often a mess of wiring: self-sabotage, deception, jealousy, rage—crackling in ways that risked flame. In various ways, in different stories, I can still recall the experience of channeling these things as I wrote. Underneath the elation of finishing a story, I wondered: Why am I writing this? I sometimes feared my rendering of queer characters who behaved badly would be confused as an endorsement of that bad behavior, but nonetheless the work consumed me.

While revising I returned to the question of why my queer characters were behaving badly. I held my ear to each scene to see if I could hear a human sound inside. I didn’t want to presuppose that these characters were liars, but many shared a painful compulsion for self-betrayal. It did make me wonder: Does a writer make decisions on the goodness or badness of their characters, and why? How?

One reflex I noticed in drafting was to complicate a one-dimensional character by working away from either direction. This character is “bad” and so should have “good” characteristics. This character is “good” and so we must find a flaw. But I found this approach yielded rote shattered vases, reminiscent of my two-dimensional straight characters, and tended to render in a kind of permanent sketch. A more holistic, embodied approach—without judgment—transported me into their lives, which rang with a conditional joy I found exquisitely rich. I had to let them breathe.

Many of the stories in my book feature a protagonist or narrator whose deceptions serve a great self-betrayal. They must be masculine enough, or successful enough, or have friends because they don’t, or even merely have histories that suggest these things, in order to be or feel deserving of the love they chase. Often the lies become the stuff of these characters’ undoing. They mean the best but fail in their pursuit.

It is sometimes suggested that we write to free ourselves, but this has never interested me. The great freedom of the page was that I did not have to run from what I felt, or once had. Acknowledgment of complexity felt like a kiss. Fiction, stories, had been where I went to be honest, through queer characters who had begun to habituate, at times compulsively, their desires to betray themselves. Imposing a sense of goodness on a character flattened them, suffocating a tenderness and kindness that I found my characters do often possess too. In the middle of Indiana, in the middle of the night, I trained my gaze on only what felt true. From that feeling, eventually, the book emerged.

 

Peter Kispert is the author of the debut story collection I Know You Know Who I Am (Penguin Books, 2020), which was selected as a Best Book of the Year by Elle and a Best LGBTQ Book of the Year by O, the Oprah Magazine. His stories and essays have appeared or are forthcoming in GQ, Esquire, them, Playboy, and other publications. He is finishing work on his first novel.

Thumbnail: Evie S.

Craft Capsule: Creating a Seasonal Writing Practice

by

Khadijah Queen

1.4.21

This is no. 84 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

The pandemic, social uprisings, and a volatile political climate—superimposed upon family and work responsibilities, as well as health challenges—has made a regular writing practice impossible over the past ten months. Essays I pitched early in the year didn’t materialize, and only a handful of terribly sad poems arrived in usable condition. The one longform piece I did finish—a zuihitsu that appeared in Harper’s—was about the pandemic, written in April and May as I worried terribly about the health and safety of family members who were sick, and some who are still frontline workers. As a relatively prolific writer, with six published books since 2008 and four more currently in various stages of completion, I’m trying to see my current lack of time and energy to write as a side effect of all that’s happening in the world, but I don’t want to give up on a regular writing practice. To that end, I want to reenvision possibilities for that practice while taking into account the new reality. 

This isn’t the first time I’ve had to adapt to complicated circumstances; I’ve tried many different kinds of writing practices over the past two decades. My early years of writing consisted of recording lines on my lunch breaks and during lulls at my day jobs, and a few minutes in my car before entering the house in the evening. When my son got older, I somehow managed six years of a daily writing practice, usually a half hour at 5:30 AM with a cup of tea and a blueberry muffin. When I had an emergency appendectomy in 2015, my writing routine tanked as I recovered. Slowly I built back up to weekend flurries, and that lasted long enough for me to complete my fifth book. Then I wrote during intensely concentrated weeks and months for three and a half years of doctoral study, resulting in one book of poetry, the first draft of a memoir and a 270-page critical dissertation by the end of 2019. After all that writing, all I wanted was a break, so I took a couple of months. Then the pandemic happened, and the writing—didn’t. As a person who really needs an intentional writing routine, I felt at a loss. 

How, with mounting caregiving, health issues and work responsibilities, would I fit in regular writing time? I struggled for months, until I hit upon the one thing I hadn’t tried yet—seasons. Thinking in terms of seasons avoids the specificity (and requisite pressure) of calendar dates and days of the week. A seasonal practice could preserve writing goals more gently and flexibly. It might include thematic prompts—write about lightness and travel in summer, or perhaps reflect on freedom; focus on renewal and revisit the pastoral or the aubade in spring; delve into darkness, list modes of comfort, and maybe address grief in winter; autumn writing might spotlight transformation and beauty. Autumn is my favorite season. I love wearing knee boots and turtleneck sweaters and leather gloves, love the early October riot of color in the trees. You can of course define for yourself what each season means. Collect keywords over the year that can provide lasting inspiration. 

Let’s also pause here and define “writing goals.” For me that’s mostly meant books, and that hasn’t changed. But I’ve had to think smaller when it comes to productivity even as I continue to envision larger projects. To avoid becoming overwhelmed, maybe I’ll choose a single element to work on, such as order, or beginnings and endings. For a seasonal practice, choosing writing goals that can be adjusted as needed, and granting yourself the easement of non-specified time to work, seems more than reasonable right now.  

If you have an impending deadline in early February, maybe you’ll work only on the coldest days, when outside pursuits aren’t accessible. In summer, if you enjoy writing outside like I do, choose the sunniest days to work on a patio, or at a socially distant café. If you have a deadline that isn’t urgent, try softening it. Make one date—or date range!—for a first draft, another for draft two, another for draft three. After each draft, especially if it’s spring, buy yourself fresh flowers. Get as much done as you can, then reward yourself with an evening walk or morning drive, weather permitting. These are just a few basic suggestions, and you can adjust goals (and rewards) as you go along. I happen to like dark chocolate, so that’s my default treat. Make a list of yours and have it ready along with those seasonal keywords. I firmly believe we need as many reminders as possible that part of the work of writing is allowing for mental space, for infusions of beauty, for intentional nourishment—physical and otherwise. During these incredibly challenging times, I would wager that flexibility rules the day. Don’t abuse grace, of course; communicate clearly and continue to commit to due dates with integrity, but also make use of kindness—given, and received.

 

Khadijah Queen is the author of six books, including Anodyne (Tin House, 2020) and I’m So Fine: A List of Famous Men & What I Had On (YesYes Books, 2017). Her writing has also appeared in American Poetry Review, BuzzFeed, Fence, Poetry, and Tin House, among other publications. Holding a PhD in English from the University of Denver and an MFA from Antioch University, she teaches creative writing and literature at the University of Colorado in Boulder, and for Regis University’s Mile High MFA program.

Thumbnail: Oliver Hihn

Craft Capsule: Writing Hot

by

Jordan Kisner

11.30.20

This is no. 80 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was a writing student, a professor once commented to me that my writing was a little intense. I don’t remember exactly what he said, and he wasn’t unkind, but it was something like “Your writing is always at eleven,” or “Your writing is always just so hot-blooded.” 

This comment elicited a mixed reaction at the time. I wasn’t proud. I didn’t sense that this was a compliment. He was giving me a note: Learn to tone it down sometimes. It felt respectful in its way, as if he were saying, “Okay, you can write like your hair is on fire, but make sure that’s not the only thing you can do.” Which is a good and teacherly thing to do, to discourage a student from leaning too heavily on the thing that feels good, to point out tics and habits. But as a young writer—a female writer, a queer writer—to hear an older male professor note that your work is unrelentingly intense can set off a clamor of questions, insecurities, suspicions, irritations, doubts, shames. This is maybe especially the case when the young writer is writing (as I was) about her own life and self, the source of this overmuchness. 

So I was a little embarrassed, concerned that “intense” was code for melodramatic, maudlin, tacky, purple. Childish. Overfeminine. Hysterical. But also, I wanted to be an intense writer. What was the point of writing if it wasn’t vivid and compelling, if it wasn’t transporting, if it didn’t make you rock back in your seat? I wrote then, and write now, I suppose, to express an intensity to the condition of being, an aliveness that feels full and bewildering. 

After that, though, I spent several years trying to write in a way that was hot-blooded, or full of feeling, but also somehow cool. Writing that was fierce and ardent while being unimpeachably in control of itself. I’ve tried a few ways to do this over the years. The first, maybe, we’ll call The Didion method: Bury feeling in a near-hysterical radiance of detail or texture when describing absolutely mundane things like sock brands; directly reference imminent emotional breakdown (or past breakdown) in prose so deadpan and commanding it seems like possibly a complex joke. Then there is what we might call The Nelson: Go straight to eleven, get poetic and hot about sex, love, heartbreak, pain, and then stave off accusations of mawkishness with theory and academically rigorous discussions of the sex. 

I love both these methods—and Joan Didion and Maggie Nelson—but lately I’ve been thinking about what you lose when you insist on cooling down your prose. Early this summer I had a conversation with Ocean Vuong on my Thresholds podcast during which he spoke about his reclamation of prose that some might dismiss as purple. “I am interested in using a style that a lot of men have deemed too prissy for them to use in the present,” he told me. “It feels like drag to me—to be extra! There’s too much glitter because we want to be blindingly present and seen.” He was speaking about the historical moment when emotional and beautiful writing was deemed feminine and therefore less worthy, and the way that as a [queer] man he might begin to excavate and subvert that. He reminded me, also, that you can find fun and even joy in just going ahead and writing at eleven, writing hot, writing like your hair is on fire—to be blindingly present and seen.  

 

Jordan Kisner is the author of the essay collection Thin Places (Farrar, Straus and Giroux, 2020). Her writing has also appeared in the Atlantic, the Believer, the Guardian, n+1, the New York Times Magazine, and the Paris Review Daily. The recipient of fellowships from Pioneer Works, the Millay Colony for the Arts, and Art Omi, she is currently a fellow at the Black Mountain Institute in Las Vegas. 

Thumbnail: Dmitry Bayer

Craft Capsule: On Becoming a Pop Star, I Mean, a Poet

by

Chen Chen

11.2.20

This is no. 77 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1. I started to write poetry because of a secret that I had trouble sharing even with myself.

2. I continue to write poetry because, in the fifth grade, my short story about a pregnant witch living in Venice received the following peer critique: “You do know it takes nine months for the baby to grow inside the mom, not two?” I write poetry because I wish I’d responded, “You do know this is a witch baby???” 

3. I knew I would always be a poet after a barely audible “goodbye” in the doorway of a tenth-floor apartment. How there was no elevator and it was the middle of summer and I had to walk down and down those stairs. 

4. I wake up craving poetry because Sawako Nakayasu once said, “I work mostly in poetry because it claims to be neither fiction nor nonfiction, because it acknowledges the gap between what really was or is, and what is said about it.”1 

5. Poetry because French class, Russian class. Because Mandarin and English and Hokkien at home. Because English. Because I learn and learn, then forget so much Mandarin. Because I forgot all my Hokkien2 by age seven. Poetry because my first-year advisor in college, a professor of Russian Studies, asked me why all my three-page Tolstoy responses were so late. “Go on,” she said, “give us your narrative.” Poems because I loved how her prompt was a comment on the expected form of my response. Poet because I said, “Time management’s an issue,” which really meant I wanted every paper to be about everything and I wanted Takeshi Kaneshiro’s character in Chungking Express and I wanted Takeshi Kaneshiro and was rewatching the film over and over and Googling stills. 

6. In eighth grade I began writing poetry outside of school assignments because I couldn’t keep imitating Robert Frost. I kept writing poetry because it seemed no one else with a secret like this looked like me.

7. Poet because I am a failed musician. Failed painter. Failed scientist obsessed with the moon.3 Failed gymnast, though once I was very, very good at cartwheeling. Poetry because my favorite scenes in Power Rangers were when, instead of running, they all backflipped and backflipped to where the fighting would take place.

8. The violence of the state. The silence of the h in French words, like homme. How violent, many homes. To ask, “Where is home?” as if it’s ever a simple question. To say, “I have a home” as if it’s an unremarkable statement. To say “I have” in Russian, you use a genitive construction that translates to the awkward English, “At me there is.” At home the adults asked, “Why did you get an A-?” in three different languages; there were no questions about whether I would ever start hating myself for what and whom I loved.   

9. I continue to read poetry because it seems every poem has a big secret at its core and I always want to know if it’s a big gay secret. Because Anna Akhmatova wrote, “Sunset in the ethereal waves: / I cannot tell if the day / is ending, or the world, or if / the secret of secrets is inside me again”4 and that seems pretty gay to me. Because Denise Levertov wrote, “Two girls discover / the secret of life / in a sudden line of / poetry”5 and that sounds definitely gay. 

Because for years I had to settle for subtext and total projection. 

Because when I found Justin Chin’s Bite Hard in a college library, I glanced at just one poem then added the book to my stack to check out. Because I moved it to the middle of the stack, as if hiding it from both the sky and the ground. Because I was so moved to see both “Chinese New Year” and “ex-boyfriends” in one poem. Because was it hide or protect, and do I know the difference now? 

10. In English, I still have trouble with lie versus lay, which I always feel ashamed to admit, though I know English is a troublesome, troubling language that makes one want to lay down, to lie one’s body on its side till all one’s lies have tumbled out from one’s head and belly, and are lain out like one single shadow-body of a liar on the grass. 

11. I started off as a fiction writer. 

12.  I started as a reader of fantastical literature, a writer of both fantasy and science fiction. I started on the playground, telling friends that the jungle gym was a spaceship and we’d better hurry onboard before it took off: “Danny, you’re new to the cause, like me. Amanda, you’re the chosen one, our only hope.” I couldn’t get enough of the galactic, magic, any-kind-of-epic mission; the dueling-with-lasers-or-wands journey. I acted them out, wrote them down. 

Moments of poetry occurred in my stories when I stayed too long in the pocket dimension of an emotion; when I strayed too far into the magic of an image; when I mismanaged the time and leapt through the wormhole/plot-hole back to my implausible Venice and its witch baby. Poetry erupted when I couldn’t keep performing the narrative I was supposed to—that of a boy who liked Amandas, not Dannys. 

13. Looking back, dueling with lasers or wands sounds definitely phallic. 

14. I became a poet after my friends no longer wanted to play the games we made up. After they decided to only play games that would help them grow up. But growing up, for me, meant no longer just playing at, dancing around what I desired. And some days I wanted to grow up. And some days I wanted to die. 

15. I had to Google “coming out.” I had to Google “lie vs. lay.” I had to Google “gay and Asian” and found mainly what white men had to say about bodies like mine. I had to Google “gay Asian American literature.” I had to Google “queer.” I had to Google “fag.” I had to search for one sentence with “I” that eventually I could say out loud. 

16. Poems became my favorite way of telling stories because poems can tell a secret and talk about telling that secret and along the way become another secret.

17. Of course, all this can and does happen in other genres too. And when I write poems I’m drawing on aspects of fantastical fiction, autobiography, realist fiction, standup comedy, Tolstoy as much as Takeshi Kaneshiro, TV shows that got way too many seasons, and elements I don’t want to be able to name. In recent years, lots of prose poems and lyric essay–esque pieces have been showing their blocky faces to me. And very recently, a teensy spoonful of fiction. To call myself poet just makes the most sense, personally, creatively. Poet is where I feel freest to do this and that and wtf.

18. Some nights I just want to be an international sex symbol/pop star with Grammy-worthy vocal chops but still a ton of totally relatable habits, like eating bread. I envy the pop song that can end simply6 by repeating its chorus over and over, slowly fading out yet also burrowing itself into your ear. 

19. A barely audible “hey” in the collapsed year. The violence of state-sanctioned language. My own unbroken, snowy silences. To ask “Where is home?” as if there is one answer. To write home in a poem, like a poem could be a home—is this happy or sad? Strange yet not uncommon, to weep with and into joy. A form of power, a kind of language: to weep and disobey silence. My favorite silence is a space for thought, is spaciousness. A wormhole named Maybe. A parallel galaxy called Another Way. 

20. I continue to poet because now I have all these poet friends who’ll text me to ask what poems I’m writing and I have to start writing again so they’ll stop bugging me and I never want them to stop. 

I continue to poet because I’m not satisfied with the definitions behind, the narratives around “coming out,” “lie vs. lay,” “gay and Asian,” “gay Asian American literature,” “queer,” “fag.” I am always trying to say the everything I’ve lived, am living, but I never want to feel like I’ve said it all. 

For years I believed poetry was the only place where I could be all my selves, any self. I wrote, trying to answer the question, “How can a poem hold the myriad me’s and realms and loves and ferocities and shards and velocities—this whole multiverse that the life cannot, yet?” But can a poem do this? A book of poems? Is poetry a place? 

I am a poet because I ask poetry to do too much, and then it does it. 

 

ENDNOTES

1. From a working note that prefaced a set of Nakayasu’s poems published in How2
2. Except what my parents call each other. 
3. What joy! Poets! Not caring one bit how annoying we are when we go on and on about the moon!
4. “A land not mine,” translated by Jane Kenyon in
From Room to Room (Alice James Books, 1978). 
5. “The Secret” in
O Taste and See (New Directions, 1964). 
6. With the best pop music, this is no simple feat; the chorus has to be excellent.

 

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions, 2017), which was longlisted for the National Book Award for Poetry and won the Publishing Triangle Thom Gunn Award. His work has appeared in many publications, including Poetry and the 2015 and 2019 editions of The Best American Poetry. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence. 

Thumbnail: Romain Gille

Craft Capsule: We Are All Translators

by

Jenny Bhatt

9.21.20

This is no. 73 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Literary translation is about being a close reader in the source language and a skilled writer in the target language. Of course, a language is not merely words, phrases, idioms, diction, and syntax. Languages contain entire cultures within them, entire ways of thinking and being, too. Those of us who translate other writers’ works do so because we want to dive deep and fully immerse ourselves in another world—to pay attention to more than the literal content and preserve the emotions, cultural nuances, and humor from the source to target language.  

This is not unlike how, as readers and writers, we seek to inhabit the worlds of fictional characters. We are all translators. The process of reading involves translating and interpreting the writer’s meaning and intent. The process of writing involves interpreting and giving voice to our own thoughts, which are guided by the things we have read, seen, heard, and experienced. As Mexican poet Octavio Paz famously wrote, “No text is entirely original because language itself, in its essence, is already a translation: firstly, of the nonverbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase.”

Due to the accretions of traditions and culture over centuries, it is not possible to seamlessly transpose two languages when translating. Similarly, due to our conditioning and subjectivity, it is not possible for two readers to read the same text entirely the same way. And it is not possible for two writers to create entirely the same story. A single piece of writing can have multiple acceptable readings and translations due to the flexibility of language, suppleness of imagination, and versatility of craft techniques. 

I was a writer before I became a translator. But I learned to appreciate linguistic, aesthetic, and cultural diversity more profoundly because of translation work. There are ten key practices of the discipline that pull me in each time:

1. Reading a work closely and repetitively to know it, sometimes even better than the original writer.

2. Listening to the tonalities, textures, rhythms, cadences, and diction in both languages to capture the writer’s voice as fully as possible.

3. Learning nuanced meanings of words and phrases in the target language by seeing them used with different specificity and significance in the source language.

4. Hunting for le mot juste that honors the complexities of both languages.

5. Discovering aesthetic reinterpretations of an original work to suit a new readership or audience linguistically, intellectually, and intuitively. 

6. Deliberating over the subtexts, cultural implications, and stylistic choices made by the original writer in the source language to recreate them in the target language without losing any literary merit.

7. Interrogating the politics of the writer, their text, and the source and target languages.

8. Meditating on the original writer’s themes to convey them with the proper intentions and emotions.

9. Deepening my understanding of the world, past and present, by transforming something foreign into something familiar.

10. Negotiating with what remains untranslatable.

With only one book of translation and a handful of shorter works completed, I am still developing these practices into technical proficiencies. However, as each translation project helps me hone and refine my skills, I am also leveraging these lessons more frequently in my reading and writing. Literary translation is, in the end, about actively co-creating a text with its original writer by adding more shape, context, nuance, and texture to it. Aren’t we all better off as readers if we learn to do the same? And aren’t we stronger writers when we draw from, build onto, and expand upon the world of literature that has come before us?

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, Longreads, Poets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Thumbnail: Patrick Tomasso

Craft Capsule: Doors vs. Corridors

by

Will Harris

8.17.20

This is no. 68 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

During the pandemic, with so many doors locked and shuttered, I lived in the corridors of my house. Thom Gunn describes the corridor as a “separate place between the thought and felt”—a place of uncertainty, where thoughts are unformed and feelings suppressed. It’s probably not surprising, then, that the few poems I managed to eke out were meandering, confused, and muffled.

As the architecture of my house extended into what I wrote, I started looking for poems about houses—either set indoors or using the “house” as a metaphor for the craft of poetry. I was trying to work out what kind of house poetry should be, and how much confusion that house might be able to contain. Soon enough I turned to Emily Dickinson: 

I dwell in Possibility –
A fairer House than Prose –
More numerous of Windows –
Superior – for Doors –

I always read this stanza with the ironic hint of the estate agent in her tone (“Superior—for Doors” is particularly funny), which seems to mock the idea you could ever really compare poetry to a house. Though it can feel like using a conceit means committing to it entirely, here the analogy is loosely held, self-consciously tenuous: “If you look to your right, you’ll see some windows. How many? Numerous. And if you look down there, yup, superior doors. You won’t get that with Prose.” The lightness of tone is part of the image she projects about poetry. 

But I read it with another, darker Dickinson poem in the back of my head, this one taking the house less as a metaphor for poetry than for the poet’s interior life:

One need not be a Chamber – to be haunted – 
One need not be a House –
The Brain has Corridors – surpassing 
Material Place

These lines suggest that when you forgo “Material Place” and build your house in “Possibility” you open yourself up to a particular danger: being haunted. Where the other poem began with a confident assertion of habitation—“I dwell”—here the speaker expresses horror at the idea of being dwelt in: “The Brain has Corridors.” The tone is repetitious, fevered, as though the speaker has been running up and down their internal corridors for hours. The effect of this is compounded by the use of the impersonal pronoun “One” and that definite article before “Brain”—not my brain but the brain—which suggests a traumatic detachment from the body; and “surpassing,” hanging at the end of the line makes it feel like those brain corridors are only getting bigger, longer, more labyrinthine. 

What’s missing from the second poem is a door of the kind Dickinson thought made poetry so superior—and without one, there’s no means of escape. Door and corridor may sound related but there’s no etymological link between them. The word door comes from the Old English duru and has always meant the same thing. Corridor is from the Italian corridoio, referring to a “running-place.” They represent two forms of possibility, each reliant on the other: The door is a portal, signifying insight, while the corridor is an in-between place, signifying uncertainty and confusion. 

An important way to understand the corridor might be via the horror film in which a shadowy figure always seems to be lurking at the other end, or the protagonist is trapped, running down an endless dark passage full of locked doors. Where the corridor represents terror, the door is freedom.

*

During lockdown I also turned to Bhanu Kapil’s book How to Wash a Heart and stopped at this section:

When what you perform 
At the threshold
Is at odds 
With what happens
When the front door is closed,
Then you are burning
The toast 
And you are letting the butter
Fester.

The front door is where the internal becomes public, even if briefly. But in order for an act to be meaningful, what you “perform” at the threshold must have some relationship to what happens behind it. Kapil’s lines make me think of those people in expensive houses who voted to privatize Britain’s National Health Service last December and then stepped out onto their doorsteps this spring to clap enthusiastically in support of nurses and carers. They make me think of what the threshold can conceal. The door only has meaning in relation to the corridor.

In early July, Bhanu and I did a reading together on Zoom. She began hers by lighting a small candle. She had some shallots next to her that she’d picked from Wittgenstein’s garden in Cambridge. The effect of these gestures wasn’t just to welcome the listener in. It was to create an open space into which the poem could emerge, where we could meet it. In trying to harmonize inner and outer, in letting out what festers, the distance between our two screens fell away.

After the reading, I thought back to Dickinson’s haunted house poem. It’s driven by a claustrophobic fear of the internal. Even the “External Ghost” or hidden “Assassin” (other threats that feature in Dickinson’s poem) are less terrifying than the prospect of “self encounter.” The self is a more ambiguous, volatile element. It could stay hidden forever: “Ourself, behind ourself concealed,” reads one line in the poem. You might think you’ve turned a corner, the front door in sight, only to find yourself lost down another passageway. 

But this is only a nightmare if you’re looking for a door. The beauty of Kapil’s How to Wash a Heart lies in its openness: “I want to be split / Into two parts / Or a thousand pieces.” The self that’s been split into a thousand pieces has nothing to lose. What’s not whole cannot be broken. Likewise, the poem doesn’t have to form a coherent whole—a portal to insight. It doesn’t have to involve finding the right door and standing outside of it proudly. It can also mean walking the corridors, afraid and confused.

 

Will Harris is the author of the poetry collection RENDANG (Wesleyan University Press, 2020), which was selected as a Poetry Book Society Choice and shortlisted for the Forward Prize for Best First Collection. He has worked in schools and led workshops at the Southbank Centre and currently teaches for the Poetry School. A contributing editor at the Rialto, he lives in London. 

Thumbnail: Kilarov Zaneit

Craft Capsule: The Authority of Black Childhood

by

Joy Priest

7.6.20

This is no. 64 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Outside / its case, the mind is a beehive / fallen in the wild grasses / of an abandoned playground.

— from “Ars Poetica” by Joy Priest

It’s January 2, 2020. I’m traveling by car with a painter back to the artists’ compound that I’m staying at for a seven-month residency—a blip-stage between the MFA I finished in May 2019 and the PhD I will start in August 2020, a deliberate detour in the longer academic-poet road on which I find myself. About it, slightly in mourning. Alone in study, but wholeheartedly wanting to be closer to the people in this poetry thing.

The painter has found a way to subsist outside the university engine, working in the residency office, leading Zumba classes in the morning, painting in her studio at night. We’re talking about what academia does to artists, and, as we’re riding—from Wellfleet back to Provincetown, at the very tip of the Cape, isolated at the end of the land—she says, “I really do feel like this chapter for me has been about unlearning.”

*

“Sometimes a moment of liberation is suspended by the tight grip of contradiction,” my friend Bernardo says, which captures this moment I have in the car with the painter, as well as the larger social context we’re sailing through like a tiny, mobile dot on the periphery of the U.S. map. I was liberated by the painter’s articulation but jealous that I hadn’t pulled it out of my subconscious first: unlearning. This had been my project for the first three months of the fellowship, but I’d thought I was wasting time because that project had not yet been named. Wasting time—a feeling shaped by the values of academia, a microcosm of our larger society and its ailing imagination, which burdens artists and writers with paradigms of productivity and surplus contributions to an inaccessible archive. I had been unlearning that.

*

Usually, when stuck in a vehicle, poetry-talk is boring at worst, frustrating at best. A Lyft driver or seatmate on a plane will inevitably ask, “When did you start writing poetry?” I find this frustrating because I haven’t yet crafted a creative approach to the question, but, more importantly, because such a question precludes the true answer.

*

I was a better poet when I was a child.

During the nineties in Kentucky, I was a child in solitude. There was a lack of artificial stimuli, my technology limited to a Sega Genesis that I spent more time blowing dust from than playing. My single mother was at work. The only other person in the house was my grandfather, a man in his seventies, who—I didn’t know at the time—was white. He defined our relationship with board games, puzzles, basketball, or boxing on a box TV set—the technology of his time. With his racist perspectives, he attempted to define my identity, which I didn’t yet understand, but felt, intuitively. 

In place of understanding, in place of the internet, I cultivated a practice in noticing. This is how I developed my approach to the page, before I had an awareness of “craft.” Poetry wasn’t what I did or what I started doing in a single moment from the past onward, it was the way I thought, who I had to be in my grandfather’s household, the way my mind worked to make sense of something.

There isn’t a single event that led to me becoming a poet. There isn’t a beginning to me writing poetry—there is only the beginner’s mind. This is what I find myself trying to get back to in my unlearning: the authority of a child’s imagination—what we possess before we are fully indoctrinated into adulthood and the accepted ways of making sense of things. 

*

I spent a lot of time outside of my grandfather’s house, in the backyard. My mind was a beehive. A chaotic, intuitive knot of thought-impulses that I needed to wrest apart, investigate, ruminate on, understand. I found myself watching the ants at ground-level, making a daily visit to the carpenter bees and their perfectly round holes in the rotting wood. 

When I was inside, I noticed the difference between my grandfather’s skin and mine. I knew my hair was more like the hair of darker people, who he was always saying bad things about. I knew that he didn’t want me to be like them, but I couldn’t understand why. I couldn’t understand why, but I could notice. I kept a record of these little noticings as a substitute for clarity around what I was noticing. This conversation with myself as a Black child supplemented what I learned, or what adults sought to teach me (what a white child learns or is taught by white adults). This practice of noticing, or overhearing, was my seminal craft approach. 

*

Pulling away the scaffolding of craft “knowledge,” which I’ve accumulated as an adult poet, has led me to this—notebooks full of little noticings and meditations, overhearings and mishearings, notions that haunt me, lines that keep coming up. Writing a poem this way becomes less strained: that accumulation of craft had become a cheesecloth through which I struggled to write. 

These little noticings are the only way I wish to start a poem, or any conversation about craft. It is how I get closer to an understanding of what something or someone—my imaginary friend, my ancestors, my intuition, the flora and fauna—is trying to tell me, and I embrace this as a spiritual craft as well as a technical one. It is my resistance to the limits of the U.S. popular imagination, which condescends to the childhood imagination in tropes and shorthand, which does not know, can no longer remember, what the child knows.

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Thumbnail: Dustin Humes

Craft Capsule: Notes From the Cutting Room Floor

by

Sejal Shah

5.18.20

This is no. 60 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

An essay collection consists of more than several pieces between two covers. There is always the ghost manuscript: what is cut, what has been moved, shaped, revised. In my first book, This Is One Way to Dance, there are notes at the end of the text—they are narrative, include sources for quoted material, acknowledge readers and editors, and are not numbered. This essay is another kind of commentary. Each piece rewrites what came before. In a way, I am still rewriting my book and its notes—notes to oneself, to one’s reader, you; they are a conversation. 

I wrote the first draft of this essay in longhand; later, I typed it. At some point, I began numbering my thoughts as a way of keeping track. When I cut and pasted different sections of the text, I preserved the original numbers to trace the movement of information. In doing so, I attempt to show my writing process in the tradition of visible mending.

1. In Carmen Maria Machado’s In the Dream House, there are footnotes. There are three epigraphs at the beginning, each on a different page (I love this, the space). Many of the footnotes lead to Stith Thompson’s Motif-Index of Folk-Literature. The chapters are short, sometimes only a page, and the footnotes don’t feel like an interruption, but pleasurable, recursive reading. There is an overture disavowing prologues. After the overture is a gorgeous prologue: “The memoir is at its core, an act of resurrection. Memoirists…manipulate time; resuscitate the dead. They put themselves, and others, into necessary context.” If I had read In the Dreamhouse while working on my book, I might have written a different prologue. So many beats to a book, architecture, a tonal range, a key. All of these elements are questions that ask: Who is your audience? To whom and how do I wish to explain myself?1 

3. Are prologues and codas forms of notes? Is an introduction?

20. Here is a ghost note, something I cut from the introduction of my book: “I grew up seeing and later studying with Garth Fagan Dance. A noted choreographer, Fagan is associated with the Black Arts Movement. Fagan technique draws from ballet, modern dance, and Afro-Caribbean dance. I learned: You could invent your own language. You didn’t have to fit yourself into someone else’s forms. You didn’t have to explain yourself.”

4. I wanted my notes to go before the acknowledgments, to be part of the body of This Is One Way to Dance. In the published copy, my notes follow the acknowledgments, per the press’s house style, which is The Chicago Manual of Style. I realize I don’t believe in style manuals.

17. Somewhere in a book (an introduction) or outside it (an interview), you will have to explain why you wrote your book. At each stage of the publishing process you use a different form: a proposal, a press sheet, a preface, a prologue, an afterward, a Q&A. Sometimes I still stumble. From the preface of Sonja Livingston’s memoir, Ghostbread: “I wrote this book because the pain and power and beauty of childhood inspire me. I wrote it selfishly, to make sense of chaos. I wrote it unselfishly, to bear witness. For houses and gardens and children most of us never see.” 

Part of me wants to never explain anything. Part of me worries I have explained too much and still missed what is most important. The settling and unsettling of the self. Navigating, meditating, mediating. Not identity, but movement. A book, through architecture or by words, must instruct the reader in how to read it. Both are important.

2. For a book review, I remember finding out, after already reading far into the text, that a glossary and notes existed at the back. This changed my reading of the book. With no table of contents and no superscript numbers, how would you know to look for notes and a glossary? Do you flip to the back of the book to see what happens, in case you die before you finish reading,2 in order to know what something means?

4. (a) My book ends with the last sentence of the notes: “And there are many reasons to dance.” 

5. I am talking to my friend Prageeta Sharma, a poet, about notes. She mentions Brian Blanchfield’s Proxies: Essays Near Knowing, which begins with a section called “[A Note].” Blanchfield writes, “At the end of this book there is a rolling endnote called ‘Correction.’ It sets right much—almost certainly not all—of what between here and there I get wrong. It runs to twenty-one pages. It may still be running.” This feels true to me about writing a book. Trying to right it, but in the end, it’s a series of notations and corrections, assertions and deletions. Traces.

6. The poet Rick Barot told me his second book had notes. Not his first and third. And not his fourth, the most recent, The Galleons. He says he is anti-notes now.3 I get that.

28. Are notes like parentheses? (Say it clearly or not at all.) 

7. The writer Michael Martone wrote a book called Michael Martone, and the chapters are written in the style of “Contributors’ Notes” and his contributors’ notes are stories. Contributors’ notes are stories we tell about ourselves; they are fictions. 

10. How are notes different than sources? I wrote notes for many of my essays, but not all of them. Notes were sometimes meant to be a place to credit sources, but they also became their own commentary. They sprawled. I credit writing prompts, editors, readers, and books. Some of that could have been folded into acknowledgments. I credited sources for titles and images. I wrote about the Supreme Court decision legalizing gay marriage during the time and day of our ceremony and why this mattered to me. Actually, that was a kind of afterward.

13. I am writing for the kind of people who read notes. Those are my readers, my people. 

16. (a) In my book there is a coda titled “Voice Texting With My Mother.” I did not title it a coda. At some point I lost track of what needed a classification or title and what could exist as part of the invisible architecture of the book.

18. In her short “A Note from the Author,” Tyrese Coleman writes: “How to Sit [a Memoir in Stories and Essays] challenges the concept that a distinction needs to be made when the work is memory-based, because memories contain their own truth regardless of how they are documented.” 

9. This winter I read Cathy Park Hong’s book of essays, Minor Feelings. I realized, when I reached the end of the book, I had been expecting notes. Her essays are muscular, theoretical, personal, and include history, cultural commentary, friendships, family, and literature—a whole essay on the artist Theresa Hak Kyung Cha and her cross-genre memoir, Dictée. It surprised me to learn I liked the lack of notes in her book. It meant theorists and sources were often foregrounded in the essays themselves. In Hong’s work I saw a different model—the essay as a “coalitional form.” A model that foregrounds voices and perspectives beyond the essayist’s own—one that she credits writers in the tradition of Hilton Als, James Baldwin, and Maggie Nelson. 

19. An introduction is like a toast at a wedding. No, I cannot satisfactorily address so many audiences—pivot—who is an introduction for? Why not just begin? Whose job is it to host?

27. I read the acknowledgments and the notes in most books. I want to know how a book came together.

22. Sometimes I skim the notes.

14. I have to be honest: I am intrigued by the idea of no notes. Maybe for the next book.

 

ENDNOTES

1. After I turned in my proofs last December, I read Cathy Park Hong’s Minor Feelings. Hong writes about Myung Mi Kim, “the first poet who said I [Hong] didn’t need to sound like a white poet nor did I have to ‘translate’ my experiences so that they sounded accessible to a white audience…Illegibility was a political act.” Yes. I believe this.
2. What Harry does in
When Harry Met Sally.
3. [E-mail from Rick] “When I say I’m now ‘anti-notes,’ this mostly refers to my last book, 
The Galleons. There’s a lot of background research in the book, but I didn’t want a notes section to make the book seem like a ‘project’ book.  After all, my research for the book was driven by lyrical sentiment and opportunity—it wasn’t systematic…”

 

Sejal Shah’s debut essay collection, This Is One Way to Dance, will be published by the University of Georgia Press in June. Her writing can be found in Brevity, Conjunctions, Guernica, Kenyon Review, the Literary Review, the Margins, and the Rumpus. She is also the recipient of a 2018 New York Foundation for the Arts fellowship in fiction. Shah is on the faculty of The Rainier Writing Workshop, the low-residency MFA program at Pacific Lutheran University, and lives in Rochester, New York. 

Thumbnail: Judith Browne

Craft Capsule: Reading Backwards

by

Carter Sickels

3.30.20

This is no. 54 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was getting my MFA many years ago, a member of the workshop passed on a piece of advice he’d once heard: Read your manuscript backwards. At the time, I didn’t pay much attention (he was a bit of a know-it-all), but the advice stuck with me, clanging around in my brain, and I’ve since turned to it when line editing and hammering out bigger structural issues.

Reading backwards doesn’t mean you read from right to left, or from the bottom of the page to the top. What I do is print out the manuscript, start with the top of the last page, and work my way back to page one. This exercise works differently for me depending on where I am in the process. When I have a final draft, reading backwards helps with line editing. When I read backwards, I use my brain in a different way, and it slows down my reading. I focus on the words, not the story, and spot repetition and unnecessary words.

Reading backwards has also helped me resolve structural issues and build narrative tension. I was struggling with a short story I’d been trying to write for months. It wasn’t working but I couldn’t figure out why. I let the manuscript sit and cool, like a hot potato; when I returned to it after a few more months, I tried the backwards reading trick. The ending of the story worked, but how did I get there? There were holes in the plot, and too much exposition that glossed over important information. The first-person narrator, so focused on his lover, never stepped up or revealed any insight into his own interior. I hadn’t written any scenes with him alone or with other characters. These backwards-reading discoveries helped me restructure and revise the story; I cut exposition, wrote new scenes, and rearranged the scenes I already had to amplify the tension. 

When I’m stuck I’ll try looking at the story from a fresh angle—whether reading backwards, changing the font, hanging pages on the wall or spreading them out on the floor. I read the entire manuscript aloud. I retype. These are all ways to trick myself into approaching the novel from a different place. Sometimes it works. And when it does, it’s like seeing the project with a new pair of eyes—catching what I missed, or discovering a hidden door that leads me to the true story. 

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including Guernica, Bellevue Literary Review, Green Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Amie LeeKing

Craft Capsule: Consulting the Tarot

by

Emma Copley Eisenberg

2.24.20

This is no. 50 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I was raised in a house of reason where there was no God, no witchcraft, no science fiction, no astrology, and certainly no tarot. These things were for the weak, and we were not weak. But I’ll never forget when I read Uncle Tom’s Cabin and it dawned on me why Tom prayed so much: He was just trying to get through the day. I was weak, I knew. To make it from dawn to dusk, I too needed all the help I could get. 

Tarot came into my life through the friend, the friend I lost, and it is the thing she gave me more than any other for which I offer her my supreme gratitude. To be fair, I acquired the deck itself—The Wild Unknown by Kim Krans—much earlier; I bought it on impulse late one night on the gushing recommendation of someone I’d met at a party. You are not supposed to buy a tarot deck for yourself, I learned later, perhaps because without the blessing of someone you love to imbue the paper and images with power, a deck of cards is just a deck of cards.

I cannot now separate tarot from the friend, and I cannot separate tarot from writing. She and I became friends during the period when the card of the moon, which according to my deck “encompasses the idea of the Wild Unknown,” was my near constant companion. She taught me how to do the simplest spread—past, present, future—and led me to Michelle Tea’s book on tarot, life, and writing, Modern Tarot: Connecting With Your Higher Self Through the Wisdom of the Cards. Past, present, future; beginning, middle, and end. My friend and I began to draw a single card to set the mood for our writing sessions together, held at a ramshackle coworking space in the neighborhood where we lived.

What I like about drawing a single card before writing is that it allows me a single place to put my feelings about that day’s words—all my fear that the words won’t come and all my fear that they will. Drawing a single card, the mother of pentacles, for instance, which offers an image of a deer and her fawn, gives me a door at which to knock when I can’t see any of that paragraph’s architecture. She excels in the home, the card says: Perhaps I’ll turn my scent diffuser on, or I’ll have a character bake a scone, or I’ll think about why some person in my book moved around so much from place to place. It’s not so much a place to start writing but rather a way to give the day’s writing a particular mood or scent or inflection. Draw the death card, which in The Wild Unknown simply means that “something in your life needs to end…something is trying to find closure,” and the idea of ending and closure will start bonking around in my brain until it hits something in my writing that needed either to finish or to begin. Each card is like a prompt I suppose, except instead of being wacky and contrived, it feels like a prompt I gave myself from the darkest recesses of my unconscious, a shortcut to the place I was trying to go. 

I drew a card every day while writing The Third Rainbow Girl, which explores a mysterious act of violence in Pocahontas County, West Virginia in 1980, the Appalachian community where it transpired, and my own time in the place as a national service worker. For nearly the entirety of the fifteen months when I was most actively engaged, sentence by sentence, in writing the book, I dreamed about murder—either murdering or being murdered—every night. Then every morning I went to the deck and chose a card. I am not exaggerating when I say that I chose the moon card almost every time, no matter how well I shuffled. The card’s overall theme: vivid dreams and fears. I read the card’s description so many times I can recite it by heart:

[The moon] is the shadow realm, the place where dreams, fears, and mysteries are born. Much darkness can linger here, and if you aren’t careful, this can lead to periods of anxiety and self-doubt almost as if you’ve lost your way in a house of mirrors. Many great artists have roamed this inner landscape. It’s where imagination and creativity drift freely upon the midnight air.

That about summed it up. Fuck the fucking moon, I began to say aloud each time I drew it. Fuck this fucking book.

But the moon would not be fucked and neither would the book I was writing; they would not go away until they went away and maybe not even then. Eventually, I finished the book and I lost the friend. I’m drawing new cards these days—a lot of pentacles, the suit of home and hearth. I hope I drift less and dig more in the next book, but of course, it’s not up to me. 

 

Emma Copley Eisenberg is the author of The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia (Hachette Books, 2020). Her writing has appeared in McSweeney’s, Granta, the Los Angeles Review of Books, American Short Fiction, the Paris Review Daily, Electric Literature’s Recommended Reading, and other outlets. She is also the recipient of fellowships and awards from the Tin House Summer Workshop, the Elizabeth George Foundation, the Wurlitzer Foundation, the Millay Colony for the Arts, and Lambda Literary. She lives in Philadelphia, where she directs Blue Stoop, a hub for the literary arts. 

Thumbnail: Altınay Dinç

Craft Capsule: Start, Stop, Change

by

Mimi Lok

1.12.20

This is no. 46 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

For many writers with long-brewing projects, starting a new year can stir up dread, excitement, grim resolve, or all of the above. Mid-January becomes a time of early reckoning: Have I stuck to my guns? Backslid already? Realized, aghast, that my goals were far too lofty? Resolutions are often focused on starting new things, but not enough is said about the value of simply carrying on, taking a moment to reflect on existing projects, and adjusting or even stopping the approaches that are no longer working. 

Whenever I feel stuck or overwhelmed with a writing project, I try to take a step back and ask myself three questions: What needs to start? What needs to stop? What needs to change? And then I make lists or action items in response to those questions. It might look something like this:

What needs to start? 

  • Write the scene or chapter you’ve been avoiding. Drink a shot of tequila and write the bloody thing. In one sitting. Tape over the delete button if necessary.
  • Admit that the work has reached the point where it needs to leave the house. Share it with the person who will tell you things you don’t want to hear but who will ultimately help you make it stronger.
  • Look farther afield for things that feed your creative brain and soul. Get your nose out of a book and get thee to an art museum, concert, or stand-up comedy show. It doesn’t have to be tangibly connected to your project, but it will wake up different parts of you and might even spark ideas.

What needs to stop?

  • Control. Release your characters from their toddler harnesses and let them do what they want to do instead of what you want them to do.
  • Narrator as bodycam. Stop treating your first-person narrator as a passive, disembodied set of eyes and ears, and turn them into an actual human being the reader can see, hear, and feel.
  • Procrastination. Specifically, the kind that’s rooted in a lack of interest and motivation rather than a lack of confidence. If some high power decreed you could only tell one last story before you died, would this be it? If the answer is “umm…,” then put this project aside and find the story that feels compelling and urgent to you, and that only you can tell.

What needs to change?

  • Point of view. Does it have to be the POV you’ve chosen? Why? What would happen if you changed it?
  • Scope. Recognize how you’ve been limiting the story and expand or shrink the world of your story accordingly. This could be related to the number of characters you want to focus on, or settings, or time periods. Or it could be about redistributing the amount of time spent with various characters and their world(s). See how it affects the intensity and focus.
  • Setting. How important is your chosen time and place to the story you want to tell? Would the story change if it were relocated, set in another time period?

The stop/start/change tool is something I’ve borrowed from my other life in the nonprofit sector (mostly in terms of assessing projects and organizational priorities), but which can be handily applied to other areas of life too: friendships, marriages, exercise routines, to name a few.

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Craft Capsule: The End

by

Cameron Awkward-Rich

12.30.19

This is no. 45 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When do you stop revising? How do you know when a poem is done? The short answer is that I consider a poem done once I have committed it to memory. I learned this from a revision exercise I borrowed from Danez Smith who, in turn, borrowed it from Lyrae Van Clief-Stefanon. The exercise begins: Open to a blank notebook page or Word document and rewrite the poem you are working on from memory. Following this initial rewrite, Van Clief-Stefanon’s exercise contains a series of prompts intended to clarify what is important to the poem, what it needs more of, and what is extraneous. Even without the prompts, rewriting from memory can, on its own, provide such information; what you remember will usually turn out to be what is essential to the poem, whether that is an image, a narrative, a line-length, a sound. If you remember the whole thing, it stands to reason that the whole thing is essential. 

Poets often analogize the writing of poems to other artistic practices: sculpture, pottery, the making of boats. Embedded in each of these analogies is a different perspective on when to let a poem go. Has a particular affecting figure been etched from the raw material of language? Is the poem both beautiful and functional? Has it carried you—or will it carry your reader—somewhere new? But I tend to think of writing poetry as being less like art making and more like a biological process, like life making. Poetry is a place where I develop, a skin I make in order to make myself. Once I have outgrown it, I can examine the poem from all angles. I can learn new things about it and about who I became inside of it. I can polish its exterior, but there is no way for me to get back inside.

This account of poetry can seem like a rather dismal proposition, especially for those of us who give readings, who return again and again to poems that have already taken shape. It sounds like I am saying that the poem and I were briefly alive together and then, once it has been put down, the poem is no longer living. A reading, in this account, is nothing more than a display of dead language. But here is how I think about it: In the third episode of BBC’s Life Story, there is a vignette about hermit crabs’ elaborate, communal ritual of changing shells. Once a hermit crab has outgrown its shell, it does not simply discard it and move on to the next. Rather, it waits for a critical mass of its fellow travelers to gather and arrange themselves into a line by size order, so that they can transfer shells, one to another. The biggest crab moves into an empty shell on the beach, the next in line takes the big crab’s newly abandoned shell, and on and on down the line until everyone’s soft interior, hopefully, has new room in which to grow. 

What I like about using memorization as a diagnostic is that it says nothing about the “quality” of a poem, so it discourages thinking about revision as “fixing.” Instead, what determines whether a poem is finished is the relationship between us, the poem and I. This perspective on poetry helps me to grow, helps me remember that I can be done with something and that it can be imperfect—it can be a shell with a hole in it—but that it might be precisely what someone else is looking for. 

 

Cameron Awkward-Rich is the author of two poetry collections, Dispatch (Persea Books, 2019) and Sympathetic Little Monster (Ricochet Editions, 2016), which was a Lambda Literary Award finalist. He is a Cave Canem fellow and a poetry editor for Muzzle Magazine. He earned his PhD from Stanford University’s program in Modern Thought & Literature, and he is an assistant professor of Women, Gender, Sexuality Studies at the University of Massachusetts Amherst.

Thumbnail: Maximilian Paradiz 

Craft Capsule: Revising the Archive

by

Cameron Awkward-Rich

12.9.19

This is no. 42 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Several of the poems in my second collection, Dispatch, which comes out this week from Persea Books, are what I think of as the detritus of my academic book-in-progress about maladjustment in transmasculine literature and theory. In conducting research for this project, I have spent countless hours digging around in digitized newspaper archives, trying to get a feel for what it was like to live a gender-nonconforming life at other times in U.S. history. During the course of this work, I have repeatedly encountered traces of Black/gender-nonconforming lives that flicker in and out of the official record. Every so often I become obsessed with these traces. Mostly what surfaces is news of arrests—arrests for “cross-dressing,” discoveries of “cross-dressing” after arrest. Mostly what surfaces are dead-ends. 

One of the traces I came across: Lawrence Jackson, a Black person who was arrested in 1881 in Chicago wearing a dress and then fined $100. According to the newspapers, Jackson could not pay the fine, but tried to plead for alternate terms of punishment, suggesting that if the judge would accept a smaller fine—all the money they reportedly had, $25—they would self-exile by leaving Chicago forever. But the judge insisted on sending Jackson to jail because “a little punishment would be beneficial.” After this episode, Jackson seems to vanish from the official record, though months later this story, along with an image of Jackson, was reprinted in the popular, tabloid-like National Police Gazette. 

When I first encountered Jackson, I was a PhD student trying to write a dissertation. My first impulse was to put these traces of Jackson’s encounter with power to work in my academic writing—to use their appearance in the archive as evidence for an argument about the regulation of race/sex/gender at the turn of the twentieth century. But it turned out that I couldn’t do it—I lacked both adequate information and the desire to put it, put Jackson, to use. I wanted something from Jackson certainly—they would not leave me alone—but each time I tried to write about them, I was unsettled by the result. It was, in Foucault’s words, “impossible to…grasp them again in themselves, as they might have been ‘in a free state.’” All I could know of Jackson, really, was that they had once or twice been caught—arrested, documented on someone else’s terms. 

Eventually I gave up making an argument altogether and, instead, wrote a poem. It’s no surprise that poetry can be a place to work out our felt relations to traces of the past; the poem has always been where I go to develop a private language, to extend intimately beyond myself, and to stage an impossible, interior conversation. But I was surprised to find that poetry also allowed me to work through some ethical questions that had stalled my academic writing, questions like: What do I do with an archival record that exists only because a violence has occurred? What do I do with lives that, to cite Foucault again, “no longer exist except through the terrible words that were destined to render them forever unworthy of the memory of men”? What I wanted—what it was impossible not to want—from this encounter with someone like me in the past was a sense of historical continuity, a “we” across time. But what kind of “we” can I fashion if all I have are these “terrible words”? 

In writing the poem “Still Life,” I of course could not resolve these questions. But I could attempt writerly experiments that academic prose does not exactly allow. In particular, rather than attending to what happened—rather than being beholden to thinking of Jackson as evidence—I was free to roam inside my lyric room, to conduct a conversation, to put my life and Jackson’s life alongside each other, to imagine them free. 

In your own work, consider asking yourself: What are the traces of the past that will not leave you alone? Can you use those traces in order to imagine the ending to an endless story? Perhaps an ending other than the dismal one hinted at in the official record? What language in the archive is suggestive of these possibilities? What language in the archive is only used for the purpose of capture? Can you make even that language do something else?

 

Cameron Awkward-Rich is the author of two poetry collections, Dispatch (Persea Books, 2019) and Sympathetic Little Monster (Ricochet Editions, 2016), which was a Lambda Literary Award finalist. He is a Cave Canem fellow and a poetry editor for Muzzle Magazine. He earned his PhD from Stanford University’s program in Modern Thought & Literature, and he is an assistant professor of Women, Gender, Sexuality Studies at the University of Massachusetts Amherst.

Craft Capsule: Oblique Strategies

by

Kimberly King Parsons

7.15.19

This is no. 37 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was getting my MFA in fiction, one of my favorite professors asked us to write a story using only single syllable words. At first this sounded awful—how could we possibly pull this off? It wasn’t easy, but very quickly it became a kind of game to me, an obstruction that brought out odd new rhythms. When we came back to class and read our stories aloud, it was a revelation. Every single student had done something striking and compelling. The sentences were strange and clipped, everyday phrases made fascinating. One student had something like “he who taught us of the past” to stand in for history professor. In my story, instead of an electrician playing checkers, “the lights guy played reds and blacks.” The formal constraint forced us to go beyond the easy, obvious choices. My professor stressed that this was a starting point, something to unlock us; there was no need to stick to these rules in subsequent drafts. Later, when I was revising, I found that because the work didn’t sound like me, I could brutally edit it. Now, more than ten years later, if something isn’t working in a story or chapter, I sometimes fall back on the one-syllable trick.

The weirdest approaches to process are the ones I find most helpful—the ones that have stayed with me the longest. There was the professor who encouraged his classes to narrate problematic scenes from the perspective of inanimate objects, animals, or the dead. A friend of mine takes the articles out of any story or chapter that’s giving him problems. He usually puts most of them back, but something about the extraction lets him see the work differently. There was another professor who forbade us from using adverbs, or giving characters first names, or starting any sentence with a pronoun—I loved his bizarre rules, even when I decided to break them.

When I’m writing I sometimes consult this strange little deck of cards called Oblique Strategies. Originally created in 1975 by painter Peter Schmidt and Brian Eno—yes, that Brian Eno, immensely talented musician, producer, and co-conspirator of the late David Bowie—each card has a single directive printed on it, a “strategy” for your creative process. These prompts are meant to assist with removing blocks, but the Zen-like aphorisms are more abstract than prescriptive (i.e., “Start at the end,” or “Emphasize the flaws,” or really strange ones like “Remember a time when you hid from something as a child.”) 

The deck my partner and I have at home is the updated 2001 edition, with a bizarre product description: “These cards evolved from separate observations of the principles underlying what we were doing. Sometimes they were recognized in retrospect (intellect catching up with intuition), sometimes they were identified as they were happening, and sometimes they were formulated. They can be used when dilemma occurs in a working situation…The card is trusted even if its appropriateness is quite unclear.” These mysterious abstractions are part of the charm. There’s now a version of the strategies available for free online, although I still prefer the physicality of shuffling through a deck. Two cards I selected at random just now read: “Disconnect from desire,” and “Go slowly all the way round the outside.” It all sounds a bit wacky, and that’s exactly the point. I find the further I lean into the weird, the easier is it for me to get back to work.

 

Kimberly King Parsons is the author of Black Light, a short story collection forthcoming from Vintage on August 13, 2019. She is a recipient of fellowships from Columbia University and the Sustainable Arts Foundation, and her fiction has appeared in the Paris Review, Best Small Fictions, No Tokens, the Kenyon Review, and elsewhere. Her website is www.kimberlykingparsons.com.

Craft Capsule: “Unlikable” Characters

by

Crystal Hana Kim

7.25.18

This is no. 36 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

As writers we all have specific goals when creating our fictional worlds. Some writers value plot, others value humor. Some prioritize beautiful sentences or abstract ruminations about the state of society. When I write, my goal is to construct characters full of depth and complexity. I don’t need readers to agree with my characters, but to understand the why behind their actions. 

When I created Haemi Lee, the female protagonist of my novel, If You Leave Me, I focused on developing this complexity so that my readers would know her intimately. At the beginning of the novel, Haemi is a sixteen-year-old refugee during the Korean War, and by the last pages she is a thirty-two-year-old mother in 1967. By covering a wide swath of time, I want readers to watch Haemi survive, mature, fall in love, make mistakes, become a mother, and grapple with the difficulties of life in post-war South Korea. I want Haemi to feel as real as possible, which meant that she would have to be imperfect, flawed. As I wrote, I considered how she would behave as a daughter, sister, wife, mother, and lover. I considered her temperament. Growing up without means in a conservative time, there would be strict social and gendered guidelines placed on Haemi. I wanted her to bristle against those rules. The problem, I discovered, was that an imperfect female protagonist is often labeled unlikable. 

The first time I heard Haemi described this way was in workshop. I was surprised. It was a gendered remark, and I hadn’t been expecting it at the graduate school level. When did we ever question the likability of male characters? Complicating matters further, when did we question the likability of female characters when they were written by male writers? I simmered in silence as my classmates discussed Haemi Lee. (As the student being workshopped, I wasn’t allowed to speak.) Jisoo and Kyunghwan, my two male protagonists, were not always likable and yet the focus remained on Haemi. Why did she need to be likable when her male counterparts were not? Why were we concerned with the likability of women anyway? Who among us are always likable?

This conversation led me to consider the trope of the “unlikable female character.” I prickled at the phrase, the silly term that asserts female characters are valued for their docility and amiability. I decided that I couldn’t let other readers’ apprehensions about Haemi’s likability soften her. Haemi pushes against the social expectations of her time by not hiding her feelings, by wanting an education, and by speaking freely of the difficulties of motherhood. Haemi is giving and selfish, kind and callous. She is concerned with the welfare of everyone around her while also deeply concerned with her own happiness. If I succeeded in my writing goals, my readers will not always like Haemi, but they will feel deeply for her. They will want to guide her, argue with her, and root for her. 

When writing, our concern should not be a character’s likability, regardless of gender. As the writer, our focus should be on making the character feel true. When my students hesitate at revealing their character’s flaws, I encourage them to dig into the messy, ugly parts. Flaws are what make fiction interesting and realistic. Though we may not love our flaws, they are crucial for characters. When a student worries about the likability of their female characters in particular, this is what I tell them: We need more unlikable female protagonists to deepen the way we consider women in our society. Literature teaches us. Literature makes us question and broaden our understanding of the world. If “unlikable female” means a realistic, imperfect, complex woman, then we need to write as many of these characters as we can.

 

Crystal Hana Kim’s debut novel, If You Leave Me, is forthcoming from William Morrow in August. She was a 2017 PEN America Dau Short Story Prize winner and has received scholarships from the Bread Loaf Writers’ Conference, Hedgebrook, and Jentel, among others. Her work has been published in or is forthcoming from the Washington Post, Elle Magazine, Nylon, Electric Literature, and elsewhere. She is a contributing editor at Apogee Journal and is the Director of Writing Instruction at Leadership Enterprise for a Diverse America. She lives in Brooklyn, New York, with her husband.

Craft Capsule: Multiple Narrators

by

Crystal Hana Kim

7.18.18

This is no. 35 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Before I became a writer, I was first an insatiable reader. From Curious George to Little Women to The Lover, I can mark the trajectory of my development as a writer against my reading choices. A particularly memorable turning point happened when I was eight years old. While at the library, I came across a chapter book called Morning Girl. The cover showed a young girl with dark brown hair and bare shoulders swimming in the open sea, and I picked it up because of the striking image. As I began reading, I fell for Morning Girl’s lush, bright voice as she described her fondness for waking early and searching the beach for seashells. I felt keenly for Morning Girl when her parents favored her younger brother. I had a younger sister, and I understood the mean yellow streaks of jealousy. 

The shock came when I turned to the next chapter. At the top of the page was the name Star Boy. This chapter, I realized as I read, was narrated not by the titular girl, but her younger brother. I remember the confusion I felt and how quickly it was replaced with giddy wonder. Up until that moment, I hadn’t known that a book could have multiple narrators. Morning Girl tore writing open for me: For the first time I recognized that writers were in control of how the story was told and that the possibilities were endless.

I’ve gravitated toward novels with multiple narrators ever since, so when I started writing If You Leave Me, I knew I wanted to try this format. However, I needed to make sure having multiple perspectives would serve my goals. My central character was Haemi Lee, a sixteen-year-old refugee in Busan at the start of my novel. Did I really need the voices of her best friend Kyunghwan, her suitor Jisoo, her younger brother Hyunki, and eventually, her eldest daughter Solee? Thankfully, yes. After some examination, I realized that having multiple narrators allowed me to show the secrets characters were hiding not only from each other, but also from themselves. By alternating these voices, I was able to investigate how one event could be interpreted in various ways, depending on the character’s temperament and circumstance. For example, Haemi, Kyunghwan, and Jisoo all hungered in Busan during the Korean War, and yet their resulting traumas are each unique due to differences in class, gender, and family expectations. 

If You Leave Me spans sixteen years, from 1951 to 1967. Multiple perspectives also gave me the best means of capturing the landscape of Korea during this tumultuous time. Through my five alternating narrators, I was able to write about an ROK soldier in the Korean War; a college student in Seoul in the years afterward, when dictators ruled the nation; a factory worker forced to meet with a matchmaker; a mother yearning to escape her rural community; and a young daughter growing up in post-war Korea, when the vestiges of violence took on new forms.   

When my students say they want to write a novel with multiple perspectives, I’m secretly elated. However, I always remind them of the potential pitfalls. More voices may make your story feel fragmented, which can lead to readers preferring one character over another. In order to avoid this, it’s important to value each perspective equally. If you as the writer dislike one of your characters, the reader will feel that animosity in your words. The solution? Know your characters deeply on and off the page—know their desires, tics, fears, sexual preferences, favorite foods, secret dreams, worst habits. Develop them until you know them as intimately as a friend, in all of their complexities. In the end, I hope having multiple narrators in If You Leave Me enriches the reading experience. Haemi Lee’s voice is the center, but the four characters around her provide a lens not only into the larger history of Korea, but into Haemi’s complex, difficult temperament.

In my final Craft Capsule next week, I will talk more about Haemi and the necessity of “unlikable” female protagonists. 

 

Crystal Hana Kim’s debut novel, If You Leave Me, is forthcoming from William Morrow in August. She was a 2017 PEN America Dau Short Story Prize winner and has received scholarships from the Bread Loaf Writers’ Conference, Hedgebrook, Jentel, among others. Her work has been published in or is forthcoming from the Washington Post, Elle Magazine, Nylon, Electric Literature, and elsewhere. She is a contributing editor at Apogee Journal and is the Director of Writing Instruction at Leadership Enterprise for a Diverse America. She lives in Brooklyn, New York, with her husband.

Craft Capsule: Who Are You?

by

Crystal Hana Kim

7.4.18

This is no. 33 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

“When did you start writing?” Writers are often asked this question, and I’m always curious about the story behind the answers, the paths we take to find our vocations. As a child of immigrants, Korean was my first language. When I began elementary school, I found myself mentally switching between my mother tongue and English, trying to match vocabulary words across language lines. I soon found myself gravitating toward writing; with a pencil in my hand, I could take my time and express myself more clearly. In the first grade, I wrote about butterflies hatching for my beloved teacher, Ms. Benz. The next year, I wrote about a girl with short black hair who wanted to get her ears pierced, but whose Korean parents refused. I presented the story to my mother and father, hopeful and full of glee at my cunning. (Reader, they fell for it and let me pierce my ears.) “I’ve written ever since I was a child,” I say in answer to that question. But when did I find the stories I wanted to tell? That was a more recent discovery.  

As a sophomore in college, I took my first formal writing workshop. Somehow, over the course of my teenage years, my writing had changed. I no longer wrote stories that were rooted in my desires and questions about the world. Instead, I created characters without clear identities—their race, appearance, and backgrounds were murky, undefined. These young adults frolicked and fought on misty hills, drunk with mulberry-stained lips. I was trying to shy away from what I thought was expected of me. I didn’t want to be pigeon-holed as the Korean American workshopper who could only write about “Asian” issues. But I sensed that something was wrong with my characters: They were vague, flat, lifeless.Who is this girl?” a classmate asked. “Don’t be afraid to write about what you know,” my teacher said. 

At first I resisted these suggestions, digging deeper into my no-name characters without a clear sense of home. That is, until the summer break between my sophomore and junior year. One June evening I had dinner with my parents. Over a meal of galbi-tang, rice, wine, and ice cream, my parents recounted their childhoods. My father described catching grasshoppers from his neighbors’ field, of cooking them on a skillet over an open flame. My mother told me of staining her fingers orange with bong seon hwa flowers, which I loved to do during my summer visits to Korea as well.  

The next morning, I found myself still mulling over my parents’ stories. I imagined my father as a child, his lithe body running through high grass in search of those plump green insects. I loved that the act of staining fingers with flower petals, which my sister and I did every summer in Korea, was not only a family tradition, but a Korean one. These stories stayed with me all summer and through the fall, when my undergraduate classes resumed. This time in my fiction workshop, I wrote with greater purpose and clarity. I developed characters with a culture and history behind them. Better, I thought.

The more I wrote, the more I sought my family. When I began my graduate studies, I turned to my maternal grandmother. A fierce matriarch and gifted storyteller, my grandmother shared her life with me—she lived under Japanese occupation, survived the Korean War, and forged a life for her daughters in the years afterward. I absorbed these anecdotes, sometimes taking notes and sometimes just listening. 

When I began If You Leave Me, my debut novel, I knew I wanted to write about the Korean War. More important, I knew I wanted the main character to be a Korean woman who was strong, willful, intelligent, stubborn, and full of contradictions. I wanted a female protagonist that readers would love one moment and argue with the next, someone who felt as complex as our best friends and lovers do. I created Haemi Lee, a teenaged refugee living in Busan during the war. I rooted her story in my grandmother’s experiences, but I added my own desires and questions and fears until Haemi became a character of her own. 

It took me a few wayward years, but I eventually realized that writing about my culture does not confine me as a writer. Instead, my history provides a pool of memory for me to draw inspiration from. Now, when I teach creative writing, I emphasize this process for my students. I encourage them to value every part of their identities.

“Who are you?” I ask. “Tell me what you know.”

 

Crystal Hana Kim’s debut novel, If You Leave Me, is forthcoming from William Morrow in August. She was a 2017 PEN America Dau Short Story Prize winner and has received scholarships from the Bread Loaf Writers’ Conference, Hedgebrook, Jentel, among others. Her work has been published in or is forthcoming from The Washington Post, Elle Magazine, Nylon, Electric Literature, and elsewhere. She is a contributing editor at Apogee Journal and is the Director of Writing Instruction at Leadership Enterprise for a Diverse America. She lives in Brooklyn, New York, with her husband.

Craft Capsule: Tao Te Ching

by

Simon Van Booy

6.13.18

This is no. 30 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

The biggest little book in China is called the Tao Te Ching. One of its most famous sayings is Wu Wei, 無爲, literally, doing nothing or non-doing.

Whereas some people have used this to imbue passivity or laziness with spiritual significance, I think it has something to do with wholeheartedness.

The child at play does not stop to ask herself, “Am I playing?” She is not aware of time, nor constrained by it. Imagine you get so deep into writing, that you forget you are writing. The story just flows from you, through you, and out into the world.

How can you get to that place? Where the act of writing is so much of part of you, it’s effortless. A process of instinct rather than thought—

The first step is to give up the idea you will ever fail, or ever succeed. Prepare to serve only the needs of the story. Then move your hands, breathe.  

Have faith.  

Laugh.  

Cry.

Sleep.

Dream.

 

Simon Van Booy is the author of nine books and the editor of three anthologies of philosophy. His latest work for adults, The Sadness of Beautiful Things, will be released in October from Penguin, and followed up in November by his latest work for children, Gertie Milk & the Great Keeper Rescue, from Penguin Razorbill.

Craft Capsule: A Bird in the Sky

by

Simon Van Booy

6.6.18

This is no. 29 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Having a writing practice is like rowing out to sea in a small boat with a typewriter and sandwiches, hoping for the arrival of some strange bird in the sky. 

After a few hours you tell yourself, “It’s only been a few hours.”  

But when days pass with not even a feather, you wonder, “Am I in the right place? I should have brought binoculars.” You keep looking though—searching the empty sky for some sign, some intervention, a tangible indication that you’re good enough to write, educated enough, wild enough, rich enough, poor enough, sober enough, drunk enough, mystical enough, existential enough.  

Months pass. You’ve been rowing out to the same deep water for weeks and weeks. You’ve lost track of days. Seasons have changed. Where your hands once bled on the oars, there are calluses. You’ve survived heaving seas, blistering heat, and torrential downpours. 

At this point most people toss their typewriters over the side of the boat, and row for the safety of land. Without the bird, they say, nothing is possible.

But you remain in the boat, listening to yourself breathe, a film of salt on your skin. You sit down and pick up the typewriter, rest it on your sore legs, and start to imagine the story you once dreamed of writing. You don’t care about the bird anymore, the words are enough, the sentences are ropes you can use to pull yourself through the narrative.

Then suddenly you look up, there’s a dazzling light, like some mystical, winged creature with blazing eyes.  

As writers, we don’t wait for inspiration. Inspiration waits for us.

Don’t ever forget that.

 

Simon Van Booy is the author of nine books and the editor of three anthologies of philosophy. His latest work for adults, The Sadness of Beautiful Things, will be released in October from Penguin, and followed up in November by his latest work for children, Gertie Milk & the Great Keeper Rescue, from Penguin Razorbill.

Craft Capsule: Find Your Metaphor

by

Sandra Beasley

4.4.17

This is the seventh in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

A friend of mine, a poet, was trying to figure out what bothered him about a draft of my poem. “A poem should be like a wall,” he told me. “You build it brick by brick.” He pointed out that, in his opinion, key bricks were missing.

I didn’t share his vision, but I admired that he had one. I’ve come to value developing a metaphorical model for your genre. A model can help you identify your goals, name your struggles, and proceed toward success.

Perhaps you follow the lead of “stanza,” the Italian word for “room.” You come to think of each poem as a house. How do the rooms differ in function, size, and occupancy? Where does your central drama take place? What comprises your roof?

Perhaps you come to think of your essay as a harp. Each researched fact glimmers, an available string in a golden frame. But you can’t play them all at once. Only in choosing which notes to highlight, and how to sequence them, can you create music.

Personally, I always think of memoir as an egg. I’m protective of the inspiring memory, smooth and undisturbed in its surface. But I have to be prepared to break the egg. I have to make the idea messy before I can make a satisfying meal.

Perhaps your novel is a shark. Perhaps your villanelle is a waltz. Perhaps your short story is a baseball game. Don’t adopt my metaphors. Find one of your own.

 

Sandra Beasley is the author of three poetry collections, including Count the Waves (Norton, 2015), and a memoir. Her website is SandraBeasley.com.

Craft Capsule: The Egg in My Pocket

by

Christina Baker Kline

2.21.17

This is the first in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

As a project for school, my thirteen-year-old son, Will, spent several days carrying an egg around. His task was simple: Keep the egg from breaking.

The experiment was intended to show what it’s like to have a baby, to approximate the feeling of constant vigilance that never leaves you once you have a child. Ultimately, of course, it was supposed to make hormone-addled adolescents think twice before doing something stupid.

As a mother of three, though, I wasn’t convinced. A baby is nothing like an egg, unless it’s an egg that cries, wets itself, sucks on you constantly, and wakes you up four times a night. But as my son described the feeling of carrying his egg—he named it “Pablito”—I realized that it did remind me of something. “It’s always there,” Will said. “You can’t forget it or take it for granted. You feel protective and anxious all the time.”

Carrying an egg around is like writing a novel. No matter what else you’re doing, the fact of the novel is in the back of your mind. If you go too long without attending to it, you get nervous. It is always with you, a weight solid and yet fragile, in constant danger of being crushed. Like the egg, the weight of a book-in-progress is both literal and metaphorical. Within the accumulating pages, as inside the delicate eggshell, are the raw ingredients for something greater. Keeping it intact requires patience, time, attention—and, most of all, commitment. This concept applies to any stage of the process: The egg is both the idea that you nurture long before you begin to write, and the writing itself, which must be fostered and sustained.

Christina Baker Kline is the author of six novels, including A Piece of the World, published this month by William Morrow. Her website is christinabakerkline.com.

Craft Capsule: Deny the Accident

by

Christina Baker Kline

3.7.17

This is the third in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

Jackson Pollock’s reply to an interviewer’s question about how he composed his paintings of “accidental” splatterings has stuck with me. “I don’t use the accident,” he said. “I deny the accident.”

The sheer bravado of this is thrilling, and as a writer I find it to be a useful way to think about my work-in-progress. When I’m putting words on the page it’s easy to second guess, to question the often-unconscious choices I make as I go: the trajectories of characters’ lives, shifts in direction and focus, minor characters who gain traction as the story moves forward. The editor in my head starts whispering: You’re going in the wrong direction. Why are you spending so much time on that character? You need to focus, get back to the story you originally envisioned, stick to the plan.

Over time I’ve learned to trust my impulses. Whatever else they may be, these unanticipated detours are fresh and surprising; they keep me interested, and often end up adding depth to the work. Not always, of course—sometimes an accident is just an accident. But believing that these splatterings on my own canvas are there for a reason, as part of a larger process of conception, gives me the audacity to experiment.

 

Christina Baker Kline is the author of six novels, including A Piece of the World, published in February by William Morrow. Her website is christinabakerkline.com.

Craft Capsule: Good Sense

by

Christina Baker Kline

2.28.17

This is the second in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

The problem of beginning…

The Southern novelist and poet George Garrett, who was director of creative writing at the University of Virginia when I was a graduate student there, always said that if you’re having trouble getting into a chapter or a scene you should use all five senses right at the start, preferably in the first paragraph. Touch, taste, smell, hearing, sight. Your scene will jump to life, and you’ll have an easier time falling into the dream world of the story.

On a related note, Gustave Flaubert kept rotten apples in his desk drawer to evoke autumn when writing scenes that took place in that season….

 

Christina Baker Kline is the author of six novels, including A Piece of the World, published this month by William Morrow. Her website is christinabakerkline.com.

Craft Capsule: Good Sense

by

Christina Baker Kline

2.28.17

This is the second in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

The problem of beginning…

The Southern novelist and poet George Garrett, who was director of creative writing at the University of Virginia when I was a graduate student there, always said that if you’re having trouble getting into a chapter or a scene you should use all five senses right at the start, preferably in the first paragraph. Touch, taste, smell, hearing, sight. Your scene will jump to life, and you’ll have an easier time falling into the dream world of the story.

On a related note, Gustave Flaubert kept rotten apples in his desk drawer to evoke autumn when writing scenes that took place in that season….

 

Christina Baker Kline is the author of six novels, including A Piece of the World, published this month by William Morrow. Her website is christinabakerkline.com.

Craft Capsule: Good Sense

by

Christina Baker Kline

2.28.17

This is the second in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

The problem of beginning…

The Southern novelist and poet George Garrett, who was director of creative writing at the University of Virginia when I was a graduate student there, always said that if you’re having trouble getting into a chapter or a scene you should use all five senses right at the start, preferably in the first paragraph. Touch, taste, smell, hearing, sight. Your scene will jump to life, and you’ll have an easier time falling into the dream world of the story.

On a related note, Gustave Flaubert kept rotten apples in his desk drawer to evoke autumn when writing scenes that took place in that season….

 

Christina Baker Kline is the author of six novels, including A Piece of the World, published this month by William Morrow. Her website is christinabakerkline.com.

Craft Capsule: Tolstoy’s Short Chapters

by

Christina Baker Kline

3.28.17

This is the sixth in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

Anna Karenina is more than eight hundred pages long. So why does it feel shorter than many three-hundred-page books?

As I read this novel recently I noticed that Tolstoy cuts his long scenes into short chapters, usually no more than two or three pages. This makes sense, considering it was published in serial installments, from 1873 to 1877, in the Russian Messenger. Tolstoy often ends a chapter in a moment of suspense—a door opens, a provocative question is asked, a contentious group sits down to dinner, characters who’ve been circling each other finally begin to talk—which propels the reader forward into the next chapter.

The psychological effect of these short chapters is that this huge book is easy to get through. Reading in bed late at night (as I tend to do), I’m tempted to put it down, but then I riffle ahead to find that the next chapter is only three pages long. And I really want to find out who’s behind that door.

Three pages. I can do that—as a reader and as a writer. 

 

Christina Baker Kline is the author of six novels, including A Piece of the World, published in February by William Morrow. Her website is christinabakerkline.com.

Craft Capsule: Visual Prompts

by

Christina Baker Kline

3.21.17

This is the fifth in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

For many writers, visual and tactile stimulation is an important component of the creative process. William Faulkner used to map his stories on the wall in his study. If you visit Rowan Oak, his home in Oxford, Mississippi, you can still see the notes for his 1954 novel, A Fable, in his precise, small handwriting. Edwidge Danticat has said that she has an evolving bulletin board in her workspace where she tacks up collages of photos of Haiti and images from magazines.

I, too, have a new board for each book I write. When I’m starting work on a novel I gather scraps like a magpie. My Orphan Train board was covered with postcards from the New York Tenement Museum depicting the interior of an immigrant Irish family’s cramped apartment, a black and white photograph of a young couple at Coney Island in the 1920s, a map of the village of Kinvara in Ireland. I hung a hand-carved Celtic cross on a green ribbon and a stone shamrock on a red ribbon from Galway; a Native American dreamcatcher from Maine; a silver train pin from a New York Train Riders’ reunion in Little Falls, Minnesota. I tacked up note cards: “Food in Ireland 1900s” was one (“wheatmeal, hung beef, tongue, barley”). Another listed ideas I wanted to explore (“links between misplaced and abandoned people with little in common”).

For A Piece of the World, I included a print of Andrew Wyeth’s painting Christina’s World; photos I took, inside and out, of Christina’s home in Cushing, Maine; some Emily Dickinson poems (“This is my letter to the world / That never wrote to me”); and postcards of other paintings Wyeth did at the Olson house, including Wind From the Sea and Christina Olson (both of which make appearances in my novel). I photocopied sketches Wyeth made for his portrait of Christina. I even included a small handful of grasses I’d plucked from the field Christina sat in.

I find these idea boards fun to assemble and inspiring as I work. My mantra, always: Find inspiration where you can.

 

Christina Baker Kline is the author of six novels, including A Piece of the World, published in February by William Morrow. Her website is christinabakerkline.com.

An outline of A Fable on the wall of William Faulkner’s study at Rowan Oak in Oxford, Mississippi.

(Credit: Joe Bonomo)

Craft Capsule: Making Conversation

by

Christina Baker Kline

3.14.17

This is the fourth in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

Dialogue is hard to get right. It should sound like natural speech, but in fact it’s nothing like it. I like to send my creative writing students out to cafés and parks with notebooks to transcribe bits of overheard conversations. Then I ask them to type up these transcripts and turn them into dialogue between characters. Inevitably their written dialogue bears little resemblance to the overheard conversations. When you write dialogue you must eliminate niceties and unnecessary patter, and cut to the core of the exchange—unless the patter is crucial to the story, conveying a dissembling, depressed, incoherent, or boring personality. At the same time, it should sound natural, like something someone would actually say. The writer George Garrett called this dovetailing—trimming for verisimilitude and impact.

In direct and indirect speech, your characters should constantly be saying “no” to each other. Most of us (myself included) tend to avoid conflict in our real lives, but conflict is crucial in fiction. It keeps the story interesting.

Richard Price, in his novel Lush Life, allows his characters to talk and talk and talk. Price maintains a delicate balancing act; his characters’ words matter. What they say changes the direction of the story. But he never burdens his dialogue with exposition or forces it to convey plot points that don’t come up naturally. In Writing Fiction, Janet Burroway writes, “In order to engage us emotionally in a disagreement, the characters must have an emotional stake in the outcome.” Price’s characters are nothing if not emotionally invested.

Price’s dialogue is vital to the story because it moves the action forward. He constantly puts his characters in conflict with one another. Their conversations are full of surprises—self-revelation, inadvertent admissions, hearsay, evidence—and kinetic energy; they crackle with life. Real life.

 

Christina Baker Kline is the author of six novels, including A Piece of the World, published in February by William Morrow. Her website is christinabakerkline.com.

Craft Capsule: Making Conversation

by

Christina Baker Kline

3.14.17

This is the fourth in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

Dialogue is hard to get right. It should sound like natural speech, but in fact it’s nothing like it. I like to send my creative writing students out to cafés and parks with notebooks to transcribe bits of overheard conversations. Then I ask them to type up these transcripts and turn them into dialogue between characters. Inevitably their written dialogue bears little resemblance to the overheard conversations. When you write dialogue you must eliminate niceties and unnecessary patter, and cut to the core of the exchange—unless the patter is crucial to the story, conveying a dissembling, depressed, incoherent, or boring personality. At the same time, it should sound natural, like something someone would actually say. The writer George Garrett called this dovetailing—trimming for verisimilitude and impact.

In direct and indirect speech, your characters should constantly be saying “no” to each other. Most of us (myself included) tend to avoid conflict in our real lives, but conflict is crucial in fiction. It keeps the story interesting.

Richard Price, in his novel Lush Life, allows his characters to talk and talk and talk. Price maintains a delicate balancing act; his characters’ words matter. What they say changes the direction of the story. But he never burdens his dialogue with exposition or forces it to convey plot points that don’t come up naturally. In Writing Fiction, Janet Burroway writes, “In order to engage us emotionally in a disagreement, the characters must have an emotional stake in the outcome.” Price’s characters are nothing if not emotionally invested.

Price’s dialogue is vital to the story because it moves the action forward. He constantly puts his characters in conflict with one another. Their conversations are full of surprises—self-revelation, inadvertent admissions, hearsay, evidence—and kinetic energy; they crackle with life. Real life.

 

Christina Baker Kline is the author of six novels, including A Piece of the World, published in February by William Morrow. Her website is christinabakerkline.com.

Craft Capsule: Beware the Indeterminate “It”

by

Sandra Beasley

4.11.17

This is the eighth in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

***

Beware the indeterminate “it,” I often say, when fine-tuning a draft.

But that word is so convenient. “It” carries the football from the previous sentence. Whatever “it” you just defined, you’re sticking with it for another ten yards, right?

Except that you’re fumbling the play. Too often, relying on “it” dissipates your language’s energy. Circle every “it” that leads off a sentence. Revising to avoid these instances will force your verbs into action, and clarify your intent.

This is not a hard-and-fast rule. Sometimes an indeterminate “it” will remain, one that has earned its place on the field. The pronoun can be strategic—signifying not just gender neutrality but an absence of comprehension or known name, a fumbling toward meaning, the building of suspense.

In the right hands, “It” can be a potent force. Just ask Stephen King.

 

Sandra Beasley is the author of three poetry collections, including Count the Waves (Norton, 2015), and a memoir. Her website is SandraBeasley.com.

Craft Capsule: Deny the Accident

by

Christina Baker Kline

3.7.17

This is the third in a series of micro craft essays exploring the finer points of writing fiction. Check back each week for a new Craft Capsule.

***

Jackson Pollock’s reply to an interviewer’s question about how he composed his paintings of “accidental” splatterings has stuck with me. “I don’t use the accident,” he said. “I deny the accident.”

The sheer bravado of this is thrilling, and as a writer I find it to be a useful way to think about my work-in-progress. When I’m putting words on the page it’s easy to second guess, to question the often-unconscious choices I make as I go: the trajectories of characters’ lives, shifts in direction and focus, minor characters who gain traction as the story moves forward. The editor in my head starts whispering: You’re going in the wrong direction. Why are you spending so much time on that character? You need to focus, get back to the story you originally envisioned, stick to the plan.

Over time I’ve learned to trust my impulses. Whatever else they may be, these unanticipated detours are fresh and surprising; they keep me interested, and often end up adding depth to the work. Not always, of course—sometimes an accident is just an accident. But believing that these splatterings on my own canvas are there for a reason, as part of a larger process of conception, gives me the audacity to experiment.

 

Christina Baker Kline is the author of six novels, including A Piece of the World, published in February by William Morrow. Her website is christinabakerkline.com.

Craft Capsule: A Bird in the Sky

by

Simon Van Booy

6.6.18

This is no. 29 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Having a writing practice is like rowing out to sea in a small boat with a typewriter and sandwiches, hoping for the arrival of some strange bird in the sky. 

After a few hours you tell yourself, “It’s only been a few hours.”  

But when days pass with not even a feather, you wonder, “Am I in the right place? I should have brought binoculars.” You keep looking though—searching the empty sky for some sign, some intervention, a tangible indication that you’re good enough to write, educated enough, wild enough, rich enough, poor enough, sober enough, drunk enough, mystical enough, existential enough.  

Months pass. You’ve been rowing out to the same deep water for weeks and weeks. You’ve lost track of days. Seasons have changed. Where your hands once bled on the oars, there are calluses. You’ve survived heaving seas, blistering heat, and torrential downpours. 

At this point most people toss their typewriters over the side of the boat, and row for the safety of land. Without the bird, they say, nothing is possible.

But you remain in the boat, listening to yourself breathe, a film of salt on your skin. You sit down and pick up the typewriter, rest it on your sore legs, and start to imagine the story you once dreamed of writing. You don’t care about the bird anymore, the words are enough, the sentences are ropes you can use to pull yourself through the narrative.

Then suddenly you look up, there’s a dazzling light, like some mystical, winged creature with blazing eyes.  

As writers, we don’t wait for inspiration. Inspiration waits for us.

Don’t ever forget that.

 

Simon Van Booy is the author of nine books and the editor of three anthologies of philosophy. His latest work for adults, The Sadness of Beautiful Things, will be released in October from Penguin, and followed up in November by his latest work for children, Gertie Milk & the Great Keeper Rescue, from Penguin Razorbill.

Craft Capsule: A Form of Salvation

by

Simon Van Booy

6.20.18

This is no. 31 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When you start thinking creatively, it’s like releasing a live animal—a new species of mischief that cannot be contained to just one area of your life. Creativity is not like a machine that can be switched on and off. And therefore it does not end when you stand up from your desk after a few solid hours of work.

Ever wondered why you feel the urge to roller skate through a shopping mall listening to Abba? Leave strange notes on the doorsteps of strangers? Eat apples standing up in the bath, naked, with the window open?

Now you know. Creativity is a form of salvation.  

If we could limit creativity to just one area of our lives—how would we ever manage to convince ourselves to climb back in the rocket, and blast off again and again and again, to those distant galaxies of unwritten narrative? 

And stop worrying about getting published. You write because you’re obsessed with telling a story in a way that no one else can. Focus on that. Only that. Everything else will take care of itself.  And, please, for my sake—don’t ever think buying a plastic skeleton from a medical supply store then holding it up to the window when people walk past is a waste of time.  

Being a writer means opening your whole life to creativity. It is a commitment to overpowering fear with imagination and compassion for yourself, as well as others. As a person who writes you’ll be a better mother, son, best friend, aunt, cousin, coach, or bank teller. Because learning to write is learning to see, and striving to see beyond is perhaps the only hope for our species.

 

Simon Van Booy is the author of nine books and the editor of three anthologies of philosophy. His latest work for adults, The Sadness of Beautiful Things, will be released in October from Penguin, and followed up in November by his latest work for children, Gertie Milk & the Great Keeper Rescue, from Penguin Razorbill.

Craft Capsule: Find Your Voice

by

Simon Van Booy

6.27.18

This is no. 32 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Would you agree that for the past forty years, automobiles have been evolving in such a way as they now all look alike? As though created from the same, basic mold? One of the most important things you can do for yourself as a writer is to find your voice. I don’t mean tone, which is another way of referring to how writing makes you feel. The tone of this piece for Poets & Writers is very different from the tone of my latest novel, or the tone of the philosophy books I edited several years ago.  

I’m talking about voice. My voice can be squeezed into a 19th century corset for one novel, or spewed from the bowels of a werewolf for another, but it’s essentially the same underneath.  

When I realized after writing a couple of early novels, that I hadn’t found my voice—that there was even something called a voice—I was devastated.  

Had my years of labor all been for nothing? If my goal was to be published then yes. A total waste of time. But if my aim was to grow as an artist and as a person, then I had reason to be proud of myself.  

Anyway, to spare you the same kind of pain, I’ve devised an exercise that will hopefully lead you closer than you’ve ever been to the fiery core of your own, utterly unique, narrative style.  

1. Pick five books (or poems) you love, and five books (or poems) you dislike intensely, for a total of ten works.

2. Read the first page (or poem) several times, then rewrite it in such a way that you think, in your opinion, it’s better. Sometimes this means changing the order of words, or cutting them, or adding to them, or changing the tone completely. Don’t worry about offending anyone, no one knows you’re doing this except me, and I won’t tell.

3. This exercise, if done properly should take a fair amount of time. Once you’ve completed it, you’ll start to get a sense of who you are as a writer, and how your writing voice differs from the voices of others. Rewriting sections from writers you love is perhaps the most fruitful, because instead of emulating—you’re forced to be different. We each love certain writers for our own reasons. Rewriting their work will illuminate the subtle differences between your voice and theirs. 

4. Once you find your voice, it will almost certainly evolve over time, the way we evolve naturally as artists. Look at the early work of Van Gogh, compared to his later work. Dubliners vs. Finnegans Wake.  Early Beethoven sounds a little like Hayden—while late Beethoven is characteristic of the sound we associate with him. The core will always remain. Your voice is a gift to the world, so find it, nurture it, develop it, work it like a machine, give it the freedom of a vine—but above all, share it. 

 

Simon Van Booy is the author of nine books and the editor of three anthologies of philosophy. His latest work for adults, The Sadness of Beautiful Things, will be released in October from Penguin, and followed up in November by his latest work for children, Gertie Milk & the Great Keeper Rescue, from Penguin Razorbill.

Craft Capsule: The Art of Research

by

Crystal Hana Kim

7.11.18

This is no. 34 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I began writing If You Leave Me, my forthcoming debut novel, I settled upon the premise quickly. Inspired by my family’s history, I knew I would open with Haemi Lee, a sixteen-year-old refugee living in Busan during the Korean War. Though the story was rooted in truth, I was eager to let my imagination take over. Scenes came to me fully formed: Haemi on a hill overlooking the makeshift shacks of her village; Hyunki, her sickly younger brother, walking to the market alone; a network of aunties whispering about the front lines, fear prickling their voices raw. Through Haemi and the characters around her, I wanted to explore how years of devastating loss and violence could warp a person’s psyche, body, and view of the world.

How would I write about 1950s South Korea, when I was born in Queens, New York, in 1987? I wanted to represent this period accurately, so I began intensive research. In the library, I took dutiful notes about that critical day on June 25, 1950, when the North invaded the South. I learned about the political climate that had catalyzed the start of the war. I jotted down the different weapons each army used, the timeline of events. As I gathered these facts, I started to see a change in my writing. I was more specific, surer about the world that Haemi, Hyunki, her best friend Kyunghwan, and her suitor Jisoo were surviving in. 

In my graduate school workshops, I was pleased to find that my research created a strong foundation for my novel. The dates and facts were clear. However, a new problem arose. In my critiques I saw the same question asked in various forms: What does this refugee village look like? What is Haemi wearing? What materials are the makeshift shacks made of? Though my readers were not confused about the circumstances of the war, I wasn’t yet conveying what it felt like to live in this tumultuous time. 

On my next trip to Korea I interviewed my maternal grandmother, who had been a teenage refugee during the Korean War. With a notebook in my lap, I asked her when she fled her home, what she ate on the journey south, what she wore, where she lived, and more. Back in America, I returned to the library. This time, I read ROK soldiers’ memoirs so that I could develop Jisoo’s and Kyunghwan’s experiences. I pored over photographs of civilian refugees, of the markets that formed during the years-long stalemate, and of the shacks constructed from corrugated tin, cardboard, and plywood. My sentences became richer, laden with sensory details. I lingered over descriptions of food, clothing, the buildings in Seoul, the fields in the rural outskirts of South Korea. In workshop I was able to anticipate my classmates’ questions about the physical world. The novel was coming together, I thought. I had finally done enough.  

Or had I? The more I wrote, the more I became curious about Haemi’s psychology. I wanted to explore the way violence, gender expectations, poverty, and family circumstances shaped Haemi’s life in the years after the armistice. In order to do so, I needed to develop her interiority so that readers would empathize with her. I returned to the library, eager to read memoirs written by Korean women who had come of age in the 1950s. However, I found none. Where were all the women? The answer both frustrated and fueled me. They had not been valued during this period of history, and thus, their voices had not been preserved. 

What happens when there is no research to guide your way? Determined to continue, I got creative. I read studies about the history of social and gender hierarchy in South Korea; I watched movies and documentaries; I examined the linguistics of trauma and depression in the Korean language; I returned to my grandmother for her opinions on mental health. I also turned to fiction, reading novels about women living through conflict in other countries. Finally, I considered what would happen to me if I had experienced the trauma of Japanese colonialism, Korean independence, and war before the age of twenty. I imagined how my frustrations would manifest in the domestic sphere. I empathized until I knew Haemi completely.   

Over my journey of writing If You Leave Me, my research took many forms. From reference texts and history books to films and novels to my grandmother’s own experiences, the process was more diverse than I’d expected. My favorite part though, was ending where I began—with my writerly impulse to imagine, to create characters, to tell a story.    

 

Crystal Hana Kim’s debut novel, If You Leave Me, is forthcoming from William Morrow in August. She was a 2017 PEN America Dau Short Story Prize winner and has received scholarships from the Bread Loaf Writers’ Conference, Hedgebrook, Jentel, among others. Her work has been published in or is forthcoming from The Washington Post, Elle Magazine, Nylon, Electric Literature, and elsewhere. She is a contributing editor at Apogee Journal and is the Director of Writing Instruction at Leadership Enterprise for a Diverse America. She lives in Brooklyn, New York, with her husband.

Craft Capsule: The Art of Research

by

Crystal Hana Kim

7.11.18

This is no. 34 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I began writing If You Leave Me, my forthcoming debut novel, I settled upon the premise quickly. Inspired by my family’s history, I knew I would open with Haemi Lee, a sixteen-year-old refugee living in Busan during the Korean War. Though the story was rooted in truth, I was eager to let my imagination take over. Scenes came to me fully formed: Haemi on a hill overlooking the makeshift shacks of her village; Hyunki, her sickly younger brother, walking to the market alone; a network of aunties whispering about the front lines, fear prickling their voices raw. Through Haemi and the characters around her, I wanted to explore how years of devastating loss and violence could warp a person’s psyche, body, and view of the world.

How would I write about 1950s South Korea, when I was born in Queens, New York, in 1987? I wanted to represent this period accurately, so I began intensive research. In the library, I took dutiful notes about that critical day on June 25, 1950, when the North invaded the South. I learned about the political climate that had catalyzed the start of the war. I jotted down the different weapons each army used, the timeline of events. As I gathered these facts, I started to see a change in my writing. I was more specific, surer about the world that Haemi, Hyunki, her best friend Kyunghwan, and her suitor Jisoo were surviving in. 

In my graduate school workshops, I was pleased to find that my research created a strong foundation for my novel. The dates and facts were clear. However, a new problem arose. In my critiques I saw the same question asked in various forms: What does this refugee village look like? What is Haemi wearing? What materials are the makeshift shacks made of? Though my readers were not confused about the circumstances of the war, I wasn’t yet conveying what it felt like to live in this tumultuous time. 

On my next trip to Korea I interviewed my maternal grandmother, who had been a teenage refugee during the Korean War. With a notebook in my lap, I asked her when she fled her home, what she ate on the journey south, what she wore, where she lived, and more. Back in America, I returned to the library. This time, I read ROK soldiers’ memoirs so that I could develop Jisoo’s and Kyunghwan’s experiences. I pored over photographs of civilian refugees, of the markets that formed during the years-long stalemate, and of the shacks constructed from corrugated tin, cardboard, and plywood. My sentences became richer, laden with sensory details. I lingered over descriptions of food, clothing, the buildings in Seoul, the fields in the rural outskirts of South Korea. In workshop I was able to anticipate my classmates’ questions about the physical world. The novel was coming together, I thought. I had finally done enough.  

Or had I? The more I wrote, the more I became curious about Haemi’s psychology. I wanted to explore the way violence, gender expectations, poverty, and family circumstances shaped Haemi’s life in the years after the armistice. In order to do so, I needed to develop her interiority so that readers would empathize with her. I returned to the library, eager to read memoirs written by Korean women who had come of age in the 1950s. However, I found none. Where were all the women? The answer both frustrated and fueled me. They had not been valued during this period of history, and thus, their voices had not been preserved. 

What happens when there is no research to guide your way? Determined to continue, I got creative. I read studies about the history of social and gender hierarchy in South Korea; I watched movies and documentaries; I examined the linguistics of trauma and depression in the Korean language; I returned to my grandmother for her opinions on mental health. I also turned to fiction, reading novels about women living through conflict in other countries. Finally, I considered what would happen to me if I had experienced the trauma of Japanese colonialism, Korean independence, and war before the age of twenty. I imagined how my frustrations would manifest in the domestic sphere. I empathized until I knew Haemi completely.   

Over my journey of writing If You Leave Me, my research took many forms. From reference texts and history books to films and novels to my grandmother’s own experiences, the process was more diverse than I’d expected. My favorite part though, was ending where I began—with my writerly impulse to imagine, to create characters, to tell a story.    

 

Crystal Hana Kim’s debut novel, If You Leave Me, is forthcoming from William Morrow in August. She was a 2017 PEN America Dau Short Story Prize winner and has received scholarships from the Bread Loaf Writers’ Conference, Hedgebrook, Jentel, among others. Her work has been published in or is forthcoming from The Washington Post, Elle Magazine, Nylon, Electric Literature, and elsewhere. She is a contributing editor at Apogee Journal and is the Director of Writing Instruction at Leadership Enterprise for a Diverse America. She lives in Brooklyn, New York, with her husband.

Craft Capsule: Who Are You?

by

Crystal Hana Kim

7.4.18

This is no. 33 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

“When did you start writing?” Writers are often asked this question, and I’m always curious about the story behind the answers, the paths we take to find our vocations. As a child of immigrants, Korean was my first language. When I began elementary school, I found myself mentally switching between my mother tongue and English, trying to match vocabulary words across language lines. I soon found myself gravitating toward writing; with a pencil in my hand, I could take my time and express myself more clearly. In the first grade, I wrote about butterflies hatching for my beloved teacher, Ms. Benz. The next year, I wrote about a girl with short black hair who wanted to get her ears pierced, but whose Korean parents refused. I presented the story to my mother and father, hopeful and full of glee at my cunning. (Reader, they fell for it and let me pierce my ears.) “I’ve written ever since I was a child,” I say in answer to that question. But when did I find the stories I wanted to tell? That was a more recent discovery.  

As a sophomore in college, I took my first formal writing workshop. Somehow, over the course of my teenage years, my writing had changed. I no longer wrote stories that were rooted in my desires and questions about the world. Instead, I created characters without clear identities—their race, appearance, and backgrounds were murky, undefined. These young adults frolicked and fought on misty hills, drunk with mulberry-stained lips. I was trying to shy away from what I thought was expected of me. I didn’t want to be pigeon-holed as the Korean American workshopper who could only write about “Asian” issues. But I sensed that something was wrong with my characters: They were vague, flat, lifeless.Who is this girl?” a classmate asked. “Don’t be afraid to write about what you know,” my teacher said. 

At first I resisted these suggestions, digging deeper into my no-name characters without a clear sense of home. That is, until the summer break between my sophomore and junior year. One June evening I had dinner with my parents. Over a meal of galbi-tang, rice, wine, and ice cream, my parents recounted their childhoods. My father described catching grasshoppers from his neighbors’ field, of cooking them on a skillet over an open flame. My mother told me of staining her fingers orange with bong seon hwa flowers, which I loved to do during my summer visits to Korea as well.  

The next morning, I found myself still mulling over my parents’ stories. I imagined my father as a child, his lithe body running through high grass in search of those plump green insects. I loved that the act of staining fingers with flower petals, which my sister and I did every summer in Korea, was not only a family tradition, but a Korean one. These stories stayed with me all summer and through the fall, when my undergraduate classes resumed. This time in my fiction workshop, I wrote with greater purpose and clarity. I developed characters with a culture and history behind them. Better, I thought.

The more I wrote, the more I sought my family. When I began my graduate studies, I turned to my maternal grandmother. A fierce matriarch and gifted storyteller, my grandmother shared her life with me—she lived under Japanese occupation, survived the Korean War, and forged a life for her daughters in the years afterward. I absorbed these anecdotes, sometimes taking notes and sometimes just listening. 

When I began If You Leave Me, my debut novel, I knew I wanted to write about the Korean War. More important, I knew I wanted the main character to be a Korean woman who was strong, willful, intelligent, stubborn, and full of contradictions. I wanted a female protagonist that readers would love one moment and argue with the next, someone who felt as complex as our best friends and lovers do. I created Haemi Lee, a teenaged refugee living in Busan during the war. I rooted her story in my grandmother’s experiences, but I added my own desires and questions and fears until Haemi became a character of her own. 

It took me a few wayward years, but I eventually realized that writing about my culture does not confine me as a writer. Instead, my history provides a pool of memory for me to draw inspiration from. Now, when I teach creative writing, I emphasize this process for my students. I encourage them to value every part of their identities.

“Who are you?” I ask. “Tell me what you know.”

 

Crystal Hana Kim’s debut novel, If You Leave Me, is forthcoming from William Morrow in August. She was a 2017 PEN America Dau Short Story Prize winner and has received scholarships from the Bread Loaf Writers’ Conference, Hedgebrook, Jentel, among others. Her work has been published in or is forthcoming from The Washington Post, Elle Magazine, Nylon, Electric Literature, and elsewhere. She is a contributing editor at Apogee Journal and is the Director of Writing Instruction at Leadership Enterprise for a Diverse America. She lives in Brooklyn, New York, with her husband.

The Darkness Within: In Praise of the Unlikable

by

Steve Almond

12.13.17

Last summer I wrote a review of Who Is Rich? (Random House, 2017) by Matthew Klam. The novel is narrated by a man named Rich Fischer, a self-loathing husband and father who conducts an anguished and antic affair with an equally unhappy infidel.

Shortly after I turned in my review, I heard the book discussed on the radio. The segment opened on an odd note. “Rich is a hard man to like,” the host began. I sat back in astonishment—the notion hadn’t even occurred to me. But a quick survey of prepublication reviews revealed that this was, in fact, the consensus view: Rich was whiny, selfish, unsympathetic.

These complaints, it should be noted, weren’t generally directed at his adultery, about which he is so racked with guilt that he attempts to kill himself twice. No, his central offense is that he articulates the miseries of monogamy and parenthood with such tender precision. He’s hard to like, in other words, because he makes the reader feel uncomfortable.

And yet when I survey the books that inspired me to quit journalism and take up fiction two decades ago, every single one features protagonists who are “hard to like” in the exact same way: Birds of America by Lorrie Moore, The Lover by Marguerite Duras, Airships by Barry Hannah, Jesus’ Son by Denis Johnson, the stories of Flannery O’Connor.

My predilection for destructive and discomfiting characters arose, in part, from my years as an investigative reporter, which I spent tracking con men and corrupt cops, shady developers and sexual deviants.

In my reporting, the central danger was detection by the authorities. In literature, the danger was self-revelation. The question was why people messed up their lives and, when they got going, the lives of those around them.

This question began with the characters, but it extended to the reader. Spending time with folks who were morally flawed and ruthlessly candid, who had thrown all manner of caution to the wind, was thrilling specifically because they enacted my own repressed urges. I didn’t just want to rubberneck their misdeeds. I felt implicated by them.

As I turned all this over in my mind, I began to realize why I’d found the scolding critiques of Rich Fischer so vexing. They weren’t just sanctimonious or shallow. There was something cowardly in them, a mind-set that positioned fiction as a place we go to have our virtues affirmed rather than having the confused and wounded parts of ourselves exposed.

***

A lot of ink has been spilled over the past few years on this question of likability, as well as an adjoining anxiety: how important it is that characters be “relatable.” One of the flash points of this debate emerged from the critical reception of Claire Messud’s fierce novel The Woman Upstairs (Knopf, 2013), whose narrator, Nora Eldridge, spends much of the book railing against the forms of feminine duty she has internalized.

When an interviewer for Publishers Weekly observed that she “wouldn’t want to be friends with Nora” because of her “unbearably grim” outlook, Messud’s reply lit up the Internet. “For heaven’s sake, what kind of question is that?” she demanded. Messud went on to cite a dozen famously repellent male characters who are rarely, if ever, subjected to such a litmus test. “If you’re reading to find friends,” she concluded, “you’re in deep trouble. We read to find life, in all its possibilities. The relevant question isn’t ‘Is this a potential friend for me?’ but ‘Is this character alive?’”

Messud was hailed for confronting what we might call the fallacy of likability, and the ways in which female authors are expected to cleave to this notion.

One of the most fascinating reactions came from novelist Jennifer Weiner. In an essay published by Slate she noted, rightly, that many readers come to fiction hoping to spend time with characters they admire. And she argued that the creators and consumers of such characters shouldn’t be looked down upon.

But Weiner’s defense of likability was undermined by her own resentments. Likable, she insisted, was a code word “employed by literary authors to tell their best-selling brethren that their work sucks.” Her response was to tell Messud that her work sucked.

“There’s no payoff,” Weiner wrote of The Woman Upstairs, “just a 300-page immersion in the acid bath of Nora’s misery, her jealousy, her lack of compassion, her towering sense of entitlement.” Weiner felt Messud had willfully crafted a character to whom no one can relate.

The irony was that Nora elicited such vehement reactions precisely because readers related to her too much. They felt implicated, both by her impotent rage and the despair lurking beneath her grievances. “Above all, in my anger, I was sad,” she confesses. “Isn’t that always the way, that at the heart of the fire is a frozen kernel of sorrow that the fire is trying—valiantly, fruitlessly—to eradicate.”

What I’m getting at here is that the debate about likability ultimately boils down to sensibility. Nora Eldridge’s view of the world, and her place in it, is too dark and intense for some readers. When they pick up a book, they want to be transported to a sunnier precinct, or a more exotic one, with a friendlier companion. They seek a refuge from the anguish of their inner life.

There’s no right or wrong in any of this. It’s a function of what sort of experience we’re after as writers and readers.

***

There’s another unspoken factor in all this: the market. If you’re an unpublished writer seeking representation, and you submit a manuscript with an abrasive protagonist, chances are you’re going to hear from agents concerned about likability. The whole reason Lolita was originally published in France, and nearly three years later in the United States, is that Humbert Humbert’s panting hebephilia was abhorrent to American editors.

Cultural and literary standards evolve, of course. But financial anxieties are forever. Which is why agents and editors remain wary of characters they fear readers will find off-putting. In a world where reading books is itself a marginal activity, one performed in defiance of the perpetual racket of digital distraction, why risk losing sales?

I spent weeks, for instance, arguing with my editor about the section of my memoir, Candyfreak (Algonquin Books, 2004), in which I developed the irrational conviction that I had testicular cancer during a barnstorming tour of U.S. candy bar factories. My editor argued, quite sensibly, that this disclosure made me a lot less likable as a guide. What’s more, it dampened the giddy mood that prevailed elsewhere and guaranteed the book would never be adopted in school curriculums.

The reason I insisted on its inclusion was that I saw my self-diagnosis as an integral part of the story, a symptom of the depression that had reignited my childhood obsession with candy.

I don’t mean to imply that highlighting the repellent traits of a character is some shortcut to literary depth. That’s as foolish as the notion that scenes of graphic violence or sex will magically yield drama.

Some years ago I began a novel about a shameless right-wing demagogue who decides to run for president (I know). The response I got from readers was that my leading man, while fun to hang out with for a little while, was ultimately oppressive. It wasn’t that my leading man had the manners and conscience of a shark but that he had no subtext, no dreams or fears animating his outsize appetites. Nor did he hew to the path of so many unlikable protagonists, the Emma Woodhouses and Ebenezer Scrooges, who are forced to confront their flaws and wind up redeemed in the bargain. My man was self-regarding without being self-aware.

Such a figure might plausibly thrive in the world of politics (again, I know). On the page, he quickly degenerated into caricature. 

***

But what about those characters who refuse to evolve or offer up much in the way of vulnerability? I am thinking here of our most famous villains: Milton’s Satan, Shakespeare’s Lady Macbeth, Dostoyevsky’s Grand Inquisitor, Joseph Conrad’s Kurtz, Flannery O’Connor’s Misfit, Cormac McCarthy’s Judge Holden. These figures, though not technically protagonists, dominate their given worlds.

They do so because they’re willing to violate moral norms and thus wind up driving the action of the story. They’re also fearless in apprehending the nature of the world around them, even if they deny us access to their own inner lives. Most vitally, they embrace the transgressive aspects of their selfhood, the ones we anxiously inhibit so as to appear more likable.

Consider Melville’s Captain Ahab as he stands upon the deck of the Pequod, roaring out the true nature of his mission. “If man will strike, strike through the mask. How can the prisoner reach outside except by thrusting through the wall? To me, the white whale is that wall, shoved near to me,” he tells his crew. “I see in him outrageous strength, with an inscrutable malice sinewing it. That inscrutable thing is chiefly what I hate; and…I will wreak that hate upon him. Talk not to me of blasphemy, man; I’d strike the sun if it insulted me.”

Tell us how you really feel, Ahab.

The reason readers like me gravitate toward characters like Ahab is that, not very deep down, we know ourselves to be equally charged with wrath, besieged by private doubts and grudges, and thus enthralled by those who dare to speak truth in a world overrun by personal forms of marketing.

The rise of Internet culture has only magnified the allure of such figures. Most social media platforms revolve around an elaborate effort to generate “likes” by presenting an airbrushed version of our lives and values. What grants trolls their magnetic power—whether they lurk online or in the White House—is the unacknowledged force of our own suppression.

Moral perfection is admirable, after all, but deadly dull in a literary character. I think here about the figure of Jesus Christ as we encounter him in the New Testament. He says and does all the right things. But he only comes alive as a character in those rarely cited verses when his revolutionary ire and human needs come into view.

The most shocking moment in the Gospels takes place a few days before his appointed end. On the way to Jerusalem, he stops in Bethany, where a woman lovingly anoints his head with perfumed oil.

The act angers some of those who witness it, including Judas Iscariot, who asks Jesus whether the expensive oil could have been put to better use if it was sold and the money given to the poor. “The poor you will always have,” Jesus replies. “But you will not always have me.”

It’s a moment of sensual indulgence and unvarnished pride that’s astonishingly out of character for Jesus. By my reckoning, he’s never more likable. 

***

I don’t expect this piece will do much to settle the question of likability. It’s one of those disputes into which writers will continue to pour their opinions and anxieties.

And that’s probably a good thing, if you think about it. Because we happen to be living in a historical moment ruled by unlikable characters. Take a look at our political and popular culture, at the angry voices emanating from our screens, at the seething violence in our discourse.

As writers, it can feel pointless to engage in literary endeavors when the world around us feels so combustible, so fragile. But I would argue that it has never been more important for writers to engage with the questions literature seeks to answer.

If we are to reclaim our country from the dark forces determined to divide us, to sow discord and cynicism among us, we must first seek to understand the darkness within ourselves. That means turning to stories in which we encounter characters actively engaged in the struggle—and sometimes failing—to contain their unbearable thoughts and feelings.

The urgent question isn’t whether we like these folks. It’s whether, in coming to know them, we come to know ourselves any better.

 

Steve Almond’s book Bad Stories: What the Hell Just Happened to Our Country is forthcoming in April from Red Hen Press.

His central offense is that he articulates the miseries of monogamy and parenthood with such tender precision. He’s hard to like, in other words, because he makes the reader feel uncomfortable.

Polite Need Not Apply: A Q&A With Mary Gaitskill

by

Joseph Master

12.11.17

Mary Gaitskill doesn’t believe literature should have to be polite. Do a Google image search of the author and you’ll see a succession of penetrating gazes—pale, wide eyes you just can’t fend off. Gaitskill’s writing, which has earned a National Book Award nomination, a Guggenheim fellowship, and a PEN/Faulkner nomination, has a similar effect. The author whose most recent book is a collection of personal and critical essays, Somebody With a Little Hammer (Pantheon, 2017), is best known for her fiction, having previously published three novels and three story collections. Gaitskill has been labeled “The Jane Austen of sickos,” a moniker that supposes her fiction—famous (and in some circles probably infamous) for its enjambment of sexual brutality with sensuous lyricism—is debauched. While her prose can at times appear as icy as her stare, waves of empathy, soul, and B-12 shots of humor course beneath the surface. From her first book of short stories, Bad Behavior (Simon & Schuster, 1988), which became widely known for “Secretary,” a story of sadomasochism and desire that was made into the 2002 indie film starring James Spader and Maggie Gyllenhaal, to her most recent novel, The Mare (Pantheon, 2015)Gaitskill’s fiction has always been ferocious, but not for the sake of brutality. The fireworks are in the vulnerability of human connection, not just the spectacle of sex. When she talks about her craft, Gaitskill’s eyes brighten and she smiles often. If you are fortunate enough to speak to her about Chekhov or Nabokov, as I was, you feel thankful for her clairvoyant insights, for her mastery of opinion—for her energizing confidence in what makes a good writer.

In an interview you once said, “Literature is not a realm of politeness.” What’s your style in the classroom? Are you the conditionally supportive teacher or the unconditionally supportive teacher?
I’m sure most people would call me conditionally supportive. I don’t really know what I’m like. I mean, I can’t see myself from the outside. People have described me as blunt. I’m not always, actually. I mean, I’m not always as blunt as I—

As you want to be?
as I might be if I were actually being blunt [laughs]. I’m blunt if I think there is no other way to be. I think my teaching style has also somewhat changed. And again, it’s hard to see myself from the outside. But I think I’ve learned how to be critical in a better way than I used to. In the past, I was so uncomfortable in a position of authority. I had never had a job before where I had any authority at all. My generation is notoriously uncomfortable with authority. That’s why we are terrible parents. I mean, I’m not speaking personally. I am not a parent. But it’s a thing—my generation makes awful parents. Because they’re so busy trying to make their children happy and be a friend to their children and make everything in their life work out that they end up just smothering them, basically.

All unconditional! I guess psychologists would say you need one unconditional and one conditionally loving parent, right? There’s a balance.
I had a similar problem teaching. But, it didn’t show up in the same way. I was just so uncomfortable having to be the authority. And I knew that I had to be. So the things I would say would come out much more forcefully than I actually meant them. It translated into harshness. And it was actually coming from a place of real discomfort and insecurity. But I don’t think the students knew that. Maybe some of them did, some of the time.

I remember a former writing professor, Chuck Kinder, always driving home the principle of Chekhov’s smoking gun. This West Virginian drawl saying, “If there’s a gun, there had better be gun smoke.” What’s your smoking gun principle? Do you have a rule?
I don’t, actually. I think there are very few rules that can’t be broken. I think there is only one that is very difficult to break. I have seen it broken, but not very often. It’s that something has to change. From the beginning of the story to the end, something needs to be different. The only time I’ve ever seen it successfully broken was a Grace Paley story called “A Conversation With My Father.” But as a general rule, something has to change. There has to be some source of tension. And even that can be subtle. Even in the language itself. You know the Flannery O’Conner story “Everything That Rises Must Converge”?

Yes!
The blood pressure. It’s mentioned in, I think, the first or second sentence. The blood pressure is the number-one thing.

Earlier I asked you which short stories of yours I should read, and you immediately responded with “Secretary.” You said you considered it one of your best. So I started there with Bad Behavior. That was your first book. You were thirty-three when it was released. How long did it take you?
About six years.

A first book is like a band’s first record, right? You have your whole life up to that point to write that first collection of words. And you release it. And then people tell you who you are. They say, “Oh, you’re the masochism writer,” or  “you’re the next Dylan.” It can be kind of crushing. Then you have, what? A year? Five years? You have such a shorter time frame to follow it up. What was the difference between writing Bad Behavior and your second book, the 1991 novel Two Girls, Fat and Thin?
Well, there were a couple of things. I had actually started the novel before I sold the story collection. I had written maybe thirty-five pages and stopped, because I just didn’t know what to do. And the reason I picked it up again was because I was in a publisher’s office, and they didn’t know if they wanted to buy the collection or not. And the guy said, “So, do you have a novel?” And I said, “Yeah. Yeah I do.” And he said, “What’s it about?”

And I just started talking about these girls. And they were like, “Oh, ok.” And they wanted to do a two-book deal: the short story collection and the novel.

Well, that certainly worked out.
It didn’t have to do with the process, though. It was much more complicated. Because when I was writing Bad Behavior I could always say to myself, “It doesn’t have to be good. No one is going to see it.” That actually made it possible for me to go forward. I said that to myself literally every time I sat down, repeatedly. “It doesn’t have to be any good. No one will see it.”

Like The Basement Tapes. Dylan and his band didn’t mean for anyone to hear them. They were just hanging out in Woodstock, recording music they never thought would see daylight.
It’s a very helpful thing to say to yourself. And I didn’t have any expectation of how it would be received, either. Whereas with Two Girls I could not say that. I knew people were going to see it. And actually, for the first time, I was self-conscious about how it would be seen. And I felt a desire, an obligation almost, to please certain readers. Because I knew who had liked Bad Behavior and I knew why they liked it. So I was uncomfortable about disappointing those people, perhaps. I tried as hard as I could to put those feelings aside. But it was very difficult.

That had to be jarring.
It was.

Had you ever thought about your limitations as a writer when you were working on that first collection?
Oh, yeah! I thought I was terrible.

You thought you were terrible?
That was the other thing about Two Girls that was different. It was that I had never tried to write a novel before. Short stories are—some people say they are harder, but I don’t think so. And the reason I don’t think so is because it’s just a smaller space to deal with. I mean, some are quite capacious. It’s not that they are easy. I don’t find them easy. But a novel? It’s like I was a cat that had been in a house all of its life, and all of a sudden a door was flung open. And I was flooded with sights and smells and was crazily running over in one direction wondering what was going on there and getting distracted. And then running in the other direction. It was a total feeling of freedom. But I didn’t know what to do with it. It was very hard to figure out what I wanted to pay attention to and how to structure it. And stories are way more manageable that way.

Being flooded with sights and smells. Yes. So appropriate, because your fourth novel, Veronica (Pantheon, 2005), is flooded with sights and smells and senses that overlap and eclipse each other. Let’s start with the origin myth that opens the book —the dark folktale told to the narrator, Alison, by her mother. Alison revisits this story for the rest of her life. It haunts her. At one point she admits that she felt it more than she heard it. At what phase in the process of writing this novel did you write the beginning—this story that keeps coming back?
I added that later.

Was there a Lebowski’s Rug moment, when you arrived at this origin story and added it, and it really brought the whole room together?
Honestly, it was because someone who read a draft of the book said it reminded them of the tale The Girl Who Trod on the Loaf. It’s Hans Christian Anderson. And I said, “Really, what’s that?” And I went and looked it up. And I agreed. I thought it was perfect.

Those old tales are soul crushing and beautiful, but also scary as hell. It’s scary being a kid.
Right. Because everybody’s bigger than you. And they are weird! [Laughs.]

You’ve mentioned a soul-quality in writing. I’ve read interviews where you break it down to the molecular level. I guess it’s a voice quality, right? This energy. How did you find that? And how in the world do you teach that?
I don’t know. How did I arrive at the voice quality?

Yes. This energy in your writing, the music of it. The way you describe these grotesquely beautiful things. It’s your voice. What all MFA students want so badly to get, I think, is their own version of that.
I used to tell students, “I want to see it how only you can see it. I don’t want to see it how a hundred people would see it.” I was basically telling them not to rely on shared perception. There isn’t anything wrong with shared perception. It can be a beautiful thing, and I think music relies partly on shared perception, or it assumes a certain kind of shared perception, rightly or wrongly. Because you feel, in a group of people, that you are hearing it the same, although you’re probably not. You feel that commonality. Slang. Expressions. There are certain things that make shared perception beautiful. You can’t have a conversation without it. But when you’re reading a story, it’s a different thing. It’s much more intimate. It’s much more like…you’re wanting to get the pith of what that person feels and sees. It’s more like that.

Music plays a huge, great part in Veronica. What’s your soundtrack?
You mean, what music do I listen to?

Yes. When you’re writing, or on the train with your headphones. What are you listening to?
I’m really sorry to say this, but I don’t have those things. I don’t like that. I don’t want to walk around listening to music and not listening to what’s happening. It’s bad enough that I’m glued to my phone. I’m not going to go there with music. But right now I’m also at a disadvantage, because I don’t have a good sound system. So I’ve been listening to music on my computer and I just don’t like it as much. Like, when I had a good sound system, I used to put on music and just walk around, drinking a glass of wine, just listening to it.

In your writing, you slip in and out of time seamlessly. In Veronica, you’re like a time bandit. We’re talking a really adult version of Madeleine L’Engle. The book spans decades of Alison’s life—from her teenage years in Paris in the 70s to New York in the 80s, where she meets Veronica, and she’s narrating when she’s in her fifties. There are certain sentences that stretch between two different moments. Considering the amount of time the book covers, there has to be a level of trust—in your own ability to do that, but also that the reader will trust this time machine you’re driving. Was that hard to do? Did you question that?
Yeah, I did question if it was a good idea or not. I was afraid it would be too arty, or just too hard to follow. Yeah, I wondered about that.

For me, that kind of movement through time made everything move faster. It made my heart beat faster, especially as the book went on.
Well, thank you. I did it, for one thing, well, I felt like I had to blend the times because the book is focused on something in the past, and the narrator is in the present. But also because I was at an age where I felt like time was blending for me, personally, in a way that it hadn’t before.

How so?
I think when you get to a certain age, and for some people it may be in their forties or for other people it may be in their sixties—I’m not sure—but I think for everybody it happens that your relationship with time changes and you see the future or the present, and it becomes like a palimpsest for the past, and you just kind of blur things. And it’s not necessarily in a confused way, but sometimes it is. Like, you can talk to very old people and they’ll think something happened. Recently, my mother thought that her mother gave her the book, Born Free by Elsa the Lioness. And that’s not possible. My mother wasn’t alive when that book was written. But in her mind it absolutely must have been that way. She’s blending something. I think that starts to happen in middle age. Not in the sense that you’re confused, but that your connections of when things happen in time, spatially, are just different.

So, let’s talk about sexuality. Never have I read fiction regarding sexuality that made me feel quite the same way—that way I felt when reading Veronica.
When you say “that way,” what do you mean?

As a male, reading about sex—this beautifully painful account of health, illness, death, with all of this sometimes brutal sex—I felt my own mortality. I became very aware of my heartbeat and my breathing. Thinking about all the cigarettes I had smoked a long time ago. It made me anxious. It hurt. And I saw all of this through the eyes of Alison, a model, who is absolutely nothing like me. At all. I related to it. Absolutely, in the moment, related to it. And it’s hard enough for me to be in the moment, ever.
Me, too.

At one point Alison says she sees how men can look at pictures and feel things. She’s trying to see the world through the eyes of the other, and reading the book as a man, I was doing the same thing backwards, through her eyes. Have you found that the reaction to your writing has been starkly different along gender lines? That men have a different response? Like, me, how I am getting super uncomfortable talking about it with you right now?
Oh, it doesn’t make me uncomfortable at all. I don’t really know. Someone wrote an article about how horrible she thinks men are when they write about me. And it’s true that some male critics have been unusually nasty. But it’s also true that once, a long time ago, for my own curiosity, I went through all the reviews and divided them into male and female. And then I added up where the most negative ones came from. They came from women. So, I think women are more likely to relate to my writing in a superficial way, because most of my characters are women. I don’t really know if there is a predictable breakdown.

I thought my last book, The Mare, would not be read by men at all. The Mare is all female characters with specifically female issues. And there isn’t a whole lot of sex in it. Even the horses are female. But men read it and liked it. I mean I don’t know how many. I can’t really say for sure. I am thinking, though, that some men seem to view it with horror that seems gendered.

Recently, Veronica was republished in England and my editor decided to have a personal friend of hers write an introduction. I can’t remember the guy’s name. He’s an English writer whom she says is very respected, but I’ve never heard of him. And he spent a lot of time—and he was a fan, apparently—talking about the horrifying, degrading imagery that I use about men. In one of these horrifying examples, Alison was thinking about a guy, and I hope you don’t mind me using this language. She’s having sex with somebody, and she can feel his asshole tingling on the end of his spine. In the context of writing, that does not seem especially degrading or at all degrading to me. If you were saying that to someone, it might be different, depending on who they are and how you said it. But the idea of somebody thinking that, in private, in a fictional novel, I don’t understand. I scratched him doing the introduction and I did it myself. And I wrote back to [my editor] and said, “Has this guy ever read Philip Roth or Saul Bellow? What makes him so shocked by this?”

In conversation it might be a shocking remark, but not in a novel, in somebody’s head. And that’s what I mean by politeness not applying to literature. There’s a different standard than at a party. I really did wonder if he would have reacted that way if it was a male writing about a female he was having sex with.

Well, I think there is maybe a double standard when it comes to writing about sex. Men might get more of a pass, right? And I’ve never read anything about sex that was written quite like that.
Thanks. Except I would normally disagree with that. I think women get more of a pass. For sexist reasons, actually, sexuality is considered the purview of women. It’s like women’s area of authority. Women can write really dirty things without being criticized as much. Are you aware of Nicholson Baker’s book The Fermata?

No.
It’s a pretty dirty book. It’s a fantasy book. Have you read him at all?

No, I haven’t. I guess I should.
Beautiful writer. Line by line, probably the best writer in America, in my opinion.  Line by line, though, not by the whole content, necessarily. Well, The Fermata was one of his lighter books. He’s better known for Vox, because Bill Clinton and Monica Lewinsky read it together. Or for The Mezzanine. But The Fermata is about somebody who can stop time, and he uses it to take women’s clothes off…

Oh! Yes…he masturbates on their clothes?
He masturbates, but he doesn’t do it on their clothes. My, that book got outraged reviews. People said it was violent, degrading, disgusting. It was none of those things. It was a totally harmless fantasy. And I think if a woman had written it, it would have been different. Have you ever read Natsuo Kirino?

No. You know what? Not only have I probably not read any of the books you’re mentioning, I’m probably going to get a big complex about it. 
No. Don’t worry. I’ve hardly read anything. But Natsuo Kirino, one of her books that I really like, in one of the final scenes is this guy who has been stalking her and finally gets her tied up and he’s planning to torture her and he’s cutting her and he’s raping her. And she actually responds to him. But she’s actually tricking him. She ends up killing him. And he almost likes it. She cuts his throat and he dies slowly. I don’t remember the words, but it’s almost like he says, “I love you” in the end. If a man wrote that scene, he’d be considered the equivalent of a murderer. He wouldn’t be able to show his face in public.

Well, I guess I’ll have to read that now…
It’s true, though. I think women are allowed to be much more outrageous sexually, in general, than men. What some of the male critics, who have been nasty, are responding to—and this one guy said that reading me was like being sodomized by an icy dildo—

Um, does he know what that’s like?
[Laughs] Oh, I suspect he doesn’t. Because if he did, he would never make such a ridiculous comparison. But, in a way, it’s a huge compliment, because I have never read anyone in my life who would make me feel even remotely like that. So he must think I’m some kind of badass.

What I think makes people like that uncomfortable isn’t the level of sexual detail. I think it makes them feel emotionally uncomfortable. Because they feel emotionally exposed. Lots of people write about sex very graphically.

Switching gears, you really describe the beauty and sometimes ugliness of voices. The sound of them. And you do it visually, too. Alison will describe how something looks as a sound. Are you the kind of person who can be enthralled, or just totally turned off, by the timbre of someone’s voice?
Oh yeah. I’m really, really voice responsive. When I was very young, at home, in the other room doing homework, some guy came to see one of my sisters. And I was so revolted by his voice, I could hardly bare to listen to it. And when he left I walked in the room and I said, “Who was that?” And I said, “He’s a horrible person.”

It turned out he was, actually. He had sexually molested somebody and later he made obscene calls to one of my sisters. I’m not saying I can do that all the time, but I am very voice reactive. And I can even fall in love with somebody just by the sound of their voice. I mean, I may not stay in love with them [laughs]. And it might not mean they’re a wonderful person. Although, interestingly, when I first heard my husband’s voice, I didn’t like it. But that changed. I’m not completely wedded to that impression. But it does mean something.

I read you once say that Debbie from “Secretary” was no older than eighteen. And I thought, “Wow. What an erudite, literate eighteen-year-old.”
Really, you think?

Oh yeah. That first-person narrator in that third-person universe? Totally.
It’s pretty simple, I think.

But what we can get to here is the idea of the reliability of a narrator. In Veronica, you use the first-person narrator, and you nailed the trust—the narrator was so reliable. How do you confer that trust? What advice do you give students to find that place?
I’ve always found the concept of the reliable versus the unreliable narrator peculiar, because I think all narrators are unreliable [laughs]. People tell you what they saw or what they think or what they felt, and they may be telling you the truth, but it might not at all be what someone else saw happen. Like, people always call Humbert Humbert an unreliable narrator. He’s very reliable. He’ll tell you exactly what he thought and felt in a lot of detail. And you also get a very clear sense of what Lolita is experiencing through him. But I don’t think of it as unreliable. I think more in terms, and this sounds really corny, I think more in terms of, “Do I care what this narrator thinks and feels? Can he engage me?”

With students, the problem I see most often is that I don’t get a sense of what their narrators care about. What they want. What matters to them. That’s a bigger issue to me than whether or not they’re reliable in some way.

Would you agree if I were to say that you are hard on your readers?
I don’t know [laughs]. It probably depends on the reader. I’m sure some people read my stuff and think it’s fun. And some people might think it’s boring.

Your writing? Boring?

Sure. I think Bad Behavior is boring, quite frankly. I had to read it for an audio book. I was just like, “Oh…”

For some readers it is hard. I guess I do know that for a fact. I’ve seen complaints. I’ve seen people talk about how hard it is. So it must be. But it’s not something I set out to do.

I guess we have a theme here, of conditional versus unconditional. Reading your work, I found it very hard on the reader. Not in a pejorative sense. I found it absolutely conditionally loving. It gives me everything I need, but as you once said, there is a thin line between absolute excitement and humiliation—and you thrive on that line.
I said that?

Yep.
Where?

I think in New York Times Magazine, actually.
Wow. I never read that one.

You’re tackling incredibly emotionally intense, sexually intense, illness, health, and death…
It’s true. That line.

It’s so interesting that you bring that up because a student of mine just workshopped a story; the ending is a scene in which the male character is really ashamed of his body and his girlfriend is really beautiful and she decides she wants him to pose naked for pictures. And it’s a potentially very powerful scene because it can potentially be a very horrible experience. And he’s just so uncomfortable. It would be very much a thin line. And it could be one of those things where it could be great or just really, really awful. Or both.

I’d say great and awful at the same time would be the goal, right?
Oh, yeah. For a lot of people, yeah. Because it’s the whole picture.

I think that’s what I would say about your writing. 
Well, thank you.

 

Joseph Master is the executive director of marketing and digital strategy at Drexel University in Philadelphia. His freelance work has appeared in newspapers, magazines, television commercials, and on tiny screens across the nation. He studied creative writing at the University of Pittsburgh.

Mary Gaitskill, whose most recent book is the essay collection Somebody With a Little Hammer

(Credit: Derek Shapton)

Where the Past Begins: An Interview With Amy Tan

by

Alison Singh Gee

10.13.17

This past summer, while speaking on a panel at the Squaw Valley Community of Writers conference, Amy Tan surprised an audience full of aspiring authors with an admission: “There are times when I think to myself, ‘I’ve lost it completely,’” she said. “‘That’s it. It’s over. I will never write again.’” She shook her head and added, “It took me eight years to write the last novel. It seems like with every novel, it gets harder and harder.”

Tan, the author of six novels, including The Joy Luck Club (G. P. Putnam’s Sons, 1989), as well as two children’s books, struggled with writing her last novel, The Valley of Amazement, first exploring one storyline for about five years, ditching much of it, and basically starting over, finally completing the book some three years later. Published by Ecco in 2013, the novel followed the odyssey of a young biracial courtesan as she searches for her American madam during the early twentieth-century in China.

As she grappled with her voice on the page, her public voice—on Facebook, notably—was becoming pointedly more personal and urgent, poking at topics that ranged from the whimsical (her beloved terriers and her latest sculptural haircuts) to the controversial (politicians she despises). In post after post on social media, Tan examined and confronted the world around her and the world within her. It was during this period that she began e-mailing with her editor, Daniel Halpern at Ecco, who she started working with on The Valley of Amazement, a little more than a decade after Faith Sales, her longtime editor at Putnam, died in 1999.

Halpern would send Tan a question, and the author would fire off a witty retort, or sometimes a very long missive. Once, for instance, Halpern asked the writer for a synopsis of her yet-to-be-written novel and Tan shot back a four-thousand-word response about why she hates writing synopses. All of these missives had a vital quality in common: spontaneity.

Buoyed by the vibrancy of their dashed-off e-mails, Tan decided to write a memoir, Where the Past Begins: A Writer’s Memoir, published this month by Ecco. The book collects Tan’s unguarded, free-flowing writing in response to family documents, personal photographs and journal entries she had collected throughout her life, which began in the San Francisco Bay Area, where she grew up the daughter of immigrant parents from China. The results of this personal research deeply surprised the author. In examining photographs of her grandmother and the clothing she wore, Tan discovered that her grandmother had most likely been a courtesan. In rereading letters she and her mother had exchanged before her death in 1999, the author realized they had remained close, even during the times that Tan tried to distance herself, and that her mother had felt that her daughter had truly understood her. The relationship between a mother and a daughter has formed the basis of much of Tan’s work, from The Joy Luck Club, which consists of stories about the experiences of four Chinese American mothers and their daughters, to The Bonesetter’s Daughter (G. P. Putnam’s Sons, 2001), about an immigrant Chinese woman and her American-born daughter.

Tan, who readily admits that in writing her novels she labors over every sentence, discovered something vital about her writing process: that if she just shut out her self-conscious voice and wrote, she could capture something vital, intimate, and authentic on the page. “Writing this book was very painful,” she says. “But it was exhilarating, too.” 

I recently spoke with Tan about her approach to memoir and how this shift in process changed the way she views her fiction writing. 

You’ve written six novels, two children’s books, and one collection of essays. A memoir is a departure of sorts. Why did you decide to switch literary camps?
I would say I was lured into writing this book. It was the suggestion of my publisher, Dan Halpern, who thought I needed an in-between book—as in, between my novels. At first he thought we could put together a whole book of our e-mails. I said, “That’s a terrible idea.” But he kept insisting that it would be good. We could turn our e-mails from when we were first getting together into essays about writing. Then I looked at them and said, “This is never going to work.” And he finally agreed.

But by then this book had already been announced. And I was stuck writing it. At first I started writing something esoteric about language, but it was coming out all wrong and stiff. So I decided I was just going to write whatever comes to mind. It was going to be a memoir but it was going to be spontaneous.

But you’re known as a literary craftsperson, laboring over every sentence. How did you decide that spontaneity was the way forward?
This was one of the things I learned about creativity. You have to let go of self-consciousness. When I started thinking about this book, I knew that if I felt self-conscious while writing, it would probably come out bit by bit and it would not be as honest.

So I told Dan I would send him fifteen to twenty pages of writing every week. I imposed this crazy deadline on myself. I was just writing spontaneous sentences and not doing much in the way of revision. And this is what came out.

Throughout the writing of this book I was both excited and nervous. I didn’t know what I was going to find. It was like when you go to the circus and you’re about to see the next act. You’re looking forward to it but you’re also scared out of your mind. You’re worried that the trapeze artist is going to die. The process had a suspense to it. Even though I was writing about my life, here, I was writing about what I felt about certain experiences. There’s a difference between a narrative of facts and what happened in your life.

This was about what I felt about certain experiences and the association of that experience with another, and another beyond that. It was about who I am as an adult and reflecting on the core of these experiences.

What was your process? How did you organize the mining of these moments in your life?
I had collected all these things from my family and my own life, not ever thinking that I would write from them. I am sentimental; I have things from my high school, like my student-body card. I had like eighty boxes of this stuff in my garage. I kept them with the idea that I would one day go through them and get rid of a bunch and keep a couple of things. Then I thought, I will just pull something out of the boxes, and if it intrigues me I will write about it. So the process was: I stuck my hand in a box and what came out I wrote about.

It wasn’t as though I had it all lined up, like I wanted to write about this and this. The process was surprising, shocking. It was exhilarating, a mix of emotions. It brought about those things you get out of writing—you know, you have these epiphanies and discoveries. It was an affirmation of why we write.

How did this differ from writing your novels?
Writing fiction allows me the subterfuge of it being fiction. I can change things from real life. I can still go to an emotional core but not as intensely.

Fiction is a way to bring up emotions that I have and to get a better understanding of the situation. But I found that writing memoir brought up ten times the amount of emotion I have while writing fiction. This was truly an unexpected book. I kept telling Dan, “I hate this book.” It seems so personal, like an invasion of privacy. It’s as though I let people into my bedroom and into my darkest moments. I haven’t had time to really meditate over this as I would have liked—you know that word: process. I haven’t even had reflection time to sort out my emotions.

You seem to have lived a remarkably dramatic life and so did your mother, so did your grandmother. Your grandmother was likely a courtesan, one who committed suicide by swallowing raw opium. Your mother, in choosing to leave behind an abusive husband in China, also had to leave her daughters behind as she moved to America for a new life. And I read an article in which you mentioned that you had been sexually molested as a child, held up at gun point, experienced the death of both your father and older brother within six months of each other, and lived with a mother who threatened to kill herself on many occasions, and threatened to kill you with a cleaver on another occasion. In taking stock of this generational trajectory, did you have it in your head that you would one day make sense of all this as a writer?
Well, that’s what I was doing all along with my fiction. I was writing about things, and these moments would come up spontaneously, intuitively, naturally, as part of a narrative in which I was trying to make sense of a story.

For example, when I was writing The Joy Luck Club, I was writing to understand my mother more. But not to the extent that I did in writing this particular book—there was so much turmoil. When I examined for this memoir, in a very concentrated way, what it was like to live with my mother and her suicidal rages, it was so painful. The horror of seeing her put her leg out of a car and knowing that she might possibly die.

Is it meaningful to your memoir writing that your mother, who you’ve described as your muse, died almost two decades ago? How has that freed you to write autobiographically?
I wonder every once in a while what my mother would have thought about the things I wrote in this memoir. Would she have been upset or really happy? Would she be angry? When she was alive, anytime I wrote about her, even when I wrote terrible things, she was thrilled because it was about her. I could have written that she tried to kill me, and she would have been delighted. She’d say something like, “Now you understand how I feel.” My mother was an emotional exhibitionist.

My father, a minister, would have been wounded. In this book I wrote these things about him being sincere but shallow. He depended too much on the pat phrases of the Bible. Rather than truly feeling what somebody was going through, he wanted to solve things and be a good minister. He was so blind to what was going on in his own family. He didn’t have compassion for my little brother and me and what we might have been going through.

Was there difficult material that you left out of the book? If so, how do you feel about that decision now?
We took out about ten or twelve pieces and there was one, actually, that I debated over. Dan and I agreed that it was a little too risky. It was a letter I wrote to a minister based on having been abused when I was fifteen by their youth minister. This person I was writing to was not the minister when this happened. My point in the piece was that his church is a house of worship and it’s a continuous fellowship. I wrote that he is proud of the story of his church but he has to add this to its history. His house of worship has a stain on it.

I finally said, “We have to take this piece out. It goes off the path. It doesn’t enhance what I’m trying to write about.”

Are you happy with that decision or do you regret it?
I’m happy with the decision. Sometimes you write something and it becomes almost retribution, a desire to get even. In this memoir, I could have written about betrayal. I could have written about people who deeply wounded me, but why? I could have written about the fact that my mother went through her life feeling betrayed and that is a mark she put on me. I now have very strong feelings about betrayal and condescension. But I don’t want betrayals to be a dominant part of my life, and if I had written about them I would have given them more importance than I wanted to give them.

How did you push past your emotional blocks to include difficult information and lines of questioning?
In this book I say something about writing and honesty. And it has to do with spontaneity. If you are going to get to some emotional core and truth, you have to write spontaneously. You have to let go of that frontal lobe that says, “Oh, but my father will read this.” You can look at your writing later and say, “Oh my God, my father is going to kill me when he reads this, or he’s going to kill himself.” And then you will know what to leave in or take out. Or you wait until your father’s death. But if you start out in your writing having these concerns, maybe you are writing things that are vindictive. Or maybe you are not ready to write these scenes. Maybe you need to write them later. Maybe you need to take it from a different angle and it will come out in a different way. But I think that if you always write with compassion and understanding, then you stand a good chance of having that person understand why you are writing this. That you weren’t trying to be vindictive. Being vindictive is an automatic no.

Will you take this technique of spontaneity back to your fiction writing? How else will this foray into memoir affect your work as a novelist?
I always thought as I wrote fiction that I was making discoveries, deep discoveries. I was surprised by how much deeper these went as I was writing this memoir. How much more trouble the memories are and how much more risk I had to take to go into it.

Fiction offers us a subterfuge—I keep using this word—it’s almost similar to donning a costume when I go onstage as a ridiculous singer [as she does as a member of the literary rock band, The Rock Bottom Remainders, whose other members have included Stephen King, Scott Turow, Barbara Kingsolver, and others]. If I wear the costume, I can do ridiculous singing because it’s supposed to be in the guise of a silly person.

I am much closer to who I am when I am writing fiction, but there is still a separation. I write my fiction in the first person but writing memoir is truly first person.

I wonder if, in writing fiction, I am going to be as close to the material now, as I was as writing the memoir. With fiction I will still have that protective mechanism. For my memoir I fell into this safety zone of fiction when I wrote that memory of being in the car with my mother as she threatened to commit suicide. I had to write that in the third person. At first, I wrote it in the first person and I had to take it in the third person because it was so painful. I could only get it out in the third person.

At the same time, I think that writing fiction can be very fun. It allows you to be reflective, and at the same time and there’s the art and craft of fiction that I like. So I don’t think I would ever continue to just write memoir.

You mention that you have a “messy narrative style,” that you might start a novel using one voice speaking from a particular period of time but then you shift to another voice speaking from another period of time. Does this have to do with the dual narrative you lived with your mother?
This seems to be true about every book I’ve written. I start in the present and then go into the past. I think this has to do with an interior sense that whatever is happening in one particular time has a connection to another. I’m really fascinated by what that connection might be.

It’s not always a direct connection. For example, my father was a Christian minister and very devout. That does not mean that the connection to me was that I became a Christian minister or very devout. But what it did do for me was made me question what I do believe and why. And also that I am interested in having a purpose in life, rather than a random one. 

At Squaw Valley you said something surprising—and probably very buoying to many writers—that sometimes you face a blank page and think that you have lost the ability to write another word. But then you start to write again. What’s gets you over that hump and onto writing the next page?
I sometimes have this existential dread that I will never write again. Or, I’m not a writer, or this book isn’t going anywhere. Everyone is going to be disappointed. It makes me sick. Then I just say, “Get over it, you are not the end of the world.”

I’m not a disciplined writer at all. I would never want to convey that and make other writers anxious.

What happened with this memoir is that I gave myself a self-imposed deadline—fifteen to twenty pages a week—and I allowed myself to write bad pages. That’s the thing. Allow yourself to write bad pages and just continue to write spontaneously and in that writer’s mind. Write as much as you can without self-consciousness over bad sentences. Write knowing it’s going to be imperfect—that’s important. Just press on. You might look at it later and maybe you have to throw everything away. But there might be something in there that is valuable, that you can keep.

What three or four qualities make a “literary writer”?
Ah, that’s a terrible term. It has triggered a response equal to what the word “liberals” has attracted from Trump supporters. Being a literary writer might mean that you think you’re better than everybody else, or what literary means is that you’re incomprehensible to about 90 percent of mainstream readers.

But, okay. A literary writer is serious about craft, and doing something original, writing a story that contains an important idea. Literary writing has an important theme and it comes through naturally, logically, imperatively.

What qualities make a superstar writer?
Luck. And some kind of style. There is a great deal of luck involved. You have to get recognized and read. You’re lucky if your book falls into the right hands and if it didn’t come out the day after 9/11. Beyond that, it is having established a voice that people enjoy or want to hear from and being able to provide that.

Superstar writers are not necessarily the best writers. Some have written the same book over and over again. They may have a formula that readers want. Superstar writers have that down. They can be depended upon to deliver what readers like to read. I’m not counting myself as a superstar writer, by the way.

What’s next for you?
My new book is a novel, The Memory of Desire. It’s a book that I dreamed up. The structure, the characters and the setting—they literally came to me in a dream. It is so gratifying to get the setting down. For me, it’s a major part of starting a book. But keep in mind, what works for me may not work for you. 

 

Alison Singh Gee is an award-winning journalist and the author of the Hong Kong-India memoir, Where the Peacocks Sing, about her comical and complicated relationship with her husband’s family palace in Northern India. She teaches creative nonfiction and literary travel writing at UCLA Extension. Find her at Facebook.com/AlisonSinghGee.

Amy Tan, whose new book is Where the Past Begins: A Writer’s Memoir, published by Ecco in October.

(Credit: Julian Johnson)

The Heart of the Novel: Nicholas Montemarano and Eric Puchner

11.6.17

If you want to lose and then find yourself in stories of modern family life, look no further than the fiction of Nicholas Montemarano and Eric Puchner. Both authors peer into the beautiful messiness of contemporary America by way of its homes: the high stakes of our daily rituals, the turmoil beneath serenity, the white lies and longings that hold it all together. Puchner is author of the beloved story collections Last Day on Earth (Scribner, 2017) and Music Through the Floor (Scribner, 2005), as well as the novel Model Home (Scribner, 2010), which won the California Book Award and was a finalist for the PEN/Faulkner Award. Montemarano is the author of two critically acclaimed novels, The Book of Why (Little, Brown, 2013) and A Fine Place (Context Books, 2002), and the short story collection If the Sky Falls (Louisiana State University Press, 2005), a New York Times Book Review Editor’s Choice. Now he’s celebrating the release of his third novel, The Senator’s Children, published this month by Tin House Books. Centered on two sisters who have never met, it is an intimate family drama about a political scandal and the personal aftermath. Puchner read an advance copy and was enthralled. “This engrossing, brilliantly structured novel takes a familiar situation—the implosion of a presidential candidate’s career—and creates a thing of heartbreaking beauty out of it,” he writes. “By asking whether forgiveness can conquer blame, and whether we might even be able to treat strangers like family, The Senator’s Children feels like exactly the kind of novel we need.”

So Eric Puchner and Nicholas Montemarano got in touch, and what started as an e-mail exchange in the fall of 2017 turned into a literary deep-dive. The two discussed scandals and second chances, finding the heart of the novel, and blurring the personal and political.

Eric Puchner: The Senator’s Children feels like a departure for you in terms of material. One of the things I admire about it, in fact, is that you take a familiar subject, one that’s sort of ripped from the history books—the infidelity of a presidential candidate and its ramifications on his career and family—and find a brand new story to tell.  What compelled you to write about a political scandal?

Nicholas Montemarano: This novel does feel like a departure in some ways—I never expected to write about a political scandal—but in other ways, it continues a preoccupation of mine. So much of what I’ve written—I realized this only after I completed The Senator’s Children—is about families, specifically how they cope with the aftermath of tragedy. My first urge to write this novel came after listening to a late-night talk show host lampoon a politician whose career and life were falling apart. I was compelled less by the fact that this man was a politician and more that he was a public figure being mocked when privately he and his family must have been in great pain. I had an especially strong reaction to the audience’s laughter. I may have been the only person in America, for all I know, who felt sorry for this man, his wife, and his children. We like to see the mighty fall, and then we love the redemption story that often follows. But this politician—the one who was the butt of so many jokes—there wasn’t going to be a second act for him. Not a chance, not after what he did. I couldn’t help but wonder what the rest of life would be like for a person who had become such a pariah.

EP: That’s another thing I admire about the book, the sympathy you show each and every character—not only David, the disgraced senator, but also “the other woman” who in some ways conspires to take David down. Was there a particular character you found hard to empathize with at first? Who was the trickiest character to write your way into?

NM: David Christie was unfaithful to his wife while he was running for president—and while she was battling cancer. Can you feel sympathy for someone who did that? Well, that was one question I set out to ask in my novel. The answer, for me, was surprisingly immediate: yes, of course. The challenge, then, was to bring out those aspects of David that might evoke empathy in readers. On the other hand, Rae, the woman with whom David has the affair—she was more of a challenge. In early drafts, she wasn’t very sympathetic. She was too interested in cashing in on the affair; she wanted to write a book about it and still hoped, years after the affair, to win over David. But she struck me as a caricature, a cultural footnote you might see on a reality TV show (in fact, I had her on a reality TV show in the first draft). So I had to dig deeper and allow her to be flawed—she can be needy and self-absorbed—but sympathetic. In her case, her saving grace is that she loves her daughter.

EP: We’ve been talking about David and the other woman, but the novel’s called The Senator’s Children. For me the emotional heart of it is the story of the two sisters, Betsy and Avery, who don’t know each other because one of them is the living proof of their father’s scandal. It’s just such a fraught, thematically rich situation. Did you know from the beginning that you would focus on David’s two daughters and their very divergent trajectories in life? And that these trajectories would eventually cross?

NM: I was just talking about this last week with my students. I showed them the pages in my notebook from 2011 when I wrote down my first thoughts about this novel. It was called The Senator. But a few weeks later, the working title became The Senator’s Daughter because I decided that its focus—and its narrator—would be Avery, the daughter born from the affair. I wrote the first paragraph—which no longer exists in the novel—and then one page later in my notes, I wrote: The Senator’s Children. I could see myself changing my mind and discovering what the heart of the novel would be. Even at that early stage, I knew who David Christie’s three children were and that his two daughters, estranged from their father to varying degrees, would collide late in the novel. I wrote pages of notes about them. It’s amazing to me that, after five years and so many drafts, much of those first notes I wrote about them remain true. Some things we know from the very beginning, and other things we have to write our way towards knowing.

EP: I wonder about that in relation to the novel’s structure. Another thing that impresses me is the way it moves so unexpectedly through time, toggling between the mid-eighties, the early nineties, 2010, and (in the final section) 1977. I found this to be the source of a lot of the book’s poignancy and power. (In some ways, it feels like the real subject of the novel is time and its irrevocability.) Was the jumping-around-in-time structure something you knew you were going to have from the beginning, or is it something that evolved during the drafting process?   

NM: I really like what you just said about time and its irrevocability—yes! If I had to choose two words that seem to capture my books thus far, they would be: time and regret. What is the life span of a terrible mistake? Can time heal even our deepest wounds? Or do those wounds fester and multiply? I’ve written three novels, and all of them move around in time. It’s difficult for me to imagine writing a novel that doesn’t; it just feels natural to me. As a reader, I’m drawn to nonlinear narratives. Many of my favorite books—The Things They Carried, Jesus’ Son, Another Bullshit Night in Suck City—jump around in time. Or skip ahead, like the “Time Passes” section of Virginia Woolf’s To the Lighthouse. Or move backwards like Harold Pinter’s play Betrayal. Julia Pierpont’s Among the Ten Thousand Things, one of my favorite novels in recent years, includes surprising flash-forwards. Time jumps can be so powerful. We’re here, then suddenly we’ve jumped ahead, or back, and important things happen in that white space. I remember turning the page to Part Two of your novel, Model Home, and seeing that time had jumped ahead a year—even a small time jump like that excites me. I’m like, what did I miss? What happened between those two pages? The ending of The Senator’s Children, the final jump back in time—as soon as it happened, it thrilled me; I knew it was right.

EP: I want to ask you about the language in the book, which feels whittled down to its very essence—there’s a kind of spareness to it that feels evocative and hard-boiled at the same time.  Reading it, I couldn’t help thinking of Babel’s dictum that “only a genius can afford two adjectives to a noun,” except that it seems to me you’ve decided to get rid of adjectives altogether. Is this ultra-spare voice something that comes easily and naturally to you? Or, like Isaac Babel, do you “go over each sentence, time and again,” taking out anything extraneous?

NM: Eventually, I had to give myself over to sparer prose. During revision, it won me over and convinced me that it would be best for the novel. The first draft was bigger, louder, stylistically and formally explosive, multiple narrators, very voice-driven. With each draft, more of that fell away. The aspects of the first draft I was most enamored with were exposed as just that—writing I was too enamored with and attached to. The revision process was one of whittling down me, so to speak. The novel couldn’t be about me being a good writer or making some interesting moves; everything had to be at the service of the story. And so with each revision the novel became quieter and more intimate. Whenever my editor and I spoke about the later drafts of the novel, we always came back to intimacy—that was the novel’s strength, she kept telling me, and I came to believe her. It’s amazing to see how much the novel changed through revision—more than any other book I’ve written.

EP: Speaking of change, the biggest change that happened between your writing of this novel and its publication was the election of Trump. You wrote the novel before Trump’s infamous Hollywood Access tape, which—unlike David’s indiscretion—didn’t end up crushing Trump’s chances at the presidency and makes the Monica Lewinski scandal seem almost quaint. Has Trump’s ascendancy changed your perspective on the novel in any way? Would you write the same book in 2017?

NM: I would. Trump, of course, has reset almost everything when it comes to politics. But families—it seems to me that they remain the same. And I really see The Senator’s Children as a family novel more than a political novel. I set David’s run for the presidency in 1991 and 1992 mostly by necessity: I needed Avery, his daughter outside his marriage, to be in college during the present narrative in 2010. But setting the political scandal twenty-five years ago turned out to be interesting. I had a chance to revisit some of the political sex scandals around that time. In the case of Gary Hart in 1987, a photograph brought down his run for the Democratic nomination. But during the 1992 presidential campaign, Bill Clinton was able to overcome allegations of infidelity and win his party’s nomination and the White House. David Christie’s fate was closer to Hart’s. Or John Edwards’s in 2008. Some readers of The Senator’s Children have told me that the political world depicted in my novel feels, in the Age of Trump, like a throwback to a more civil time. Politics, of course, has always been a rough sport—and a fascinating one. But I’m a writer more interested in the private—what happens behind closed doors when the shit hits the fan, how families cope, how people lose each other, or hold on.

Novelists Nicholas Montemarano (left), author of The Senator’s Children; and Eric Puchner.

Craft Capsule: Find Your Voice

by

Simon Van Booy

6.27.18

This is no. 32 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Would you agree that for the past forty years, automobiles have been evolving in such a way as they now all look alike? As though created from the same, basic mold? One of the most important things you can do for yourself as a writer is to find your voice. I don’t mean tone, which is another way of referring to how writing makes you feel. The tone of this piece for Poets & Writers is very different from the tone of my latest novel, or the tone of the philosophy books I edited several years ago.  

I’m talking about voice. My voice can be squeezed into a 19th century corset for one novel, or spewed from the bowels of a werewolf for another, but it’s essentially the same underneath.  

When I realized after writing a couple of early novels, that I hadn’t found my voice—that there was even something called a voice—I was devastated.  

Had my years of labor all been for nothing? If my goal was to be published then yes. A total waste of time. But if my aim was to grow as an artist and as a person, then I had reason to be proud of myself.  

Anyway, to spare you the same kind of pain, I’ve devised an exercise that will hopefully lead you closer than you’ve ever been to the fiery core of your own, utterly unique, narrative style.  

1. Pick five books (or poems) you love, and five books (or poems) you dislike intensely, for a total of ten works.

2. Read the first page (or poem) several times, then rewrite it in such a way that you think, in your opinion, it’s better. Sometimes this means changing the order of words, or cutting them, or adding to them, or changing the tone completely. Don’t worry about offending anyone, no one knows you’re doing this except me, and I won’t tell.

3. This exercise, if done properly should take a fair amount of time. Once you’ve completed it, you’ll start to get a sense of who you are as a writer, and how your writing voice differs from the voices of others. Rewriting sections from writers you love is perhaps the most fruitful, because instead of emulating—you’re forced to be different. We each love certain writers for our own reasons. Rewriting their work will illuminate the subtle differences between your voice and theirs. 

4. Once you find your voice, it will almost certainly evolve over time, the way we evolve naturally as artists. Look at the early work of Van Gogh, compared to his later work. Dubliners vs. Finnegans Wake.  Early Beethoven sounds a little like Hayden—while late Beethoven is characteristic of the sound we associate with him. The core will always remain. Your voice is a gift to the world, so find it, nurture it, develop it, work it like a machine, give it the freedom of a vine—but above all, share it. 

 

Simon Van Booy is the author of nine books and the editor of three anthologies of philosophy. His latest work for adults, The Sadness of Beautiful Things, will be released in October from Penguin, and followed up in November by his latest work for children, Gertie Milk & the Great Keeper Rescue, from Penguin Razorbill.

Craft Capsule: Infinite Distance, or The Starry Archipelagoes

by

Dan Beachy-Quick

3.6.18

This is no. 28 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I remember being told a story when I was a student, though all these years later I wonder if it can be true. The course was in Modern Art History, and we were studying Bauhaus. My professor told us that on the first day of class, the Bauhaus teacher gave each one of his students a single sheet of paper. The assignment, he said, is to fold the paper in such a way that it can support the weight of your entire body. Some succeeded; some failed. But it is the assignment itself, the sudden and impossible challenge of it, that struck me—that one simple, blank page had to hold up the weight of your entire life. I then recognized something I’ve never recovered from, some true and awful thing about being a poet and a poet’s relationship, not to words or the beauties and meanings words offer, but to the blank space those words are written on, to the page: that one must learn to trust that its thin, near nothingness can bear the burden of a life. I realized that the poet has the simplest answer. You do not need to find the strongest method of folding, you do not need an intricate architecture of support; you just leave the page as it is and step onto the blankness.

Now I see that poetry intensifies the latent properties of the daily mundane into symbolic potency. The words on the chore list lend themselves to the desperate reverie of “Ode to a Nightingale.” A pencil makes its marks in the margins of the books I teach, and as the semester unspools day by day, and poem by poem, chapter by chapter, I sharpen the pencil and it grows shorter; I see this object of mere utility is also a mortal clock, and that the pencil’s beauty is a strange humility revealed in the seldom felt fact that it is, among all the objects I live my life among, one of the few that will disappear before I do. Walking to my Intro to Poetry course, I’ve come to realize—I hope, I fear—that the day’s lesson on some point of poetic craft is something other than what the definition in the Literary Dictionary holds, and is, instead, a complex consciousness, a vital form, a means of living a life. I know that sounds impossibly grand, but I think it’s true—that metaphor can be a philosophy, and metonymy a form of faith.

To help my students grasp such possibilities I ask them to take out a blank page of paper. The question is how to get from one corner to the opposite corner in the quickest way. The immediate reaction is to take a pencil and draw a straight line from corner to corner. But then some student figures it out and, leaving the pencil where its point stands, bends the opposite corner under its tip, letting the pencil ride across the distance without leaving a mark, for it has not “moved” at all. That is the discovery of metaphor. It helps us cross the distance we cannot imagine. And if it is as they say—those star-gazers, those physicists, those astronomers—that the earth isn’t the center of the universe, nor now is the sun, nor the Milky Way’s own black hole, but that all is in the red-shift, and flees from us in every direction at increasing speed into infinite distance, and between us and all we might love, as Emerson would have it, there is “an innavigable sea,” then metaphor becomes something other than the answer on the midterm, an implicit comparison between unlike things. It becomes a way to recognize the isolate nature of our condition, and a means of countering what otherwise could best be described as our cosmic loneliness. If the cost of the consciousness that language lends us is the inevitable sense of our separation from what it is we speak of, who it is we love, what it is we desire, then metaphor short-circuits that sad consequence and shuttles us—though we hardly feel the corner of the page slip under our feet—across the abyss of the universe. Is that hyperbole? Maybe. But sometimes the universe is just the living room. Sometimes the universe is nothing more than room A113 in Microbiology, where every Tuesday and Thursday from 12:30 to 1:45 I teach my class. That doesn’t mean the distance to cross is any less. If infinity has any lesson, it’s that every part of it is also infinite: chalkboard to student’s desk; word on a page to word in a mind. 

But that’s only one way to think, only one literary term, only metaphor. There are other terms to heap your faith inside. Like metonymy, that form of substitution of a name or attribute for something closely associated with it. Think of noble Queequeg in Herman Melville’s Moby-Dick. Royal prince, the prophets of his tribe tattooed on his body the entire epistemology of his people; his body bore the signs and symbols that held the secrets of his tribe, prophecies and histories, facts and faith. It’s a beautiful image, the body as Holy Book—of course, Queequeg left his people before those prophets could teach him how to read what on his body was written. He was himself a book he could not open, illiterate to the answers he bore, outcast from the knowledge that marked him, unrecognizable to himself by the very marks that identified him. Queequeg gets very sick. He has the carpenter make him a coffin. Instead of resting in his hammock, Queequeg gets each day into his coffin, and looking at the symbols etched on his body, carves each one onto the wooden lid. Not knowing how to get to his people’s heaven, he trusts some divine spirit will be able to read those mystic marks on the coffin itself, and take him where he most wants to go, the starry archipelagoes. I know you’ve been told the earth is round; so have I, but sometimes I’m not so sure. Maybe Queequeg’s coffin would float out to the horizon, and there, where we assume one drops behind the curve of the earth to continue a ceaseless circumnavigation of the globe, the heavens reveal themselves as metonymic, and what seems like unbridgeable distance is actually not, but is continuous, contiguous, a near substitution for what once seemed impossibly far away, and the noble prince will find his way to heaven, not because his soul has been lifted there from the wreck of his body, but because that frigate-coffin has sailed all the way to the distant islands of those stars. Metonymy says that what seems apart is not apart at all, but is instead a part, as one tile is a part of the mosaic whole, and connected to the whole image of the world, though one can’t see the picture fully oneself.

Some other eyes can read it; some invisible hand can take you, too, to the starry archipelagoes.

 

Dan Beachy-Quick is a poet, essayist, and author most recently of a collection of essays, fragments, and poems titled Of Silence and Song (Milkweed Editions, 2017).

Craft Capsule: Hundreds of Eyes

by

Dan Beachy-Quick

2.20.18

This is the twenty-sixth in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I practice two arts—the poem and the essay—and I’m not good at keeping them apart. There are times, I admit, when poetry feels to me the primary vehicle of thinking, an epistemological experiment in consciousness itself, demonstrating line by line the way in which those wondrous wounds of the senses inform the mind, and the mind must work to find a word that fits—not recognition, but cognition. In this sense, the poem is the thinking that can happen only outside the mind, and the poet is one, so paradoxically, eavesdropping on her own innermost self (though the innermost is no longer exactly inner). It’s monstrous work. I mean it’s work akin to Mary Shelley’s monster fleeing through the woods and, bending over a puddle there, seeing the moon in reflection, hearing the wind in the branches, and seeing for the first time his own face. The poem’s thinking is fateful in just such fundamental ways: It does not recognize, it realizes.

And the essay, that mode of taking measure, that rational or reasonable weighing of a life, has become for me beauty’s own labyrinth. I suppose a maze is monstrous work, too—knowing those myths of the Minotaur. But sometimes I think the essay is a maze with no center at all; it is instead a bewildered initiation into what John Keats calls, in “Ode to Psyche,” the “untrodden region of my mind,” that place one finds only by getting lost.

Such wonderings have led me to think much on what I consider the most fundamental aspect of craft in each art: the line of the poem, the sentence of the essay. (One might argue the word is the fundamental aspect of both, and that might be true, but a word is a world of syllable and breath, of potency and chance, and carries, as Leibniz describes the monad, its complexity all within. I’m not sure I know how to think about words—a strange thing, I know, for a writer to admit.)

 

I. Lines

Ralph Waldo Emerson, though I can’t remember where, wrote down a thought I’ve never been able to shake loose: “Every line of a poem must be a poem.” I find this to be awful advice, by which I mean, advice that is full of awe—awful because it is so true. I apologize to my students when I repeat it them. I fear it could so burden every moment in a poem that the poet feels paralyzed, unable to forge any path into the wild blank of the page. But maybe that is just how it should feel, just that helpless, but a helplessness mined through with some urge to make in nothingness a world entire, a poem.

Emerson’s insight has unfolded in a number of ways in my thinking about poetry. If every line of a poem is a poem itself it must mean that every single line in a poem truly written contains within it all it can say, has exhausted somehow the resource of its perception until, by the last word, there is some silence that cannot be spoken past. It means each line of the poem possesses a knowledge and vision that is, in its way, wholly revelatory—a means by which to see the world anew, a way to grow a new set of eyes. Each line is a plank upon which the mind builds its whole edifice of reason—and for the length of the line, it holds.

But then, as Emily Dickinson offers it,

And then a Plank in Reason, broke,
And I dropped down, and down –
And hit a World, at every plunge,
And Finished knowing – then –

That last stanza of her great poem “I felt a Funeral, in my Brain” reads to me as the lived experience of reading a poem—that plunge through every line that is itself a world entire. And of the “Finished knowing—then—,” I’ve never known if it means she has ended in knowledge, or if knowing itself is at an end.

I suppose the answer may be both, for it reveals the most astonishing aspect of the line when every line is itself a poem: that each line of a poem makes a claim for some sense of the world entire, a sense of which that line is the primary example, and then that singular sense is subsumed into the larger vision of which it is but a part. Then the poem may be the place Emerson suggests it is, where we “stand before the secret of the world, there where Being passes into Appearance and Unity into Variety.” I imagine the poem also this way: a peacock with tail outspread, and the phosphorescent circle on each feather an actual eye. The poem lets us see through every eye. Then it is, as Wallace Stevens has it, that art in which “hundreds of eyes, in one mind, see at once.”

 

II. Sentences

Emerson’s own essays are exemplary of the next suggestion, an extension of his poetic insight: Every sentence of an essay must be an essay. It might be worth going further, and to alter Stevens’s lovely line, to make the essay that art in which “hundreds of minds, in one eye, think at once.” The bond between logos and logic that seems to drive the sentence through its argument to essay’s conclusion may be a more tenuous thread than one cares to admit. Keats knows this, as over and again he examines the fraught relationship between beauty and thought, summed up nowhere more succinctly than at the end of his letter, written in 1817, to his brothers, in which he defines negative capability. There he concludes: “This pursed through Volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.” This obliteration of thought by beauty is something I’ve long pondered, but even more so as my own writing practice has turned to essays of lyric literary reverie and investigation. If Dickinson is right, and I think she is, that “This World is not Conclusion,” then the beautiful sentence might work to frustrate the considered logic of the essay’s larger aims, if not to obliterate them completely. I can imagine the mind as a knot trying to untie itself from within its own complexity, and though it may look from outside as if nothing’s changed, what’s inside has loosened its intricate ravel; I can see the sentences in an essay acting in just the same way.

Sometimes craft isn’t advice or technique, but simply a suggestion—a way of thinking, a method of approach. That is, craft can be revelatory of condition. When it is so, a poem teaches us what it is to think, and an essay teaches us what it is to see. We thought we’d entered into different lessons entirely when we picked up the book we’re reading, but when we put it down—whether it is essay or poem—we find both mind and eye opened. Not that it’s easy, in the end, to tell the two apart. 

 

Dan Beachy-Quick is a poet, essayist, and author most recently of a collection of essays, fragments, and poems titled Of Silence and Song (Milkweed Editions, 2017).

Craft Capsule: The Craft of Humility, the Craft of Love

by

Dan Beachy-Quick

2.13.18

This is the twenty-fifth in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I’m teaching a class called Introduction to Poetry; I’ve taught it many times before. On day one, knowing many students are there not wholly willingly (a requirement, for many, for better or worse) I make the same tired joke: “Class, this is Poetry. Poetry, this is the class. I hope you’ll both be friends.” A few laugh.

But I mean it, that joke. I feel my job as a poet is to bring them into poetry in such a way that its difficulty becomes the means of admitting to and encountering their own complex lives, of finding in those nearly unspeakable reaches of mind or heart some companionship they did not hope to have—like a good friend offers. I hope the same for those easier pleasures in life—the sun-bright leaf, the bee in the bud, a rose—that a poem might offer itself to bear within it the sweet moment’s memory that otherwise might drift away into oblivion.

For those hopes to come true, the students need to learn how a poem works; inevitably, much of our delving into any particular poem requires an investigation into craft. I take something Ludwig Wittgenstein says about the nature of philosophy, and alter it toward poetic ends. I suggest that our condition is to find ourselves at sea on a craft that leaks and must be repaired as we float in it—that craft is our craft, the very thing that keeps the poem from sinking, and us along with it. For the honest poem, craft isn’t some willful choice of form, or any set of decisions binding the freedom of the poem to particular tropes; rather, craft is the helpless acceptance of what work is needed to keep the poem intact despite the extremity of its position—hovering there on the white abyss of the blank page, silence all around it, and you, riding in the thing you’re writing.

It is in such light that I want to offer the two most significant introductions to poetry and its craft that happened in my younger, proto-poet life. They are aspects of craft not typically thought of as craft at all, and yet, they opened me to poetry in ways I’ve yet to recover from—which is to say, I’m happy to still be here, fixing a leak while crossing the ocean.

 

I. The Craft of Humility

I thought myself a smart kid in high school, already something of a poet, dumb-drunk on some sense of my own “giftedness,” and out to prove it. I had the remarkable fortune then of having a teacher, Ms. Porter, who loved poetry and, just as important, could teach it. She broke the class into groups, and gave each group one of Shakespeare’s sonnets. My group was given number 173: “That time of year thou mays’t in me behold.” I lorded over the conversation, built some reading I cowed others into accepting, and when we presented to the class, of course, I was the one doing the speaking. I don’t remember—thank goodness—anything I said, or how it was I thought I saw that poem. What I do remember is the look on my teacher’s face—a teacher I loved. It wasn’t just disappointment, but a kind of anger. And I remember what she said, very loud, in front of everyone: That I had gotten the poem so wrong, I might as well have not read it.

I sat down and felt ashamed. That shame, the deep and burning sense of it, was my first true lesson in poetry. I realized that I’m not smarter than the poem I read, far from it; and that if I wanted, as I professed I did, to become a poet myself, then first I had to humble myself enough to know that I didn’t know much. I had to admit to myself my own insufficiency, that I needed a teacher to learn from, and the poem was both instructor and lesson itself.

Only years later did the true beauty of that poem find me: the bare ruined choir of those branches that, as the winter night darkens early with cold, become the fuel for the fire, those embers glowing and “consum’d with that which it was nourish’d by.” Then I finally learned my lesson in craft, years after the hour in the classroom closed: that the poem is its own deepest resource, and the image it bears in the first lines, taken with all the literalness the imagination can muster, become the means of admitting to and countering crisis. For example: It is cold and dark and I’m getting old; but there’s a tree, and a fire, and a home. Even so late, the sweet birds sing.

 

II. The Craft of Love

Two years later, I had the same Ms. Porter again.

I had in the intervening years started reading and writing poems in earnest, and had started seeing a young woman, Kristy Beachy, who—. Well, who was everything to me.

We were reading John Donne’s “A Valediction: Forbidding Mourning.” Humbled enough now to admit the poem made little sense to me, I was curious to see how Ms. Porter would teach it.

Stanza by stanza she led us through the metaphors, those metaphysical conceits, of lovers parting for untold time. Midway through those nine quatrains, which move from death to storm to the quaking of the planetary spheres, their gentle insistence that absence is no true remove, Donne admits to the kind of humility I’d come to recognize:

But we by a love so much refined
That our selves know not what it is,
Inter-assured of the mind,
Care less eyes, lips, hands to miss.

Right there, at the very crux of a poem whose gentle fury of intellect seemed to cast it past my grasp, was the admission of not knowing exactly what is this thing one is in—this life, this love. I don’t know, those abashed, holy words, uttered in the very crucible of needing to know, that in their honest urgency, admit no defeat, but instead open the mind to its next vision.

That vision, Ms. Porter showed us, that “gold to airy thinness beat” of two souls that are one, depended upon gold beaten down to the micron of its leaf while remaining absolutely whole. But if these twin souls are two—and here, Ms. Porter pulled out her compass, familiar to us all from Geometry class—and demonstrated those last, astonishing lines:

If they be two, they are two so 
As stiff twin compasses are two; 
Thy soul, the fixed foot, makes no show 
To move, but doth, if the other do. 

And though it in the center sit,
Yet when the other far doth roam,
It leans and hearkens after it,
And grows erect, as that comes home.

Such wilt thou be to me, who must, 
Like th’ other foot, obliquely run;
Thy firmness makes my circle just, 
And makes me end where I begun.

Then she held the paper up on which she’d drawn her perfect circle. I don’t know if I gasped. I might have. For I’d learned my other earliest lesson in craft: that metaphor in poetry isn’t difficult because of its abstraction, but because of its accuracy. And I thought I’d learned something of that sense of accuracy, those feelings so poignant in their utmost singularity that they verge on the unspeakable: There was Kristy Beachy, sitting one row over and two seats ahead of me, and I was Dan Quick, mind-struck behind her, deeply, deeply, in love—with Kristy, of course, and with poetry. Not that it’s so easy to tell such matters of craft apart.

 

Dan Beachy-Quick is a poet, essayist, and author most recently of a collection of essays, fragments, and poems titled Of Silence and Song (Milkweed Editions, 2017).

Craft Capsule: Left Brain, Right Brain

by

Sandra Beasley

4.25.17

This is the tenth in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

 

***

I attended a high school geared toward professions in science or technology, so I have an active analytical streak and crave objective rubrics for understanding the wildly creative poems, stories, and essays that I read. I suspect I’m not alone in this.

One of my mentors, Gregory Orr, articulated four “temperaments” of poetry in a 1988 essay titled “Four Temperaments and the Forms of Poetry.” You can envision these facets of craft as quadrants, positioned on an X-Y axis. To the left, limiting impulses: “Story” in the upper quadrant and, below it, “Structure.” To the right, impulses that extend limitlessness: “Music” in the upper and, below it, “Imagination.” Though designed for poetry, I find these temperaments useful for prose as well. As writers, we each typically favor two of the four in our work. Which temperaments bring you to the page? Which come easiest to you? Which do you need to consciously strengthen in your work?

This system gives us a way to articulate differences in aesthetic without ranking them. I’m relieved to set aside presumptive hierarchies. I suspect I’m not alone in this.

 

Sandra Beasley is the author of three poetry collections, including Count the Waves (Norton, 2015), and a memoir. Her website is SandraBeasley.com.

Craft Capsule: The Art of Targeted Revision

by

Sandra Beasley

4.18.17

This is the ninth in a series of micro craft essays exploring the finer points of writing. Check back each Tuesday for a new Craft Capsule.

***

“Too many hours of revising—to no clear end!” my student complains. He is tired. He feels like the poem never really gets better. There’s always more work to do.

Welcome to revision: the arbitrary realm in which we debate “the” versus “an,” “this” versus “that.” Spend an hour putting a comma in. An hour later, take it out.

Part of the problem is that we complicate the revision process by making our aims abstract. One big revision, we promise ourselves, will make the poem “better.” Don’t privilege “better,” which is a meaningless term. Assign clear and objective tasks. Devote one round of revision exclusively to heightening your imagery, another to reconsidering your verb choices, a third to playing with lineation or tense.

Think of each revision as an experiment. Often these experiments will feel like evolutionary progress, and you’ll keep their results intact. Not always, especially as you near the end of the revision process. When the new version fails to appeal—when you find yourself resisting, reverting, defending an earlier choice—you are locating the poem’s true form. You are identifying what makes this poem yours, and yours alone.

 

Sandra Beasley is the author of three poetry collections, including Count the Waves (Norton, 2015), and a memoir. Her website is SandraBeasley.com.

Craft Capsule: The Scourge of Technology

by

Tayari Jones

1.23.18

This is the twenty-second in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

***

The cell phone is the worst thing to ever happen to literature. Seriously. So many great fictional plots hinge on one detail: The characters can’t connect. Most famous is Romeo and Juliet. If she just could have texted him, “R, I might look dead, but I’m not. Lolz,” then none of this would have happened.

In my new novel, An American Marriage, both e-mail and cell phones threatened my plot. Here is a basic overview: A young couple, Celestial and Roy, married only eighteen months, are torn apart when the husband is wrongfully incarcerated and given a twelve-year prison sentence. After five years, he is released and wants to resume his old life with her.

A good chunk of the novel is correspondence between our separated lovers. In real life, they probably would have used e-mail. But the problem, plot-wise, is that e-mail is so off-the-cuff, and there is so little time between messages. I needed to use old-fashioned letters. Their messages needed to be deep and thoughtful, and I wanted them to have some time to stew between missives. But who in their right mind (besides me) uses paper and pen when e-mail is so much faster and easier?

The fix was that Roy uses his allocated computer time in prison to write e-mail for the other inmates, for pay. As he says, “It’s a little cottage industry.” He also explains that he likes to write letters to his wife at night when no one is looking over his shoulder or rushing him. 

So look how this fix worked: You see that even though he is incarcerated, his is still a man with a plan. The challenge was to figure out how to avoid e-mail in such a way that it didn’t read like I was just trying to come up with an excuse to write a Victorian-style epistolary novel.

The cell phone was harder to navigate. Spoiler: Celestial has taken up with another man, Andre, in the five years that her husband is incarcerated. A crucial plot point, which I will not spoil, involves Andre not being able get in touch with her. Well, in the present day there is no way to not be able to reach your bae, unless your bae doesn’t want to be reached. Trouble in paradise is not on the menu for the couple at this point, so what to do? I couldn’t very well have him drop his phone in a rest-stop commode!

To get around it, I had to put Andre in a situation in which he would agree not to call Celestial or take her calls—although he really wants to. Trust me. It’s killing him. But he makes an agreement with Roy’s father, who says, “Andre, you have had two years to let Celestial know how you feel.  Give my son one day.” Andre agrees and has to rely on faith that their relationship can survive. The scene is extremely tense and adds suspense to the novel. I had to get up and walk around while I wrote it.

I predict that future novelists will not grapple with this quite as much as we do, as technological advances will be seen as a feature rather than a bug. But for now, you can still write an old-fashioned plot that doesn’t involve texting or tweeting—you just have to figure out a work-around that enhances the plot and understanding of your characters.

Tayari Jones is a contributing editor of Poets & Writers Magazine. She is the author of four novels, including An American Marriage, forthcoming in February from Algonquin Books. Her website is www.tayarijones.com.

 

 

 

Craft Capsule: Finding Your Story

by

Tayari Jones

1.16.18

This is the twenty-first in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

***

Like most thoughtful people, I have noticed that the world is on fire and I want to use my skills to help extinguish the flames. To this end, I set out five years ago to write a novel that addresses the injustice of wrongful incarceration. I applied for and received a fellowship to the Radcliffe Institute and I became a dedicated researcher. I learned a lot, so much so that I got angry just watching Law & Order, my ex-favorite television show. I was informed, “woke,” and motivated, but I couldn’t write a novel because I had no story. The problem was that I was trying to write to the issue, and I can only write a story that is issue-adjacent.

I know I have a novel when I have a question to which I don’t know the moral/ethical answer. When it comes to wrongful incarceration, I am not torn. The state should not imprison innocent people. Full stop. Also without ambiguity: The prison system is cruel, corrupt, and in desperate need of reform, if not abolition.

So where was the novel?

The answer revealed itself in a food court where I spied a young couple. She was dressed in a lovely cashmere coat. He wore inexpensive khakis and a polo. They were clearly angry, and clearly in love. I overheard the woman say, “Roy, you know you wouldn’t have waited on me for seven years.” He shot back, “What are you talking about? This shit wouldn’t have happened to you in the first place.”

Just then, I knew I had a novel. The reason is that I understood that they were both probably right. I didn’t know him, but I couldn’t quite picture him waiting chastely by for seven years. At the same time, I couldn’t imagine her behind bars. But did he have a right to demand her loyalty when both seem to agree she would be in no position to demand the same? Was this question moot since she would not likely face this challenge? Was this a kind of privilege? Could she mitigate this privilege by waiting like a modern-day Penelope? Should she?

So we have a couple with a conflict, and at stake between them are issues of reciprocity, duty, and love. Yes, there is the injustice of mass incarceration. And yes, this injustice is fueled by racism and prejudice. Neither of them doubt this, and neither do I. But the question of “will you wait for me” is foremost on his mind.

The result is my new novel, An American Marriage. Roy and Celestial are newlyweds, married only eighteen months, when Roy is arrested for a crime he did not commit. When he is slapped with a twelve-year sentence, the questions of desire and responsibility are at the center of the characters’ lives. As a writer, I was genuinely torn: Roy needs Celestial to be a link to the life he left behind, and Celestial loves her husband, but she has only one life. I wrote this novel not only to satisfy my heart’s curiosity as to what they would do, but to also satisfy the part of my mind that wondered what should they do.

I realized that my passion for the issue of incarceration was the reason that I couldn’t write about it directly. A novel is not me, as a writer, telling the reader what I already know. And an honest novel is not about me pretending to take on “both sides” of an issue about which I have a clear opinion. I had to start with my issue and then walk away from it until I found the thing I didn’t know. To truly challenge the reader, I had to challenge myself as well.

 

Tayari Jones is a contributing editor of Poets & Writers Magazine. She is the author of four novels, including An American Marriage, forthcoming in February from Algonquin Books. Her website is www.tayarijones.com.

 

Craft Capsule: Gin and Scotch Tape

by

Sandra Beasley

5.2.17

This is the eleventh in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

***

Years ago a distinguished poet hosted our class’s workshops at her home in Virginia. The house was perched on an incline; down the hill was her writing cabin alongside a pond. We met at her dining room table and tried not to be distracted by the hawks swooping outside the windows.

A student brought in a draft that compared the scent of gin to Scotch tape. Setting aside all other matters of theme or craft, the discussion lingered on this comparison. The simile was bright and original. But was it accurate? That only a few in the room had ever sampled gin, and even then only of an aristrocrat variety, did not aid our analysis.

Reaching her limit, the professor sprang up from the table. “We’re settling this,” she said. She walked into the kitchen and retrieved a roll of Scotch tape. She went to a corner of the dining room, opened a cabinet, and pulled out a bottle. She walked the gin around the table so we could sniff accordingly.

Lesson one? To compare the scents of Scotch tape and gin doesn’t quite work, because the former obscures the latter’s floral qualities.

Lesson two? Always be prepared to have your simile put to the test.

Lesson three? Never let a turn of figurative language, no matter how vivid or clever, hijack what you’re trying to say. I can’t remember who wrote that poem, or where its heart lay. I only remember the gin and Scotch tape. 

 

Sandra Beasley is the author of three poetry collections, including Count the Waves (Norton, 2015), and a memoir. Her website is SandraBeasley.com.

Craft Capsule: Real Time vs. Page Time

by

Wiley Cash

9.26.17

This is the twentieth in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

***

Several years ago I worked with a student who was writing a novel about a guy training for a career in the sport of mixed martial arts. The novel was exciting and interesting, and the writing was strong and compelling. Until the fighting began. The minute the bell rang and the fists and feet started flying, the pace of the narrative turned glacial.

This may come as a surprise to you; it certainly surprised me. The talented author was actually a former MMA fighter, so it seemed impossible that he was unable to write an exciting fight scene. Then I realized that fight scenes are rarely exciting on the page. I believe this is true for two reasons. First, a fistfight is a process, and processes rarely make for compelling reading. Second, fistfights are exciting because they unfold in real time, which is wholly different than page time.

I want to talk about process first. Process is part of our daily lives, and many of the processes we undertake are performed through rote memory: brushing our teeth, making coffee, pouring cereal. These processes aren’t very interesting, and they don’t really need to be written about in detail. Readers may need to know that your characters drink coffee, eat cereal, and brush their teeth, but they don’t need to see this happening. Telling them it happened is enough. This is an example of when telling should be privileged over showing. But sometimes you may want to show a process, especially if it proves a level of expertise. Perhaps you’re writing about a character who is skilled with firearms, and you want to show that level of knowledge and skill. Perhaps you should have a scene in which the character goes through the process of breaking down and cleaning a firearm.

Most often, when readers start down the road of reading about process they’re not interested in the process itself; they’re interested in the outcome. The fight scenes in my student’s mixed martial arts novel are a good example. While the scenes were very technical and showed the same level of skill and mastery that I just mentioned, as a reader I quickly became bogged down in the descriptions of the movements, and I lost a sense of the movements themselves. I found myself skipping through the process of the fight in order to discover whether or not our hero won the fight. I realized that as a reader I was more interested in the outcome than I was in the process. The scene hinged on the result of the fight as an event, not on the act of fighting.

Not only were the fight scenes weighed down by process, they were also slowed down by the act of reading. Let’s step out of the ring. Think about the fights or dustups or schoolyard shoving matches you’ve witnessed. How long did they last before someone stepped in or called the parents or the teachers came running? Thirty seconds? A minute? A few minutes, tops? These events almost always unfold very quickly. The movements are fast; words are exchanged at a rapid clip. Your eyes and ears are able to take in the movements and the verbal exchanges simultaneously. Now, imagine trying to portray these events verbatim on the page. Think about how many words would be required to nail down both the movements and the dialogue. It would take much longer to read that scene than it would to witness it.

There’s an old writerly saying that dialogue isn’t speech, but rather an approximation of speech. Sometimes, this is true of action, especially in terms of process. 

 

Wiley Cash is the New York Times bestselling author of the novels The Last BalladA Land More Kind Than Home, and This Dark Road to Mercy. He currently serves as the writer in residence at the University of North Carolina in Asheville and teaches in the Mountainview Low-Residency MFA program. He lives with his wife and two young daughters in Wilmington, North Carolina. His website is www.wileycash.com.

Craft Capsule: The Art of Active Dialogue

by

Wiley Cash

9.12.17

This is the nineteenth in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

***

When I work with new writers, one thing I often notice is their lack of faith in their dialogue: They don’t trust that it’s strong enough to stand on its own. They feel that they must add something to really get the point across. These writers add action words to their dialogue tags in an attempt to hide any flaws they fear may be hiding in their characters’ verbal interactions. In other words, they do everything they can to make certain that the reader gets the full import of what the characters are attempting, consciously or unconsciously, to communicate.

Often, and unfortunately, these action words take the form of gerunds. Let me follow this with a caveat: Gerunds in dialogue tags are not always a bad thing if they’re used purposefully and sparingly. I use them. Other writers I admire use them. But if I’ve used a gerund in a dialogue tag then I can defend it because I’ve already spent a good deal of time trying to consider whether or not to use it.

The gerunds in dialogue tags that bother me are the ones that are clearly there to underpin weakness in the dialogue. This happens when writers feel they need an action to complement a line of dialogue. Here’s an example:

“What do you mean?” he asked, shrugging his shoulders.

Let’s add an adverb and make that gerund really awful.

“What do you mean?” he asked, shrugging his shoulders nervously.

The writer (in this case, me) felt the need to add that gerund (and perhaps the adjective as well) because the dialogue itself was pretty weak. “What do you mean?” is a boring question. Anyone can ask this, but your character can’t just be anyone. He has to be a particular person with particular turns of phrase and particular movements (what are often called “beats” in dialogue) to flesh out what he means.

Let’s give it another try, and this time let’s write a better line of dialogue that essentially says the same thing as our original, just more clearly.

“What am I supposed to say to that?” He shrugged his shoulders. “What does that even mean?”

I tinkered a little with the original line and split it into two, but I divided the two lines with the beat of action. I feel like my two lines are pretty strong, and they seem particular to this person, whoever he is. Because my dialogue is strong, it doesn’t need the support of action. So my action can stand alone.

The action also does something the dialogue cannot do. It illustrates visually what the dialogue means verbally. The phrase “What am I supposed to say to that?” is a phrase of exasperation, so the action takes this a step further and shows exasperation. The follow-up question of “What does that even mean?” amplifies both the original question and the action.

If I had kept the gerund shrugging it would have combined the dialogue and the action, which crowds the reader’s mind in asking her or him to do two things at once: see and hear. Let’s focus on asking one thing of our reader at a time. The act of reading is not the act of movie watching, which often requires viewers both to see and hear at the same time. Literature and film cannot do the same things in the same ways.

The gerund shrugging is also a weak action word because it does not have a clearly demarcated time of beginning. How long has this guy been shrugging? After all, we enter the word “shrugging,” and presumably the dialogue, as the shrugging is already under way. On the other hand, when we read the line “He shrugged his shoulders” we are entering the action at the moment it begins. It has not been unfold-ing since an indeterminate moment in time. The action feels particular, as if it is caused by the line of dialogue that precedes it. It gives us a chance both to digest the dialogue and imagine the action. It does not ask us to do both at the same time with the confusion of wondering when the shrugging actually began. This is deliberate writing. We should all be deliberate writers.

I want to close with a few lines of dialogue from my upcoming novel, The Last Ballad. In this scene, a man has just come up a riverbank and met a small boy standing at a crossroad. The boy is staring down into a ditch where his injured dog is lying. The man asks the boy where they are.

The boy lifted his eyes from the ditch and looked around as if getting his bearings.

“Gaston,” the boy finally said.

“Gaston,” he repeated. He looked down at the boy. “Do you mean Gaston County?”

The boy shrugged.

“Mama just says ‘Gaston’ when she says ‘here.’”

I worked really hard on this scene. I wanted it to communicate an edge of laconic strangeness. The boy’s poverty has rendered him a bit provincial. The man’s travels have rendered him a bit wistful. I purposefully separated the actions from the lines of dialogue and cordoned them off in their own sentences.

But what if I’d used gerunds?

“Gaston,” the boy finally said, lifting his eyes from the ditch and looking around as if getting his bearings.

“Gaston,” he repeated, looking down at the boy. “Do you mean Gaston County?”

“Mama just says ‘Gaston’ when she says ‘here,’” the boy said, shrugging.

Written this way, the scene unfolds too quickly. The boy gives his answer about their location before getting his bearings. The man’s quizzical repetition of the word “Gaston” is marred by his deliberate action of looking down at the boy. The words and the actions do not go together. They must be separated and addresses and experienced on their own terms.

My advice is this: Trust your dialogue. If you don’t, make it stronger. Then, once your dialogue is strong, bring in action beats that amplify the speaker’s message, not messy gerunds that clutter it.

 

Wiley Cash is the New York Times bestselling author of the novels The Last BalladA Land More Kind Than Home, and This Dark Road to Mercy. He currently serves as the writer in residence at the University of North Carolina in Asheville and teaches in the Mountainview Low-Residency MFA program. He lives with his wife and two young daughters in Wilmington, North Carolina. His website is www.wileycash.com.

 

Craft Capsule: Rhyme and the Delay in Time

by

Dan Beachy-Quick

2.27.18

This is no. 27 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

It snowed last night. Not much. Just an inch or two. But this morning there’s a strange fog in the air. It isn’t like a spring fog, thick in the vision, obscuring the trees and houses across the small field. It must be frozen crystals in the air, some breath the dormant grass gathered and sighed out, or the wedding dress a cloud took off and let drop down to the ground—a dress that is no more than texture in the air. It faintly glows, like it’s holding light inside of it, like it’s slowing light down. It’s morning when I get to see what it is to see.

I’d also like to hear what it is to hear, to listen in on listening.

Over the course of many years of working on the page as best I could, reading wherever it was bliss took me, writing to catch up to those glimmers other poems taught me to see by, I began to distrust that divide I grew up being schooled in: tradition vs. experiment, conservative or “quiet” poetry vs. the avant-garde. Reading George Herbert, John Donne, and John Keats; reading Emily Dickinson, Sappho, and Gerard Manley Hopkins; reading Homer, Virgil, and the Greek pastoral traditions; reading anonymous poems for graves and for fields—all made me think that tradition might root itself down in the very humus of experiment. And, as humus and human are cognate, I began to suspect that the age-old tropes by which poetry functions—image, metaphor, metonymy, symbol; line, meter, music, rhyme—radically include us in that tradition of experiment that poetry might be described as. Trope, after all, comes from the Greek tropos, and means a turn, direction, a course, a way; but it also means the character of a person, the peculiar temper that makes one who one is; it also means the way the strong wind might move through a pine tree; it also means the way a winter morning’s fog might pause even the speed of light. I mean to suggest a simple thing, though I’ve learned the simple is often bewilderment’s own maze, that the tropes by which a poem moves through itself are not the musty pedantries of literary dictionaries, but are themselves fundamental forms of consciousness, the very means by which a poem comes to know itself, and by extension, the very means by which we come to know ourselves as well. The trope can wake us in the way the eye open wakes us—suddenly, there is light, and the first step of the day is into vision: an image. Or, take rhyme: Rhyme can make of the mind a wind-chime. 

I have no verifiable proof, just a sense from twenty years of teaching, more of reading and writing, that rhyme has become one of those aspects of tradition most easily derided. I can understand how it happened. Teaching now a lower-level poetry-writing workshop, I notice how often the weakest poems are strongest in rhyme, and the first advice, to not let the end sound of the line drive everything the line must do, inevitably makes the poem better. One of the unintended consequences of the workshop model may well be a drift away from the power of traditional tropes. The pressure put upon a single poem to achieve itself most successfully diminishes the larger work of thinking about what the work of poetry is—a work that requires the very failures, poem by poem, that necessitate thinking across the entire span of one’s efforts. The push, or the desire, to be “original,” to have a “voice,” to “make it new,” might deafen us to the latent, collective, anonymous consciousness that resides in something as simple-seeming as rhyme. There is something in rhyme—I think I can hear it, though it’s hard to describe—that speaks to the ongoing crisis of the human condition from the dawn of mind to now. It’s like an echo. But unlike that echo in stairwell or tunnel, in cave or gorge, it doesn’t get quieter as it moves through time. In rhyme, the echo gets louder.

So it is I often rhyme my poems, though it might not be obvious. I’ve come to trust there’s something in the ear’s own intelligence that leaps ahead of the conscious, analytic mind in a poem that rhymes, as if the hidden promise of a chiming sound sets forth in the poem a fate-like assurance that what is to come, though yet unseen, will welcome you. So quietly, but so familiarly, rhyme suggests that to move forward, as one must, into what one doesn’t know, will be okay. If so, rhyme offers itself as some form of existential assurance, is tuned in, and so attunes us, to fears and hopes so entwined with the human condition, we forget we even need to speak of them: that in what feels to be the chaos of the blank future, there is a cosmos, an order, into which we’ll fit. It is not exactly a means of survival, but a trust one will survive.

Rhyme also works within and against time. I can imagine in a poem heavily end-rhymed—say a Petrarchan sonnet with its octave of ABBAABBA, or Dante’s lovely, enveloping terza rima of ABA BCB CDC—that the surety of those sounds counters the awful, inevitable flow of mortal life in one direction. Then the poem that makes its claims about love’s immortality, or memory’s eternity, is no cloying euphemism, but an enacted audacity in the poem’s very fiber. That rhyme works as does mythic time, returning us ever again to a point we’ve never truly left—the day that is all one day, world’s onset, the syllable now, sun’s instant of light—even as, line by line, we recognize too that we do not get to remain in that golden light of origin. We can hear in the poem that mythic life of eternal return, and in hearing it, live within it, even as the poem accompanies us in that other recognition, that line by line we move to what end is ours. Rhyme puts a delay in time. It makes us understand what otherwise would feel an impossible paradox: that we live in time, and time doesn’t exist. And though I’m not exactly a religious man, it gives me one version of how heaven could work. It’s just a poem, just a rhyme, a single-syllable that, scanned, has no stress and rhymes AAAAAAAA…forever.

 

Dan Beachy-Quick is a poet, essayist, and author most recently of a collection of essays, fragments, and poems titled Of Silence and Song (Milkweed Editions, 2017).           

Craft Capsule: The Craft of Humility, the Craft of Love

by

Dan Beachy-Quick

2.13.18

This is the twenty-fifth in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I’m teaching a class called Introduction to Poetry; I’ve taught it many times before. On day one, knowing many students are there not wholly willingly (a requirement, for many, for better or worse) I make the same tired joke: “Class, this is Poetry. Poetry, this is the class. I hope you’ll both be friends.” A few laugh.

But I mean it, that joke. I feel my job as a poet is to bring them into poetry in such a way that its difficulty becomes the means of admitting to and encountering their own complex lives, of finding in those nearly unspeakable reaches of mind or heart some companionship they did not hope to have—like a good friend offers. I hope the same for those easier pleasures in life—the sun-bright leaf, the bee in the bud, a rose—that a poem might offer itself to bear within it the sweet moment’s memory that otherwise might drift away into oblivion.

For those hopes to come true, the students need to learn how a poem works; inevitably, much of our delving into any particular poem requires an investigation into craft. I take something Ludwig Wittgenstein says about the nature of philosophy, and alter it toward poetic ends. I suggest that our condition is to find ourselves at sea on a craft that leaks and must be repaired as we float in it—that craft is our craft, the very thing that keeps the poem from sinking, and us along with it. For the honest poem, craft isn’t some willful choice of form, or any set of decisions binding the freedom of the poem to particular tropes; rather, craft is the helpless acceptance of what work is needed to keep the poem intact despite the extremity of its position—hovering there on the white abyss of the blank page, silence all around it, and you, riding in the thing you’re writing.

It is in such light that I want to offer the two most significant introductions to poetry and its craft that happened in my younger, proto-poet life. They are aspects of craft not typically thought of as craft at all, and yet, they opened me to poetry in ways I’ve yet to recover from—which is to say, I’m happy to still be here, fixing a leak while crossing the ocean.

 

I. The Craft of Humility

I thought myself a smart kid in high school, already something of a poet, dumb-drunk on some sense of my own “giftedness,” and out to prove it. I had the remarkable fortune then of having a teacher, Ms. Porter, who loved poetry and, just as important, could teach it. She broke the class into groups, and gave each group one of Shakespeare’s sonnets. My group was given number 173: “That time of year thou mays’t in me behold.” I lorded over the conversation, built some reading I cowed others into accepting, and when we presented to the class, of course, I was the one doing the speaking. I don’t remember—thank goodness—anything I said, or how it was I thought I saw that poem. What I do remember is the look on my teacher’s face—a teacher I loved. It wasn’t just disappointment, but a kind of anger. And I remember what she said, very loud, in front of everyone: That I had gotten the poem so wrong, I might as well have not read it.

I sat down and felt ashamed. That shame, the deep and burning sense of it, was my first true lesson in poetry. I realized that I’m not smarter than the poem I read, far from it; and that if I wanted, as I professed I did, to become a poet myself, then first I had to humble myself enough to know that I didn’t know much. I had to admit to myself my own insufficiency, that I needed a teacher to learn from, and the poem was both instructor and lesson itself.

Only years later did the true beauty of that poem find me: the bare ruined choir of those branches that, as the winter night darkens early with cold, become the fuel for the fire, those embers glowing and “consum’d with that which it was nourish’d by.” Then I finally learned my lesson in craft, years after the hour in the classroom closed: that the poem is its own deepest resource, and the image it bears in the first lines, taken with all the literalness the imagination can muster, become the means of admitting to and countering crisis. For example: It is cold and dark and I’m getting old; but there’s a tree, and a fire, and a home. Even so late, the sweet birds sing.

 

II. The Craft of Love

Two years later, I had the same Ms. Porter again.

I had in the intervening years started reading and writing poems in earnest, and had started seeing a young woman, Kristy Beachy, who—. Well, who was everything to me.

We were reading John Donne’s “A Valediction: Forbidding Mourning.” Humbled enough now to admit the poem made little sense to me, I was curious to see how Ms. Porter would teach it.

Stanza by stanza she led us through the metaphors, those metaphysical conceits, of lovers parting for untold time. Midway through those nine quatrains, which move from death to storm to the quaking of the planetary spheres, their gentle insistence that absence is no true remove, Donne admits to the kind of humility I’d come to recognize:

But we by a love so much refined
That our selves know not what it is,
Inter-assured of the mind,
Care less eyes, lips, hands to miss.

Right there, at the very crux of a poem whose gentle fury of intellect seemed to cast it past my grasp, was the admission of not knowing exactly what is this thing one is in—this life, this love. I don’t know, those abashed, holy words, uttered in the very crucible of needing to know, that in their honest urgency, admit no defeat, but instead open the mind to its next vision.

That vision, Ms. Porter showed us, that “gold to airy thinness beat” of two souls that are one, depended upon gold beaten down to the micron of its leaf while remaining absolutely whole. But if these twin souls are two—and here, Ms. Porter pulled out her compass, familiar to us all from Geometry class—and demonstrated those last, astonishing lines:

If they be two, they are two so 
As stiff twin compasses are two; 
Thy soul, the fixed foot, makes no show 
To move, but doth, if the other do. 

And though it in the center sit,
Yet when the other far doth roam,
It leans and hearkens after it,
And grows erect, as that comes home.

Such wilt thou be to me, who must, 
Like th’ other foot, obliquely run;
Thy firmness makes my circle just, 
And makes me end where I begun.

Then she held the paper up on which she’d drawn her perfect circle. I don’t know if I gasped. I might have. For I’d learned my other earliest lesson in craft: that metaphor in poetry isn’t difficult because of its abstraction, but because of its accuracy. And I thought I’d learned something of that sense of accuracy, those feelings so poignant in their utmost singularity that they verge on the unspeakable: There was Kristy Beachy, sitting one row over and two seats ahead of me, and I was Dan Quick, mind-struck behind her, deeply, deeply, in love—with Kristy, of course, and with poetry. Not that it’s so easy to tell such matters of craft apart.

 

Dan Beachy-Quick is a poet, essayist, and author most recently of a collection of essays, fragments, and poems titled Of Silence and Song (Milkweed Editions, 2017).

Craft Capsule: Every Novel Is a Journey

by

Tayari Jones

2.6.18

This is the twenty-fourth in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

***

Last week I wrote about how I came to make Roy the protagonist of my new novel, An American Marriage. The decision was frustrating because I came to this tale seeking to amplify the muffled voices of women who live on the margins of the crisis of mass incarceration. So imagine how hard it was for me to make the Roy’s story the main color of the take and relegate Celestial’s point of view to a mere accent wall. It nearly killed me. I was prepared to pull the novel from publication.

Luckily, I had a craft epiphany.

Roy is a great character. He’s like Odysseus, a brave and charismatic man returned home from a might battle. He just wants to get home and be taken care of by a loving wife and sheltered in a gracious house. His voice was very easy to write because he is easy to like; his desires and decisions make it easy to empathize with him. He is a wrongfully incarcerated black man. What decent person wouldn’t root for him?

Celestial was bit more challenging. She’s ambitious. She’s kind of stubborn. And most important, she isn’t really cut out to be a dutiful wife. Back when she was the protagonist of the novel, I used to say, “I am writing a novel about a woman whose husband is wrongfully incarcerated…” and everyone would expect the novel to be about her fight to free him. And it wasn’t. It was about her decision not to wait.

On the level of craft, it just didn’t work. For one thing, you can’t write a compelling novel about what someone doesn’t do. (There is a reason why Bartelby doesn’t get to narrate his own story.) Second, as I wrote last week, Roy’s crisis is just too intense and distracting for the reader to care about any other character as much.

So, what to do?

I foregrounded Roy. He is the protagonist and readers find him to be very “relatable” (my very least favorite word in the world). I took Roy on the journey, and I invite readers to accompany him. As the writer, I came to the table understanding that the expectations put on women to be “ride or die” are completely unreasonable; furthermore, there is no expectation of reciprocity.  But rather than use Celestial’s voice to amplify my position, I allowed Roy the hard work of interrogating his world view, and the reader, by proxy, must do the same.

The result is a novel that was a lot harder to write, but the questions I posed to myself and my readers were richer, more complex, and I hope, more satisfying.

 

Tayari Jones is a contributing editor of Poets & Writers Magazine. She is the author of four novels, including An American Marriage, forthcoming in February from Algonquin Books. Her website is www.tayarijones.com.

Craft Capsule: Finding the Center

by

Tayari Jones

1.30.18

This is the twenty-third in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

***

My new novel, An American Marriage, involves a husband and wife with an unusual challenge: Eighteen months after exchanging their vows, he is arrested and incarcerated for a crime he does not commit.

I was equally interested in both their stories, but for some reason early readers of the manuscript were way more interested in him (Roy) than her (Celestial.) At first, I was convinced that this was sexism, plain and simple. Men’s stories are considered more compelling. To try and make Celestial more appealing, I tried to give her a more vibrant personality. But regardless of the details I added to embroider her, beta readers still felt that she was “undeveloped” and that Roy was the character who popped. It almost drove me crazy. Finally, I realized that Roy held the readers’ attention because his problem was so huge. (He’s wrongfully incarcerated, for goodness sake!)

Undaunted (well, maybe a little daunted), I read stories by my favorite women writers who write beautifully about women’s inner lives. I checked out Amy Bloom, Antonia Nelson, Jennifer Egan. How did they manage to make emotional turmoil so visceral? In these writers’ hands, a small social slight can feel like a dagger. Why couldn’t I do this in my own novel?

I found the answer in the work of Toni Morrison, for all answers can be found there. It’s a matter of scale. There is a scene in The Bluest Eye where the lady of the house is distraught because her brother hasn’t invited her to his party, although she sent him to dental school. By itself, this is terrible and totally worthy of a story. However, in the same frame is Pauline, the maid who has suffered all manner of indignities in an earlier chapter. In the face of Pauline’s troubles, the matter of the party seems frivolous.

With this, I discovered a fundamental truth of fiction and perhaps of life: The character with the most pressing material crisis will always be the center of the story. Although Celestial’s challenges as a woman trying to establish herself in the world of art is intense, the fact of Roy’s wrongful incarceration makes her troubles seem like high-class problems and to center them in the novel feels distasteful to the reader, like wearing a yellow dress to a funeral and fretting over a scuffed shoe.

The solution: I made Roy the protagonist. Celestial’s voice is still there, but she is a secondary narrator. It was a hard choice because I was drawn to her story in the first place, but it was being drowned out by Roy’s narrative. Finally, I had to stop fighting it. The protagonist of An American Marriage is Roy Othaniel Hamilton.

It took me five years to figure this out. Of course, every craft solution makes for new craft obstacles. I’ll talk about the fall-out from this shift in my next (and final) Craft Capsule, next Tuesday.

Tayari Jones is a contributing editor of Poets & Writers Magazine. She is the author of four novels, including An American Marriage, forthcoming in February from Algonquin Books. Her website is www.tayarijones.com.

Craft Capsule: Who Are You?

by

Crystal Hana Kim

7.4.18

This is no. 33 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

“When did you start writing?” Writers are often asked this question, and I’m always curious about the story behind the answers, the paths we take to find our vocations. As a child of immigrants, Korean was my first language. When I began elementary school, I found myself mentally switching between my mother tongue and English, trying to match vocabulary words across language lines. I soon found myself gravitating toward writing; with a pencil in my hand, I could take my time and express myself more clearly. In the first grade, I wrote about butterflies hatching for my beloved teacher, Ms. Benz. The next year, I wrote about a girl with short black hair who wanted to get her ears pierced, but whose Korean parents refused. I presented the story to my mother and father, hopeful and full of glee at my cunning. (Reader, they fell for it and let me pierce my ears.) “I’ve written ever since I was a child,” I say in answer to that question. But when did I find the stories I wanted to tell? That was a more recent discovery.  

As a sophomore in college, I took my first formal writing workshop. Somehow, over the course of my teenage years, my writing had changed. I no longer wrote stories that were rooted in my desires and questions about the world. Instead, I created characters without clear identities—their race, appearance, and backgrounds were murky, undefined. These young adults frolicked and fought on misty hills, drunk with mulberry-stained lips. I was trying to shy away from what I thought was expected of me. I didn’t want to be pigeon-holed as the Korean American workshopper who could only write about “Asian” issues. But I sensed that something was wrong with my characters: They were vague, flat, lifeless.Who is this girl?” a classmate asked. “Don’t be afraid to write about what you know,” my teacher said. 

At first I resisted these suggestions, digging deeper into my no-name characters without a clear sense of home. That is, until the summer break between my sophomore and junior year. One June evening I had dinner with my parents. Over a meal of galbi-tang, rice, wine, and ice cream, my parents recounted their childhoods. My father described catching grasshoppers from his neighbors’ field, of cooking them on a skillet over an open flame. My mother told me of staining her fingers orange with bong seon hwa flowers, which I loved to do during my summer visits to Korea as well.  

The next morning, I found myself still mulling over my parents’ stories. I imagined my father as a child, his lithe body running through high grass in search of those plump green insects. I loved that the act of staining fingers with flower petals, which my sister and I did every summer in Korea, was not only a family tradition, but a Korean one. These stories stayed with me all summer and through the fall, when my undergraduate classes resumed. This time in my fiction workshop, I wrote with greater purpose and clarity. I developed characters with a culture and history behind them. Better, I thought.

The more I wrote, the more I sought my family. When I began my graduate studies, I turned to my maternal grandmother. A fierce matriarch and gifted storyteller, my grandmother shared her life with me—she lived under Japanese occupation, survived the Korean War, and forged a life for her daughters in the years afterward. I absorbed these anecdotes, sometimes taking notes and sometimes just listening. 

When I began If You Leave Me, my debut novel, I knew I wanted to write about the Korean War. More important, I knew I wanted the main character to be a Korean woman who was strong, willful, intelligent, stubborn, and full of contradictions. I wanted a female protagonist that readers would love one moment and argue with the next, someone who felt as complex as our best friends and lovers do. I created Haemi Lee, a teenaged refugee living in Busan during the war. I rooted her story in my grandmother’s experiences, but I added my own desires and questions and fears until Haemi became a character of her own. 

It took me a few wayward years, but I eventually realized that writing about my culture does not confine me as a writer. Instead, my history provides a pool of memory for me to draw inspiration from. Now, when I teach creative writing, I emphasize this process for my students. I encourage them to value every part of their identities.

“Who are you?” I ask. “Tell me what you know.”

 

Crystal Hana Kim’s debut novel, If You Leave Me, is forthcoming from William Morrow in August. She was a 2017 PEN America Dau Short Story Prize winner and has received scholarships from the Bread Loaf Writers’ Conference, Hedgebrook, Jentel, among others. Her work has been published in or is forthcoming from The Washington Post, Elle Magazine, Nylon, Electric Literature, and elsewhere. She is a contributing editor at Apogee Journal and is the Director of Writing Instruction at Leadership Enterprise for a Diverse America. She lives in Brooklyn, New York, with her husband.

Craft Capsule: A Bird in the Sky

by

Simon Van Booy

6.6.18

This is no. 29 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Having a writing practice is like rowing out to sea in a small boat with a typewriter and sandwiches, hoping for the arrival of some strange bird in the sky. 

After a few hours you tell yourself, “It’s only been a few hours.”  

But when days pass with not even a feather, you wonder, “Am I in the right place? I should have brought binoculars.” You keep looking though—searching the empty sky for some sign, some intervention, a tangible indication that you’re good enough to write, educated enough, wild enough, rich enough, poor enough, sober enough, drunk enough, mystical enough, existential enough.  

Months pass. You’ve been rowing out to the same deep water for weeks and weeks. You’ve lost track of days. Seasons have changed. Where your hands once bled on the oars, there are calluses. You’ve survived heaving seas, blistering heat, and torrential downpours. 

At this point most people toss their typewriters over the side of the boat, and row for the safety of land. Without the bird, they say, nothing is possible.

But you remain in the boat, listening to yourself breathe, a film of salt on your skin. You sit down and pick up the typewriter, rest it on your sore legs, and start to imagine the story you once dreamed of writing. You don’t care about the bird anymore, the words are enough, the sentences are ropes you can use to pull yourself through the narrative.

Then suddenly you look up, there’s a dazzling light, like some mystical, winged creature with blazing eyes.  

As writers, we don’t wait for inspiration. Inspiration waits for us.

Don’t ever forget that.

 

Simon Van Booy is the author of nine books and the editor of three anthologies of philosophy. His latest work for adults, The Sadness of Beautiful Things, will be released in October from Penguin, and followed up in November by his latest work for children, Gertie Milk & the Great Keeper Rescue, from Penguin Razorbill.

Craft Capsule: Finding Your Story

by

Tayari Jones

1.16.18

This is the twenty-first in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

***

Like most thoughtful people, I have noticed that the world is on fire and I want to use my skills to help extinguish the flames. To this end, I set out five years ago to write a novel that addresses the injustice of wrongful incarceration. I applied for and received a fellowship to the Radcliffe Institute and I became a dedicated researcher. I learned a lot, so much so that I got angry just watching Law & Order, my ex-favorite television show. I was informed, “woke,” and motivated, but I couldn’t write a novel because I had no story. The problem was that I was trying to write to the issue, and I can only write a story that is issue-adjacent.

I know I have a novel when I have a question to which I don’t know the moral/ethical answer. When it comes to wrongful incarceration, I am not torn. The state should not imprison innocent people. Full stop. Also without ambiguity: The prison system is cruel, corrupt, and in desperate need of reform, if not abolition.

So where was the novel?

The answer revealed itself in a food court where I spied a young couple. She was dressed in a lovely cashmere coat. He wore inexpensive khakis and a polo. They were clearly angry, and clearly in love. I overheard the woman say, “Roy, you know you wouldn’t have waited on me for seven years.” He shot back, “What are you talking about? This shit wouldn’t have happened to you in the first place.”

Just then, I knew I had a novel. The reason is that I understood that they were both probably right. I didn’t know him, but I couldn’t quite picture him waiting chastely by for seven years. At the same time, I couldn’t imagine her behind bars. But did he have a right to demand her loyalty when both seem to agree she would be in no position to demand the same? Was this question moot since she would not likely face this challenge? Was this a kind of privilege? Could she mitigate this privilege by waiting like a modern-day Penelope? Should she?

So we have a couple with a conflict, and at stake between them are issues of reciprocity, duty, and love. Yes, there is the injustice of mass incarceration. And yes, this injustice is fueled by racism and prejudice. Neither of them doubt this, and neither do I. But the question of “will you wait for me” is foremost on his mind.

The result is my new novel, An American Marriage. Roy and Celestial are newlyweds, married only eighteen months, when Roy is arrested for a crime he did not commit. When he is slapped with a twelve-year sentence, the questions of desire and responsibility are at the center of the characters’ lives. As a writer, I was genuinely torn: Roy needs Celestial to be a link to the life he left behind, and Celestial loves her husband, but she has only one life. I wrote this novel not only to satisfy my heart’s curiosity as to what they would do, but to also satisfy the part of my mind that wondered what should they do.

I realized that my passion for the issue of incarceration was the reason that I couldn’t write about it directly. A novel is not me, as a writer, telling the reader what I already know. And an honest novel is not about me pretending to take on “both sides” of an issue about which I have a clear opinion. I had to start with my issue and then walk away from it until I found the thing I didn’t know. To truly challenge the reader, I had to challenge myself as well.

 

Tayari Jones is a contributing editor of Poets & Writers Magazine. She is the author of four novels, including An American Marriage, forthcoming in February from Algonquin Books. Her website is www.tayarijones.com.

 

Craft Capsule: Writing “After”

by

Cameron Awkward-Rich

12.16.19

This is no. 43 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

The day after the 2015 AME Church shooting in Charleston, South Carolina, another poet—seemingly out of nowhere—sent me a poem by Mary Oliver. They said it was because, when they read it out loud, the voice they made (or tried to make) was mine. Instantly I loved the poem, “October,” and I told them so. Still, because “October” made its way to me the day after terrible news, it also unsettled me. It moved me, but at the same time I felt the need to move against it. 

As in many Mary Oliver poems, the speaker attends to the natural world and her place in it. She asks, “What does the world / mean to you if you can’t trust it / to go on shining when you’re // not there?” By the end of the poem, it’s clear that the speaker has decided, at least for now, that in order to truly love the world, she has to be reconciled to the fact, the beautiful fact, that it will (that it ought to) go on without her. That the world will not at all be diminished by her not being there to witness it. The poem ends: “so this is the world. / I’m not in it. / It is beautiful.” 

The speaker of the poem wrestles with her own attachments to herself. She is trying to let go of her importance, to get out of the way. But by addressing a “you”—presumably a reader—in the poem, she makes an argument that extends beyond herself; she stakes out an ethical position. Most days it’s one I would agree with. Most days I would have left the poem unbothered. But on that day after the shooting, feeling acutely all of the ways in which the people I call mine are told they do not have a claim on the world in the first place—are dispossessed, are rubbed out—Oliver’s call for self-diminishment felt plainly, profoundly wrong. I wanted to see what would happen, therefore, if I used the structure of Oliver’s poem but turned the argument against itself. This experiment resulted in “Bad News, Again,” a poem that rewrites “October” but asks the first, urgent question embedded in Oliver’s longer one: “What does the world mean / if you can’t trust it to go on?” 

A handful of the poems in my new collection, Dispatch, perform similar experiments, insofar as they try to redirect contemporary poems I love to different ends. As a result I feel very anxious about the new iterations of old conversations about plagiarism, theft, and ‘after’ poems that have surfaced online in the past few years. Anxious, in part, because I did not have a developed sense of the ethics of such a practice when I first took it up. I still don’t. However, these conversations often seem to miss that there are multiple reasons one might “steal” or “borrow” or “deface” another’s work. There seems to be an assumption that the only potentially defensible motive for imitating another’s work is a sense of uncomplicated admiration. But when is admiration ever uncomplicated? What if, for example, you suspect the work you admire does not respect you, or cannot conceive of you? What if your admiration is not only enabling but also deeply injurious? What if, in this case, theft and/or defacement might be an ethical response? 

In an oft-cited passage from The Sacred Wood, T. S. Eliot insists: “Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.” In my defense, I do not think that I have written a better poem than Mary Oliver, not by any measure, but the point was to make her work consider me. It seems to me that is what love demands.  

 

Cameron Awkward-Rich is the author of two poetry collections, Dispatch (Persea Books, 2019) and Sympathetic Little Monster (Ricochet Editions, 2016), which was a Lambda Literary Award finalist. He is a Cave Canem fellow and a poetry editor for Muzzle Magazine. He earned his PhD from Stanford University’s program in Modern Thought & Literature, and he is an assistant professor of Women, Gender, Sexuality Studies at the University of Massachusetts Amherst.

Craft Capsule: Ordering the Story Collection

by

Kimberly King Parsons

7.22.19

This is no. 38 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I always read short story collections in order. Maybe this is because my earliest infatuations happened via mix tape (and by mix tape, I mean a CD that I burned or that someone burned for me, with songs meant to convey something deep and unspeakable). Unlike with a cassette, one could, in theory, set the CD player to random, but this would break an unspoken rule. The point was to put on your headphones, lie on your bed, and think about the person who made the mix for you. You’d hold the handwritten track list and listen to the songs in their intended order, so you could figure out what this person was trying to say. You paid close attention to the lyrics, the tone, the transitions. A successful mix tape meant never forgetting about the “author.” How exactly did they feel about you? Did you feel the same way? Maybe you hadn’t before, but now, alone in your room with all those perfectly chosen songs, maybe you were charmed. 

Assembling a short story collection is a daunting process: Often the individual pieces have been written as unique, standalone works, edited by staff with varying aesthetics at different literary journals, and published over a span of years. The earliest version of my collection, Black Light, wasn’t really a collection—it was just a bunch of stories I wrote and published between 2005 and 2017. It took my terrific agent to help me see that one of the stories was actually the beginning of a novel, that two others needed to be combined into a longer piece, and that one story had a voice too abstract and confrontational to fit in with the rest. Once these decisions were made, the stories that we kept had a kind of reverberation with each other. A musicality.

In an informal poll, my friends who read collections tell me they don’t read in order. They start with the shortest story, or the title story, or they read in reverse order or at random. This is all fine—unless the stories are linked, order shouldn’t make or break a collection—but when I was putting Black Light together, sequence became very important to me. I love the way my favorite collections bend time, pull me in and out of different worlds, immerse me in a situation for thirty pages and then toss me out. 

I had three very long stories and three very short ones and half a dozen in between. I liked the idea of giving moments of reprieve, little spaces to breathe, so flash pieces often came after the longest ones. Everybody knows how important the first track of a mix tape is, and I wanted to start my collection with my most affable narrator. In the story “Guts,” Sheila is bewildered by new circumstance: She’s recently fallen for a medical student, and suddenly she sees sickness and beauty everywhere she looks. This newfound empathy overwhelms her, and in that way she’s a great proxy for a reader entering the strange world of the collection. All my stories deal with similar themes—game playing, escapism, desire—but I had strong ideas about how to move through the different voices of the remaining narrators (urban and rural, child and adult, male and female, queer and straight) in a way that felt balanced and varied to me.

On the first call with my editor, before we’d even made a deal, she talked about her vision for the collection. She liked the order, the way the stories “sang” to one another. She compared her favorite collections to music: She wanted this book to feel cohesive and unified, but never repetitive. Like a perfect mix tape, she said, a book of short stories should make the reader fall in love. I knew then that I’d found the right person for my project.

 

Kimberly King Parsons is the author of Black Light, a short story collection forthcoming from Vintage on August 13, 2019. She is a recipient of fellowships from Columbia University and the Sustainable Arts Foundation, and her fiction has appeared in the Paris Review, Best Small Fictions, No Tokens, the Kenyon Review, and elsewhere. Her website is www.kimberlykingparsons.com.

Craft Capsule: Elegy

by

Cameron Awkward-Rich

12.23.19

This is no. 44 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Elegies speak to both [the living and the dead], forced to negotiate the impossible ethical demands of a genre that strives neither to disrespect the memory of the dead nor to ignore the needs of the living.

Diana Fuss

Each November, for nearly a decade, I have written a poem marking Trans Day of Remembrance (TDoR), an annual day of mourning for trans people lost to anti-trans violence. These poems are almost uniformly bad, but the most recent one, “Anti-Elegy,” made its way into Dispatch. I hope it will be the last of them. 

I find this occasional writing practice a confusing one—shameful, consoling, deadening, and, somehow, like feeding a tiny fire. From the beginning, I have known all of the critiques of TDoR: It has historically enabled white activists to extract political capital from the deaths of primarily Black trans women; the frame of “anti-trans” violence obscures more than it explains about the curtailing of trans feminine life; TDoR circulates “the trans woman of color” as a dead figure and therefore strips her of her life, her worlds. Still, it also is true that I came to understand trans as something it was possible for me to be when my high school’s tiny gay-straight alliance erected cardboard tombstones in the hallway to mark those trans women who had been lost. Trans became an intimate possibility in reference to strangers’ deaths. For this reason, trans has always felt, to me, entangled with elegy. 

The classic elegy—at least as I understand it—has a three-part structure: lament, praise, consolation. First you express deep sorrow over someone’s passing; then you praise their life, usually in idealized terms; then you provide some consolation for the living. Poets and scholars have long debated the ethics of elegy—whether an elegy can ever provide the consolation it promises, whether and under what circumstances we ought to make use of the dead, whether mourning enables or precludes political action. The answer to each of these questions is, of course, it depends. Still, there were two sentences from Diana Fuss’s Dying Modern: A Meditation on Modern Elegy on my mind the November I wrote “Anti-Elegy,” sentences that prompted me to return to my own questions about for whom and to what ends the elegy works. In the first, Fuss argues that the effect of elegy is “not merely to recognize the dead but also to bring them back to life.” In the second, she affirms R. Clifton Spargo’s claim that “ethics and elegy…both typically view every death as an injustice.” 

TDoR, too, is structured by these general claims: that it is important to keep the memory of individuals alive—to keep them with us—and that each entry on the list of the dead is an injustice. Undoubtedly each death on the list is the outcome of an injustice, but I’ve become increasingly suspicious of the idea that death itself is unjust. Often what is unjust is everything that preceded the end. What is unjust is the terms of living. There is something deeply unsettling, that is, to the insistence that someone ought to be alive in a world that did little to support that life. There is something deeply unsettling, therefore, about Fuss’s characterization of the elegy as a genre that strives to reanimate the dead, to bring them back. 

I find “Anti-Elegy,” as the product of these reflections, to be unsettling; its questioning of the elegy inevitably involves questioning the terms by which I came to understand myself as trans, by which I came to understand myself. Perhaps for this reason “Anti-Elegy” is formally an unsettled poem; it asks question after question and does not ever arrive at answers: “Who am I to say rise?…who am I to say, dance // with me here a little longer?” Driving this accumulation of questions is another question just beneath the surface—the poem is really asking, over and over, Should this poem exist? Should this poem exist? It depends. But this is, for all of us, an important question to ask of our work before we put it into the world. 

If we’re lucky, one poem leads us to the next. In this case, “Anti-Elegy” led me to write “All My Friends Are Sad & Bright,” a poem that is technically an elegy, but which leaves the dead in peace. Certainly this isn’t an answer to the “impossible ethical demands” of elegy, but there is something to be said for a poetics of trans/Black/queer life that takes death as its impetus, but not its object, that mourns but also (and because of this) hopes. 

 

Cameron Awkward-Rich is the author of two poetry collections, Dispatch (Persea Books, 2019) and Sympathetic Little Monster (Ricochet Editions, 2016), which was a Lambda Literary Award finalist. He is a Cave Canem fellow and a poetry editor for Muzzle Magazine. He earned his PhD from Stanford University’s program in Modern Thought & Literature, and he is an assistant professor of Women, Gender, Sexuality Studies at the University of Massachusetts Amherst.

Craft Capsule: In Praise of Writing in Longhand

by

Kimberly King Parsons

7.29.19

This is no. 39 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

This sounds made up, but in my high school you could substitute a typing class for gym. As a bookish, lazy teenager, this was perfect for me. The class was called Fundamentals of Keyboarding, and we spent all semester doing home-key practices and speed drills. Near the end of each session the teacher would hand us some random page of text—it might be instructions for building a birdhouse or a page of a novel—and it was our job to type it, print it, and staple it to the original. I wasn’t great at a lot of things in high school, but I turned out to be a terrifically fast typist who rarely made mistakes; I loved holding the papers up to the light, seeing my words perfectly overlap with those on the handout. 

As an exercise in my first fiction workshop, the professor asked us to type a short story by our favorite writer. The idea was to feel the words come through our fingers, to pound out the rhythm of those admirable sentences ourselves. I still find typing immensely satisfying—it’s relaxing, almost a form of meditation. I like the mechanics of it, the way each letter translates to a physical movement, to a clicking sound, to a shape on the screen. I also have terrible handwriting. It’s barely legible and embarrassing, like someone has dared me to use my non-dominant hand. 

When I’m writing fiction, I’m typing on my laptop into a document, using the features meant to make things easy: cut, copy and paste, backspace. It’s convenient, it’s fast, and it’s the preferred method for most of the writers I know. I do a lot of pre-work in my head, by sound, so by the time I sit down to write, I have at least a few sentences ready. In the completely new sections, I’ll get into a flow, typing as fast as I can think, then doubling back and reading each sentence aloud. I’m constantly making changes as I go: correcting errors, substituting or cutting words, shifting whole sections around on the page.

But every once in a while I’ll get stuck, hung up on some fundamental, propulsive element of the story, like I’ve reached the end of the thread. Maybe I’m insecure about what comes next, paralyzed by doubt. Or maybe there’s a problem with a sentence I can’t work out on the screen, something tangled about the rhythm or syntax. As much as I hate it, the best thing I can do in this situation is pull the problem out of the computer and write it down.

All the usual disadvantages of writing in longhand become advantages: It’s slow, it requires more mechanical effort, the words must come in order with no easy erasures. I also have rules for myself: no crossing things out or moving/inserting words. If what I’ve written is wrong, I have to skip a line and write it again. If I realize halfway through a paragraph that a sentence belongs at some earlier point, I start the whole section over. When I’m writing things down, I press too hard and my hand cramps, so I have to take frequent breaks. This slow-building repetition lets me see the work differently. Writing in longhand is also uniquely tactile—there’s the feeling of the pen in my grip, my hand drifting across the page. I’m forcing my brain and body to connect with the story in a new way. 

Once I solve the problem, I’m eager to open the document on my computer. I’ll type in the revised section and move on, fast at the keyboard, back to the easy rhythm and familiar feel, until, inevitably, I come to the next snag. 

 

Kimberly King Parsons is the author of Black Light, a short story collection forthcoming from Vintage on August 13, 2019. She is a recipient of fellowships from Columbia University and the Sustainable Arts Foundation, and her fiction has appeared in the Paris Review, Best Small Fictions, No Tokens, the Kenyon Review, and elsewhere. Her website is www.kimberlykingparsons.com.

Craft Capsule: Multiple Narrators

by

Crystal Hana Kim

7.18.18

This is no. 35 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Before I became a writer, I was first an insatiable reader. From Curious George to Little Women to The Lover, I can mark the trajectory of my development as a writer against my reading choices. A particularly memorable turning point happened when I was eight years old. While at the library, I came across a chapter book called Morning Girl. The cover showed a young girl with dark brown hair and bare shoulders swimming in the open sea, and I picked it up because of the striking image. As I began reading, I fell for Morning Girl’s lush, bright voice as she described her fondness for waking early and searching the beach for seashells. I felt keenly for Morning Girl when her parents favored her younger brother. I had a younger sister, and I understood the mean yellow streaks of jealousy. 

The shock came when I turned to the next chapter. At the top of the page was the name Star Boy. This chapter, I realized as I read, was narrated not by the titular girl, but her younger brother. I remember the confusion I felt and how quickly it was replaced with giddy wonder. Up until that moment, I hadn’t known that a book could have multiple narrators. Morning Girl tore writing open for me: For the first time I recognized that writers were in control of how the story was told and that the possibilities were endless.

I’ve gravitated toward novels with multiple narrators ever since, so when I started writing If You Leave Me, I knew I wanted to try this format. However, I needed to make sure having multiple perspectives would serve my goals. My central character was Haemi Lee, a sixteen-year-old refugee in Busan at the start of my novel. Did I really need the voices of her best friend Kyunghwan, her suitor Jisoo, her younger brother Hyunki, and eventually, her eldest daughter Solee? Thankfully, yes. After some examination, I realized that having multiple narrators allowed me to show the secrets characters were hiding not only from each other, but also from themselves. By alternating these voices, I was able to investigate how one event could be interpreted in various ways, depending on the character’s temperament and circumstance. For example, Haemi, Kyunghwan, and Jisoo all hungered in Busan during the Korean War, and yet their resulting traumas are each unique due to differences in class, gender, and family expectations. 

If You Leave Me spans sixteen years, from 1951 to 1967. Multiple perspectives also gave me the best means of capturing the landscape of Korea during this tumultuous time. Through my five alternating narrators, I was able to write about an ROK soldier in the Korean War; a college student in Seoul in the years afterward, when dictators ruled the nation; a factory worker forced to meet with a matchmaker; a mother yearning to escape her rural community; and a young daughter growing up in post-war Korea, when the vestiges of violence took on new forms.   

When my students say they want to write a novel with multiple perspectives, I’m secretly elated. However, I always remind them of the potential pitfalls. More voices may make your story feel fragmented, which can lead to readers preferring one character over another. In order to avoid this, it’s important to value each perspective equally. If you as the writer dislike one of your characters, the reader will feel that animosity in your words. The solution? Know your characters deeply on and off the page—know their desires, tics, fears, sexual preferences, favorite foods, secret dreams, worst habits. Develop them until you know them as intimately as a friend, in all of their complexities. In the end, I hope having multiple narrators in If You Leave Me enriches the reading experience. Haemi Lee’s voice is the center, but the four characters around her provide a lens not only into the larger history of Korea, but into Haemi’s complex, difficult temperament.

In my final Craft Capsule next week, I will talk more about Haemi and the necessity of “unlikable” female protagonists. 

 

Crystal Hana Kim’s debut novel, If You Leave Me, is forthcoming from William Morrow in August. She was a 2017 PEN America Dau Short Story Prize winner and has received scholarships from the Bread Loaf Writers’ Conference, Hedgebrook, Jentel, among others. Her work has been published in or is forthcoming from the Washington Post, Elle Magazine, Nylon, Electric Literature, and elsewhere. She is a contributing editor at Apogee Journal and is the Director of Writing Instruction at Leadership Enterprise for a Diverse America. She lives in Brooklyn, New York, with her husband.

Craft Capsule: A Form of Salvation

by

Simon Van Booy

6.20.18

This is no. 31 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When you start thinking creatively, it’s like releasing a live animal—a new species of mischief that cannot be contained to just one area of your life. Creativity is not like a machine that can be switched on and off. And therefore it does not end when you stand up from your desk after a few solid hours of work.

Ever wondered why you feel the urge to roller skate through a shopping mall listening to Abba? Leave strange notes on the doorsteps of strangers? Eat apples standing up in the bath, naked, with the window open?

Now you know. Creativity is a form of salvation.  

If we could limit creativity to just one area of our lives—how would we ever manage to convince ourselves to climb back in the rocket, and blast off again and again and again, to those distant galaxies of unwritten narrative? 

And stop worrying about getting published. You write because you’re obsessed with telling a story in a way that no one else can. Focus on that. Only that. Everything else will take care of itself.  And, please, for my sake—don’t ever think buying a plastic skeleton from a medical supply store then holding it up to the window when people walk past is a waste of time.  

Being a writer means opening your whole life to creativity. It is a commitment to overpowering fear with imagination and compassion for yourself, as well as others. As a person who writes you’ll be a better mother, son, best friend, aunt, cousin, coach, or bank teller. Because learning to write is learning to see, and striving to see beyond is perhaps the only hope for our species.

 

Simon Van Booy is the author of nine books and the editor of three anthologies of philosophy. His latest work for adults, The Sadness of Beautiful Things, will be released in October from Penguin, and followed up in November by his latest work for children, Gertie Milk & the Great Keeper Rescue, from Penguin Razorbill.

Craft Capsule: Revising the Archive

by

Cameron Awkward-Rich

12.9.19

This is no. 42 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Several of the poems in my second collection, Dispatch, which comes out this week from Persea Books, are what I think of as the detritus of my academic book-in-progress about maladjustment in transmasculine literature and theory. In conducting research for this project, I have spent countless hours digging around in digitized newspaper archives, trying to get a feel for what it was like to live a gender-nonconforming life at other times in U.S. history. During the course of this work, I have repeatedly encountered traces of Black/gender-nonconforming lives that flicker in and out of the official record. Every so often I become obsessed with these traces. Mostly what surfaces is news of arrests—arrests for “cross-dressing,” discoveries of “cross-dressing” after arrest. Mostly what surfaces are dead-ends. 

One of the traces I came across: Lawrence Jackson, a Black person who was arrested in 1881 in Chicago wearing a dress and then fined $100. According to the newspapers, Jackson could not pay the fine, but tried to plead for alternate terms of punishment, suggesting that if the judge would accept a smaller fine—all the money they reportedly had, $25—they would self-exile by leaving Chicago forever. But the judge insisted on sending Jackson to jail because “a little punishment would be beneficial.” After this episode, Jackson seems to vanish from the official record, though months later this story, along with an image of Jackson, was reprinted in the popular, tabloid-like National Police Gazette. 

When I first encountered Jackson, I was a PhD student trying to write a dissertation. My first impulse was to put these traces of Jackson’s encounter with power to work in my academic writing—to use their appearance in the archive as evidence for an argument about the regulation of race/sex/gender at the turn of the twentieth century. But it turned out that I couldn’t do it—I lacked both adequate information and the desire to put it, put Jackson, to use. I wanted something from Jackson certainly—they would not leave me alone—but each time I tried to write about them, I was unsettled by the result. It was, in Foucault’s words, “impossible to…grasp them again in themselves, as they might have been ‘in a free state.’” All I could know of Jackson, really, was that they had once or twice been caught—arrested, documented on someone else’s terms. 

Eventually I gave up making an argument altogether and, instead, wrote a poem. It’s no surprise that poetry can be a place to work out our felt relations to traces of the past; the poem has always been where I go to develop a private language, to extend intimately beyond myself, and to stage an impossible, interior conversation. But I was surprised to find that poetry also allowed me to work through some ethical questions that had stalled my academic writing, questions like: What do I do with an archival record that exists only because a violence has occurred? What do I do with lives that, to cite Foucault again, “no longer exist except through the terrible words that were destined to render them forever unworthy of the memory of men”? What I wanted—what it was impossible not to want—from this encounter with someone like me in the past was a sense of historical continuity, a “we” across time. But what kind of “we” can I fashion if all I have are these “terrible words”? 

In writing the poem “Still Life,” I of course could not resolve these questions. But I could attempt writerly experiments that academic prose does not exactly allow. In particular, rather than attending to what happened—rather than being beholden to thinking of Jackson as evidence—I was free to roam inside my lyric room, to conduct a conversation, to put my life and Jackson’s life alongside each other, to imagine them free. 

In your own work, consider asking yourself: What are the traces of the past that will not leave you alone? Can you use those traces in order to imagine the ending to an endless story? Perhaps an ending other than the dismal one hinted at in the official record? What language in the archive is suggestive of these possibilities? What language in the archive is only used for the purpose of capture? Can you make even that language do something else?

 

Cameron Awkward-Rich is the author of two poetry collections, Dispatch (Persea Books, 2019) and Sympathetic Little Monster (Ricochet Editions, 2016), which was a Lambda Literary Award finalist. He is a Cave Canem fellow and a poetry editor for Muzzle Magazine. He earned his PhD from Stanford University’s program in Modern Thought & Literature, and he is an assistant professor of Women, Gender, Sexuality Studies at the University of Massachusetts Amherst.

Craft Capsule: Oblique Strategies

by

Kimberly King Parsons

7.15.19

This is no. 37 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was getting my MFA in fiction, one of my favorite professors asked us to write a story using only single syllable words. At first this sounded awful—how could we possibly pull this off? It wasn’t easy, but very quickly it became a kind of game to me, an obstruction that brought out odd new rhythms. When we came back to class and read our stories aloud, it was a revelation. Every single student had done something striking and compelling. The sentences were strange and clipped, everyday phrases made fascinating. One student had something like “he who taught us of the past” to stand in for history professor. In my story, instead of an electrician playing checkers, “the lights guy played reds and blacks.” The formal constraint forced us to go beyond the easy, obvious choices. My professor stressed that this was a starting point, something to unlock us; there was no need to stick to these rules in subsequent drafts. Later, when I was revising, I found that because the work didn’t sound like me, I could brutally edit it. Now, more than ten years later, if something isn’t working in a story or chapter, I sometimes fall back on the one-syllable trick.

The weirdest approaches to process are the ones I find most helpful—the ones that have stayed with me the longest. There was the professor who encouraged his classes to narrate problematic scenes from the perspective of inanimate objects, animals, or the dead. A friend of mine takes the articles out of any story or chapter that’s giving him problems. He usually puts most of them back, but something about the extraction lets him see the work differently. There was another professor who forbade us from using adverbs, or giving characters first names, or starting any sentence with a pronoun—I loved his bizarre rules, even when I decided to break them.

When I’m writing I sometimes consult this strange little deck of cards called Oblique Strategies. Originally created in 1975 by painter Peter Schmidt and Brian Eno—yes, that Brian Eno, immensely talented musician, producer, and co-conspirator of the late David Bowie—each card has a single directive printed on it, a “strategy” for your creative process. These prompts are meant to assist with removing blocks, but the Zen-like aphorisms are more abstract than prescriptive (i.e., “Start at the end,” or “Emphasize the flaws,” or really strange ones like “Remember a time when you hid from something as a child.”) 

The deck my partner and I have at home is the updated 2001 edition, with a bizarre product description: “These cards evolved from separate observations of the principles underlying what we were doing. Sometimes they were recognized in retrospect (intellect catching up with intuition), sometimes they were identified as they were happening, and sometimes they were formulated. They can be used when dilemma occurs in a working situation…The card is trusted even if its appropriateness is quite unclear.” These mysterious abstractions are part of the charm. There’s now a version of the strategies available for free online, although I still prefer the physicality of shuffling through a deck. Two cards I selected at random just now read: “Disconnect from desire,” and “Go slowly all the way round the outside.” It all sounds a bit wacky, and that’s exactly the point. I find the further I lean into the weird, the easier is it for me to get back to work.

 

Kimberly King Parsons is the author of Black Light, a short story collection forthcoming from Vintage on August 13, 2019. She is a recipient of fellowships from Columbia University and the Sustainable Arts Foundation, and her fiction has appeared in the Paris Review, Best Small Fictions, No Tokens, the Kenyon Review, and elsewhere. Her website is www.kimberlykingparsons.com.

Craft Capsule: Who Are You?

by

Crystal Hana Kim

7.4.18

This is no. 33 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

“When did you start writing?” Writers are often asked this question, and I’m always curious about the story behind the answers, the paths we take to find our vocations. As a child of immigrants, Korean was my first language. When I began elementary school, I found myself mentally switching between my mother tongue and English, trying to match vocabulary words across language lines. I soon found myself gravitating toward writing; with a pencil in my hand, I could take my time and express myself more clearly. In the first grade, I wrote about butterflies hatching for my beloved teacher, Ms. Benz. The next year, I wrote about a girl with short black hair who wanted to get her ears pierced, but whose Korean parents refused. I presented the story to my mother and father, hopeful and full of glee at my cunning. (Reader, they fell for it and let me pierce my ears.) “I’ve written ever since I was a child,” I say in answer to that question. But when did I find the stories I wanted to tell? That was a more recent discovery.  

As a sophomore in college, I took my first formal writing workshop. Somehow, over the course of my teenage years, my writing had changed. I no longer wrote stories that were rooted in my desires and questions about the world. Instead, I created characters without clear identities—their race, appearance, and backgrounds were murky, undefined. These young adults frolicked and fought on misty hills, drunk with mulberry-stained lips. I was trying to shy away from what I thought was expected of me. I didn’t want to be pigeon-holed as the Korean American workshopper who could only write about “Asian” issues. But I sensed that something was wrong with my characters: They were vague, flat, lifeless.Who is this girl?” a classmate asked. “Don’t be afraid to write about what you know,” my teacher said. 

At first I resisted these suggestions, digging deeper into my no-name characters without a clear sense of home. That is, until the summer break between my sophomore and junior year. One June evening I had dinner with my parents. Over a meal of galbi-tang, rice, wine, and ice cream, my parents recounted their childhoods. My father described catching grasshoppers from his neighbors’ field, of cooking them on a skillet over an open flame. My mother told me of staining her fingers orange with bong seon hwa flowers, which I loved to do during my summer visits to Korea as well.  

The next morning, I found myself still mulling over my parents’ stories. I imagined my father as a child, his lithe body running through high grass in search of those plump green insects. I loved that the act of staining fingers with flower petals, which my sister and I did every summer in Korea, was not only a family tradition, but a Korean one. These stories stayed with me all summer and through the fall, when my undergraduate classes resumed. This time in my fiction workshop, I wrote with greater purpose and clarity. I developed characters with a culture and history behind them. Better, I thought.

The more I wrote, the more I sought my family. When I began my graduate studies, I turned to my maternal grandmother. A fierce matriarch and gifted storyteller, my grandmother shared her life with me—she lived under Japanese occupation, survived the Korean War, and forged a life for her daughters in the years afterward. I absorbed these anecdotes, sometimes taking notes and sometimes just listening. 

When I began If You Leave Me, my debut novel, I knew I wanted to write about the Korean War. More important, I knew I wanted the main character to be a Korean woman who was strong, willful, intelligent, stubborn, and full of contradictions. I wanted a female protagonist that readers would love one moment and argue with the next, someone who felt as complex as our best friends and lovers do. I created Haemi Lee, a teenaged refugee living in Busan during the war. I rooted her story in my grandmother’s experiences, but I added my own desires and questions and fears until Haemi became a character of her own. 

It took me a few wayward years, but I eventually realized that writing about my culture does not confine me as a writer. Instead, my history provides a pool of memory for me to draw inspiration from. Now, when I teach creative writing, I emphasize this process for my students. I encourage them to value every part of their identities.

“Who are you?” I ask. “Tell me what you know.”

 

Crystal Hana Kim’s debut novel, If You Leave Me, is forthcoming from William Morrow in August. She was a 2017 PEN America Dau Short Story Prize winner and has received scholarships from the Bread Loaf Writers’ Conference, Hedgebrook, Jentel, among others. Her work has been published in or is forthcoming from The Washington Post, Elle Magazine, Nylon, Electric Literature, and elsewhere. She is a contributing editor at Apogee Journal and is the Director of Writing Instruction at Leadership Enterprise for a Diverse America. She lives in Brooklyn, New York, with her husband.

Craft Capsule: Start, Stop, Change

by

Mimi Lok

1.12.20

This is no. 46 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

For many writers with long-brewing projects, starting a new year can stir up dread, excitement, grim resolve, or all of the above. Mid-January becomes a time of early reckoning: Have I stuck to my guns? Backslid already? Realized, aghast, that my goals were far too lofty? Resolutions are often focused on starting new things, but not enough is said about the value of simply carrying on, taking a moment to reflect on existing projects, and adjusting or even stopping the approaches that are no longer working. 

Whenever I feel stuck or overwhelmed with a writing project, I try to take a step back and ask myself three questions: What needs to start? What needs to stop? What needs to change? And then I make lists or action items in response to those questions. It might look something like this:

What needs to start? 

  • Write the scene or chapter you’ve been avoiding. Drink a shot of tequila and write the bloody thing. In one sitting. Tape over the delete button if necessary.
  • Admit that the work has reached the point where it needs to leave the house. Share it with the person who will tell you things you don’t want to hear but who will ultimately help you make it stronger.
  • Look farther afield for things that feed your creative brain and soul. Get your nose out of a book and get thee to an art museum, concert, or stand-up comedy show. It doesn’t have to be tangibly connected to your project, but it will wake up different parts of you and might even spark ideas.

What needs to stop?

  • Control. Release your characters from their toddler harnesses and let them do what they want to do instead of what you want them to do.
  • Narrator as bodycam. Stop treating your first-person narrator as a passive, disembodied set of eyes and ears, and turn them into an actual human being the reader can see, hear, and feel.
  • Procrastination. Specifically, the kind that’s rooted in a lack of interest and motivation rather than a lack of confidence. If some high power decreed you could only tell one last story before you died, would this be it? If the answer is “umm…,” then put this project aside and find the story that feels compelling and urgent to you, and that only you can tell.

What needs to change?

  • Point of view. Does it have to be the POV you’ve chosen? Why? What would happen if you changed it?
  • Scope. Recognize how you’ve been limiting the story and expand or shrink the world of your story accordingly. This could be related to the number of characters you want to focus on, or settings, or time periods. Or it could be about redistributing the amount of time spent with various characters and their world(s). See how it affects the intensity and focus.
  • Setting. How important is your chosen time and place to the story you want to tell? Would the story change if it were relocated, set in another time period?

The stop/start/change tool is something I’ve borrowed from my other life in the nonprofit sector (mostly in terms of assessing projects and organizational priorities), but which can be handily applied to other areas of life too: friendships, marriages, exercise routines, to name a few.

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Craft Capsule: Revising the Archive

by

Cameron Awkward-Rich

12.9.19

This is no. 42 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Several of the poems in my second collection, Dispatch, which comes out this week from Persea Books, are what I think of as the detritus of my academic book-in-progress about maladjustment in transmasculine literature and theory. In conducting research for this project, I have spent countless hours digging around in digitized newspaper archives, trying to get a feel for what it was like to live a gender-nonconforming life at other times in U.S. history. During the course of this work, I have repeatedly encountered traces of Black/gender-nonconforming lives that flicker in and out of the official record. Every so often I become obsessed with these traces. Mostly what surfaces is news of arrests—arrests for “cross-dressing,” discoveries of “cross-dressing” after arrest. Mostly what surfaces are dead-ends. 

One of the traces I came across: Lawrence Jackson, a Black person who was arrested in 1881 in Chicago wearing a dress and then fined $100. According to the newspapers, Jackson could not pay the fine, but tried to plead for alternate terms of punishment, suggesting that if the judge would accept a smaller fine—all the money they reportedly had, $25—they would self-exile by leaving Chicago forever. But the judge insisted on sending Jackson to jail because “a little punishment would be beneficial.” After this episode, Jackson seems to vanish from the official record, though months later this story, along with an image of Jackson, was reprinted in the popular, tabloid-like National Police Gazette. 

When I first encountered Jackson, I was a PhD student trying to write a dissertation. My first impulse was to put these traces of Jackson’s encounter with power to work in my academic writing—to use their appearance in the archive as evidence for an argument about the regulation of race/sex/gender at the turn of the twentieth century. But it turned out that I couldn’t do it—I lacked both adequate information and the desire to put it, put Jackson, to use. I wanted something from Jackson certainly—they would not leave me alone—but each time I tried to write about them, I was unsettled by the result. It was, in Foucault’s words, “impossible to…grasp them again in themselves, as they might have been ‘in a free state.’” All I could know of Jackson, really, was that they had once or twice been caught—arrested, documented on someone else’s terms. 

Eventually I gave up making an argument altogether and, instead, wrote a poem. It’s no surprise that poetry can be a place to work out our felt relations to traces of the past; the poem has always been where I go to develop a private language, to extend intimately beyond myself, and to stage an impossible, interior conversation. But I was surprised to find that poetry also allowed me to work through some ethical questions that had stalled my academic writing, questions like: What do I do with an archival record that exists only because a violence has occurred? What do I do with lives that, to cite Foucault again, “no longer exist except through the terrible words that were destined to render them forever unworthy of the memory of men”? What I wanted—what it was impossible not to want—from this encounter with someone like me in the past was a sense of historical continuity, a “we” across time. But what kind of “we” can I fashion if all I have are these “terrible words”? 

In writing the poem “Still Life,” I of course could not resolve these questions. But I could attempt writerly experiments that academic prose does not exactly allow. In particular, rather than attending to what happened—rather than being beholden to thinking of Jackson as evidence—I was free to roam inside my lyric room, to conduct a conversation, to put my life and Jackson’s life alongside each other, to imagine them free. 

In your own work, consider asking yourself: What are the traces of the past that will not leave you alone? Can you use those traces in order to imagine the ending to an endless story? Perhaps an ending other than the dismal one hinted at in the official record? What language in the archive is suggestive of these possibilities? What language in the archive is only used for the purpose of capture? Can you make even that language do something else?

 

Cameron Awkward-Rich is the author of two poetry collections, Dispatch (Persea Books, 2019) and Sympathetic Little Monster (Ricochet Editions, 2016), which was a Lambda Literary Award finalist. He is a Cave Canem fellow and a poetry editor for Muzzle Magazine. He earned his PhD from Stanford University’s program in Modern Thought & Literature, and he is an assistant professor of Women, Gender, Sexuality Studies at the University of Massachusetts Amherst.

Craft Capsule: Oblique Strategies

by

Kimberly King Parsons

7.15.19

This is no. 37 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was getting my MFA in fiction, one of my favorite professors asked us to write a story using only single syllable words. At first this sounded awful—how could we possibly pull this off? It wasn’t easy, but very quickly it became a kind of game to me, an obstruction that brought out odd new rhythms. When we came back to class and read our stories aloud, it was a revelation. Every single student had done something striking and compelling. The sentences were strange and clipped, everyday phrases made fascinating. One student had something like “he who taught us of the past” to stand in for history professor. In my story, instead of an electrician playing checkers, “the lights guy played reds and blacks.” The formal constraint forced us to go beyond the easy, obvious choices. My professor stressed that this was a starting point, something to unlock us; there was no need to stick to these rules in subsequent drafts. Later, when I was revising, I found that because the work didn’t sound like me, I could brutally edit it. Now, more than ten years later, if something isn’t working in a story or chapter, I sometimes fall back on the one-syllable trick.

The weirdest approaches to process are the ones I find most helpful—the ones that have stayed with me the longest. There was the professor who encouraged his classes to narrate problematic scenes from the perspective of inanimate objects, animals, or the dead. A friend of mine takes the articles out of any story or chapter that’s giving him problems. He usually puts most of them back, but something about the extraction lets him see the work differently. There was another professor who forbade us from using adverbs, or giving characters first names, or starting any sentence with a pronoun—I loved his bizarre rules, even when I decided to break them.

When I’m writing I sometimes consult this strange little deck of cards called Oblique Strategies. Originally created in 1975 by painter Peter Schmidt and Brian Eno—yes, that Brian Eno, immensely talented musician, producer, and co-conspirator of the late David Bowie—each card has a single directive printed on it, a “strategy” for your creative process. These prompts are meant to assist with removing blocks, but the Zen-like aphorisms are more abstract than prescriptive (i.e., “Start at the end,” or “Emphasize the flaws,” or really strange ones like “Remember a time when you hid from something as a child.”) 

The deck my partner and I have at home is the updated 2001 edition, with a bizarre product description: “These cards evolved from separate observations of the principles underlying what we were doing. Sometimes they were recognized in retrospect (intellect catching up with intuition), sometimes they were identified as they were happening, and sometimes they were formulated. They can be used when dilemma occurs in a working situation…The card is trusted even if its appropriateness is quite unclear.” These mysterious abstractions are part of the charm. There’s now a version of the strategies available for free online, although I still prefer the physicality of shuffling through a deck. Two cards I selected at random just now read: “Disconnect from desire,” and “Go slowly all the way round the outside.” It all sounds a bit wacky, and that’s exactly the point. I find the further I lean into the weird, the easier is it for me to get back to work.

 

Kimberly King Parsons is the author of Black Light, a short story collection forthcoming from Vintage on August 13, 2019. She is a recipient of fellowships from Columbia University and the Sustainable Arts Foundation, and her fiction has appeared in the Paris Review, Best Small Fictions, No Tokens, the Kenyon Review, and elsewhere. Her website is www.kimberlykingparsons.com.

Craft Capsule: Consulting the Tarot

by

Emma Copley Eisenberg

2.24.20

This is no. 50 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I was raised in a house of reason where there was no God, no witchcraft, no science fiction, no astrology, and certainly no tarot. These things were for the weak, and we were not weak. But I’ll never forget when I read Uncle Tom’s Cabin and it dawned on me why Tom prayed so much: He was just trying to get through the day. I was weak, I knew. To make it from dawn to dusk, I too needed all the help I could get. 

Tarot came into my life through the friend, the friend I lost, and it is the thing she gave me more than any other for which I offer her my supreme gratitude. To be fair, I acquired the deck itself—The Wild Unknown by Kim Krans—much earlier; I bought it on impulse late one night on the gushing recommendation of someone I’d met at a party. You are not supposed to buy a tarot deck for yourself, I learned later, perhaps because without the blessing of someone you love to imbue the paper and images with power, a deck of cards is just a deck of cards.

I cannot now separate tarot from the friend, and I cannot separate tarot from writing. She and I became friends during the period when the card of the moon, which according to my deck “encompasses the idea of the Wild Unknown,” was my near constant companion. She taught me how to do the simplest spread—past, present, future—and led me to Michelle Tea’s book on tarot, life, and writing, Modern Tarot: Connecting With Your Higher Self Through the Wisdom of the Cards. Past, present, future; beginning, middle, and end. My friend and I began to draw a single card to set the mood for our writing sessions together, held at a ramshackle coworking space in the neighborhood where we lived.

What I like about drawing a single card before writing is that it allows me a single place to put my feelings about that day’s words—all my fear that the words won’t come and all my fear that they will. Drawing a single card, the mother of pentacles, for instance, which offers an image of a deer and her fawn, gives me a door at which to knock when I can’t see any of that paragraph’s architecture. She excels in the home, the card says: Perhaps I’ll turn my scent diffuser on, or I’ll have a character bake a scone, or I’ll think about why some person in my book moved around so much from place to place. It’s not so much a place to start writing but rather a way to give the day’s writing a particular mood or scent or inflection. Draw the death card, which in The Wild Unknown simply means that “something in your life needs to end…something is trying to find closure,” and the idea of ending and closure will start bonking around in my brain until it hits something in my writing that needed either to finish or to begin. Each card is like a prompt I suppose, except instead of being wacky and contrived, it feels like a prompt I gave myself from the darkest recesses of my unconscious, a shortcut to the place I was trying to go. 

I drew a card every day while writing The Third Rainbow Girl, which explores a mysterious act of violence in Pocahontas County, West Virginia in 1980, the Appalachian community where it transpired, and my own time in the place as a national service worker. For nearly the entirety of the fifteen months when I was most actively engaged, sentence by sentence, in writing the book, I dreamed about murder—either murdering or being murdered—every night. Then every morning I went to the deck and chose a card. I am not exaggerating when I say that I chose the moon card almost every time, no matter how well I shuffled. The card’s overall theme: vivid dreams and fears. I read the card’s description so many times I can recite it by heart:

[The moon] is the shadow realm, the place where dreams, fears, and mysteries are born. Much darkness can linger here, and if you aren’t careful, this can lead to periods of anxiety and self-doubt almost as if you’ve lost your way in a house of mirrors. Many great artists have roamed this inner landscape. It’s where imagination and creativity drift freely upon the midnight air.

That about summed it up. Fuck the fucking moon, I began to say aloud each time I drew it. Fuck this fucking book.

But the moon would not be fucked and neither would the book I was writing; they would not go away until they went away and maybe not even then. Eventually, I finished the book and I lost the friend. I’m drawing new cards these days—a lot of pentacles, the suit of home and hearth. I hope I drift less and dig more in the next book, but of course, it’s not up to me. 

 

Emma Copley Eisenberg is the author of The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia (Hachette Books, 2020). Her writing has appeared in McSweeney’s, Granta, the Los Angeles Review of Books, American Short Fiction, the Paris Review Daily, Electric Literature’s Recommended Reading, and other outlets. She is also the recipient of fellowships and awards from the Tin House Summer Workshop, the Elizabeth George Foundation, the Wurlitzer Foundation, the Millay Colony for the Arts, and Lambda Literary. She lives in Philadelphia, where she directs Blue Stoop, a hub for the literary arts. 

Thumbnail: Altınay Dinç

Craft Capsule: Start, Stop, Change

by

Mimi Lok

1.12.20

This is no. 46 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

For many writers with long-brewing projects, starting a new year can stir up dread, excitement, grim resolve, or all of the above. Mid-January becomes a time of early reckoning: Have I stuck to my guns? Backslid already? Realized, aghast, that my goals were far too lofty? Resolutions are often focused on starting new things, but not enough is said about the value of simply carrying on, taking a moment to reflect on existing projects, and adjusting or even stopping the approaches that are no longer working. 

Whenever I feel stuck or overwhelmed with a writing project, I try to take a step back and ask myself three questions: What needs to start? What needs to stop? What needs to change? And then I make lists or action items in response to those questions. It might look something like this:

What needs to start? 

  • Write the scene or chapter you’ve been avoiding. Drink a shot of tequila and write the bloody thing. In one sitting. Tape over the delete button if necessary.
  • Admit that the work has reached the point where it needs to leave the house. Share it with the person who will tell you things you don’t want to hear but who will ultimately help you make it stronger.
  • Look farther afield for things that feed your creative brain and soul. Get your nose out of a book and get thee to an art museum, concert, or stand-up comedy show. It doesn’t have to be tangibly connected to your project, but it will wake up different parts of you and might even spark ideas.

What needs to stop?

  • Control. Release your characters from their toddler harnesses and let them do what they want to do instead of what you want them to do.
  • Narrator as bodycam. Stop treating your first-person narrator as a passive, disembodied set of eyes and ears, and turn them into an actual human being the reader can see, hear, and feel.
  • Procrastination. Specifically, the kind that’s rooted in a lack of interest and motivation rather than a lack of confidence. If some high power decreed you could only tell one last story before you died, would this be it? If the answer is “umm…,” then put this project aside and find the story that feels compelling and urgent to you, and that only you can tell.

What needs to change?

  • Point of view. Does it have to be the POV you’ve chosen? Why? What would happen if you changed it?
  • Scope. Recognize how you’ve been limiting the story and expand or shrink the world of your story accordingly. This could be related to the number of characters you want to focus on, or settings, or time periods. Or it could be about redistributing the amount of time spent with various characters and their world(s). See how it affects the intensity and focus.
  • Setting. How important is your chosen time and place to the story you want to tell? Would the story change if it were relocated, set in another time period?

The stop/start/change tool is something I’ve borrowed from my other life in the nonprofit sector (mostly in terms of assessing projects and organizational priorities), but which can be handily applied to other areas of life too: friendships, marriages, exercise routines, to name a few.

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Craft Capsule: Revising the Archive

by

Cameron Awkward-Rich

12.9.19

This is no. 42 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Several of the poems in my second collection, Dispatch, which comes out this week from Persea Books, are what I think of as the detritus of my academic book-in-progress about maladjustment in transmasculine literature and theory. In conducting research for this project, I have spent countless hours digging around in digitized newspaper archives, trying to get a feel for what it was like to live a gender-nonconforming life at other times in U.S. history. During the course of this work, I have repeatedly encountered traces of Black/gender-nonconforming lives that flicker in and out of the official record. Every so often I become obsessed with these traces. Mostly what surfaces is news of arrests—arrests for “cross-dressing,” discoveries of “cross-dressing” after arrest. Mostly what surfaces are dead-ends. 

One of the traces I came across: Lawrence Jackson, a Black person who was arrested in 1881 in Chicago wearing a dress and then fined $100. According to the newspapers, Jackson could not pay the fine, but tried to plead for alternate terms of punishment, suggesting that if the judge would accept a smaller fine—all the money they reportedly had, $25—they would self-exile by leaving Chicago forever. But the judge insisted on sending Jackson to jail because “a little punishment would be beneficial.” After this episode, Jackson seems to vanish from the official record, though months later this story, along with an image of Jackson, was reprinted in the popular, tabloid-like National Police Gazette. 

When I first encountered Jackson, I was a PhD student trying to write a dissertation. My first impulse was to put these traces of Jackson’s encounter with power to work in my academic writing—to use their appearance in the archive as evidence for an argument about the regulation of race/sex/gender at the turn of the twentieth century. But it turned out that I couldn’t do it—I lacked both adequate information and the desire to put it, put Jackson, to use. I wanted something from Jackson certainly—they would not leave me alone—but each time I tried to write about them, I was unsettled by the result. It was, in Foucault’s words, “impossible to…grasp them again in themselves, as they might have been ‘in a free state.’” All I could know of Jackson, really, was that they had once or twice been caught—arrested, documented on someone else’s terms. 

Eventually I gave up making an argument altogether and, instead, wrote a poem. It’s no surprise that poetry can be a place to work out our felt relations to traces of the past; the poem has always been where I go to develop a private language, to extend intimately beyond myself, and to stage an impossible, interior conversation. But I was surprised to find that poetry also allowed me to work through some ethical questions that had stalled my academic writing, questions like: What do I do with an archival record that exists only because a violence has occurred? What do I do with lives that, to cite Foucault again, “no longer exist except through the terrible words that were destined to render them forever unworthy of the memory of men”? What I wanted—what it was impossible not to want—from this encounter with someone like me in the past was a sense of historical continuity, a “we” across time. But what kind of “we” can I fashion if all I have are these “terrible words”? 

In writing the poem “Still Life,” I of course could not resolve these questions. But I could attempt writerly experiments that academic prose does not exactly allow. In particular, rather than attending to what happened—rather than being beholden to thinking of Jackson as evidence—I was free to roam inside my lyric room, to conduct a conversation, to put my life and Jackson’s life alongside each other, to imagine them free. 

In your own work, consider asking yourself: What are the traces of the past that will not leave you alone? Can you use those traces in order to imagine the ending to an endless story? Perhaps an ending other than the dismal one hinted at in the official record? What language in the archive is suggestive of these possibilities? What language in the archive is only used for the purpose of capture? Can you make even that language do something else?

 

Cameron Awkward-Rich is the author of two poetry collections, Dispatch (Persea Books, 2019) and Sympathetic Little Monster (Ricochet Editions, 2016), which was a Lambda Literary Award finalist. He is a Cave Canem fellow and a poetry editor for Muzzle Magazine. He earned his PhD from Stanford University’s program in Modern Thought & Literature, and he is an assistant professor of Women, Gender, Sexuality Studies at the University of Massachusetts Amherst.

Craft Capsule: Minor Characters

by

Carter Sickels

4.27.20

This is no. 58 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Families, however troubled, have their own unique way of functioning, like a single organism that holds its secrets, memories, habits, and narratives close. In my new novel, The Prettiest Star, the central story is about the Jacksons, who are learning to be with one another again after twenty-four-year-old Brian, who has recently found out he is HIV-positive, returns home after six years away in New York City. I wanted the novel—which is told from the perspectives of Brian, his younger sister, and his mother—to wrestle with internal family dynamics, but I quickly realized, in order to understand the Jacksons individually and as a family, I also needed them to engage with characters outside their immediate circle. 

Early on, I sent Brian’s younger sister, fourteen-year-old Jess, to the public swimming pool with a couple girls on her softball team. I had to get her away from her parents, brother, and relatives in order to understand how much the family secrets weigh on every moment of her life, but also to see Jess with more clarity—what makes her tick, what is she like? At the swimming pool, Jess feels both bored and uncomfortable around her teammates, who are only interested in impressing boys. When a couple of boys approach the girls, the scene also reveals a spark of resistance and sass in Jess I didn’t know she had. These minor characters brought tension and texture to the narrative, but also gave me insight into one of my major characters.

Sometimes, minor characters develop into key players—perhaps not quite major characters, but close. When Nick Marshall showed up in my novel, he was a minor character who quickly grew into one of my favorites and earned more time on the playing field. Nick is an outsider—a loner, a hood. He’s from a poor family, his parents are divorced, he smokes and drinks beer, and he’s a talented artist. Nick engages Jess outside of the sealed family, where she forms another life. When she’s with Nick, she shows a side of herself her family doesn’t see: rebellious, talkative, and flirtatious. Jess and Nick discuss death, dreams, disappointments. Without Nick, not only would major plot points vanish, but also Jess’s complexities and layers would recede. And in order for Nick to be believable, I had to spend time with him, I had to develop him the same way I did the central characters—figuring out his background, his personality and hobbies, his dreams and fears and joys.

Not all characters must change, and in fact, many of them won’t. But they still demand attention and need to be written with specificity and precision. Maybe readers will only catch a glimpse of their true depths because in this particular novel, these minor characters exist in order to reveal another facet of the protagonist, advance the narrative, or build tension—but we also sense they are complex, mysterious beings who could easily walk out of the pages of this book into a different one that tells their story, in which they are the stars. 

I tell my students to make their characters talk to and mingle with one other—don’t let your characters exist in a vacuum. If you’re stuck, or need a different way of looking at your story, bring in a cranky neighbor, an old flame, a great-aunt, a salesman, a bad date. How does your protagonist engage with this person? What do they say, what do they think? What’s their body language? Often it’s the minor characters who reveal something unexpected and surprising about the central characters, and sometimes, these minor figures catch the light in way that makes you want to listen closer, to follow them home and learn more.

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including GuernicaBellevue Literary ReviewGreen Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Joel Filipe

Craft Capsule: Catalogues, Cetaceans, and Casey Kasem

by

Carter Sickels

4.20.20

This is no. 57 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

My second novel, The Prettiest Star, examines America during the time of the AIDS epidemic in the 1980s, when the U.S. government, churches, schools, and families turned their backs on gay men who were dying. I was a young teenager during that time. I remember Ryan White on TV, the jokes at school, the rampant homophobia. For my research I read many books, newspapers, magazines, oral histories. I watched feature films and documentaries. I talked to friends. Much of the research was difficult and heavy and sad. 

But I also needed to study and compile those seemingly more frivolous details that are actually crucial to capturing a specific time and place: the clothes, music, movies, hairstyles, and so on. My personal memories of the 1980s helped, but for inspiration, accuracy, and veracity, I knew I had to explore a variety of archives to lead me into the past.   

If you grew up in the 1980s, you may remember the JCPenney and Sears catalogues. The size of phone books, they arrived in the mail with each new season. The most important was the Christmas catalogue; when I was a kid, I pored over the newspaper-print pages of toys and wrote up a detailed list for Santa. My parents had thrown out our copies years ago, so I ordered a few from eBay. When the catalogues arrived, they smelled faintly of cigarette smoke. One of them featured model Cheryl Tiegs wearing a safari-style jumpsuit and cuddling with a Bengal tiger kitten. The catalogues made excellent coffee table books—my guests flipped nostalgically through the pages, laughing at the absurdity. 

There were pages and pages of fashion: watches with bright bands, women posing in leotards and leg warmers, very serious men in silk pajamas. I studied the clothes and shoes my characters would wear, hairstyles. I learned the cost of things: men’s warm-up suit, $37.99; sheepskin car-seat cover, $99.99; answering machine, $179.00. The pictures helped me design my characters’ homes, too: the heavy peach drapes, the harvest-gold oven. Which objects would show up in my characters’ rooms and closets? One of my narrators, Jess, who’s fourteen, wears a Walkman to escape family tension and secrecy. I remembered the art of making mixed tapes, the sound of the rewinding cassette, the feeling of the foam on my ears. 

At antique and secondhand stores, I hunted for old magazines and found copies of TV Guide, People, and Life. Online research opened up a world of music videos and TV commercials, sound bites from Casey Kasem’s America’s Top 40, and eighties photographs of malls, SeaWorld, and high schools. On a wall in my office, I hung a picture of a tape store at a mall next to a found photo of an old woman in her kitchen, which reminded me of one of my characters. Along with all the found photos, I hung xeroxes of Nan Goldin’s brilliant photographs documenting the queer and artist community of 1980s New York—all the pain and loss, and love; Alvin Baltrop’s photographs of queer life and the West Side Piers in the seventies and eighties; and William Yang’s heartbreaking portraits of gay, HIV-positive men. And, because Jess loves whales, I tacked images of orcas that I’d cut out of the issue of National Geographic she would have read in 1984. 

It’s easy to get lost in the writing. I enjoy the hours and hours of research and immersing myself in the world of the novel. For me, the pictures on the walls and photographs and catalogues create a collage of visual reminders, a kind of map that inspires me to step inside. 

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including GuernicaBellevue Literary ReviewGreen Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Daniel Schludi

Craft Capsule: Multiple Points of View

by

Carter Sickels

4.13.20

This is no. 56 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

As I Lay Dying by William Faulkner, Love Medicine by Louise Erdrich, A Home at the End of the World by Michael Cunningham, The Poisonwood Diaries by Barbara Kingsolver, The Birds of Opulence by Crystal Wilkinson, People in Trouble by Sarah Schulman, There There by Tommy Orange. All of these wonderful novels use multiple points of view and weave a tapestry of voices, with each character relaying their own version of the story to tell a broader narrative of family, place, or community.

My novel The Prettiest Star, set in 1986, follows Brian Jackson, a young, gay, HIV-positive man, who leaves New York City to return to the rural small town where he grew up and where his family still lives. When I first started writing, I wrote from the point of view of Jess, Brian’s fourteen-year-old sister, about the day Brian returns. Then I wrote sections from Brian’s perspective: What was it like to come back to the home he couldn’t wait to escape? A few months in I wrote a chapter from their mother Sharon’s perspective and suddenly realized I would need all three voices to tell this story of shame, secrets, and silences, and the complicated ties of familial love and betrayal. Writing from Sharon’s point of view gave me another angle into the story—a complicated, troubling one. Sharon is the voice of restraint and denial. She loves her son, but her worry about what neighbors and God will think get in the way.

Despite its reputation, first-person point of view is not easy to pull off. My first creative writing teacher, the brilliant Eve Shelnutt, had very strong opinions about writing, and she warned me to not even try first-person narration until I’d written at least twenty or thirty stories in third person. First-person narration seems easy to write because when it’s done well, the voice sounds intimate and authentic—we believe. But as the writer, you’re making particular choices about diction, syntax, and rhythm, so that you create a voice that sounds natural, but isn’t, most likely, exactly how that character would talk. 

Juggling multiple first-person narrators created another challenge: The individual voices must sound unique and separate, yet their differences should not be so obvious that they draw attention to the artifice of first person. For my three characters, in addition to trying to capture their voices through word choices and syntax, I paid attention to their interior lives: How do they think and feel, how do they view the world, and what is important to them? Their emotional timbre and interiority led me to their voices: Sharon’s denial, Jess’s youthful savviness, and Brian’s hurt, fear, and anger. Brian is the anchor of the novel, and his sections were the most difficult to write. A couple years into the process, I figured out that if I framed Brian’s sections as video diaries—he uses a video camera to document his last summer, and directly addresses the viewer/reader about his experiences as a queer man living during the AIDS epidemic—I could set his chapters apart, and reveal him at his most vulnerable, artistic, and honest. Moreover, the dated video diaries serve as a ticking clock; like so many young gay men, Brian will not survive this plague, but he wants to bear witness and document for posterity.

Alternating between characters chapter by chapter also informed my approach to the writing process. Some days, I switched between characters—an hour with Jess, then an hour with Brian. This approach gave me a better sense of how the novel worked as a whole. And it was sometimes a relief to move from one character to another, to get out of one character’s head and dive into another’s. On other days, I spent the hours intensely focused on a single character—immersed in one voice, one side of the story. I followed a similar approach when I printed out a full draft to revise—I read aloud all the Sharon chapters together, then all the Brian chapters, then all of Jess’s. Did the characters’ voices sound consistent? Did they carry their sections? Did the characters have their own individual narrative arcs? Then I arranged the chapters in the correct order and read my novel from beginning to end, paying close attention to how the alternating voices built tension and created momentum. 

Writing a novel with multiple first-person narrators was challenging, but it also brought me a lot of pleasure and joy. I tried to fully inhabit my characters—to write from a place of empathy while digging deep into their flaws, weaknesses, and vulnerabilities.  

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including GuernicaBellevue Literary ReviewGreen Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Jason Leung

Craft Capsule: Cut for Time

by

Carter Sickels

4.6.20

This is no. 55 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When you’re reading a good novel, you’re not usually thinking about the passages the author cut, the intense revision process, or all the pages the author wrote in order to get to The Writing. These sweaty, often clumsy and inelegant pages don’t show up in the book you’re holding, but they were essential to finishing the novel.

My first novel, The Evening Hour, about Cole Freeman, a small-time drug dealer and nurse’s home aide living in the coalfields of West Virginia, took six years to write. The novel uses third-person limited narration, but in order to figure out Cole, I filled up notebooks with him speaking in first person—this voice wasn’t strong enough to carry the novel, but it revealed his innermost thoughts and feelings. I also wrote monologues for the other characters to learn how people viewed Cole. I did not intend for any of this “extra” writing to go into the novel, but it was invaluable—a way for me to gather information about Cole’s family and community, and better understand his conflicts, secrets, and desires. 

I’ve kept writing journals for years; they’re a hodgepodge of personal memories, ideas, quotes, observations. A few years ago, when I team-taught a novel writing class with the author Alexis Smith, she wisely suggested keeping a journal dedicated solely and entirely to your novel—nothing goes in unless novel-related. 

My new novel, The Prettiest Star, took around four and a half years to write. Most of this time, I was sitting at my desk, typing on my laptop. But I also filled up four Decomposition Books with material. These novel-notebooks are raw and intimate, brewing with my questions, concerns, ideas. They contain crucial writing around and behind the novel, the words and scraps of ideas and shimmers of light that spill beyond the pages of the manuscript. They’re a form of play, and all writers need time to play. Now that the novel is finished, they’re an archive, and a reminder of how messy, exhilarating, joyful, and confounding the writing process is, a mix of hard work and faith and a little bit of magic. 

Found in the pages of my notebooks:

• Lists of scenes to write
• Character sketches
• Character freewrites and monologues: their dreams, hopes, fears, memories
• Chapter outlines
• Lists of clothing, movies, TV shows, music 
• Descriptions of characters’ rooms
• Hypotheticals: What would happen if this happened, or that
• Timelines
• Blueprints of houses
• Maps of the town
• Early working titles 
• Lists of character names, street names, restaurants
• Lists of objects from the eighties (sticker books, Rubik’s Cube, etc.) 
• Notes on important events, imagery, or places to return to (i.e. the abandoned drive-in)
• Questions, questions, questions—about characters, plot, structure, themes. How does Jess find out Brian has AIDS? How do the rumors get started?

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including Guernica, Bellevue Literary Review, Green Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Jon Tyson

Craft Capsule: Researching IRL

by

Emma Copley Eisenberg

3.2.20

This is no. 51 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

“I was slow to realize that if we write what we know,” writes Margot Livesey in her book The Hidden Machinery: Essays on Writing, “research could help me know more.” I retweet this quote, but add the comment: “So can reporting.” 

I never wanted to be a reporter or a journalist. The word journalist had always conjured the image of someone in black dress pants and sensible shoes. Journalists, if femme, definitely carry purses, and all of my purses are collecting massive cat-fur bunnies at the bottom of a closet that mostly houses an air conditioning duct. But there came a time when I was living in Charlottesville, Virginia, when the hellmouth of the culture wars that were to become the forces that shaped the 2016 election opened, and all around me I saw things I could not explain—the Rolling Stone article about the University of Virginia’s culture of rape was released, then “debunked.” A Black UVA student leader was badly beaten and the campus was flooded, not with empathy, but with racist celebration. Two girls, one white and cis, the other Black and trans, went missing to vastly different results. The fiction I was working on began to seem limp and pointless in the face of such blatant evil and abject confusion. I began—as any good millennial might—on my phone. I Googled murder and why people do it, I Googled white supremacy and why people do it. But it didn’t take me long to figure out that the answers I sought weren’t there, not on that screen and not in that small enclosed car interior that held only me. They were somewhere else, with someone else. 

This is what reporting means: You pick up the phone and dial a number and ask the person on the other side some questions and write down or record what they say. Or you get in a car and drive to where that person lives. They let you in and you look around at their house and taste what their water tastes like and then you ask them questions and write down or record what they say. That’s it. That’s the magic. 

For it is magic. You ask the right person the right question at the right time, and they’ll tell you something that has never before been told in the history of the world. Where do we think the information on the internet comes from? At some point, some person who knew a true thing told that information to another person, and they wrote it down. Of course, many people may say many true things that contradict each other, but that is true too. You write down or record what they all say. 

I am not sure why so many literary writers who otherwise enjoy making truth eschew reporting—so hard! So scary! And I could write a whole other screed on the dangers of what so many of us often do: link to a story that links to another story that links to another story the original basis of which is maybe untrue or maybe just a single source that nobody bothered to fact-check—but that is for another day. Suffice it to say, reporting has become a key tool in my nonfiction, not because I have any particular skill for the process, but because I don’t mind picking up the phone (Jewish upward mobility patterns) and seeing what happens. There is a particular joy in knowing you don’t know, in acknowledging that your imagination and experience do not contain what is necessary to say the truest possible thing. If you are not careful, reporting may, as it has for me, become a kind of addiction because once you start knowing what you don’t know, it is nearly impossible to stop.

 

Emma Copley Eisenberg is the author of The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia (Hachette Books, 2020). Her writing has appeared in McSweeney’sGranta, the Los Angeles Review of BooksAmerican Short Fiction, the Paris Review Daily, Electric Literature’s Recommended Reading, and other outlets. She is also the recipient of fellowships and awards from the Tin House Summer Workshop, the Elizabeth George Foundation, the Wurlitzer Foundation, the Millay Colony for the Arts, and Lambda Literary. She lives in Philadelphia, where she directs Blue Stoop, a hub for the literary arts. 

Thumbnail: Sylvie Rosokoff

Craft Capsule: Stillness and Silence

by

Mimi Lok

1.20.20

This is no. 47 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I am one of those people who enjoys reading articles about the rituals and habits of writers. Partly because the articles acknowledge the work and commitment that goes into writing a story or a book, and partly because they demystify the process a little. But I’ll admit that I’m also reading because, in the same way that I’ve clicked on BuzzFeed listicles of household items that promise to magically increase my happiness quotient, I’m often hoping for a quick fix when I feel stuck or unproductive. 

I’ve repeatedly thrown myself too eagerly into a new writing ritual, hoping it will unlock something and then inspiration will flow. I’ve tried only writing at certain times of day or night. I’ve tried maintaining an immaculately organized desk, pens and notebook neatly lined up along the table’s edge. I’ve tried writing in the dark cave of a closet, and in front of a window, the view ideally green and leafy, though a view of a brick wall, it turns out, is fine too. One writer I know cannot work without the bustle of people around her, which becomes a reassuring sort of white noise. I often like a quietish room with faint sounds of human life, but have also been able to write with a teenager playing video games next to me. Total isolation, I’ve discovered, feels claustrophobic and lonely. 

I’ve come to realize that, rather than striving to create the best atmosphere for writing, what really matters is creating the conditions for pre-writing. Silence. And by silence I don’t mean the absence of external noise, but of internal noise. As Kimberlee Pérez describes it, silence is “a point of entry into deep listening.” 

So how does one create silence? One way is through meditation.  

I consider myself a lousy meditator. Not that it’s a competitive sport or anything, but I am the first to admit I could do it more often, and for longer. Still, more than taking a walk, or going for a run, or taking a shower, or eating a packet of chocolate digestive biscuits, I’ve found that meditating helps my writing. When I meditate, I’m definitely not turning over a writing problem in my mind. I’m just trying to pay attention—trying being the operative word—to nothing but my breath. In, out. In, out. It’s bloody difficult to do. Only when I invite stillness do I have to contend with how cluttered and hectic my mind really is, like a monkey on amphetamines jumping from branch to vine to branch, ooh what’s that over there, I’ll swing onto that roof as well, oh no! I’ve landed in pigeon shit, oh well, look, banana! (This is what 99 percent of meditating is like. Anyone who tells you otherwise is a liar.) And I never expect epiphanies, but sometimes in that monkey mess or in very rare moments of equanimity, thoughts will shoot up from the depths and break the surface. 

Afterwards, I am most definitely not full of clarity or calm. But I usually find I have a little bit more space in my head, and I’m a little bit more alert. I might not return to the writing straight away. I might make a cup of tea first, or leave it until later that day, or the next day. But when I do return to the page, I encounter the work, more often than not, in a slightly different way, the path ahead cleared of whatever obstacles were previously blocking it. Or maybe the obstacles were previously invisible to me and now I can identify them. 

Meditation is not a quick fix, or a hotline to call up in a moment of crisis. Like writing, it requires practice so that the mind gets used to stilling and quieting itself enough to listen. It’s like going to a mental gym, and even if 99 percent of the time my thoughts fly all over the place, the practice does eventually translate into a kind of discipline of the mind when I’m writing, and helps me to stay in the moment of the story—to focus and immerse myself, and to listen for what comes next.  

How to meditate:

  1. Turn off or silence your phone and put it in another room.
     
  2. Set an analog timer for fifteen minutes.
     
  3. Find a sitting position (chair, cushion, stool, etcetera) that you think you’ll be comfortable in for that duration.
     
  4. Close your eyes and focus on your breath in the space between your nostrils and your upper lip. (Sometimes I like to count my breaths up to ten, then start over so that it doesn’t feel as if I’m breathing into the howling abyss of eternity.)
     
  5. If you feel your mind stray, breathe in and out more deeply for a few breaths, then return to normal breathing.
     
  6. If you feel your mind stray, don’t beat yourself up about it. Just return to your breath with the gentleness and patience you might employ if you had to guide a lamb or a small child away from a cliff edge.
     
  7. Rinse and repeat until the timer goes off. 

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Thumbnail: Chi Tranter

Craft Capsule: Stillness and Silence

by

Mimi Lok

1.20.20

This is no. 47 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I am one of those people who enjoys reading articles about the rituals and habits of writers. Partly because the articles acknowledge the work and commitment that goes into writing a story or a book, and partly because they demystify the process a little. But I’ll admit that I’m also reading because, in the same way that I’ve clicked on BuzzFeed listicles of household items that promise to magically increase my happiness quotient, I’m often hoping for a quick fix when I feel stuck or unproductive. 

I’ve repeatedly thrown myself too eagerly into a new writing ritual, hoping it will unlock something and then inspiration will flow. I’ve tried only writing at certain times of day or night. I’ve tried maintaining an immaculately organized desk, pens and notebook neatly lined up along the table’s edge. I’ve tried writing in the dark cave of a closet, and in front of a window, the view ideally green and leafy, though a view of a brick wall, it turns out, is fine too. One writer I know cannot work without the bustle of people around her, which becomes a reassuring sort of white noise. I often like a quietish room with faint sounds of human life, but have also been able to write with a teenager playing video games next to me. Total isolation, I’ve discovered, feels claustrophobic and lonely. 

I’ve come to realize that, rather than striving to create the best atmosphere for writing, what really matters is creating the conditions for pre-writing. Silence. And by silence I don’t mean the absence of external noise, but of internal noise. As Kimberlee Pérez describes it, silence is “a point of entry into deep listening.” 

So how does one create silence? One way is through meditation.  

I consider myself a lousy meditator. Not that it’s a competitive sport or anything, but I am the first to admit I could do it more often, and for longer. Still, more than taking a walk, or going for a run, or taking a shower, or eating a packet of chocolate digestive biscuits, I’ve found that meditating helps my writing. When I meditate, I’m definitely not turning over a writing problem in my mind. I’m just trying to pay attention—trying being the operative word—to nothing but my breath. In, out. In, out. It’s bloody difficult to do. Only when I invite stillness do I have to contend with how cluttered and hectic my mind really is, like a monkey on amphetamines jumping from branch to vine to branch, ooh what’s that over there, I’ll swing onto that roof as well, oh no! I’ve landed in pigeon shit, oh well, look, banana! (This is what 99 percent of meditating is like. Anyone who tells you otherwise is a liar.) And I never expect epiphanies, but sometimes in that monkey mess or in very rare moments of equanimity, thoughts will shoot up from the depths and break the surface. 

Afterwards, I am most definitely not full of clarity or calm. But I usually find I have a little bit more space in my head, and I’m a little bit more alert. I might not return to the writing straight away. I might make a cup of tea first, or leave it until later that day, or the next day. But when I do return to the page, I encounter the work, more often than not, in a slightly different way, the path ahead cleared of whatever obstacles were previously blocking it. Or maybe the obstacles were previously invisible to me and now I can identify them. 

Meditation is not a quick fix, or a hotline to call up in a moment of crisis. Like writing, it requires practice so that the mind gets used to stilling and quieting itself enough to listen. It’s like going to a mental gym, and even if 99 percent of the time my thoughts fly all over the place, the practice does eventually translate into a kind of discipline of the mind when I’m writing, and helps me to stay in the moment of the story—to focus and immerse myself, and to listen for what comes next.  

How to meditate:

  1. Turn off or silence your phone and put it in another room.
     
  2. Set an analog timer for fifteen minutes.
     
  3. Find a sitting position (chair, cushion, stool, etcetera) that you think you’ll be comfortable in for that duration.
     
  4. Close your eyes and focus on your breath in the space between your nostrils and your upper lip. (Sometimes I like to count my breaths up to ten, then start over so that it doesn’t feel as if I’m breathing into the howling abyss of eternity.)
     
  5. If you feel your mind stray, breathe in and out more deeply for a few breaths, then return to normal breathing.
     
  6. If you feel your mind stray, don’t beat yourself up about it. Just return to your breath with the gentleness and patience you might employ if you had to guide a lamb or a small child away from a cliff edge.
     
  7. Rinse and repeat until the timer goes off. 

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Thumbnail: Chi Tranter

Craft Capsule: Living Images

by

Emma Copley Eisenberg

3.9.20

This is no. 52 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Lynda Barry has this thing about images; she says they’re alive. The writer and comics artist’s philosophy on making art is difficult to explain because it’s so true—but I’ll try. Find an image from your memory that’s alive and then draw or write it, she says, whichever is more your thing. Anything can be an image. Your first phone number when you say it out loud, a flash of an old notebook with a snowman in it, a brick wall you saw yesterday. 

Almost all of my projects have started from images. For my nonfiction book, The Third Rainbow Girl, it was the image of three women hitchhikers: two on one side of the road, the third on the other side and heading in the opposite direction. For my short story “Fat Swim,” it was the image of a little fat girl looking through a chain-link fence to watch a group of fat women in bathing suits happily playing together in a pool. I cannot remember if Lynda Barry says this or if I say this, but the key to turning an image into a narrative is to ask: Into what life does this image come? For whom is this image urgent?

It doesn’t sound like something Lynda Barry would say. It sounds too pragmatic, and too focused on making an image into something, something you can package and sell, and LB isn’t usually that into somethings. Her books on the craft of writing and drawing, What It Is, Picture This: The Near-Sighted Monkey Book, Syllabus: Notes From an Accidental Professor, and Making Comics, are much more focused on the nothings than the somethings: the places where memory crashes up onto the sand of the present and leaves a shadow impression once it’s retreated, the spaces in childhood for abject despair that just never get filled in, the ways that ghosts of childhood play can morph and change and haunt us, telling us our ideas and feelings are not even worth recording. Of all these books, What It Is has the most to say about images and the craft of writing. I know exactly where this book is in my house at all times. I can see it now, downstairs on the biggest bottom bookshelf nestled up against the fancy Aperture catalogue, with its big smooth cover and its slick pages, once textured collages LB made with her own hands but now the regular thickness of regular paper. 

For a while I kept a notebook of three images from my day and made my writing students do the same. They could be images from the present or from the past: a red sneaker against a silver background on Philly’s El train, the look on my old cat’s face when he stuck his nose in my ear to wake me up, or whatever else came up that day. When I was empty sitting down to write at my desk, I could flip through this image catalogue and see what caught, what still felt alive. I should probably start doing that again. 

 

Emma Copley Eisenberg is the author of The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia (Hachette Books, 2020). Her writing has appeared in McSweeney’sGranta, the Los Angeles Review of BooksAmerican Short Fiction, the Paris Review Daily, Electric Literature’s Recommended Reading, and other outlets. She is also the recipient of fellowships and awards from the Tin House Summer Workshop, the Elizabeth George Foundation, the Wurlitzer Foundation, the Millay Colony for the Arts, and Lambda Literary. She lives in Philadelphia, where she directs Blue Stoop, a hub for the literary arts. 

Thumbnail: Guillaume Paumier

Craft Capsule: In Praise of Drastic Measures

by

Mimi Lok

2.3.20

This is no. 49 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

It can be helpful, at a certain point in a writing project, to change up elements that previously felt off limits. One of these elements is setting. 

About ten years ago I came across a short news article about a woman in Japan who’d been arrested for sneaking into a man’s home and living in his closet. When the police asked why she’d done it, she said that she had nowhere else to live. I tried to find out more, but every piece I found recycled the same couple of paragraphs. It didn’t make sense to me that there wasn’t more to the story—there was so much more I wanted to know. I kept thinking, Who is this woman? 

Her story became the basis for my novella “The Woman in the Closet”—the final story in my debut collection, Last of Her Name. For the longest time I’d kept the setting faithful to the article, to both honor the inspiration for the story and to help ground my fictional extrapolations in a culturally and socially specific context. But when I was working on the manuscript with my editor, Sunyoung Lee, we grappled with a couple of issues with the story. First: The other stories in the collection focused on Chinese characters. This story, with its Japanese protagonist and setting, was an outlier in that sense, and I twisted myself into knots trying to connect it to the rest of the collection. Maybe the protagonist, Granny Ito, was half Chinese? Or maybe she was Chinese and immigrated to Japan? It all felt rather strained. The other issue with the story was that, as careful as I’d tried to be, I’d still tripped up on certain details that Sunyoung, whose husband is Japanese, pointed out were culturally inaccurate, such as the kind of soup one would serve a guest in a certain situation. The casual reader wouldn’t have caught it, but someone familiar with Japanese culture and customs would, and I didn’t want to have anything in there that would be a distraction. I was prepared to go through the story again with a fine-tooth comb to try and catch other inaccuracies, but then Sunyoung asked, “Is there a particular reason why it’s set in Japan?” I bristled at the notion that it could be set anywhere but Japan, but at the same time my defense of the choice sounded, well, defensive, when said aloud. Sunyoung asked me to consider changing the setting, and if it didn’t feel right then we’d stick to the original and figure out how to make it work.

I relocated the story to Hong Kong, changing the names, locations, cultural references, and so on. Almost immediately I felt the story clicking along with more ease. But I soon encountered a different issue: Hong Kong, unlike Japan, doesn’t have tent villages, and tent villages feature prominently in the story. Then I thought, But it could…in the future. Given the increasing wealth disparity in Hong Kong and the city’s ongoing instability—though the current protests hadn’t started yet when I wrote this story—I decided it wasn’t at all beyond the realm of possibility. So the story moved from Japan to Hong Kong, from the present to the near-future, and Granny Ito became Granny Ng. Just like that, the story was infused with a different, subtly futuristic kind of energy that rippled back through the other stories in the collection—stories that also jumped around in time and place, but which all occupied the past or present. Ending the collection with a story set in the future felt right. Even now, when I imagine the two versions of the story next to each other, I see the original through a slightly dim, faded Polaroid filter, and the final version with the clarity of a bright, blue sky.                   

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Craft Capsule: Voice in the Epistolary Story

by

Mimi Lok

1.27.20

This is no. 48 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Epistolary stories can be tricky to pull off—they can seem contrived, awkward, or precious. There’s often a delicate balance at play when calibrating the reader’s awareness of the form and their immersion in the world of the story. In the case of letters, the letter writer’s voice, in this regard, is crucial. It’s a bit like being driven by a guide through an unfamiliar landscape—you’re looking at the scenery and at people going about their business, aware that you can only see so much through the windscreen and passenger side window, but you’re okay with that because you know you’re in a car. But what you don’t want to be thinking about is how broken-down or fancy the car is, or how your guide is driving, because you only tend to notice someone’s driving when you’re worried they don’t have full control of the vehicle.

I wrestled with voice a lot in my epistolary story “The Wrong Dave,” which appeared in my debut collection, Last of Her Name. The protagonist, Dave, a soon-to-be-married man in London, embarks upon an illicit correspondence with Yi, a wedding crasher he briefly met several years ago in Hong Kong. Yi contacts him out of the blue, grief-stricken after a death in her family, and Dave suspects she’s writing to the wrong Dave. Still, he decides to continue writing to her. From this point in the story on, the reader, like Dave, sees Yi entirely through her e-mail exchanges with Dave, who becomes increasingly infatuated with her.

Writing this story, I considered how letters allow for absence and omission, and how those elements can help fuel a fantasy of someone you don’t know that well. E-mail is such a strange, inadequate medium of communication, and because so much is left out and what remains is magnified, sometimes way out of proportion, it becomes fertile ground for misunderstanding and obsession. So while we see the various external and internal aspects of Dave’s life and follow him around a fair bit, I wanted the reader to have limited access to Yi. I wanted her to be tantalizing to the reader as well as to Dave—not exactly in the same way, but enough to believe why Dave would be so drawn to her. 

The e-mails brought out the very different ways in which Dave and Yi express themselves and what that says about why they’re writing to the other person. Yi’s e-mails are almost an unfiltered stream of consciousness—you get the feeling she’s not even thinking about what she’s writing—but Dave is extremely neurotic and careful about every word, as if he’s worried he’s going to expose himself in some way. For Yi, she wants to be seen—she uses the e-mails to try and make a human connection—but she’s also screaming her grief and anger into the void. It was really freeing for me, someone who tends more towards Dave’s type of e-mail neurosis, to write in Yi’s voice. Dave, however, definitely hides behind the medium. Its remove from the physical world, combined with its immediacy, lets him continue to feed his secret correspondence and romanticizing of Yi, completely free of consequence—or so he thinks.

The limited access to Yi leads the reader, like Dave, to project various ideas about the kind of person she might be, or the kind of person Dave might want her to be—the difference being that the reader is more aware of this projection than Dave himself is. She says so much, but to what is Dave really paying attention? And in Dave’s case, there’s the dissonance between the insight the reader has into his life and the vastness of what he chooses not to reveal about himself in his e-mails. 

So, in the case of epistolary stories based on letters, it’s important to understand why the characters are writing to each other, what kind of language is particular to them, and what the form reveals or hides—and how that squares with what you want revealed, or hidden from, your reader.

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Thumbnail: Joanna Kosinska

Craft Capsule: Voice in the Epistolary Story

by

Mimi Lok

1.27.20

This is no. 48 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Epistolary stories can be tricky to pull off—they can seem contrived, awkward, or precious. There’s often a delicate balance at play when calibrating the reader’s awareness of the form and their immersion in the world of the story. In the case of letters, the letter writer’s voice, in this regard, is crucial. It’s a bit like being driven by a guide through an unfamiliar landscape—you’re looking at the scenery and at people going about their business, aware that you can only see so much through the windscreen and passenger side window, but you’re okay with that because you know you’re in a car. But what you don’t want to be thinking about is how broken-down or fancy the car is, or how your guide is driving, because you only tend to notice someone’s driving when you’re worried they don’t have full control of the vehicle.

I wrestled with voice a lot in my epistolary story “The Wrong Dave,” which appeared in my debut collection, Last of Her Name. The protagonist, Dave, a soon-to-be-married man in London, embarks upon an illicit correspondence with Yi, a wedding crasher he briefly met several years ago in Hong Kong. Yi contacts him out of the blue, grief-stricken after a death in her family, and Dave suspects she’s writing to the wrong Dave. Still, he decides to continue writing to her. From this point in the story on, the reader, like Dave, sees Yi entirely through her e-mail exchanges with Dave, who becomes increasingly infatuated with her.

Writing this story, I considered how letters allow for absence and omission, and how those elements can help fuel a fantasy of someone you don’t know that well. E-mail is such a strange, inadequate medium of communication, and because so much is left out and what remains is magnified, sometimes way out of proportion, it becomes fertile ground for misunderstanding and obsession. So while we see the various external and internal aspects of Dave’s life and follow him around a fair bit, I wanted the reader to have limited access to Yi. I wanted her to be tantalizing to the reader as well as to Dave—not exactly in the same way, but enough to believe why Dave would be so drawn to her. 

The e-mails brought out the very different ways in which Dave and Yi express themselves and what that says about why they’re writing to the other person. Yi’s e-mails are almost an unfiltered stream of consciousness—you get the feeling she’s not even thinking about what she’s writing—but Dave is extremely neurotic and careful about every word, as if he’s worried he’s going to expose himself in some way. For Yi, she wants to be seen—she uses the e-mails to try and make a human connection—but she’s also screaming her grief and anger into the void. It was really freeing for me, someone who tends more towards Dave’s type of e-mail neurosis, to write in Yi’s voice. Dave, however, definitely hides behind the medium. Its remove from the physical world, combined with its immediacy, lets him continue to feed his secret correspondence and romanticizing of Yi, completely free of consequence—or so he thinks.

The limited access to Yi leads the reader, like Dave, to project various ideas about the kind of person she might be, or the kind of person Dave might want her to be—the difference being that the reader is more aware of this projection than Dave himself is. She says so much, but to what is Dave really paying attention? And in Dave’s case, there’s the dissonance between the insight the reader has into his life and the vastness of what he chooses not to reveal about himself in his e-mails. 

So, in the case of epistolary stories based on letters, it’s important to understand why the characters are writing to each other, what kind of language is particular to them, and what the form reveals or hides—and how that squares with what you want revealed, or hidden from, your reader.

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Thumbnail: Joanna Kosinska

Craft Capsule: Voice in the Epistolary Story

by

Mimi Lok

1.27.20

This is no. 48 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Epistolary stories can be tricky to pull off—they can seem contrived, awkward, or precious. There’s often a delicate balance at play when calibrating the reader’s awareness of the form and their immersion in the world of the story. In the case of letters, the letter writer’s voice, in this regard, is crucial. It’s a bit like being driven by a guide through an unfamiliar landscape—you’re looking at the scenery and at people going about their business, aware that you can only see so much through the windscreen and passenger side window, but you’re okay with that because you know you’re in a car. But what you don’t want to be thinking about is how broken-down or fancy the car is, or how your guide is driving, because you only tend to notice someone’s driving when you’re worried they don’t have full control of the vehicle.

I wrestled with voice a lot in my epistolary story “The Wrong Dave,” which appeared in my debut collection, Last of Her Name. The protagonist, Dave, a soon-to-be-married man in London, embarks upon an illicit correspondence with Yi, a wedding crasher he briefly met several years ago in Hong Kong. Yi contacts him out of the blue, grief-stricken after a death in her family, and Dave suspects she’s writing to the wrong Dave. Still, he decides to continue writing to her. From this point in the story on, the reader, like Dave, sees Yi entirely through her e-mail exchanges with Dave, who becomes increasingly infatuated with her.

Writing this story, I considered how letters allow for absence and omission, and how those elements can help fuel a fantasy of someone you don’t know that well. E-mail is such a strange, inadequate medium of communication, and because so much is left out and what remains is magnified, sometimes way out of proportion, it becomes fertile ground for misunderstanding and obsession. So while we see the various external and internal aspects of Dave’s life and follow him around a fair bit, I wanted the reader to have limited access to Yi. I wanted her to be tantalizing to the reader as well as to Dave—not exactly in the same way, but enough to believe why Dave would be so drawn to her. 

The e-mails brought out the very different ways in which Dave and Yi express themselves and what that says about why they’re writing to the other person. Yi’s e-mails are almost an unfiltered stream of consciousness—you get the feeling she’s not even thinking about what she’s writing—but Dave is extremely neurotic and careful about every word, as if he’s worried he’s going to expose himself in some way. For Yi, she wants to be seen—she uses the e-mails to try and make a human connection—but she’s also screaming her grief and anger into the void. It was really freeing for me, someone who tends more towards Dave’s type of e-mail neurosis, to write in Yi’s voice. Dave, however, definitely hides behind the medium. Its remove from the physical world, combined with its immediacy, lets him continue to feed his secret correspondence and romanticizing of Yi, completely free of consequence—or so he thinks.

The limited access to Yi leads the reader, like Dave, to project various ideas about the kind of person she might be, or the kind of person Dave might want her to be—the difference being that the reader is more aware of this projection than Dave himself is. She says so much, but to what is Dave really paying attention? And in Dave’s case, there’s the dissonance between the insight the reader has into his life and the vastness of what he chooses not to reveal about himself in his e-mails. 

So, in the case of epistolary stories based on letters, it’s important to understand why the characters are writing to each other, what kind of language is particular to them, and what the form reveals or hides—and how that squares with what you want revealed, or hidden from, your reader.

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Thumbnail: Joanna Kosinska

Craft Capsule: Cut for Time

by

Carter Sickels

4.6.20

This is no. 55 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When you’re reading a good novel, you’re not usually thinking about the passages the author cut, the intense revision process, or all the pages the author wrote in order to get to The Writing. These sweaty, often clumsy and inelegant pages don’t show up in the book you’re holding, but they were essential to finishing the novel.

My first novel, The Evening Hour, about Cole Freeman, a small-time drug dealer and nurse’s home aide living in the coalfields of West Virginia, took six years to write. The novel uses third-person limited narration, but in order to figure out Cole, I filled up notebooks with him speaking in first person—this voice wasn’t strong enough to carry the novel, but it revealed his innermost thoughts and feelings. I also wrote monologues for the other characters to learn how people viewed Cole. I did not intend for any of this “extra” writing to go into the novel, but it was invaluable—a way for me to gather information about Cole’s family and community, and better understand his conflicts, secrets, and desires. 

I’ve kept writing journals for years; they’re a hodgepodge of personal memories, ideas, quotes, observations. A few years ago, when I team-taught a novel writing class with the author Alexis Smith, she wisely suggested keeping a journal dedicated solely and entirely to your novel—nothing goes in unless novel-related. 

My new novel, The Prettiest Star, took around four and a half years to write. Most of this time, I was sitting at my desk, typing on my laptop. But I also filled up four Decomposition Books with material. These novel-notebooks are raw and intimate, brewing with my questions, concerns, ideas. They contain crucial writing around and behind the novel, the words and scraps of ideas and shimmers of light that spill beyond the pages of the manuscript. They’re a form of play, and all writers need time to play. Now that the novel is finished, they’re an archive, and a reminder of how messy, exhilarating, joyful, and confounding the writing process is, a mix of hard work and faith and a little bit of magic. 

Found in the pages of my notebooks:

• Lists of scenes to write
• Character sketches
• Character freewrites and monologues: their dreams, hopes, fears, memories
• Chapter outlines
• Lists of clothing, movies, TV shows, music 
• Descriptions of characters’ rooms
• Hypotheticals: What would happen if this happened, or that
• Timelines
• Blueprints of houses
• Maps of the town
• Early working titles 
• Lists of character names, street names, restaurants
• Lists of objects from the eighties (sticker books, Rubik’s Cube, etc.) 
• Notes on important events, imagery, or places to return to (i.e. the abandoned drive-in)
• Questions, questions, questions—about characters, plot, structure, themes. How does Jess find out Brian has AIDS? How do the rumors get started?

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including Guernica, Bellevue Literary Review, Green Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Jon Tyson

Craft Capsule: Metabolizing

by

Emma Copley Eisenberg

3.16.20

This is no. 53 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

The writer and comics artist Lynda Barry says that the mind is at its most relaxed and creative when the body (hands, usually) are engaged in something mindless and repetitive. She suggests drawing, of course. In her “Writing the Unthinkable” workshop, she has participants draw a spiral while they listen, urging them to try to keep the concentric circles as close together as possible. 

I like drawing for this purpose, but I prefer driving. The hands go on the wheel, the windshield opens the eyes up, the foot lifts up and down. The sun is bright and you unclip the sun visor from its little holder and rotate it to a more pleasing position. You turn the radio up or scan until you find something nice or hard or whatever it is that matches your mood. I like to sip from the straw of my water bottle as I drive, and I like to use the turn signal. I probably turn my head too much to check my blind spot, but the movement of it feels both careful and good. 

What is it about these small movements and the feeling of the world rushing past that makes bits of language, sentences, phrases, whole paragraphs sometimes, rush fully formed into the mind? Fairly often, I have to pull over at a welcome station or scenic view turnoff to type them into my phone. People have told me I could dictate, record my voice, but I don’t—it’s not the same. It’s not the sound of my voice I want to record; it’s the rhythm of the words and the way they look next to one another. 

In 2011, after I packed up my 1997 white Toyota Tacoma, equipped with a platform bed in the back and fitted with West Virginia wildlife plates that I’d purchased with two identical post-office money orders, I drove away from the place where I’d been living for the past eighteen months or so, a place I didn’t yet have any language to describe. All I knew was that for a while I couldn’t eat and I couldn’t talk to anyone and I couldn’t live anywhere else. What I could do was drive. I drove more than ten thousand miles in about three months, making a great oval through the upper middle, west coast, lower middle, and east coast of the United States. 

Very little language, very few sentences came to me during that drive, as they usually do now. I wasn’t a writer yet. But what did come to me as I drove across the prairies and past the football fields in Kansas, toward the crashing sunset in Denver, through the storms of Oregon Route 1, and down the snowy Grand Canyon BLM roads was understanding, insight. I processed as I drove; if you will, I metabolized, taking in sadness and confusion and spitting out miles. What had I done and what had they done and who even was I? Certain answers presented themselves in the form of a gay cowboy bar in West Texas and the parking lot of Faulkner’s Rowan Oaks. It would take me ten more years to write them down, but driving released them from my bloodstream. It was a start. 

 

Emma Copley Eisenberg is the author of The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia (Hachette Books, 2020). Her writing has appeared in McSweeney’sGranta, the Los Angeles Review of BooksAmerican Short Fiction, the Paris Review Daily, Electric Literature’s Recommended Reading, and other outlets. She is also the recipient of fellowships and awards from the Tin House Summer Workshop, the Elizabeth George Foundation, the Wurlitzer Foundation, the Millay Colony for the Arts, and Lambda Literary. She lives in Philadelphia, where she directs Blue Stoop, a hub for the literary arts. 

Thumbnail: Jason Abdilla

Craft Capsule: Multiple Points of View

by

Carter Sickels

4.13.20

This is no. 56 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

As I Lay Dying by William Faulkner, Love Medicine by Louise Erdrich, A Home at the End of the World by Michael Cunningham, The Poisonwood Diaries by Barbara Kingsolver, The Birds of Opulence by Crystal Wilkinson, People in Trouble by Sarah Schulman, There There by Tommy Orange. All of these wonderful novels use multiple points of view and weave a tapestry of voices, with each character relaying their own version of the story to tell a broader narrative of family, place, or community.

My novel The Prettiest Star, set in 1986, follows Brian Jackson, a young, gay, HIV-positive man, who leaves New York City to return to the rural small town where he grew up and where his family still lives. When I first started writing, I wrote from the point of view of Jess, Brian’s fourteen-year-old sister, about the day Brian returns. Then I wrote sections from Brian’s perspective: What was it like to come back to the home he couldn’t wait to escape? A few months in I wrote a chapter from their mother Sharon’s perspective and suddenly realized I would need all three voices to tell this story of shame, secrets, and silences, and the complicated ties of familial love and betrayal. Writing from Sharon’s point of view gave me another angle into the story—a complicated, troubling one. Sharon is the voice of restraint and denial. She loves her son, but her worry about what neighbors and God will think get in the way.

Despite its reputation, first-person point of view is not easy to pull off. My first creative writing teacher, the brilliant Eve Shelnutt, had very strong opinions about writing, and she warned me to not even try first-person narration until I’d written at least twenty or thirty stories in third person. First-person narration seems easy to write because when it’s done well, the voice sounds intimate and authentic—we believe. But as the writer, you’re making particular choices about diction, syntax, and rhythm, so that you create a voice that sounds natural, but isn’t, most likely, exactly how that character would talk. 

Juggling multiple first-person narrators created another challenge: The individual voices must sound unique and separate, yet their differences should not be so obvious that they draw attention to the artifice of first person. For my three characters, in addition to trying to capture their voices through word choices and syntax, I paid attention to their interior lives: How do they think and feel, how do they view the world, and what is important to them? Their emotional timbre and interiority led me to their voices: Sharon’s denial, Jess’s youthful savviness, and Brian’s hurt, fear, and anger. Brian is the anchor of the novel, and his sections were the most difficult to write. A couple years into the process, I figured out that if I framed Brian’s sections as video diaries—he uses a video camera to document his last summer, and directly addresses the viewer/reader about his experiences as a queer man living during the AIDS epidemic—I could set his chapters apart, and reveal him at his most vulnerable, artistic, and honest. Moreover, the dated video diaries serve as a ticking clock; like so many young gay men, Brian will not survive this plague, but he wants to bear witness and document for posterity.

Alternating between characters chapter by chapter also informed my approach to the writing process. Some days, I switched between characters—an hour with Jess, then an hour with Brian. This approach gave me a better sense of how the novel worked as a whole. And it was sometimes a relief to move from one character to another, to get out of one character’s head and dive into another’s. On other days, I spent the hours intensely focused on a single character—immersed in one voice, one side of the story. I followed a similar approach when I printed out a full draft to revise—I read aloud all the Sharon chapters together, then all the Brian chapters, then all of Jess’s. Did the characters’ voices sound consistent? Did they carry their sections? Did the characters have their own individual narrative arcs? Then I arranged the chapters in the correct order and read my novel from beginning to end, paying close attention to how the alternating voices built tension and created momentum. 

Writing a novel with multiple first-person narrators was challenging, but it also brought me a lot of pleasure and joy. I tried to fully inhabit my characters—to write from a place of empathy while digging deep into their flaws, weaknesses, and vulnerabilities.  

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including GuernicaBellevue Literary ReviewGreen Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Jason Leung

Craft Capsule: Cut for Time

by

Carter Sickels

4.6.20

This is no. 55 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When you’re reading a good novel, you’re not usually thinking about the passages the author cut, the intense revision process, or all the pages the author wrote in order to get to The Writing. These sweaty, often clumsy and inelegant pages don’t show up in the book you’re holding, but they were essential to finishing the novel.

My first novel, The Evening Hour, about Cole Freeman, a small-time drug dealer and nurse’s home aide living in the coalfields of West Virginia, took six years to write. The novel uses third-person limited narration, but in order to figure out Cole, I filled up notebooks with him speaking in first person—this voice wasn’t strong enough to carry the novel, but it revealed his innermost thoughts and feelings. I also wrote monologues for the other characters to learn how people viewed Cole. I did not intend for any of this “extra” writing to go into the novel, but it was invaluable—a way for me to gather information about Cole’s family and community, and better understand his conflicts, secrets, and desires. 

I’ve kept writing journals for years; they’re a hodgepodge of personal memories, ideas, quotes, observations. A few years ago, when I team-taught a novel writing class with the author Alexis Smith, she wisely suggested keeping a journal dedicated solely and entirely to your novel—nothing goes in unless novel-related. 

My new novel, The Prettiest Star, took around four and a half years to write. Most of this time, I was sitting at my desk, typing on my laptop. But I also filled up four Decomposition Books with material. These novel-notebooks are raw and intimate, brewing with my questions, concerns, ideas. They contain crucial writing around and behind the novel, the words and scraps of ideas and shimmers of light that spill beyond the pages of the manuscript. They’re a form of play, and all writers need time to play. Now that the novel is finished, they’re an archive, and a reminder of how messy, exhilarating, joyful, and confounding the writing process is, a mix of hard work and faith and a little bit of magic. 

Found in the pages of my notebooks:

• Lists of scenes to write
• Character sketches
• Character freewrites and monologues: their dreams, hopes, fears, memories
• Chapter outlines
• Lists of clothing, movies, TV shows, music 
• Descriptions of characters’ rooms
• Hypotheticals: What would happen if this happened, or that
• Timelines
• Blueprints of houses
• Maps of the town
• Early working titles 
• Lists of character names, street names, restaurants
• Lists of objects from the eighties (sticker books, Rubik’s Cube, etc.) 
• Notes on important events, imagery, or places to return to (i.e. the abandoned drive-in)
• Questions, questions, questions—about characters, plot, structure, themes. How does Jess find out Brian has AIDS? How do the rumors get started?

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including Guernica, Bellevue Literary Review, Green Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Jon Tyson

Craft Capsule: Consulting the Tarot

by

Emma Copley Eisenberg

2.24.20

This is no. 50 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I was raised in a house of reason where there was no God, no witchcraft, no science fiction, no astrology, and certainly no tarot. These things were for the weak, and we were not weak. But I’ll never forget when I read Uncle Tom’s Cabin and it dawned on me why Tom prayed so much: He was just trying to get through the day. I was weak, I knew. To make it from dawn to dusk, I too needed all the help I could get. 

Tarot came into my life through the friend, the friend I lost, and it is the thing she gave me more than any other for which I offer her my supreme gratitude. To be fair, I acquired the deck itself—The Wild Unknown by Kim Krans—much earlier; I bought it on impulse late one night on the gushing recommendation of someone I’d met at a party. You are not supposed to buy a tarot deck for yourself, I learned later, perhaps because without the blessing of someone you love to imbue the paper and images with power, a deck of cards is just a deck of cards.

I cannot now separate tarot from the friend, and I cannot separate tarot from writing. She and I became friends during the period when the card of the moon, which according to my deck “encompasses the idea of the Wild Unknown,” was my near constant companion. She taught me how to do the simplest spread—past, present, future—and led me to Michelle Tea’s book on tarot, life, and writing, Modern Tarot: Connecting With Your Higher Self Through the Wisdom of the Cards. Past, present, future; beginning, middle, and end. My friend and I began to draw a single card to set the mood for our writing sessions together, held at a ramshackle coworking space in the neighborhood where we lived.

What I like about drawing a single card before writing is that it allows me a single place to put my feelings about that day’s words—all my fear that the words won’t come and all my fear that they will. Drawing a single card, the mother of pentacles, for instance, which offers an image of a deer and her fawn, gives me a door at which to knock when I can’t see any of that paragraph’s architecture. She excels in the home, the card says: Perhaps I’ll turn my scent diffuser on, or I’ll have a character bake a scone, or I’ll think about why some person in my book moved around so much from place to place. It’s not so much a place to start writing but rather a way to give the day’s writing a particular mood or scent or inflection. Draw the death card, which in The Wild Unknown simply means that “something in your life needs to end…something is trying to find closure,” and the idea of ending and closure will start bonking around in my brain until it hits something in my writing that needed either to finish or to begin. Each card is like a prompt I suppose, except instead of being wacky and contrived, it feels like a prompt I gave myself from the darkest recesses of my unconscious, a shortcut to the place I was trying to go. 

I drew a card every day while writing The Third Rainbow Girl, which explores a mysterious act of violence in Pocahontas County, West Virginia in 1980, the Appalachian community where it transpired, and my own time in the place as a national service worker. For nearly the entirety of the fifteen months when I was most actively engaged, sentence by sentence, in writing the book, I dreamed about murder—either murdering or being murdered—every night. Then every morning I went to the deck and chose a card. I am not exaggerating when I say that I chose the moon card almost every time, no matter how well I shuffled. The card’s overall theme: vivid dreams and fears. I read the card’s description so many times I can recite it by heart:

[The moon] is the shadow realm, the place where dreams, fears, and mysteries are born. Much darkness can linger here, and if you aren’t careful, this can lead to periods of anxiety and self-doubt almost as if you’ve lost your way in a house of mirrors. Many great artists have roamed this inner landscape. It’s where imagination and creativity drift freely upon the midnight air.

That about summed it up. Fuck the fucking moon, I began to say aloud each time I drew it. Fuck this fucking book.

But the moon would not be fucked and neither would the book I was writing; they would not go away until they went away and maybe not even then. Eventually, I finished the book and I lost the friend. I’m drawing new cards these days—a lot of pentacles, the suit of home and hearth. I hope I drift less and dig more in the next book, but of course, it’s not up to me. 

 

Emma Copley Eisenberg is the author of The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia (Hachette Books, 2020). Her writing has appeared in McSweeney’s, Granta, the Los Angeles Review of Books, American Short Fiction, the Paris Review Daily, Electric Literature’s Recommended Reading, and other outlets. She is also the recipient of fellowships and awards from the Tin House Summer Workshop, the Elizabeth George Foundation, the Wurlitzer Foundation, the Millay Colony for the Arts, and Lambda Literary. She lives in Philadelphia, where she directs Blue Stoop, a hub for the literary arts. 

Thumbnail: Altınay Dinç

Craft Capsule: Start, Stop, Change

by

Mimi Lok

1.12.20

This is no. 46 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

For many writers with long-brewing projects, starting a new year can stir up dread, excitement, grim resolve, or all of the above. Mid-January becomes a time of early reckoning: Have I stuck to my guns? Backslid already? Realized, aghast, that my goals were far too lofty? Resolutions are often focused on starting new things, but not enough is said about the value of simply carrying on, taking a moment to reflect on existing projects, and adjusting or even stopping the approaches that are no longer working. 

Whenever I feel stuck or overwhelmed with a writing project, I try to take a step back and ask myself three questions: What needs to start? What needs to stop? What needs to change? And then I make lists or action items in response to those questions. It might look something like this:

What needs to start? 

  • Write the scene or chapter you’ve been avoiding. Drink a shot of tequila and write the bloody thing. In one sitting. Tape over the delete button if necessary.
  • Admit that the work has reached the point where it needs to leave the house. Share it with the person who will tell you things you don’t want to hear but who will ultimately help you make it stronger.
  • Look farther afield for things that feed your creative brain and soul. Get your nose out of a book and get thee to an art museum, concert, or stand-up comedy show. It doesn’t have to be tangibly connected to your project, but it will wake up different parts of you and might even spark ideas.

What needs to stop?

  • Control. Release your characters from their toddler harnesses and let them do what they want to do instead of what you want them to do.
  • Narrator as bodycam. Stop treating your first-person narrator as a passive, disembodied set of eyes and ears, and turn them into an actual human being the reader can see, hear, and feel.
  • Procrastination. Specifically, the kind that’s rooted in a lack of interest and motivation rather than a lack of confidence. If some high power decreed you could only tell one last story before you died, would this be it? If the answer is “umm…,” then put this project aside and find the story that feels compelling and urgent to you, and that only you can tell.

What needs to change?

  • Point of view. Does it have to be the POV you’ve chosen? Why? What would happen if you changed it?
  • Scope. Recognize how you’ve been limiting the story and expand or shrink the world of your story accordingly. This could be related to the number of characters you want to focus on, or settings, or time periods. Or it could be about redistributing the amount of time spent with various characters and their world(s). See how it affects the intensity and focus.
  • Setting. How important is your chosen time and place to the story you want to tell? Would the story change if it were relocated, set in another time period?

The stop/start/change tool is something I’ve borrowed from my other life in the nonprofit sector (mostly in terms of assessing projects and organizational priorities), but which can be handily applied to other areas of life too: friendships, marriages, exercise routines, to name a few.

 

Mimi Lok is the author of the story collection Last of Her Name (Kaya Press, 2019), which was longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection. She is the recipient of a Smithsonian Ingenuity Award and an Ylvisaker Award for Fiction, and was a finalist for the Katherine Anne Porter Fiction Prize and the Susan Atefat Arts and Letters Prize for nonfiction. Her work can be found in McSweeney’s, Electric Literature, and Literary Hub, among other outlets. She is currently working on a novel. Lok is also the cofounder, executive director, and editor of Voice of Witness, an award-winning human rights/oral history nonprofit that amplifies marginalized voices through a book series and a national education program.

Craft Capsule: Notes From the Cutting Room Floor

by

Sejal Shah

5.18.20

This is no. 60 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

An essay collection consists of more than several pieces between two covers. There is always the ghost manuscript: what is cut, what has been moved, shaped, revised. In my first book, This Is One Way to Dance, there are notes at the end of the text—they are narrative, include sources for quoted material, acknowledge readers and editors, and are not numbered. This essay is another kind of commentary. Each piece rewrites what came before. In a way, I am still rewriting my book and its notes—notes to oneself, to one’s reader, you; they are a conversation. 

I wrote the first draft of this essay in longhand; later, I typed it. At some point, I began numbering my thoughts as a way of keeping track. When I cut and pasted different sections of the text, I preserved the original numbers to trace the movement of information. In doing so, I attempt to show my writing process in the tradition of visible mending.

1. In Carmen Maria Machado’s In the Dream House, there are footnotes. There are three epigraphs at the beginning, each on a different page (I love this, the space). Many of the footnotes lead to Stith Thompson’s Motif-Index of Folk-Literature. The chapters are short, sometimes only a page, and the footnotes don’t feel like an interruption, but pleasurable, recursive reading. There is an overture disavowing prologues. After the overture is a gorgeous prologue: “The memoir is at its core, an act of resurrection. Memoirists…manipulate time; resuscitate the dead. They put themselves, and others, into necessary context.” If I had read In the Dreamhouse while working on my book, I might have written a different prologue. So many beats to a book, architecture, a tonal range, a key. All of these elements are questions that ask: Who is your audience? To whom and how do I wish to explain myself?1 

3. Are prologues and codas forms of notes? Is an introduction?

20. Here is a ghost note, something I cut from the introduction of my book: “I grew up seeing and later studying with Garth Fagan Dance. A noted choreographer, Fagan is associated with the Black Arts Movement. Fagan technique draws from ballet, modern dance, and Afro-Caribbean dance. I learned: You could invent your own language. You didn’t have to fit yourself into someone else’s forms. You didn’t have to explain yourself.”

4. I wanted my notes to go before the acknowledgments, to be part of the body of This Is One Way to Dance. In the published copy, my notes follow the acknowledgments, per the press’s house style, which is The Chicago Manual of Style. I realize I don’t believe in style manuals.

17. Somewhere in a book (an introduction) or outside it (an interview), you will have to explain why you wrote your book. At each stage of the publishing process you use a different form: a proposal, a press sheet, a preface, a prologue, an afterward, a Q&A. Sometimes I still stumble. From the preface of Sonja Livingston’s memoir, Ghostbread: “I wrote this book because the pain and power and beauty of childhood inspire me. I wrote it selfishly, to make sense of chaos. I wrote it unselfishly, to bear witness. For houses and gardens and children most of us never see.” 

Part of me wants to never explain anything. Part of me worries I have explained too much and still missed what is most important. The settling and unsettling of the self. Navigating, meditating, mediating. Not identity, but movement. A book, through architecture or by words, must instruct the reader in how to read it. Both are important.

2. For a book review, I remember finding out, after already reading far into the text, that a glossary and notes existed at the back. This changed my reading of the book. With no table of contents and no superscript numbers, how would you know to look for notes and a glossary? Do you flip to the back of the book to see what happens, in case you die before you finish reading,2 in order to know what something means?

4. (a) My book ends with the last sentence of the notes: “And there are many reasons to dance.” 

5. I am talking to my friend Prageeta Sharma, a poet, about notes. She mentions Brian Blanchfield’s Proxies: Essays Near Knowing, which begins with a section called “[A Note].” Blanchfield writes, “At the end of this book there is a rolling endnote called ‘Correction.’ It sets right much—almost certainly not all—of what between here and there I get wrong. It runs to twenty-one pages. It may still be running.” This feels true to me about writing a book. Trying to right it, but in the end, it’s a series of notations and corrections, assertions and deletions. Traces.

6. The poet Rick Barot told me his second book had notes. Not his first and third. And not his fourth, the most recent, The Galleons. He says he is anti-notes now.3 I get that.

28. Are notes like parentheses? (Say it clearly or not at all.) 

7. The writer Michael Martone wrote a book called Michael Martone, and the chapters are written in the style of “Contributors’ Notes” and his contributors’ notes are stories. Contributors’ notes are stories we tell about ourselves; they are fictions. 

10. How are notes different than sources? I wrote notes for many of my essays, but not all of them. Notes were sometimes meant to be a place to credit sources, but they also became their own commentary. They sprawled. I credit writing prompts, editors, readers, and books. Some of that could have been folded into acknowledgments. I credited sources for titles and images. I wrote about the Supreme Court decision legalizing gay marriage during the time and day of our ceremony and why this mattered to me. Actually, that was a kind of afterward.

13. I am writing for the kind of people who read notes. Those are my readers, my people. 

16. (a) In my book there is a coda titled “Voice Texting With My Mother.” I did not title it a coda. At some point I lost track of what needed a classification or title and what could exist as part of the invisible architecture of the book.

18. In her short “A Note from the Author,” Tyrese Coleman writes: “How to Sit [a Memoir in Stories and Essays] challenges the concept that a distinction needs to be made when the work is memory-based, because memories contain their own truth regardless of how they are documented.” 

9. This winter I read Cathy Park Hong’s book of essays, Minor Feelings. I realized, when I reached the end of the book, I had been expecting notes. Her essays are muscular, theoretical, personal, and include history, cultural commentary, friendships, family, and literature—a whole essay on the artist Theresa Hak Kyung Cha and her cross-genre memoir, Dictée. It surprised me to learn I liked the lack of notes in her book. It meant theorists and sources were often foregrounded in the essays themselves. In Hong’s work I saw a different model—the essay as a “coalitional form.” A model that foregrounds voices and perspectives beyond the essayist’s own—one that she credits writers in the tradition of Hilton Als, James Baldwin, and Maggie Nelson. 

19. An introduction is like a toast at a wedding. No, I cannot satisfactorily address so many audiences—pivot—who is an introduction for? Why not just begin? Whose job is it to host?

27. I read the acknowledgments and the notes in most books. I want to know how a book came together.

22. Sometimes I skim the notes.

14. I have to be honest: I am intrigued by the idea of no notes. Maybe for the next book.

 

ENDNOTES

1. After I turned in my proofs last December, I read Cathy Park Hong’s Minor Feelings. Hong writes about Myung Mi Kim, “the first poet who said I [Hong] didn’t need to sound like a white poet nor did I have to ‘translate’ my experiences so that they sounded accessible to a white audience…Illegibility was a political act.” Yes. I believe this.
2. What Harry does in
When Harry Met Sally.
3. [E-mail from Rick] “When I say I’m now ‘anti-notes,’ this mostly refers to my last book, 
The Galleons. There’s a lot of background research in the book, but I didn’t want a notes section to make the book seem like a ‘project’ book.  After all, my research for the book was driven by lyrical sentiment and opportunity—it wasn’t systematic…”

 

Sejal Shah’s debut essay collection, This Is One Way to Dance, will be published by the University of Georgia Press in June. Her writing can be found in Brevity, Conjunctions, Guernica, Kenyon Review, the Literary Review, the Margins, and the Rumpus. She is also the recipient of a 2018 New York Foundation for the Arts fellowship in fiction. Shah is on the faculty of The Rainier Writing Workshop, the low-residency MFA program at Pacific Lutheran University, and lives in Rochester, New York. 

Thumbnail: Judith Browne

Craft Capsule: Reading Backwards

by

Carter Sickels

3.30.20

This is no. 54 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was getting my MFA many years ago, a member of the workshop passed on a piece of advice he’d once heard: Read your manuscript backwards. At the time, I didn’t pay much attention (he was a bit of a know-it-all), but the advice stuck with me, clanging around in my brain, and I’ve since turned to it when line editing and hammering out bigger structural issues.

Reading backwards doesn’t mean you read from right to left, or from the bottom of the page to the top. What I do is print out the manuscript, start with the top of the last page, and work my way back to page one. This exercise works differently for me depending on where I am in the process. When I have a final draft, reading backwards helps with line editing. When I read backwards, I use my brain in a different way, and it slows down my reading. I focus on the words, not the story, and spot repetition and unnecessary words.

Reading backwards has also helped me resolve structural issues and build narrative tension. I was struggling with a short story I’d been trying to write for months. It wasn’t working but I couldn’t figure out why. I let the manuscript sit and cool, like a hot potato; when I returned to it after a few more months, I tried the backwards reading trick. The ending of the story worked, but how did I get there? There were holes in the plot, and too much exposition that glossed over important information. The first-person narrator, so focused on his lover, never stepped up or revealed any insight into his own interior. I hadn’t written any scenes with him alone or with other characters. These backwards-reading discoveries helped me restructure and revise the story; I cut exposition, wrote new scenes, and rearranged the scenes I already had to amplify the tension. 

When I’m stuck I’ll try looking at the story from a fresh angle—whether reading backwards, changing the font, hanging pages on the wall or spreading them out on the floor. I read the entire manuscript aloud. I retype. These are all ways to trick myself into approaching the novel from a different place. Sometimes it works. And when it does, it’s like seeing the project with a new pair of eyes—catching what I missed, or discovering a hidden door that leads me to the true story. 

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including Guernica, Bellevue Literary Review, Green Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Amie LeeKing

Craft Capsule: Consulting the Tarot

by

Emma Copley Eisenberg

2.24.20

This is no. 50 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I was raised in a house of reason where there was no God, no witchcraft, no science fiction, no astrology, and certainly no tarot. These things were for the weak, and we were not weak. But I’ll never forget when I read Uncle Tom’s Cabin and it dawned on me why Tom prayed so much: He was just trying to get through the day. I was weak, I knew. To make it from dawn to dusk, I too needed all the help I could get. 

Tarot came into my life through the friend, the friend I lost, and it is the thing she gave me more than any other for which I offer her my supreme gratitude. To be fair, I acquired the deck itself—The Wild Unknown by Kim Krans—much earlier; I bought it on impulse late one night on the gushing recommendation of someone I’d met at a party. You are not supposed to buy a tarot deck for yourself, I learned later, perhaps because without the blessing of someone you love to imbue the paper and images with power, a deck of cards is just a deck of cards.

I cannot now separate tarot from the friend, and I cannot separate tarot from writing. She and I became friends during the period when the card of the moon, which according to my deck “encompasses the idea of the Wild Unknown,” was my near constant companion. She taught me how to do the simplest spread—past, present, future—and led me to Michelle Tea’s book on tarot, life, and writing, Modern Tarot: Connecting With Your Higher Self Through the Wisdom of the Cards. Past, present, future; beginning, middle, and end. My friend and I began to draw a single card to set the mood for our writing sessions together, held at a ramshackle coworking space in the neighborhood where we lived.

What I like about drawing a single card before writing is that it allows me a single place to put my feelings about that day’s words—all my fear that the words won’t come and all my fear that they will. Drawing a single card, the mother of pentacles, for instance, which offers an image of a deer and her fawn, gives me a door at which to knock when I can’t see any of that paragraph’s architecture. She excels in the home, the card says: Perhaps I’ll turn my scent diffuser on, or I’ll have a character bake a scone, or I’ll think about why some person in my book moved around so much from place to place. It’s not so much a place to start writing but rather a way to give the day’s writing a particular mood or scent or inflection. Draw the death card, which in The Wild Unknown simply means that “something in your life needs to end…something is trying to find closure,” and the idea of ending and closure will start bonking around in my brain until it hits something in my writing that needed either to finish or to begin. Each card is like a prompt I suppose, except instead of being wacky and contrived, it feels like a prompt I gave myself from the darkest recesses of my unconscious, a shortcut to the place I was trying to go. 

I drew a card every day while writing The Third Rainbow Girl, which explores a mysterious act of violence in Pocahontas County, West Virginia in 1980, the Appalachian community where it transpired, and my own time in the place as a national service worker. For nearly the entirety of the fifteen months when I was most actively engaged, sentence by sentence, in writing the book, I dreamed about murder—either murdering or being murdered—every night. Then every morning I went to the deck and chose a card. I am not exaggerating when I say that I chose the moon card almost every time, no matter how well I shuffled. The card’s overall theme: vivid dreams and fears. I read the card’s description so many times I can recite it by heart:

[The moon] is the shadow realm, the place where dreams, fears, and mysteries are born. Much darkness can linger here, and if you aren’t careful, this can lead to periods of anxiety and self-doubt almost as if you’ve lost your way in a house of mirrors. Many great artists have roamed this inner landscape. It’s where imagination and creativity drift freely upon the midnight air.

That about summed it up. Fuck the fucking moon, I began to say aloud each time I drew it. Fuck this fucking book.

But the moon would not be fucked and neither would the book I was writing; they would not go away until they went away and maybe not even then. Eventually, I finished the book and I lost the friend. I’m drawing new cards these days—a lot of pentacles, the suit of home and hearth. I hope I drift less and dig more in the next book, but of course, it’s not up to me. 

 

Emma Copley Eisenberg is the author of The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia (Hachette Books, 2020). Her writing has appeared in McSweeney’s, Granta, the Los Angeles Review of Books, American Short Fiction, the Paris Review Daily, Electric Literature’s Recommended Reading, and other outlets. She is also the recipient of fellowships and awards from the Tin House Summer Workshop, the Elizabeth George Foundation, the Wurlitzer Foundation, the Millay Colony for the Arts, and Lambda Literary. She lives in Philadelphia, where she directs Blue Stoop, a hub for the literary arts. 

Thumbnail: Altınay Dinç

Craft Capsule: The Authority of Black Childhood

by

Joy Priest

7.6.20

This is no. 64 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Outside / its case, the mind is a beehive / fallen in the wild grasses / of an abandoned playground.

— from “Ars Poetica” by Joy Priest

It’s January 2, 2020. I’m traveling by car with a painter back to the artists’ compound that I’m staying at for a seven-month residency—a blip-stage between the MFA I finished in May 2019 and the PhD I will start in August 2020, a deliberate detour in the longer academic-poet road on which I find myself. About it, slightly in mourning. Alone in study, but wholeheartedly wanting to be closer to the people in this poetry thing.

The painter has found a way to subsist outside the university engine, working in the residency office, leading Zumba classes in the morning, painting in her studio at night. We’re talking about what academia does to artists, and, as we’re riding—from Wellfleet back to Provincetown, at the very tip of the Cape, isolated at the end of the land—she says, “I really do feel like this chapter for me has been about unlearning.”

*

“Sometimes a moment of liberation is suspended by the tight grip of contradiction,” my friend Bernardo says, which captures this moment I have in the car with the painter, as well as the larger social context we’re sailing through like a tiny, mobile dot on the periphery of the U.S. map. I was liberated by the painter’s articulation but jealous that I hadn’t pulled it out of my subconscious first: unlearning. This had been my project for the first three months of the fellowship, but I’d thought I was wasting time because that project had not yet been named. Wasting time—a feeling shaped by the values of academia, a microcosm of our larger society and its ailing imagination, which burdens artists and writers with paradigms of productivity and surplus contributions to an inaccessible archive. I had been unlearning that.

*

Usually, when stuck in a vehicle, poetry-talk is boring at worst, frustrating at best. A Lyft driver or seatmate on a plane will inevitably ask, “When did you start writing poetry?” I find this frustrating because I haven’t yet crafted a creative approach to the question, but, more importantly, because such a question precludes the true answer.

*

I was a better poet when I was a child.

During the nineties in Kentucky, I was a child in solitude. There was a lack of artificial stimuli, my technology limited to a Sega Genesis that I spent more time blowing dust from than playing. My single mother was at work. The only other person in the house was my grandfather, a man in his seventies, who—I didn’t know at the time—was white. He defined our relationship with board games, puzzles, basketball, or boxing on a box TV set—the technology of his time. With his racist perspectives, he attempted to define my identity, which I didn’t yet understand, but felt, intuitively. 

In place of understanding, in place of the internet, I cultivated a practice in noticing. This is how I developed my approach to the page, before I had an awareness of “craft.” Poetry wasn’t what I did or what I started doing in a single moment from the past onward, it was the way I thought, who I had to be in my grandfather’s household, the way my mind worked to make sense of something.

There isn’t a single event that led to me becoming a poet. There isn’t a beginning to me writing poetry—there is only the beginner’s mind. This is what I find myself trying to get back to in my unlearning: the authority of a child’s imagination—what we possess before we are fully indoctrinated into adulthood and the accepted ways of making sense of things. 

*

I spent a lot of time outside of my grandfather’s house, in the backyard. My mind was a beehive. A chaotic, intuitive knot of thought-impulses that I needed to wrest apart, investigate, ruminate on, understand. I found myself watching the ants at ground-level, making a daily visit to the carpenter bees and their perfectly round holes in the rotting wood. 

When I was inside, I noticed the difference between my grandfather’s skin and mine. I knew my hair was more like the hair of darker people, who he was always saying bad things about. I knew that he didn’t want me to be like them, but I couldn’t understand why. I couldn’t understand why, but I could notice. I kept a record of these little noticings as a substitute for clarity around what I was noticing. This conversation with myself as a Black child supplemented what I learned, or what adults sought to teach me (what a white child learns or is taught by white adults). This practice of noticing, or overhearing, was my seminal craft approach. 

*

Pulling away the scaffolding of craft “knowledge,” which I’ve accumulated as an adult poet, has led me to this—notebooks full of little noticings and meditations, overhearings and mishearings, notions that haunt me, lines that keep coming up. Writing a poem this way becomes less strained: that accumulation of craft had become a cheesecloth through which I struggled to write. 

These little noticings are the only way I wish to start a poem, or any conversation about craft. It is how I get closer to an understanding of what something or someone—my imaginary friend, my ancestors, my intuition, the flora and fauna—is trying to tell me, and I embrace this as a spiritual craft as well as a technical one. It is my resistance to the limits of the U.S. popular imagination, which condescends to the childhood imagination in tropes and shorthand, which does not know, can no longer remember, what the child knows.

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Thumbnail: Dustin Humes

Craft Capsule: Breaking Genre

by

Sejal Shah

6.15.20

This is no. 63 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I.

I’ve always been drawn to hybrid forms, but I didn’t think of them as hybrid until I had to describe my writing to someone else. To say “hybrid” means that you accept genre classifications and other people’s designations. I don’t. I also don’t walk around thinking of myself as hyphenated.1 I’m just me. Some of us don’t fit in the lines someone else drew. 

Like all writers, I am a combination of where I grew up, what I read, who my parents are, the languages I spoke, how safe it is for me to walk at night, my brain chemistry, the number of countries in which my parents grew up, the number of times you told me that I got the job/award/prize because I don’t look like you, the number of ways I learned to duck and weave when you blocked the door. Like all of us, I am a product of how I learned formally or informally what was what—what counts, who counts, and to whom. 

My undergraduate thesis was half poetry, half stories. I wrote and read poetry in high school and college, but then began writing prose. My lines got longer, and line breaks began to feel arbitrary. In my just-released book, This Is One Way to Dance, five of the twenty-three essays were once called stories. There is also an opening poem and a closing poem, which I think of as a lyrical coda. I cannibalized parts of what had once been the nonfiction introduction to my MFA fiction thesis to find the sounds to open and close the essays.2 

Where did my stories go? Where did my poetry go? Even as I pivoted to more nonfiction work, these forms were still there, buried, or sometimes not buried at all. In one essay3 last year, I included fiction in marked, indented sections. In writing about neurodiversity, institutional racism, and sexual harassment, I used excerpts of published short stories of mine to offer a counternarrative and voice—what the nonfiction narrator could not say in her essay. In nonfiction, I was recounting an event. In fiction, I could go to a distressing place without having to explain it. I looked for places where the language needed a different pitch, for example, when I was describing mania: 

I wanted to return to the ocean, I wanted to get cooked. I wrote on the walls in charcoal because all of the other surfaces could move and then I wouldn’t find them. I might not find you.4

Stories allowed me to say what I could not have otherwise said, at least at the time of writing. In the period in which I wrote those stories, I could not have written, as nonfiction, about the reality of being diagnosed with manic depression, adjusting to psychiatric meds that had a severe side-effect of aphasia and cognitive dampening:

They said take this pill. This one or that one, two before sleep. Take four: in the morning or at night. It’s best to avoid alcohol…These things, they said, happen sometimes. There is no relief.5

There is magic in fiction, in not having everything you write be attached directly to you. In my stories I draw from a wilder field, and I’m not worried about how something sounds, if it would make my public self cringe. If you grow up in a deeply private, Hindu, conservative, traditional family as I did, fiction and poetry offered a different code, a cover. I missed that cover when I tried to move to straight nonfiction.6 So why force it? Why choose? I want whatever genre allows me to speak the deepest truth. 

 

II.

Of course, in attempting to make a book, I encountered how the publishing and academic industries enforce limitations, rules, and expectations on writers of color, particularly in regard to genre. We are formless, but to be published you have to choose a form.

My original manuscript for what became This Is One Way to Dance was half stories, half essays, but I did not label them. Most of the pieces had already been published in print journals or online. They had been worked on, vetted, polished, edited. Several agents contacted me over the years, but no one wanted to represent the essay collection as it looks now or my (still) unpublished story collection. I learned that some editors who considered the hybrid manuscript read the stories as nonfiction. Because I wrote either in first or second person, because my narrators were women, because they were South Asian American, because I wrote about Rochester and Brooklyn and New York City and Massachusetts, the unspoken assumption was that I was writing about me.

I published my book without an agent. I still don’t have one. If you are a woman, if you are a writer of color, publishing can only imagine you in a certain box, in a narrative that makes sense to them. There’s a lack of imagination and perspective. There’s racism. At some point I got tired of readers assuming what happens in my stories actually happened. (If you need to know: I don’t have a sister who killed herself; I did grow up in Rochester; I never lived in Ithaca; I did not sleep with my professor. I write essays. If I’m calling it fiction, it’s for a reason). 

Let’s talk about two male writers both named John. John Updike and John Edgar Wideman have both drawn from some autobiographical material in their novels, but their work is accepted and reviewed as fiction. And yet most publishers don’t know how to market, let alone perceive, work by a woman of color as imagined. Our work is seen as ethnographic, dictation, not crafted, not composite, not fiction. White publishing can’t imagine that we too can create, can imagine, can make a story, can make believe. Can make money. Can be of worth, of value. They don’t believe some stories are worth advances, are worth the suspension of disbelief. 

 

III.

In her essay “Genre and Genre Theory,” my graduate school classmate, poet and scholar Dawn Lundy Martin, describes the memory of writing a poem in response to the murder of Yusef Hawkins, a Black teenager murdered by a mob of white men in 1989. It was one of the first times she knew she might be a poet, she says, describing the rightness of the form: “Poetry was the genre that allowed for a manipulation of language so that it could be stretched beyond its everyday capacity to accommodate horrific realities that make up human experience. It creates an illogic, an appropriate response to the rational narratives that attempted, with little success, to provide language for Yusef Hawkins’s murder.”

She goes on to argue for leaning into this “illogic”: poetry’s capacity to stretch, its capacity to defy genre, to create space for the unruly: “If we cannot communicate across a genre ‘divide,’ then perhaps we cannot communicate across a race ‘divide.’” In other words, how we think about writing and genre has urgent implications in real life. 

Martin’s words on poetry—her belief in a genre that breaks genre—are a comfort in and of themselves, but more than that, I was struck by the range of her essay—how the form and content of the essay made the case for crossing boundaries. I saw her place and connect a young Black man killed in 1989 and the newspaper account of it and academia and unsafe neighborhoods and genre and her position as the director of the Center for African American Poetry and Poetics at the University of Pittsburgh. I saw her write about power and get paid. I saw the academy implicated through language. I want to do that. I am already—writing in this tradition of unsettling genre, of fashioning queer texts. In a blurb for This Is One Way to Dance, Martin wrote: “If a queer text is an unsettled one, crossing cultures, crossing genres, then this book of essays rescripts what we think we know about identity.”

Ultimately, I had to choose a classification for my first book. At the fork in the road, I chose nonfiction; I chose what granted me the most space: essays. Editor and writer Valerie Boyd solicited my work for Crux, the literary nonfiction series she coedits at University of Georgia Press. I made a new manuscript, cutting most of the stories and replacing them with essays. 

Even as I claim a genre, I step outside it.7 It says “essays” on the cover of This Is One Way to Dance, but this word will always contain a more complicated truth—the history and movement and genre slippage and time woven into my text and its history, which I hope offers some kind of challenge to power, to the intent to classify, to discipline. I began sending out my hybrid manuscript in 2016. I sent the first iteration of the nonfiction manuscript in 2017. Then, life: #MeToo, PTSD, a move, an illness, a resettling and evaluating of the manuscript, two rounds of academic peer review (nothing is fast in the academy, and I’m not fast either). My book was published in 2020. In a global pandemic, mass protests and mourning, executions and terror, a reckoning—enough—some movement toward what looks like change.  

Language fractures, is further fractured by others, in its attempt to be spoken. I understand the difficulty and the contortion. I am speaking anyways.

 

IV.

I read my work aloud when I am working on it, when I am revising. My husband read aloud This Is One Way to Dance when I was going through proofs. The sentences have to land; the sounds have to hit a certain note. I’m thinking of when you tune a violin and the string next to it needs to vibrate. That is how I work in most any genre when I am most true to myself. I don’t think about labels. I don’t care about what to call it, what it will be called. We are called. I listen for the sound.

 

ENDNOTES

1. I had a girlhood. It was American because I was in America. I once wrote on Facebook: “I don’t hate Indian [as a qualifier] and I do use it—I just hate the assumptions that writer = white and the rest of us need to have who we are qualified. There’s a writer and then a woman writer. Or a Black writer. Or an Indian American writer. Why not just say writer?” 
2. I always go by sound, which engenders its own accidental hybrid forms. I think of voice-texting and autocorrect. For years if I said my husband’s name, “Raj,” the phone wrote down “Roger.” “Saris” became “sorrows.”
3. “Even If You Can’t See It: Invisible Disability & Neurodiversity” in the Kenyon Review Online.
4. From my story “Watch Over Me; Turn a Blind Eye” in the
Asian American Literary Review.
5. From my story “Climate, Man, Vegetation” in Drunken Boat.
6. In 2011 my friend the poet Philip White told me he thought “Street Scene,” an essay in my book, could be called a lyric essay. I looked up the definition and agreed this rang true: My essay had qualities of both poetry and the essay. It was the first time I had heard this term. 
7. I asked two poets of color, Sarah Gambito and Cathy Park Hong, to help me launch my book. During my virtual launch, they spoke about my books not only as essays, but also claimed and named them as prose poems, meditations. I didn’t know why I asked them and not fiction writers—in my academic career I was a fiction writer through graduate school, visiting professorships, fellowships, and a tenure-track job—but it was a relief to be legible to poets who were always my first tribe.

 

Sejal Shah is the author of This Is One Way to Dance (University of Georgia Press). Her writing can be found in BrevityConjunctionsGuernicaKenyon Review, the Literary Review, the Margins, and the Rumpus. She is also the recipient of a 2018 New York Foundation for the Arts fellowship in fiction. Shah is on the faculty of The Rainier Writing Workshop, the low-residency MFA program at Pacific Lutheran University, and lives in Rochester, New York. 

Thumbnail: Michele Bitetto

Craft Capsule: Break It Down or Shorter Forms

by

Sejal Shah

6.1.20

This is no. 62 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Working right now—in the twenty-first century, in the pandemic—I find my attention is even more fragmented than usual. It’s splintered. I’ve had to connect to people via Skype, WhatsApp, Zoom, and send messages via e-mail, Twitter, Instagram, and—the grandfather of social media—Facebook. Each platform presents itself differently, and I present myself differently. Then there’s the distractions of the phone itself: A text comes in, then another notification. I cannot remember my name after switching from one portal to another all day. I forget passwords. I forgot my neighbor’s name. 

With my attention so dispersed, I find myself writing in shorter forms, using fragments to build a larger structure. My debut essay collection, This Is One Way to Dance, is composed of twenty-three essays—some are more traditional and longform, but others are short lyric essays, segmented essays, varying in length. There is a list essay, too. 

Making a book means figuring out the binding, the connective tissue, but the scale of that task can be daunting. Using shorter forms, smaller canvases—and markers and signposts in the longer essays—helped me not feel overwhelmed by the subject matter: racism, immigration, depression, mental health, neurodivergence, the lack of basic geography and knowledge Americans have about most other cultures (even writing that out feels exhausting). Using numbers in a list essay, subheadings in a segmented essay, breaking up my own words with words from other writers, an asterisk or ornament to signal a pause—all this somehow gave my work more space, breath, silence, and pauses, especially in painful matters. 

*

This week I picked up my copy of Anne Lamott’s Bird by Bird, which I bought in 1995 and read in my twenties during my first trip to England and Italy. I only saw today that the binding had split. I’ve referred to it a lot over the years, often in teaching. In the chapter “Short Assignments,” Lamott writes: “Often when you sit down to write, what you have in mind is an autobiographical novel about your childhood, or a play about the immigrant experience, or a history of—oh, say—say women. But this is like trying to scale a glacier…then your mental illnesses arrive at the desk like your sickest, most secretive relatives.” In that same chapter she refers to an object that steadies her: “I go back to trying to breathe, slowly and calmly, and I finally notice the one-inch picture frame that I put on my desk to remind me of short assignments.”

When I write, sometimes I think of that one-inch picture frame: its visual representation of Bird by Bird and short assignments. My version of the short assignment is writing four hundred words or four sentences for The Grind, a peer e-mail accountability group for writers. It’s using timers, for fifteen minutes or an hour, or doing coworking sessions with writer friends.

Sometimes I feel we all are telling the same story again and again, but it’s an important story and the thing is to be able to hear it. I sometimes find it easier to see the story—to hold the different threads of an essay—if I divide up the text, if there are visual breaks and spaces, numbers. 

Later in Bird by Bird, Lamott reminds us of another object, another tool of the short form that might be especially useful: index cards. When I reread her description of keeping the cards everywhere, all over the house, I thought, Now, that’s the problem. I forgot about index cards! I sometimes remember to type notes into my phone or record a voice memo, but then don’t do anything with them. But paper: That helps. To see it. This is a problem with the phone.

*

My attraction to scaffolding and shorter forms comes partially from how I think. I was formally diagnosed with attention deficit hyperactivity disorder (ADHD) in my forties—unusually late. When I was in graduate school in my twenties, my doctor thought I had attention deficit disorder. I could get evaluated for free through our graduate student health insurance, but I kept losing the slip of paper. We used to laugh about this. I didn’t pursue a diagnosis, because I didn’t think having one would help me. Either way I had to figure out how to get my work done. Asian Americans are supposed to be good at school. (I was good at some parts of it, but not others.) Just try harder. I present as normal or as high-functioning. The doctor I’ve known longest in my life, my father, always said doctors can’t do anything for you. You have to help yourself. 

The doctor before my most recent one would not prescribe ADHD medication to me because he said, “You should have been diagnosed by age nine.” (My report cards read, “Talks too much, reads too much, easily distracted, not trying to the best of her ability.” But I didn’t disrupt the class by jumping around—girls don’t present in the way boys do and our medical and educational systems use white men as the standard. I wasn’t throwing erasers, so of course I wasn’t diagnosed.) My husband teaches middle school. To him, it’s very clear I have ADHD. I live with my brain and he lives with me. I spend a lot of time trying to organize papers, e-mails, to-dos, grocery lists. And thinking of where I last left that list or notebook. I think associatively, not in a linear way. Numbers and subheadings help me to translate or render those associative leaps to a reader, or to make them legible: a visual signal we are shifting gears.

This is part of why it took a long time to figure out the structure for my book. A book is a long form. It requires stepping back to see the forest. Left to my own devices, I see leaves and trees. Shorter forms, dividing up longer essays, bird by bird, restored a sense of agency. They granted me permission to not say everything—or to say just enough. There is a learning curve to know how and when to choose a particular short form or how to divide something and break it down. Not all subjects will be unlocked by fragments or subheadings, numbers or lists. But as I practice—found my one-inch picture frame, index cards, list essays, the thing that worked for my brain—I began to speak on my own terms.

 

Sejal Shah is the author of This Is One Way to Dance (University of Georgia Press). Her writing can be found in BrevityConjunctionsGuernicaKenyon Review, the Literary Review, the Margins, and the Rumpus. She is also the recipient of a 2018 New York Foundation for the Arts fellowship in fiction. Shah is on the faculty of The Rainier Writing Workshop, the low-residency MFA program at Pacific Lutheran University, and lives in Rochester, New York. 

Thumbnail: Hassan Pasha

Craft Capsule: Feel Your Way

by

Sejal Shah

5.25.20

This is no. 61 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1.
During the last year I lived in New York, I started dancing again at a Sunday morning class in the West Village called “Sweat Your Prayers.” An old boyfriend told me I should go. I was stuck on him, not great, but he did bring some good things into my life and this was one of them. The class was in the style of 5Rhythms, an ecstatic dance and movement meditation practice: 11:00 AM, no talking, a DJ, flowy clothes, everyone moving. A lot of white people, some people of color. They danced; we danced. The music sets changed, but the pattern remained steady, following the five rhythms: Flowing, Staccato, Chaos, Lyrical, Stillness. Shapes emerge from movement, unbidden, in an intuitive way. Not speaking opened up another way of communicating with one’s self and the other dancers in the room—through the repetition of movement, in how we dodged some people and were drawn to others. 

2.
I moved intuitively in dance class. It was a class based on improvisation, not a final performance. Making a book involves intuition, too, but then you have to stop and think: How can I make sense of this for a reader? A book is a performance, a gathering, a repetition, a ritual, and a thing, an object. There is an end point.

3.
My first book will be published next week, but it took me twenty years to write. The essays that comprise This Is One Way to Dance were written, revised, then collected and stitched together in what proved to be a long process of encountering and attempting to contain and shape a lot of life, stylistic choices, and past selves—as much as the work—between two covers. A few essays began as short stories but as I worked, they became legible as essays through editing, shaping, metamorphosis. 

The process of finding a form for my book produced a tension between my instinctive sense of how the essays were connected, and the pressure I felt to utilize some kind of discernible structure or concept to link them. Framework often emerges slowly, an invisible labor. 

In my book, one way I created structure was through the use of dates, timestamps. I followed Joan Didion’s Slouching Toward Bethlehem as an example and placed timestamps at the end of each piece: the year I wrote it and, if relevant, the year I revised it. The stamps offer me—and the reader—a moment to consider time: its mysterious nature and passing.

4.
I learned the term “front matter” from Tom, my book’s project editor. Before this, I had not considered how the beginning of a book is put together, how it unfolds. The front matter includes the title page, copyright page, dedication, epigraph, table of contents, preface or introduction. It can include acknowledgments, too.

After the front matter in my book is an opening poem, a prologue. I called it “Prelude” after “Prelude: Discipline is Freedom,” a dance choreographed by the artist Garth Fagan many years ago, a piece I grew up seeing. The dance is an invocation of sorts, with parts of a dance class woven within: the repetition of fundamental movements, foundational exercises, floor sequences, four women passing here, four men there, now slow, now speedy, now ratcheting up, now a solo. 

Before the introduction, before the poem, is the title page: the book’s title, the author’s name, the publisher’s name, the place of publication. There is also a childhood photo of me, dressed up to dance, in front of our old house wearing a chuniya chori my grandmother sewed, with Ba standing a ways behind me, visible in the glass door. 

“Prelude” begins with brackets, “[ ],” then my name in Gujarati. Then the first line in English: “I am trying to describe what it feels like //.” Working on the frontmatter, and the book as a whole, meant conversations with Tom and the designer Erin: deliberations about the language of captions, Gujarati script, typeface, size, margins, ornaments, headings. The permission to quote from Toni Morrison’s essay, “The Site of Memory,” is on the copyright page as per the agreement. All of this was new to me—this level of detail that belongs to a book. 

5.
I bought Martha Graham’s Blood Memory: An Autobiography last year, because I wanted structure and language and forms from the world of dance. I was searching for a connection to something fundamental; a structure I could rely on as I shaped my book from so many pieces. Classifications, levels, subgenres, terminology. I didn’t find my book’s structure there, but I found these words: “There are always ancestral footsteps behind me, pushing me, when I am creating a new dance, and gestures are flowing through me.” This movement.

6.
My book’s internal architecture began with academic fields of study, disciplines. I organized essays under subheadings of American Studies, Area Studies, Cultural Studies, and Women’s Studies. School had been my house for many years, but I no longer live there. I live somewhere else now. 

7.
Another try: I took the title of one of my lyric essays, “Castle, Fort, Lookout, House,” and divided my book into four sections: Castle, Fort, Lookout, House. The essay itself is one of my favorites: It’s an incantation built from years of reading fairy tales and love stories, romances, epics. Where is home? What is the journey? Who do you love? But it felt artificial to classify the other essays under these images, as they are.

8.
A third try. These categories from dance: Space, Time, Direction. Too abstract. 

9. 
Ultimately, I realized that my book is a series of gestural movements, beginning from its spine, the tree. An old photograph to place us, to bring the past into now, though the whole book is a weaving of this time into that time, the way we carry the past with us in our bones, in our cells. 

10.
There has to be movement and stretching, shapes, a direction. I thought of mudras, which I learned from studying Bharata Natyam and Kuchipudi, two styles of classical Indian dance. Anjali mudra is one used often at the end of yoga and dance classes. Palms pressed together: a balancing. So much of writing is what has been cut away. A book is a series of choices; it is what remains.  

 11.
To dance is a way to integrate: to shed for a moment the weight and sense of being seen. It’s not lost, exactly, but being seen does not dominate. To move through the world, there is no leaving race behind. Not in this country. But to dance is to allow yourself to feel out through your arms, the sensation of being held in space, moving in a direction, grounded in a place. To be a person and not only a girl, not only a brown body, but to be embodied and therefore the subject, the I. In my “Prelude,” my opening poem, I borrow a line from a poem by Kamala Das: “I too call myself I.” I use different punctuation: “[(I, too, call myself I)].”

Working this way—in both dance and writing—takes time, to feel your way into the structure by sound. I look for my glasses on a morning bedside table cluttered with books, a glass of water, pens, a lamp, hand lotion, a weighted lavender eye pillow. How can you find your glasses if you can’t see? You feel your way.

 

Sejal Shah’s debut essay collection, This Is One Way to Dance, will be published by the University of Georgia Press in June. Her writing can be found in Brevity, Conjunctions, Guernica, Kenyon Review, the Literary Review, the Margins, and the Rumpus. She is also the recipient of a 2018 New York Foundation for the Arts fellowship in fiction. Shah is on the faculty of The Rainier Writing Workshop, the low-residency MFA program at Pacific Lutheran University, and lives in Rochester, New York. 

Thumbnail: Nikoline Arns

Craft Capsule: Feel Your Way

by

Sejal Shah

5.25.20

This is no. 61 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1.
During the last year I lived in New York, I started dancing again at a Sunday morning class in the West Village called “Sweat Your Prayers.” An old boyfriend told me I should go. I was stuck on him, not great, but he did bring some good things into my life and this was one of them. The class was in the style of 5Rhythms, an ecstatic dance and movement meditation practice: 11:00 AM, no talking, a DJ, flowy clothes, everyone moving. A lot of white people, some people of color. They danced; we danced. The music sets changed, but the pattern remained steady, following the five rhythms: Flowing, Staccato, Chaos, Lyrical, Stillness. Shapes emerge from movement, unbidden, in an intuitive way. Not speaking opened up another way of communicating with one’s self and the other dancers in the room—through the repetition of movement, in how we dodged some people and were drawn to others. 

2.
I moved intuitively in dance class. It was a class based on improvisation, not a final performance. Making a book involves intuition, too, but then you have to stop and think: How can I make sense of this for a reader? A book is a performance, a gathering, a repetition, a ritual, and a thing, an object. There is an end point.

3.
My first book will be published next week, but it took me twenty years to write. The essays that comprise This Is One Way to Dance were written, revised, then collected and stitched together in what proved to be a long process of encountering and attempting to contain and shape a lot of life, stylistic choices, and past selves—as much as the work—between two covers. A few essays began as short stories but as I worked, they became legible as essays through editing, shaping, metamorphosis. 

The process of finding a form for my book produced a tension between my instinctive sense of how the essays were connected, and the pressure I felt to utilize some kind of discernible structure or concept to link them. Framework often emerges slowly, an invisible labor. 

In my book, one way I created structure was through the use of dates, timestamps. I followed Joan Didion’s Slouching Toward Bethlehem as an example and placed timestamps at the end of each piece: the year I wrote it and, if relevant, the year I revised it. The stamps offer me—and the reader—a moment to consider time: its mysterious nature and passing.

4.
I learned the term “front matter” from Tom, my book’s project editor. Before this, I had not considered how the beginning of a book is put together, how it unfolds. The front matter includes the title page, copyright page, dedication, epigraph, table of contents, preface or introduction. It can include acknowledgments, too.

After the front matter in my book is an opening poem, a prologue. I called it “Prelude” after “Prelude: Discipline is Freedom,” a dance choreographed by the artist Garth Fagan many years ago, a piece I grew up seeing. The dance is an invocation of sorts, with parts of a dance class woven within: the repetition of fundamental movements, foundational exercises, floor sequences, four women passing here, four men there, now slow, now speedy, now ratcheting up, now a solo. 

Before the introduction, before the poem, is the title page: the book’s title, the author’s name, the publisher’s name, the place of publication. There is also a childhood photo of me, dressed up to dance, in front of our old house wearing a chuniya chori my grandmother sewed, with Ba standing a ways behind me, visible in the glass door. 

“Prelude” begins with brackets, “[ ],” then my name in Gujarati. Then the first line in English: “I am trying to describe what it feels like //.” Working on the frontmatter, and the book as a whole, meant conversations with Tom and the designer Erin: deliberations about the language of captions, Gujarati script, typeface, size, margins, ornaments, headings. The permission to quote from Toni Morrison’s essay, “The Site of Memory,” is on the copyright page as per the agreement. All of this was new to me—this level of detail that belongs to a book. 

5.
I bought Martha Graham’s Blood Memory: An Autobiography last year, because I wanted structure and language and forms from the world of dance. I was searching for a connection to something fundamental; a structure I could rely on as I shaped my book from so many pieces. Classifications, levels, subgenres, terminology. I didn’t find my book’s structure there, but I found these words: “There are always ancestral footsteps behind me, pushing me, when I am creating a new dance, and gestures are flowing through me.” This movement.

6.
My book’s internal architecture began with academic fields of study, disciplines. I organized essays under subheadings of American Studies, Area Studies, Cultural Studies, and Women’s Studies. School had been my house for many years, but I no longer live there. I live somewhere else now. 

7.
Another try: I took the title of one of my lyric essays, “Castle, Fort, Lookout, House,” and divided my book into four sections: Castle, Fort, Lookout, House. The essay itself is one of my favorites: It’s an incantation built from years of reading fairy tales and love stories, romances, epics. Where is home? What is the journey? Who do you love? But it felt artificial to classify the other essays under these images, as they are.

8.
A third try. These categories from dance: Space, Time, Direction. Too abstract. 

9. 
Ultimately, I realized that my book is a series of gestural movements, beginning from its spine, the tree. An old photograph to place us, to bring the past into now, though the whole book is a weaving of this time into that time, the way we carry the past with us in our bones, in our cells. 

10.
There has to be movement and stretching, shapes, a direction. I thought of mudras, which I learned from studying Bharata Natyam and Kuchipudi, two styles of classical Indian dance. Anjali mudra is one used often at the end of yoga and dance classes. Palms pressed together: a balancing. So much of writing is what has been cut away. A book is a series of choices; it is what remains.  

 11.
To dance is a way to integrate: to shed for a moment the weight and sense of being seen. It’s not lost, exactly, but being seen does not dominate. To move through the world, there is no leaving race behind. Not in this country. But to dance is to allow yourself to feel out through your arms, the sensation of being held in space, moving in a direction, grounded in a place. To be a person and not only a girl, not only a brown body, but to be embodied and therefore the subject, the I. In my “Prelude,” my opening poem, I borrow a line from a poem by Kamala Das: “I too call myself I.” I use different punctuation: “[(I, too, call myself I)].”

Working this way—in both dance and writing—takes time, to feel your way into the structure by sound. I look for my glasses on a morning bedside table cluttered with books, a glass of water, pens, a lamp, hand lotion, a weighted lavender eye pillow. How can you find your glasses if you can’t see? You feel your way.

 

Sejal Shah’s debut essay collection, This Is One Way to Dance, will be published by the University of Georgia Press in June. Her writing can be found in Brevity, Conjunctions, Guernica, Kenyon Review, the Literary Review, the Margins, and the Rumpus. She is also the recipient of a 2018 New York Foundation for the Arts fellowship in fiction. Shah is on the faculty of The Rainier Writing Workshop, the low-residency MFA program at Pacific Lutheran University, and lives in Rochester, New York. 

Thumbnail: Nikoline Arns

Craft Capsule: Obsessions, Hobbies, Dreams

by

Carter Sickels

5.4.20

This is no. 59 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Early in the writing of my second novel, The Prettiest Star, I thought about what TV shows one of the protagonists, Jess, a fourteen-year-old girl, would be watching in 1986, when the novel begins. MTV, of course, and a lot of sitcoms. But what about when she was younger, what shaped her? I grew up in the eighties, and before my family had cable or a satellite dish, we had four channels from which to choose. Like most kids from that time, I watched a lot of PBS. In addition to Sesame Street, Mister Rogers’ Neighborhood, and The Electric Company, a nature show always seemed to be on: Nova or Wild America. While I was thinking about Jess’s TV habits, I also watched the 2013 documentary Blackfish, a heartbreaking indictment of SeaWorld’s practice of raising orcas in captivity, and remembered when I visited SeaWorld Ohio as a kid. (Yes, they actually had whales in Ohio; the park closed in 2000.)

What if Jess watched a lot of nature shows? What if she fell in love with killer whales, the way some kids do with horses? Maybe she goes to SeaWorld Ohio, and since she’s never been to the ocean, the shows and books she reads about whales transport her from small-town Ohio to the wildness and mystery of the sea. As I did more research, I started to hear Jess’s voice—and her brainy knowledge of whale facts and details worked their way into the novel. Before this, I didn’t know much about whales, except that they were beautiful and spectacular and mysterious. This is something I love about writing fiction—entering, if only briefly, other worlds, and learning about topics and places and people you may never encounter in real life. 

The killer whales also began to resonate thematically, which surprised me—the orcas’ relationships to family, matriarchy, and mourning the dead reflected and deepened some of my explorations in my novel of how my human characters relate to one another. The Prettiest Star revolves around Jess’s older brother, Brian Jackson, a young gay man diagnosed with AIDs, who has returned to his family’s home in the small, conservative town where he grew up, and asks how his family will, or will not, care for him. Similarly, like Jess’s love for whales, Brian’s love for David Bowie reverberates throughout the novel, even influencing the title. For Brian, a queer kid growing up in a small conservative town in Appalachia, Bowie’s music represented hope and magic and possibility.

What interests your characters, what obsesses them? What are their hobbies? What do they dream about, what do they love? Maybe they play basketball, read tarot cards, collect matchbooks, idolize Dolly Parton, dream about outer space. What is that thing that lights your character up, and gives you a way inside—so that you’re not writing from the outside, but inhabiting the character from within? A hobby, a gesture, a dream may help you understand and develop your characters, and just may deepen the novel’s ideas, building stronger connections between characters, themes, and imagery.  

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including GuernicaBellevue Literary ReviewGreen Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Bart van meele

Craft Capsule: Obsessions, Hobbies, Dreams

by

Carter Sickels

5.4.20

This is no. 59 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Early in the writing of my second novel, The Prettiest Star, I thought about what TV shows one of the protagonists, Jess, a fourteen-year-old girl, would be watching in 1986, when the novel begins. MTV, of course, and a lot of sitcoms. But what about when she was younger, what shaped her? I grew up in the eighties, and before my family had cable or a satellite dish, we had four channels from which to choose. Like most kids from that time, I watched a lot of PBS. In addition to Sesame Street, Mister Rogers’ Neighborhood, and The Electric Company, a nature show always seemed to be on: Nova or Wild America. While I was thinking about Jess’s TV habits, I also watched the 2013 documentary Blackfish, a heartbreaking indictment of SeaWorld’s practice of raising orcas in captivity, and remembered when I visited SeaWorld Ohio as a kid. (Yes, they actually had whales in Ohio; the park closed in 2000.)

What if Jess watched a lot of nature shows? What if she fell in love with killer whales, the way some kids do with horses? Maybe she goes to SeaWorld Ohio, and since she’s never been to the ocean, the shows and books she reads about whales transport her from small-town Ohio to the wildness and mystery of the sea. As I did more research, I started to hear Jess’s voice—and her brainy knowledge of whale facts and details worked their way into the novel. Before this, I didn’t know much about whales, except that they were beautiful and spectacular and mysterious. This is something I love about writing fiction—entering, if only briefly, other worlds, and learning about topics and places and people you may never encounter in real life. 

The killer whales also began to resonate thematically, which surprised me—the orcas’ relationships to family, matriarchy, and mourning the dead reflected and deepened some of my explorations in my novel of how my human characters relate to one another. The Prettiest Star revolves around Jess’s older brother, Brian Jackson, a young gay man diagnosed with AIDs, who has returned to his family’s home in the small, conservative town where he grew up, and asks how his family will, or will not, care for him. Similarly, like Jess’s love for whales, Brian’s love for David Bowie reverberates throughout the novel, even influencing the title. For Brian, a queer kid growing up in a small conservative town in Appalachia, Bowie’s music represented hope and magic and possibility.

What interests your characters, what obsesses them? What are their hobbies? What do they dream about, what do they love? Maybe they play basketball, read tarot cards, collect matchbooks, idolize Dolly Parton, dream about outer space. What is that thing that lights your character up, and gives you a way inside—so that you’re not writing from the outside, but inhabiting the character from within? A hobby, a gesture, a dream may help you understand and develop your characters, and just may deepen the novel’s ideas, building stronger connections between characters, themes, and imagery.  

 

Carter Sickels’s second novel, The Prettiest Star, will be published by Hub City Press on May 19. He is also the author of The Evening Hour (Bloomsbury, 2012), which was a finalist for an Oregon Book Award and a Lambda Literary Award. His essays and fiction have appeared or are forthcoming in various publications, including GuernicaBellevue Literary ReviewGreen Mountains Review, and BuzzFeed. The recipient of the 2013 Lambda Literary Emerging Writer Award, Sickels has also earned fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, the Virginia Center for the Creative Arts, and the MacDowell Colony. He is an assistant professor of English at Eastern Kentucky University, where he teaches in the Bluegrass Writers low-residency MFA program. 

Thumbnail: Bart van meele

Craft Capsule: Doors vs. Corridors

by

Will Harris

8.17.20

This is no. 68 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

During the pandemic, with so many doors locked and shuttered, I lived in the corridors of my house. Thom Gunn describes the corridor as a “separate place between the thought and felt”—a place of uncertainty, where thoughts are unformed and feelings suppressed. It’s probably not surprising, then, that the few poems I managed to eke out were meandering, confused, and muffled.

As the architecture of my house extended into what I wrote, I started looking for poems about houses—either set indoors or using the “house” as a metaphor for the craft of poetry. I was trying to work out what kind of house poetry should be, and how much confusion that house might be able to contain. Soon enough I turned to Emily Dickinson: 

I dwell in Possibility –
A fairer House than Prose –
More numerous of Windows –
Superior – for Doors –

I always read this stanza with the ironic hint of the estate agent in her tone (“Superior—for Doors” is particularly funny), which seems to mock the idea you could ever really compare poetry to a house. Though it can feel like using a conceit means committing to it entirely, here the analogy is loosely held, self-consciously tenuous: “If you look to your right, you’ll see some windows. How many? Numerous. And if you look down there, yup, superior doors. You won’t get that with Prose.” The lightness of tone is part of the image she projects about poetry. 

But I read it with another, darker Dickinson poem in the back of my head, this one taking the house less as a metaphor for poetry than for the poet’s interior life:

One need not be a Chamber – to be haunted – 
One need not be a House –
The Brain has Corridors – surpassing 
Material Place

These lines suggest that when you forgo “Material Place” and build your house in “Possibility” you open yourself up to a particular danger: being haunted. Where the other poem began with a confident assertion of habitation—“I dwell”—here the speaker expresses horror at the idea of being dwelt in: “The Brain has Corridors.” The tone is repetitious, fevered, as though the speaker has been running up and down their internal corridors for hours. The effect of this is compounded by the use of the impersonal pronoun “One” and that definite article before “Brain”—not my brain but the brain—which suggests a traumatic detachment from the body; and “surpassing,” hanging at the end of the line makes it feel like those brain corridors are only getting bigger, longer, more labyrinthine. 

What’s missing from the second poem is a door of the kind Dickinson thought made poetry so superior—and without one, there’s no means of escape. Door and corridor may sound related but there’s no etymological link between them. The word door comes from the Old English duru and has always meant the same thing. Corridor is from the Italian corridoio, referring to a “running-place.” They represent two forms of possibility, each reliant on the other: The door is a portal, signifying insight, while the corridor is an in-between place, signifying uncertainty and confusion. 

An important way to understand the corridor might be via the horror film in which a shadowy figure always seems to be lurking at the other end, or the protagonist is trapped, running down an endless dark passage full of locked doors. Where the corridor represents terror, the door is freedom.

*

During lockdown I also turned to Bhanu Kapil’s book How to Wash a Heart and stopped at this section:

When what you perform 
At the threshold
Is at odds 
With what happens
When the front door is closed,
Then you are burning
The toast 
And you are letting the butter
Fester.

The front door is where the internal becomes public, even if briefly. But in order for an act to be meaningful, what you “perform” at the threshold must have some relationship to what happens behind it. Kapil’s lines make me think of those people in expensive houses who voted to privatize Britain’s National Health Service last December and then stepped out onto their doorsteps this spring to clap enthusiastically in support of nurses and carers. They make me think of what the threshold can conceal. The door only has meaning in relation to the corridor.

In early July, Bhanu and I did a reading together on Zoom. She began hers by lighting a small candle. She had some shallots next to her that she’d picked from Wittgenstein’s garden in Cambridge. The effect of these gestures wasn’t just to welcome the listener in. It was to create an open space into which the poem could emerge, where we could meet it. In trying to harmonize inner and outer, in letting out what festers, the distance between our two screens fell away.

After the reading, I thought back to Dickinson’s haunted house poem. It’s driven by a claustrophobic fear of the internal. Even the “External Ghost” or hidden “Assassin” (other threats that feature in Dickinson’s poem) are less terrifying than the prospect of “self encounter.” The self is a more ambiguous, volatile element. It could stay hidden forever: “Ourself, behind ourself concealed,” reads one line in the poem. You might think you’ve turned a corner, the front door in sight, only to find yourself lost down another passageway. 

But this is only a nightmare if you’re looking for a door. The beauty of Kapil’s How to Wash a Heart lies in its openness: “I want to be split / Into two parts / Or a thousand pieces.” The self that’s been split into a thousand pieces has nothing to lose. What’s not whole cannot be broken. Likewise, the poem doesn’t have to form a coherent whole—a portal to insight. It doesn’t have to involve finding the right door and standing outside of it proudly. It can also mean walking the corridors, afraid and confused.

 

Will Harris is the author of the poetry collection RENDANG (Wesleyan University Press, 2020), which was selected as a Poetry Book Society Choice and shortlisted for the Forward Prize for Best First Collection. He has worked in schools and led workshops at the Southbank Centre and currently teaches for the Poetry School. A contributing editor at the Rialto, he lives in London. 

Thumbnail: Kilarov Zaneit

Craft Capsule: The Authority of Black Childhood

by

Joy Priest

7.6.20

This is no. 64 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Outside / its case, the mind is a beehive / fallen in the wild grasses / of an abandoned playground.

— from “Ars Poetica” by Joy Priest

It’s January 2, 2020. I’m traveling by car with a painter back to the artists’ compound that I’m staying at for a seven-month residency—a blip-stage between the MFA I finished in May 2019 and the PhD I will start in August 2020, a deliberate detour in the longer academic-poet road on which I find myself. About it, slightly in mourning. Alone in study, but wholeheartedly wanting to be closer to the people in this poetry thing.

The painter has found a way to subsist outside the university engine, working in the residency office, leading Zumba classes in the morning, painting in her studio at night. We’re talking about what academia does to artists, and, as we’re riding—from Wellfleet back to Provincetown, at the very tip of the Cape, isolated at the end of the land—she says, “I really do feel like this chapter for me has been about unlearning.”

*

“Sometimes a moment of liberation is suspended by the tight grip of contradiction,” my friend Bernardo says, which captures this moment I have in the car with the painter, as well as the larger social context we’re sailing through like a tiny, mobile dot on the periphery of the U.S. map. I was liberated by the painter’s articulation but jealous that I hadn’t pulled it out of my subconscious first: unlearning. This had been my project for the first three months of the fellowship, but I’d thought I was wasting time because that project had not yet been named. Wasting time—a feeling shaped by the values of academia, a microcosm of our larger society and its ailing imagination, which burdens artists and writers with paradigms of productivity and surplus contributions to an inaccessible archive. I had been unlearning that.

*

Usually, when stuck in a vehicle, poetry-talk is boring at worst, frustrating at best. A Lyft driver or seatmate on a plane will inevitably ask, “When did you start writing poetry?” I find this frustrating because I haven’t yet crafted a creative approach to the question, but, more importantly, because such a question precludes the true answer.

*

I was a better poet when I was a child.

During the nineties in Kentucky, I was a child in solitude. There was a lack of artificial stimuli, my technology limited to a Sega Genesis that I spent more time blowing dust from than playing. My single mother was at work. The only other person in the house was my grandfather, a man in his seventies, who—I didn’t know at the time—was white. He defined our relationship with board games, puzzles, basketball, or boxing on a box TV set—the technology of his time. With his racist perspectives, he attempted to define my identity, which I didn’t yet understand, but felt, intuitively. 

In place of understanding, in place of the internet, I cultivated a practice in noticing. This is how I developed my approach to the page, before I had an awareness of “craft.” Poetry wasn’t what I did or what I started doing in a single moment from the past onward, it was the way I thought, who I had to be in my grandfather’s household, the way my mind worked to make sense of something.

There isn’t a single event that led to me becoming a poet. There isn’t a beginning to me writing poetry—there is only the beginner’s mind. This is what I find myself trying to get back to in my unlearning: the authority of a child’s imagination—what we possess before we are fully indoctrinated into adulthood and the accepted ways of making sense of things. 

*

I spent a lot of time outside of my grandfather’s house, in the backyard. My mind was a beehive. A chaotic, intuitive knot of thought-impulses that I needed to wrest apart, investigate, ruminate on, understand. I found myself watching the ants at ground-level, making a daily visit to the carpenter bees and their perfectly round holes in the rotting wood. 

When I was inside, I noticed the difference between my grandfather’s skin and mine. I knew my hair was more like the hair of darker people, who he was always saying bad things about. I knew that he didn’t want me to be like them, but I couldn’t understand why. I couldn’t understand why, but I could notice. I kept a record of these little noticings as a substitute for clarity around what I was noticing. This conversation with myself as a Black child supplemented what I learned, or what adults sought to teach me (what a white child learns or is taught by white adults). This practice of noticing, or overhearing, was my seminal craft approach. 

*

Pulling away the scaffolding of craft “knowledge,” which I’ve accumulated as an adult poet, has led me to this—notebooks full of little noticings and meditations, overhearings and mishearings, notions that haunt me, lines that keep coming up. Writing a poem this way becomes less strained: that accumulation of craft had become a cheesecloth through which I struggled to write. 

These little noticings are the only way I wish to start a poem, or any conversation about craft. It is how I get closer to an understanding of what something or someone—my imaginary friend, my ancestors, my intuition, the flora and fauna—is trying to tell me, and I embrace this as a spiritual craft as well as a technical one. It is my resistance to the limits of the U.S. popular imagination, which condescends to the childhood imagination in tropes and shorthand, which does not know, can no longer remember, what the child knows.

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Thumbnail: Dustin Humes

Craft Capsule: Notes From the Cutting Room Floor

by

Sejal Shah

5.18.20

This is no. 60 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

An essay collection consists of more than several pieces between two covers. There is always the ghost manuscript: what is cut, what has been moved, shaped, revised. In my first book, This Is One Way to Dance, there are notes at the end of the text—they are narrative, include sources for quoted material, acknowledge readers and editors, and are not numbered. This essay is another kind of commentary. Each piece rewrites what came before. In a way, I am still rewriting my book and its notes—notes to oneself, to one’s reader, you; they are a conversation. 

I wrote the first draft of this essay in longhand; later, I typed it. At some point, I began numbering my thoughts as a way of keeping track. When I cut and pasted different sections of the text, I preserved the original numbers to trace the movement of information. In doing so, I attempt to show my writing process in the tradition of visible mending.

1. In Carmen Maria Machado’s In the Dream House, there are footnotes. There are three epigraphs at the beginning, each on a different page (I love this, the space). Many of the footnotes lead to Stith Thompson’s Motif-Index of Folk-Literature. The chapters are short, sometimes only a page, and the footnotes don’t feel like an interruption, but pleasurable, recursive reading. There is an overture disavowing prologues. After the overture is a gorgeous prologue: “The memoir is at its core, an act of resurrection. Memoirists…manipulate time; resuscitate the dead. They put themselves, and others, into necessary context.” If I had read In the Dreamhouse while working on my book, I might have written a different prologue. So many beats to a book, architecture, a tonal range, a key. All of these elements are questions that ask: Who is your audience? To whom and how do I wish to explain myself?1 

3. Are prologues and codas forms of notes? Is an introduction?

20. Here is a ghost note, something I cut from the introduction of my book: “I grew up seeing and later studying with Garth Fagan Dance. A noted choreographer, Fagan is associated with the Black Arts Movement. Fagan technique draws from ballet, modern dance, and Afro-Caribbean dance. I learned: You could invent your own language. You didn’t have to fit yourself into someone else’s forms. You didn’t have to explain yourself.”

4. I wanted my notes to go before the acknowledgments, to be part of the body of This Is One Way to Dance. In the published copy, my notes follow the acknowledgments, per the press’s house style, which is The Chicago Manual of Style. I realize I don’t believe in style manuals.

17. Somewhere in a book (an introduction) or outside it (an interview), you will have to explain why you wrote your book. At each stage of the publishing process you use a different form: a proposal, a press sheet, a preface, a prologue, an afterward, a Q&A. Sometimes I still stumble. From the preface of Sonja Livingston’s memoir, Ghostbread: “I wrote this book because the pain and power and beauty of childhood inspire me. I wrote it selfishly, to make sense of chaos. I wrote it unselfishly, to bear witness. For houses and gardens and children most of us never see.” 

Part of me wants to never explain anything. Part of me worries I have explained too much and still missed what is most important. The settling and unsettling of the self. Navigating, meditating, mediating. Not identity, but movement. A book, through architecture or by words, must instruct the reader in how to read it. Both are important.

2. For a book review, I remember finding out, after already reading far into the text, that a glossary and notes existed at the back. This changed my reading of the book. With no table of contents and no superscript numbers, how would you know to look for notes and a glossary? Do you flip to the back of the book to see what happens, in case you die before you finish reading,2 in order to know what something means?

4. (a) My book ends with the last sentence of the notes: “And there are many reasons to dance.” 

5. I am talking to my friend Prageeta Sharma, a poet, about notes. She mentions Brian Blanchfield’s Proxies: Essays Near Knowing, which begins with a section called “[A Note].” Blanchfield writes, “At the end of this book there is a rolling endnote called ‘Correction.’ It sets right much—almost certainly not all—of what between here and there I get wrong. It runs to twenty-one pages. It may still be running.” This feels true to me about writing a book. Trying to right it, but in the end, it’s a series of notations and corrections, assertions and deletions. Traces.

6. The poet Rick Barot told me his second book had notes. Not his first and third. And not his fourth, the most recent, The Galleons. He says he is anti-notes now.3 I get that.

28. Are notes like parentheses? (Say it clearly or not at all.) 

7. The writer Michael Martone wrote a book called Michael Martone, and the chapters are written in the style of “Contributors’ Notes” and his contributors’ notes are stories. Contributors’ notes are stories we tell about ourselves; they are fictions. 

10. How are notes different than sources? I wrote notes for many of my essays, but not all of them. Notes were sometimes meant to be a place to credit sources, but they also became their own commentary. They sprawled. I credit writing prompts, editors, readers, and books. Some of that could have been folded into acknowledgments. I credited sources for titles and images. I wrote about the Supreme Court decision legalizing gay marriage during the time and day of our ceremony and why this mattered to me. Actually, that was a kind of afterward.

13. I am writing for the kind of people who read notes. Those are my readers, my people. 

16. (a) In my book there is a coda titled “Voice Texting With My Mother.” I did not title it a coda. At some point I lost track of what needed a classification or title and what could exist as part of the invisible architecture of the book.

18. In her short “A Note from the Author,” Tyrese Coleman writes: “How to Sit [a Memoir in Stories and Essays] challenges the concept that a distinction needs to be made when the work is memory-based, because memories contain their own truth regardless of how they are documented.” 

9. This winter I read Cathy Park Hong’s book of essays, Minor Feelings. I realized, when I reached the end of the book, I had been expecting notes. Her essays are muscular, theoretical, personal, and include history, cultural commentary, friendships, family, and literature—a whole essay on the artist Theresa Hak Kyung Cha and her cross-genre memoir, Dictée. It surprised me to learn I liked the lack of notes in her book. It meant theorists and sources were often foregrounded in the essays themselves. In Hong’s work I saw a different model—the essay as a “coalitional form.” A model that foregrounds voices and perspectives beyond the essayist’s own—one that she credits writers in the tradition of Hilton Als, James Baldwin, and Maggie Nelson. 

19. An introduction is like a toast at a wedding. No, I cannot satisfactorily address so many audiences—pivot—who is an introduction for? Why not just begin? Whose job is it to host?

27. I read the acknowledgments and the notes in most books. I want to know how a book came together.

22. Sometimes I skim the notes.

14. I have to be honest: I am intrigued by the idea of no notes. Maybe for the next book.

 

ENDNOTES

1. After I turned in my proofs last December, I read Cathy Park Hong’s Minor Feelings. Hong writes about Myung Mi Kim, “the first poet who said I [Hong] didn’t need to sound like a white poet nor did I have to ‘translate’ my experiences so that they sounded accessible to a white audience…Illegibility was a political act.” Yes. I believe this.
2. What Harry does in
When Harry Met Sally.
3. [E-mail from Rick] “When I say I’m now ‘anti-notes,’ this mostly refers to my last book, 
The Galleons. There’s a lot of background research in the book, but I didn’t want a notes section to make the book seem like a ‘project’ book.  After all, my research for the book was driven by lyrical sentiment and opportunity—it wasn’t systematic…”

 

Sejal Shah’s debut essay collection, This Is One Way to Dance, will be published by the University of Georgia Press in June. Her writing can be found in Brevity, Conjunctions, Guernica, Kenyon Review, the Literary Review, the Margins, and the Rumpus. She is also the recipient of a 2018 New York Foundation for the Arts fellowship in fiction. Shah is on the faculty of The Rainier Writing Workshop, the low-residency MFA program at Pacific Lutheran University, and lives in Rochester, New York. 

Thumbnail: Judith Browne

Craft Capsule: We Are All Translators

by

Jenny Bhatt

9.21.20

This is no. 73 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Literary translation is about being a close reader in the source language and a skilled writer in the target language. Of course, a language is not merely words, phrases, idioms, diction, and syntax. Languages contain entire cultures within them, entire ways of thinking and being, too. Those of us who translate other writers’ works do so because we want to dive deep and fully immerse ourselves in another world—to pay attention to more than the literal content and preserve the emotions, cultural nuances, and humor from the source to target language.  

This is not unlike how, as readers and writers, we seek to inhabit the worlds of fictional characters. We are all translators. The process of reading involves translating and interpreting the writer’s meaning and intent. The process of writing involves interpreting and giving voice to our own thoughts, which are guided by the things we have read, seen, heard, and experienced. As Mexican poet Octavio Paz famously wrote, “No text is entirely original because language itself, in its essence, is already a translation: firstly, of the nonverbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase.”

Due to the accretions of traditions and culture over centuries, it is not possible to seamlessly transpose two languages when translating. Similarly, due to our conditioning and subjectivity, it is not possible for two readers to read the same text entirely the same way. And it is not possible for two writers to create entirely the same story. A single piece of writing can have multiple acceptable readings and translations due to the flexibility of language, suppleness of imagination, and versatility of craft techniques. 

I was a writer before I became a translator. But I learned to appreciate linguistic, aesthetic, and cultural diversity more profoundly because of translation work. There are ten key practices of the discipline that pull me in each time:

1. Reading a work closely and repetitively to know it, sometimes even better than the original writer.

2. Listening to the tonalities, textures, rhythms, cadences, and diction in both languages to capture the writer’s voice as fully as possible.

3. Learning nuanced meanings of words and phrases in the target language by seeing them used with different specificity and significance in the source language.

4. Hunting for le mot juste that honors the complexities of both languages.

5. Discovering aesthetic reinterpretations of an original work to suit a new readership or audience linguistically, intellectually, and intuitively. 

6. Deliberating over the subtexts, cultural implications, and stylistic choices made by the original writer in the source language to recreate them in the target language without losing any literary merit.

7. Interrogating the politics of the writer, their text, and the source and target languages.

8. Meditating on the original writer’s themes to convey them with the proper intentions and emotions.

9. Deepening my understanding of the world, past and present, by transforming something foreign into something familiar.

10. Negotiating with what remains untranslatable.

With only one book of translation and a handful of shorter works completed, I am still developing these practices into technical proficiencies. However, as each translation project helps me hone and refine my skills, I am also leveraging these lessons more frequently in my reading and writing. Literary translation is, in the end, about actively co-creating a text with its original writer by adding more shape, context, nuance, and texture to it. Aren’t we all better off as readers if we learn to do the same? And aren’t we stronger writers when we draw from, build onto, and expand upon the world of literature that has come before us?

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, Longreads, Poets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Thumbnail: Patrick Tomasso

Craft Capsule: Doors vs. Corridors

by

Will Harris

8.17.20

This is no. 68 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

During the pandemic, with so many doors locked and shuttered, I lived in the corridors of my house. Thom Gunn describes the corridor as a “separate place between the thought and felt”—a place of uncertainty, where thoughts are unformed and feelings suppressed. It’s probably not surprising, then, that the few poems I managed to eke out were meandering, confused, and muffled.

As the architecture of my house extended into what I wrote, I started looking for poems about houses—either set indoors or using the “house” as a metaphor for the craft of poetry. I was trying to work out what kind of house poetry should be, and how much confusion that house might be able to contain. Soon enough I turned to Emily Dickinson: 

I dwell in Possibility –
A fairer House than Prose –
More numerous of Windows –
Superior – for Doors –

I always read this stanza with the ironic hint of the estate agent in her tone (“Superior—for Doors” is particularly funny), which seems to mock the idea you could ever really compare poetry to a house. Though it can feel like using a conceit means committing to it entirely, here the analogy is loosely held, self-consciously tenuous: “If you look to your right, you’ll see some windows. How many? Numerous. And if you look down there, yup, superior doors. You won’t get that with Prose.” The lightness of tone is part of the image she projects about poetry. 

But I read it with another, darker Dickinson poem in the back of my head, this one taking the house less as a metaphor for poetry than for the poet’s interior life:

One need not be a Chamber – to be haunted – 
One need not be a House –
The Brain has Corridors – surpassing 
Material Place

These lines suggest that when you forgo “Material Place” and build your house in “Possibility” you open yourself up to a particular danger: being haunted. Where the other poem began with a confident assertion of habitation—“I dwell”—here the speaker expresses horror at the idea of being dwelt in: “The Brain has Corridors.” The tone is repetitious, fevered, as though the speaker has been running up and down their internal corridors for hours. The effect of this is compounded by the use of the impersonal pronoun “One” and that definite article before “Brain”—not my brain but the brain—which suggests a traumatic detachment from the body; and “surpassing,” hanging at the end of the line makes it feel like those brain corridors are only getting bigger, longer, more labyrinthine. 

What’s missing from the second poem is a door of the kind Dickinson thought made poetry so superior—and without one, there’s no means of escape. Door and corridor may sound related but there’s no etymological link between them. The word door comes from the Old English duru and has always meant the same thing. Corridor is from the Italian corridoio, referring to a “running-place.” They represent two forms of possibility, each reliant on the other: The door is a portal, signifying insight, while the corridor is an in-between place, signifying uncertainty and confusion. 

An important way to understand the corridor might be via the horror film in which a shadowy figure always seems to be lurking at the other end, or the protagonist is trapped, running down an endless dark passage full of locked doors. Where the corridor represents terror, the door is freedom.

*

During lockdown I also turned to Bhanu Kapil’s book How to Wash a Heart and stopped at this section:

When what you perform 
At the threshold
Is at odds 
With what happens
When the front door is closed,
Then you are burning
The toast 
And you are letting the butter
Fester.

The front door is where the internal becomes public, even if briefly. But in order for an act to be meaningful, what you “perform” at the threshold must have some relationship to what happens behind it. Kapil’s lines make me think of those people in expensive houses who voted to privatize Britain’s National Health Service last December and then stepped out onto their doorsteps this spring to clap enthusiastically in support of nurses and carers. They make me think of what the threshold can conceal. The door only has meaning in relation to the corridor.

In early July, Bhanu and I did a reading together on Zoom. She began hers by lighting a small candle. She had some shallots next to her that she’d picked from Wittgenstein’s garden in Cambridge. The effect of these gestures wasn’t just to welcome the listener in. It was to create an open space into which the poem could emerge, where we could meet it. In trying to harmonize inner and outer, in letting out what festers, the distance between our two screens fell away.

After the reading, I thought back to Dickinson’s haunted house poem. It’s driven by a claustrophobic fear of the internal. Even the “External Ghost” or hidden “Assassin” (other threats that feature in Dickinson’s poem) are less terrifying than the prospect of “self encounter.” The self is a more ambiguous, volatile element. It could stay hidden forever: “Ourself, behind ourself concealed,” reads one line in the poem. You might think you’ve turned a corner, the front door in sight, only to find yourself lost down another passageway. 

But this is only a nightmare if you’re looking for a door. The beauty of Kapil’s How to Wash a Heart lies in its openness: “I want to be split / Into two parts / Or a thousand pieces.” The self that’s been split into a thousand pieces has nothing to lose. What’s not whole cannot be broken. Likewise, the poem doesn’t have to form a coherent whole—a portal to insight. It doesn’t have to involve finding the right door and standing outside of it proudly. It can also mean walking the corridors, afraid and confused.

 

Will Harris is the author of the poetry collection RENDANG (Wesleyan University Press, 2020), which was selected as a Poetry Book Society Choice and shortlisted for the Forward Prize for Best First Collection. He has worked in schools and led workshops at the Southbank Centre and currently teaches for the Poetry School. A contributing editor at the Rialto, he lives in London. 

Thumbnail: Kilarov Zaneit

Craft Capsule: The Authority of Black Childhood

by

Joy Priest

7.6.20

This is no. 64 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Outside / its case, the mind is a beehive / fallen in the wild grasses / of an abandoned playground.

— from “Ars Poetica” by Joy Priest

It’s January 2, 2020. I’m traveling by car with a painter back to the artists’ compound that I’m staying at for a seven-month residency—a blip-stage between the MFA I finished in May 2019 and the PhD I will start in August 2020, a deliberate detour in the longer academic-poet road on which I find myself. About it, slightly in mourning. Alone in study, but wholeheartedly wanting to be closer to the people in this poetry thing.

The painter has found a way to subsist outside the university engine, working in the residency office, leading Zumba classes in the morning, painting in her studio at night. We’re talking about what academia does to artists, and, as we’re riding—from Wellfleet back to Provincetown, at the very tip of the Cape, isolated at the end of the land—she says, “I really do feel like this chapter for me has been about unlearning.”

*

“Sometimes a moment of liberation is suspended by the tight grip of contradiction,” my friend Bernardo says, which captures this moment I have in the car with the painter, as well as the larger social context we’re sailing through like a tiny, mobile dot on the periphery of the U.S. map. I was liberated by the painter’s articulation but jealous that I hadn’t pulled it out of my subconscious first: unlearning. This had been my project for the first three months of the fellowship, but I’d thought I was wasting time because that project had not yet been named. Wasting time—a feeling shaped by the values of academia, a microcosm of our larger society and its ailing imagination, which burdens artists and writers with paradigms of productivity and surplus contributions to an inaccessible archive. I had been unlearning that.

*

Usually, when stuck in a vehicle, poetry-talk is boring at worst, frustrating at best. A Lyft driver or seatmate on a plane will inevitably ask, “When did you start writing poetry?” I find this frustrating because I haven’t yet crafted a creative approach to the question, but, more importantly, because such a question precludes the true answer.

*

I was a better poet when I was a child.

During the nineties in Kentucky, I was a child in solitude. There was a lack of artificial stimuli, my technology limited to a Sega Genesis that I spent more time blowing dust from than playing. My single mother was at work. The only other person in the house was my grandfather, a man in his seventies, who—I didn’t know at the time—was white. He defined our relationship with board games, puzzles, basketball, or boxing on a box TV set—the technology of his time. With his racist perspectives, he attempted to define my identity, which I didn’t yet understand, but felt, intuitively. 

In place of understanding, in place of the internet, I cultivated a practice in noticing. This is how I developed my approach to the page, before I had an awareness of “craft.” Poetry wasn’t what I did or what I started doing in a single moment from the past onward, it was the way I thought, who I had to be in my grandfather’s household, the way my mind worked to make sense of something.

There isn’t a single event that led to me becoming a poet. There isn’t a beginning to me writing poetry—there is only the beginner’s mind. This is what I find myself trying to get back to in my unlearning: the authority of a child’s imagination—what we possess before we are fully indoctrinated into adulthood and the accepted ways of making sense of things. 

*

I spent a lot of time outside of my grandfather’s house, in the backyard. My mind was a beehive. A chaotic, intuitive knot of thought-impulses that I needed to wrest apart, investigate, ruminate on, understand. I found myself watching the ants at ground-level, making a daily visit to the carpenter bees and their perfectly round holes in the rotting wood. 

When I was inside, I noticed the difference between my grandfather’s skin and mine. I knew my hair was more like the hair of darker people, who he was always saying bad things about. I knew that he didn’t want me to be like them, but I couldn’t understand why. I couldn’t understand why, but I could notice. I kept a record of these little noticings as a substitute for clarity around what I was noticing. This conversation with myself as a Black child supplemented what I learned, or what adults sought to teach me (what a white child learns or is taught by white adults). This practice of noticing, or overhearing, was my seminal craft approach. 

*

Pulling away the scaffolding of craft “knowledge,” which I’ve accumulated as an adult poet, has led me to this—notebooks full of little noticings and meditations, overhearings and mishearings, notions that haunt me, lines that keep coming up. Writing a poem this way becomes less strained: that accumulation of craft had become a cheesecloth through which I struggled to write. 

These little noticings are the only way I wish to start a poem, or any conversation about craft. It is how I get closer to an understanding of what something or someone—my imaginary friend, my ancestors, my intuition, the flora and fauna—is trying to tell me, and I embrace this as a spiritual craft as well as a technical one. It is my resistance to the limits of the U.S. popular imagination, which condescends to the childhood imagination in tropes and shorthand, which does not know, can no longer remember, what the child knows.

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Thumbnail: Dustin Humes

Craft Capsule: On Becoming a Pop Star, I Mean, a Poet

by

Chen Chen

11.2.20

This is no. 77 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1. I started to write poetry because of a secret that I had trouble sharing even with myself.

2. I continue to write poetry because, in the fifth grade, my short story about a pregnant witch living in Venice received the following peer critique: “You do know it takes nine months for the baby to grow inside the mom, not two?” I write poetry because I wish I’d responded, “You do know this is a witch baby???” 

3. I knew I would always be a poet after a barely audible “goodbye” in the doorway of a tenth-floor apartment. How there was no elevator and it was the middle of summer and I had to walk down and down those stairs. 

4. I wake up craving poetry because Sawako Nakayasu once said, “I work mostly in poetry because it claims to be neither fiction nor nonfiction, because it acknowledges the gap between what really was or is, and what is said about it.”1 

5. Poetry because French class, Russian class. Because Mandarin and English and Hokkien at home. Because English. Because I learn and learn, then forget so much Mandarin. Because I forgot all my Hokkien2 by age seven. Poetry because my first-year advisor in college, a professor of Russian Studies, asked me why all my three-page Tolstoy responses were so late. “Go on,” she said, “give us your narrative.” Poems because I loved how her prompt was a comment on the expected form of my response. Poet because I said, “Time management’s an issue,” which really meant I wanted every paper to be about everything and I wanted Takeshi Kaneshiro’s character in Chungking Express and I wanted Takeshi Kaneshiro and was rewatching the film over and over and Googling stills. 

6. In eighth grade I began writing poetry outside of school assignments because I couldn’t keep imitating Robert Frost. I kept writing poetry because it seemed no one else with a secret like this looked like me.

7. Poet because I am a failed musician. Failed painter. Failed scientist obsessed with the moon.3 Failed gymnast, though once I was very, very good at cartwheeling. Poetry because my favorite scenes in Power Rangers were when, instead of running, they all backflipped and backflipped to where the fighting would take place.

8. The violence of the state. The silence of the h in French words, like homme. How violent, many homes. To ask, “Where is home?” as if it’s ever a simple question. To say, “I have a home” as if it’s an unremarkable statement. To say “I have” in Russian, you use a genitive construction that translates to the awkward English, “At me there is.” At home the adults asked, “Why did you get an A-?” in three different languages; there were no questions about whether I would ever start hating myself for what and whom I loved.   

9. I continue to read poetry because it seems every poem has a big secret at its core and I always want to know if it’s a big gay secret. Because Anna Akhmatova wrote, “Sunset in the ethereal waves: / I cannot tell if the day / is ending, or the world, or if / the secret of secrets is inside me again”4 and that seems pretty gay to me. Because Denise Levertov wrote, “Two girls discover / the secret of life / in a sudden line of / poetry”5 and that sounds definitely gay. 

Because for years I had to settle for subtext and total projection. 

Because when I found Justin Chin’s Bite Hard in a college library, I glanced at just one poem then added the book to my stack to check out. Because I moved it to the middle of the stack, as if hiding it from both the sky and the ground. Because I was so moved to see both “Chinese New Year” and “ex-boyfriends” in one poem. Because was it hide or protect, and do I know the difference now? 

10. In English, I still have trouble with lie versus lay, which I always feel ashamed to admit, though I know English is a troublesome, troubling language that makes one want to lay down, to lie one’s body on its side till all one’s lies have tumbled out from one’s head and belly, and are lain out like one single shadow-body of a liar on the grass. 

11. I started off as a fiction writer. 

12.  I started as a reader of fantastical literature, a writer of both fantasy and science fiction. I started on the playground, telling friends that the jungle gym was a spaceship and we’d better hurry onboard before it took off: “Danny, you’re new to the cause, like me. Amanda, you’re the chosen one, our only hope.” I couldn’t get enough of the galactic, magic, any-kind-of-epic mission; the dueling-with-lasers-or-wands journey. I acted them out, wrote them down. 

Moments of poetry occurred in my stories when I stayed too long in the pocket dimension of an emotion; when I strayed too far into the magic of an image; when I mismanaged the time and leapt through the wormhole/plot-hole back to my implausible Venice and its witch baby. Poetry erupted when I couldn’t keep performing the narrative I was supposed to—that of a boy who liked Amandas, not Dannys. 

13. Looking back, dueling with lasers or wands sounds definitely phallic. 

14. I became a poet after my friends no longer wanted to play the games we made up. After they decided to only play games that would help them grow up. But growing up, for me, meant no longer just playing at, dancing around what I desired. And some days I wanted to grow up. And some days I wanted to die. 

15. I had to Google “coming out.” I had to Google “lie vs. lay.” I had to Google “gay and Asian” and found mainly what white men had to say about bodies like mine. I had to Google “gay Asian American literature.” I had to Google “queer.” I had to Google “fag.” I had to search for one sentence with “I” that eventually I could say out loud. 

16. Poems became my favorite way of telling stories because poems can tell a secret and talk about telling that secret and along the way become another secret.

17. Of course, all this can and does happen in other genres too. And when I write poems I’m drawing on aspects of fantastical fiction, autobiography, realist fiction, standup comedy, Tolstoy as much as Takeshi Kaneshiro, TV shows that got way too many seasons, and elements I don’t want to be able to name. In recent years, lots of prose poems and lyric essay–esque pieces have been showing their blocky faces to me. And very recently, a teensy spoonful of fiction. To call myself poet just makes the most sense, personally, creatively. Poet is where I feel freest to do this and that and wtf.

18. Some nights I just want to be an international sex symbol/pop star with Grammy-worthy vocal chops but still a ton of totally relatable habits, like eating bread. I envy the pop song that can end simply6 by repeating its chorus over and over, slowly fading out yet also burrowing itself into your ear. 

19. A barely audible “hey” in the collapsed year. The violence of state-sanctioned language. My own unbroken, snowy silences. To ask “Where is home?” as if there is one answer. To write home in a poem, like a poem could be a home—is this happy or sad? Strange yet not uncommon, to weep with and into joy. A form of power, a kind of language: to weep and disobey silence. My favorite silence is a space for thought, is spaciousness. A wormhole named Maybe. A parallel galaxy called Another Way. 

20. I continue to poet because now I have all these poet friends who’ll text me to ask what poems I’m writing and I have to start writing again so they’ll stop bugging me and I never want them to stop. 

I continue to poet because I’m not satisfied with the definitions behind, the narratives around “coming out,” “lie vs. lay,” “gay and Asian,” “gay Asian American literature,” “queer,” “fag.” I am always trying to say the everything I’ve lived, am living, but I never want to feel like I’ve said it all. 

For years I believed poetry was the only place where I could be all my selves, any self. I wrote, trying to answer the question, “How can a poem hold the myriad me’s and realms and loves and ferocities and shards and velocities—this whole multiverse that the life cannot, yet?” But can a poem do this? A book of poems? Is poetry a place? 

I am a poet because I ask poetry to do too much, and then it does it. 

 

ENDNOTES

1. From a working note that prefaced a set of Nakayasu’s poems published in How2
2. Except what my parents call each other. 
3. What joy! Poets! Not caring one bit how annoying we are when we go on and on about the moon!
4. “A land not mine,” translated by Jane Kenyon in
From Room to Room (Alice James Books, 1978). 
5. “The Secret” in
O Taste and See (New Directions, 1964). 
6. With the best pop music, this is no simple feat; the chorus has to be excellent.

 

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions, 2017), which was longlisted for the National Book Award for Poetry and won the Publishing Triangle Thom Gunn Award. His work has appeared in many publications, including Poetry and the 2015 and 2019 editions of The Best American Poetry. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence. 

Thumbnail: Romain Gille

Craft Capsule: We Are All Translators

by

Jenny Bhatt

9.21.20

This is no. 73 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Literary translation is about being a close reader in the source language and a skilled writer in the target language. Of course, a language is not merely words, phrases, idioms, diction, and syntax. Languages contain entire cultures within them, entire ways of thinking and being, too. Those of us who translate other writers’ works do so because we want to dive deep and fully immerse ourselves in another world—to pay attention to more than the literal content and preserve the emotions, cultural nuances, and humor from the source to target language.  

This is not unlike how, as readers and writers, we seek to inhabit the worlds of fictional characters. We are all translators. The process of reading involves translating and interpreting the writer’s meaning and intent. The process of writing involves interpreting and giving voice to our own thoughts, which are guided by the things we have read, seen, heard, and experienced. As Mexican poet Octavio Paz famously wrote, “No text is entirely original because language itself, in its essence, is already a translation: firstly, of the nonverbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase.”

Due to the accretions of traditions and culture over centuries, it is not possible to seamlessly transpose two languages when translating. Similarly, due to our conditioning and subjectivity, it is not possible for two readers to read the same text entirely the same way. And it is not possible for two writers to create entirely the same story. A single piece of writing can have multiple acceptable readings and translations due to the flexibility of language, suppleness of imagination, and versatility of craft techniques. 

I was a writer before I became a translator. But I learned to appreciate linguistic, aesthetic, and cultural diversity more profoundly because of translation work. There are ten key practices of the discipline that pull me in each time:

1. Reading a work closely and repetitively to know it, sometimes even better than the original writer.

2. Listening to the tonalities, textures, rhythms, cadences, and diction in both languages to capture the writer’s voice as fully as possible.

3. Learning nuanced meanings of words and phrases in the target language by seeing them used with different specificity and significance in the source language.

4. Hunting for le mot juste that honors the complexities of both languages.

5. Discovering aesthetic reinterpretations of an original work to suit a new readership or audience linguistically, intellectually, and intuitively. 

6. Deliberating over the subtexts, cultural implications, and stylistic choices made by the original writer in the source language to recreate them in the target language without losing any literary merit.

7. Interrogating the politics of the writer, their text, and the source and target languages.

8. Meditating on the original writer’s themes to convey them with the proper intentions and emotions.

9. Deepening my understanding of the world, past and present, by transforming something foreign into something familiar.

10. Negotiating with what remains untranslatable.

With only one book of translation and a handful of shorter works completed, I am still developing these practices into technical proficiencies. However, as each translation project helps me hone and refine my skills, I am also leveraging these lessons more frequently in my reading and writing. Literary translation is, in the end, about actively co-creating a text with its original writer by adding more shape, context, nuance, and texture to it. Aren’t we all better off as readers if we learn to do the same? And aren’t we stronger writers when we draw from, build onto, and expand upon the world of literature that has come before us?

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, Longreads, Poets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Thumbnail: Patrick Tomasso

Craft Capsule: Doors vs. Corridors

by

Will Harris

8.17.20

This is no. 68 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

During the pandemic, with so many doors locked and shuttered, I lived in the corridors of my house. Thom Gunn describes the corridor as a “separate place between the thought and felt”—a place of uncertainty, where thoughts are unformed and feelings suppressed. It’s probably not surprising, then, that the few poems I managed to eke out were meandering, confused, and muffled.

As the architecture of my house extended into what I wrote, I started looking for poems about houses—either set indoors or using the “house” as a metaphor for the craft of poetry. I was trying to work out what kind of house poetry should be, and how much confusion that house might be able to contain. Soon enough I turned to Emily Dickinson: 

I dwell in Possibility –
A fairer House than Prose –
More numerous of Windows –
Superior – for Doors –

I always read this stanza with the ironic hint of the estate agent in her tone (“Superior—for Doors” is particularly funny), which seems to mock the idea you could ever really compare poetry to a house. Though it can feel like using a conceit means committing to it entirely, here the analogy is loosely held, self-consciously tenuous: “If you look to your right, you’ll see some windows. How many? Numerous. And if you look down there, yup, superior doors. You won’t get that with Prose.” The lightness of tone is part of the image she projects about poetry. 

But I read it with another, darker Dickinson poem in the back of my head, this one taking the house less as a metaphor for poetry than for the poet’s interior life:

One need not be a Chamber – to be haunted – 
One need not be a House –
The Brain has Corridors – surpassing 
Material Place

These lines suggest that when you forgo “Material Place” and build your house in “Possibility” you open yourself up to a particular danger: being haunted. Where the other poem began with a confident assertion of habitation—“I dwell”—here the speaker expresses horror at the idea of being dwelt in: “The Brain has Corridors.” The tone is repetitious, fevered, as though the speaker has been running up and down their internal corridors for hours. The effect of this is compounded by the use of the impersonal pronoun “One” and that definite article before “Brain”—not my brain but the brain—which suggests a traumatic detachment from the body; and “surpassing,” hanging at the end of the line makes it feel like those brain corridors are only getting bigger, longer, more labyrinthine. 

What’s missing from the second poem is a door of the kind Dickinson thought made poetry so superior—and without one, there’s no means of escape. Door and corridor may sound related but there’s no etymological link between them. The word door comes from the Old English duru and has always meant the same thing. Corridor is from the Italian corridoio, referring to a “running-place.” They represent two forms of possibility, each reliant on the other: The door is a portal, signifying insight, while the corridor is an in-between place, signifying uncertainty and confusion. 

An important way to understand the corridor might be via the horror film in which a shadowy figure always seems to be lurking at the other end, or the protagonist is trapped, running down an endless dark passage full of locked doors. Where the corridor represents terror, the door is freedom.

*

During lockdown I also turned to Bhanu Kapil’s book How to Wash a Heart and stopped at this section:

When what you perform 
At the threshold
Is at odds 
With what happens
When the front door is closed,
Then you are burning
The toast 
And you are letting the butter
Fester.

The front door is where the internal becomes public, even if briefly. But in order for an act to be meaningful, what you “perform” at the threshold must have some relationship to what happens behind it. Kapil’s lines make me think of those people in expensive houses who voted to privatize Britain’s National Health Service last December and then stepped out onto their doorsteps this spring to clap enthusiastically in support of nurses and carers. They make me think of what the threshold can conceal. The door only has meaning in relation to the corridor.

In early July, Bhanu and I did a reading together on Zoom. She began hers by lighting a small candle. She had some shallots next to her that she’d picked from Wittgenstein’s garden in Cambridge. The effect of these gestures wasn’t just to welcome the listener in. It was to create an open space into which the poem could emerge, where we could meet it. In trying to harmonize inner and outer, in letting out what festers, the distance between our two screens fell away.

After the reading, I thought back to Dickinson’s haunted house poem. It’s driven by a claustrophobic fear of the internal. Even the “External Ghost” or hidden “Assassin” (other threats that feature in Dickinson’s poem) are less terrifying than the prospect of “self encounter.” The self is a more ambiguous, volatile element. It could stay hidden forever: “Ourself, behind ourself concealed,” reads one line in the poem. You might think you’ve turned a corner, the front door in sight, only to find yourself lost down another passageway. 

But this is only a nightmare if you’re looking for a door. The beauty of Kapil’s How to Wash a Heart lies in its openness: “I want to be split / Into two parts / Or a thousand pieces.” The self that’s been split into a thousand pieces has nothing to lose. What’s not whole cannot be broken. Likewise, the poem doesn’t have to form a coherent whole—a portal to insight. It doesn’t have to involve finding the right door and standing outside of it proudly. It can also mean walking the corridors, afraid and confused.

 

Will Harris is the author of the poetry collection RENDANG (Wesleyan University Press, 2020), which was selected as a Poetry Book Society Choice and shortlisted for the Forward Prize for Best First Collection. He has worked in schools and led workshops at the Southbank Centre and currently teaches for the Poetry School. A contributing editor at the Rialto, he lives in London. 

Thumbnail: Kilarov Zaneit

Craft Capsule: Writing Hot

by

Jordan Kisner

11.30.20

This is no. 80 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was a writing student, a professor once commented to me that my writing was a little intense. I don’t remember exactly what he said, and he wasn’t unkind, but it was something like “Your writing is always at eleven,” or “Your writing is always just so hot-blooded.” 

This comment elicited a mixed reaction at the time. I wasn’t proud. I didn’t sense that this was a compliment. He was giving me a note: Learn to tone it down sometimes. It felt respectful in its way, as if he were saying, “Okay, you can write like your hair is on fire, but make sure that’s not the only thing you can do.” Which is a good and teacherly thing to do, to discourage a student from leaning too heavily on the thing that feels good, to point out tics and habits. But as a young writer—a female writer, a queer writer—to hear an older male professor note that your work is unrelentingly intense can set off a clamor of questions, insecurities, suspicions, irritations, doubts, shames. This is maybe especially the case when the young writer is writing (as I was) about her own life and self, the source of this overmuchness. 

So I was a little embarrassed, concerned that “intense” was code for melodramatic, maudlin, tacky, purple. Childish. Overfeminine. Hysterical. But also, I wanted to be an intense writer. What was the point of writing if it wasn’t vivid and compelling, if it wasn’t transporting, if it didn’t make you rock back in your seat? I wrote then, and write now, I suppose, to express an intensity to the condition of being, an aliveness that feels full and bewildering. 

After that, though, I spent several years trying to write in a way that was hot-blooded, or full of feeling, but also somehow cool. Writing that was fierce and ardent while being unimpeachably in control of itself. I’ve tried a few ways to do this over the years. The first, maybe, we’ll call The Didion method: Bury feeling in a near-hysterical radiance of detail or texture when describing absolutely mundane things like sock brands; directly reference imminent emotional breakdown (or past breakdown) in prose so deadpan and commanding it seems like possibly a complex joke. Then there is what we might call The Nelson: Go straight to eleven, get poetic and hot about sex, love, heartbreak, pain, and then stave off accusations of mawkishness with theory and academically rigorous discussions of the sex. 

I love both these methods—and Joan Didion and Maggie Nelson—but lately I’ve been thinking about what you lose when you insist on cooling down your prose. Early this summer I had a conversation with Ocean Vuong on my Thresholds podcast during which he spoke about his reclamation of prose that some might dismiss as purple. “I am interested in using a style that a lot of men have deemed too prissy for them to use in the present,” he told me. “It feels like drag to me—to be extra! There’s too much glitter because we want to be blindingly present and seen.” He was speaking about the historical moment when emotional and beautiful writing was deemed feminine and therefore less worthy, and the way that as a [queer] man he might begin to excavate and subvert that. He reminded me, also, that you can find fun and even joy in just going ahead and writing at eleven, writing hot, writing like your hair is on fire—to be blindingly present and seen.  

 

Jordan Kisner is the author of the essay collection Thin Places (Farrar, Straus and Giroux, 2020). Her writing has also appeared in the Atlantic, the Believer, the Guardian, n+1, the New York Times Magazine, and the Paris Review Daily. The recipient of fellowships from Pioneer Works, the Millay Colony for the Arts, and Art Omi, she is currently a fellow at the Black Mountain Institute in Las Vegas. 

Thumbnail: Dmitry Bayer

Craft Capsule: On Becoming a Pop Star, I Mean, a Poet

by

Chen Chen

11.2.20

This is no. 77 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1. I started to write poetry because of a secret that I had trouble sharing even with myself.

2. I continue to write poetry because, in the fifth grade, my short story about a pregnant witch living in Venice received the following peer critique: “You do know it takes nine months for the baby to grow inside the mom, not two?” I write poetry because I wish I’d responded, “You do know this is a witch baby???” 

3. I knew I would always be a poet after a barely audible “goodbye” in the doorway of a tenth-floor apartment. How there was no elevator and it was the middle of summer and I had to walk down and down those stairs. 

4. I wake up craving poetry because Sawako Nakayasu once said, “I work mostly in poetry because it claims to be neither fiction nor nonfiction, because it acknowledges the gap between what really was or is, and what is said about it.”1 

5. Poetry because French class, Russian class. Because Mandarin and English and Hokkien at home. Because English. Because I learn and learn, then forget so much Mandarin. Because I forgot all my Hokkien2 by age seven. Poetry because my first-year advisor in college, a professor of Russian Studies, asked me why all my three-page Tolstoy responses were so late. “Go on,” she said, “give us your narrative.” Poems because I loved how her prompt was a comment on the expected form of my response. Poet because I said, “Time management’s an issue,” which really meant I wanted every paper to be about everything and I wanted Takeshi Kaneshiro’s character in Chungking Express and I wanted Takeshi Kaneshiro and was rewatching the film over and over and Googling stills. 

6. In eighth grade I began writing poetry outside of school assignments because I couldn’t keep imitating Robert Frost. I kept writing poetry because it seemed no one else with a secret like this looked like me.

7. Poet because I am a failed musician. Failed painter. Failed scientist obsessed with the moon.3 Failed gymnast, though once I was very, very good at cartwheeling. Poetry because my favorite scenes in Power Rangers were when, instead of running, they all backflipped and backflipped to where the fighting would take place.

8. The violence of the state. The silence of the h in French words, like homme. How violent, many homes. To ask, “Where is home?” as if it’s ever a simple question. To say, “I have a home” as if it’s an unremarkable statement. To say “I have” in Russian, you use a genitive construction that translates to the awkward English, “At me there is.” At home the adults asked, “Why did you get an A-?” in three different languages; there were no questions about whether I would ever start hating myself for what and whom I loved.   

9. I continue to read poetry because it seems every poem has a big secret at its core and I always want to know if it’s a big gay secret. Because Anna Akhmatova wrote, “Sunset in the ethereal waves: / I cannot tell if the day / is ending, or the world, or if / the secret of secrets is inside me again”4 and that seems pretty gay to me. Because Denise Levertov wrote, “Two girls discover / the secret of life / in a sudden line of / poetry”5 and that sounds definitely gay. 

Because for years I had to settle for subtext and total projection. 

Because when I found Justin Chin’s Bite Hard in a college library, I glanced at just one poem then added the book to my stack to check out. Because I moved it to the middle of the stack, as if hiding it from both the sky and the ground. Because I was so moved to see both “Chinese New Year” and “ex-boyfriends” in one poem. Because was it hide or protect, and do I know the difference now? 

10. In English, I still have trouble with lie versus lay, which I always feel ashamed to admit, though I know English is a troublesome, troubling language that makes one want to lay down, to lie one’s body on its side till all one’s lies have tumbled out from one’s head and belly, and are lain out like one single shadow-body of a liar on the grass. 

11. I started off as a fiction writer. 

12.  I started as a reader of fantastical literature, a writer of both fantasy and science fiction. I started on the playground, telling friends that the jungle gym was a spaceship and we’d better hurry onboard before it took off: “Danny, you’re new to the cause, like me. Amanda, you’re the chosen one, our only hope.” I couldn’t get enough of the galactic, magic, any-kind-of-epic mission; the dueling-with-lasers-or-wands journey. I acted them out, wrote them down. 

Moments of poetry occurred in my stories when I stayed too long in the pocket dimension of an emotion; when I strayed too far into the magic of an image; when I mismanaged the time and leapt through the wormhole/plot-hole back to my implausible Venice and its witch baby. Poetry erupted when I couldn’t keep performing the narrative I was supposed to—that of a boy who liked Amandas, not Dannys. 

13. Looking back, dueling with lasers or wands sounds definitely phallic. 

14. I became a poet after my friends no longer wanted to play the games we made up. After they decided to only play games that would help them grow up. But growing up, for me, meant no longer just playing at, dancing around what I desired. And some days I wanted to grow up. And some days I wanted to die. 

15. I had to Google “coming out.” I had to Google “lie vs. lay.” I had to Google “gay and Asian” and found mainly what white men had to say about bodies like mine. I had to Google “gay Asian American literature.” I had to Google “queer.” I had to Google “fag.” I had to search for one sentence with “I” that eventually I could say out loud. 

16. Poems became my favorite way of telling stories because poems can tell a secret and talk about telling that secret and along the way become another secret.

17. Of course, all this can and does happen in other genres too. And when I write poems I’m drawing on aspects of fantastical fiction, autobiography, realist fiction, standup comedy, Tolstoy as much as Takeshi Kaneshiro, TV shows that got way too many seasons, and elements I don’t want to be able to name. In recent years, lots of prose poems and lyric essay–esque pieces have been showing their blocky faces to me. And very recently, a teensy spoonful of fiction. To call myself poet just makes the most sense, personally, creatively. Poet is where I feel freest to do this and that and wtf.

18. Some nights I just want to be an international sex symbol/pop star with Grammy-worthy vocal chops but still a ton of totally relatable habits, like eating bread. I envy the pop song that can end simply6 by repeating its chorus over and over, slowly fading out yet also burrowing itself into your ear. 

19. A barely audible “hey” in the collapsed year. The violence of state-sanctioned language. My own unbroken, snowy silences. To ask “Where is home?” as if there is one answer. To write home in a poem, like a poem could be a home—is this happy or sad? Strange yet not uncommon, to weep with and into joy. A form of power, a kind of language: to weep and disobey silence. My favorite silence is a space for thought, is spaciousness. A wormhole named Maybe. A parallel galaxy called Another Way. 

20. I continue to poet because now I have all these poet friends who’ll text me to ask what poems I’m writing and I have to start writing again so they’ll stop bugging me and I never want them to stop. 

I continue to poet because I’m not satisfied with the definitions behind, the narratives around “coming out,” “lie vs. lay,” “gay and Asian,” “gay Asian American literature,” “queer,” “fag.” I am always trying to say the everything I’ve lived, am living, but I never want to feel like I’ve said it all. 

For years I believed poetry was the only place where I could be all my selves, any self. I wrote, trying to answer the question, “How can a poem hold the myriad me’s and realms and loves and ferocities and shards and velocities—this whole multiverse that the life cannot, yet?” But can a poem do this? A book of poems? Is poetry a place? 

I am a poet because I ask poetry to do too much, and then it does it. 

 

ENDNOTES

1. From a working note that prefaced a set of Nakayasu’s poems published in How2
2. Except what my parents call each other. 
3. What joy! Poets! Not caring one bit how annoying we are when we go on and on about the moon!
4. “A land not mine,” translated by Jane Kenyon in
From Room to Room (Alice James Books, 1978). 
5. “The Secret” in
O Taste and See (New Directions, 1964). 
6. With the best pop music, this is no simple feat; the chorus has to be excellent.

 

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions, 2017), which was longlisted for the National Book Award for Poetry and won the Publishing Triangle Thom Gunn Award. His work has appeared in many publications, including Poetry and the 2015 and 2019 editions of The Best American Poetry. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence. 

Thumbnail: Romain Gille

Craft Capsule: We Are All Translators

by

Jenny Bhatt

9.21.20

This is no. 73 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Literary translation is about being a close reader in the source language and a skilled writer in the target language. Of course, a language is not merely words, phrases, idioms, diction, and syntax. Languages contain entire cultures within them, entire ways of thinking and being, too. Those of us who translate other writers’ works do so because we want to dive deep and fully immerse ourselves in another world—to pay attention to more than the literal content and preserve the emotions, cultural nuances, and humor from the source to target language.  

This is not unlike how, as readers and writers, we seek to inhabit the worlds of fictional characters. We are all translators. The process of reading involves translating and interpreting the writer’s meaning and intent. The process of writing involves interpreting and giving voice to our own thoughts, which are guided by the things we have read, seen, heard, and experienced. As Mexican poet Octavio Paz famously wrote, “No text is entirely original because language itself, in its essence, is already a translation: firstly, of the nonverbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase.”

Due to the accretions of traditions and culture over centuries, it is not possible to seamlessly transpose two languages when translating. Similarly, due to our conditioning and subjectivity, it is not possible for two readers to read the same text entirely the same way. And it is not possible for two writers to create entirely the same story. A single piece of writing can have multiple acceptable readings and translations due to the flexibility of language, suppleness of imagination, and versatility of craft techniques. 

I was a writer before I became a translator. But I learned to appreciate linguistic, aesthetic, and cultural diversity more profoundly because of translation work. There are ten key practices of the discipline that pull me in each time:

1. Reading a work closely and repetitively to know it, sometimes even better than the original writer.

2. Listening to the tonalities, textures, rhythms, cadences, and diction in both languages to capture the writer’s voice as fully as possible.

3. Learning nuanced meanings of words and phrases in the target language by seeing them used with different specificity and significance in the source language.

4. Hunting for le mot juste that honors the complexities of both languages.

5. Discovering aesthetic reinterpretations of an original work to suit a new readership or audience linguistically, intellectually, and intuitively. 

6. Deliberating over the subtexts, cultural implications, and stylistic choices made by the original writer in the source language to recreate them in the target language without losing any literary merit.

7. Interrogating the politics of the writer, their text, and the source and target languages.

8. Meditating on the original writer’s themes to convey them with the proper intentions and emotions.

9. Deepening my understanding of the world, past and present, by transforming something foreign into something familiar.

10. Negotiating with what remains untranslatable.

With only one book of translation and a handful of shorter works completed, I am still developing these practices into technical proficiencies. However, as each translation project helps me hone and refine my skills, I am also leveraging these lessons more frequently in my reading and writing. Literary translation is, in the end, about actively co-creating a text with its original writer by adding more shape, context, nuance, and texture to it. Aren’t we all better off as readers if we learn to do the same? And aren’t we stronger writers when we draw from, build onto, and expand upon the world of literature that has come before us?

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, Longreads, Poets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Thumbnail: Patrick Tomasso

Craft Capsule: Creating a Seasonal Writing Practice

by

Khadijah Queen

1.4.21

This is no. 84 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

The pandemic, social uprisings, and a volatile political climate—superimposed upon family and work responsibilities, as well as health challenges—has made a regular writing practice impossible over the past ten months. Essays I pitched early in the year didn’t materialize, and only a handful of terribly sad poems arrived in usable condition. The one longform piece I did finish—a zuihitsu that appeared in Harper’s—was about the pandemic, written in April and May as I worried terribly about the health and safety of family members who were sick, and some who are still frontline workers. As a relatively prolific writer, with six published books since 2008 and four more currently in various stages of completion, I’m trying to see my current lack of time and energy to write as a side effect of all that’s happening in the world, but I don’t want to give up on a regular writing practice. To that end, I want to reenvision possibilities for that practice while taking into account the new reality. 

This isn’t the first time I’ve had to adapt to complicated circumstances; I’ve tried many different kinds of writing practices over the past two decades. My early years of writing consisted of recording lines on my lunch breaks and during lulls at my day jobs, and a few minutes in my car before entering the house in the evening. When my son got older, I somehow managed six years of a daily writing practice, usually a half hour at 5:30 AM with a cup of tea and a blueberry muffin. When I had an emergency appendectomy in 2015, my writing routine tanked as I recovered. Slowly I built back up to weekend flurries, and that lasted long enough for me to complete my fifth book. Then I wrote during intensely concentrated weeks and months for three and a half years of doctoral study, resulting in one book of poetry, the first draft of a memoir and a 270-page critical dissertation by the end of 2019. After all that writing, all I wanted was a break, so I took a couple of months. Then the pandemic happened, and the writing—didn’t. As a person who really needs an intentional writing routine, I felt at a loss. 

How, with mounting caregiving, health issues and work responsibilities, would I fit in regular writing time? I struggled for months, until I hit upon the one thing I hadn’t tried yet—seasons. Thinking in terms of seasons avoids the specificity (and requisite pressure) of calendar dates and days of the week. A seasonal practice could preserve writing goals more gently and flexibly. It might include thematic prompts—write about lightness and travel in summer, or perhaps reflect on freedom; focus on renewal and revisit the pastoral or the aubade in spring; delve into darkness, list modes of comfort, and maybe address grief in winter; autumn writing might spotlight transformation and beauty. Autumn is my favorite season. I love wearing knee boots and turtleneck sweaters and leather gloves, love the early October riot of color in the trees. You can of course define for yourself what each season means. Collect keywords over the year that can provide lasting inspiration. 

Let’s also pause here and define “writing goals.” For me that’s mostly meant books, and that hasn’t changed. But I’ve had to think smaller when it comes to productivity even as I continue to envision larger projects. To avoid becoming overwhelmed, maybe I’ll choose a single element to work on, such as order, or beginnings and endings. For a seasonal practice, choosing writing goals that can be adjusted as needed, and granting yourself the easement of non-specified time to work, seems more than reasonable right now.  

If you have an impending deadline in early February, maybe you’ll work only on the coldest days, when outside pursuits aren’t accessible. In summer, if you enjoy writing outside like I do, choose the sunniest days to work on a patio, or at a socially distant café. If you have a deadline that isn’t urgent, try softening it. Make one date—or date range!—for a first draft, another for draft two, another for draft three. After each draft, especially if it’s spring, buy yourself fresh flowers. Get as much done as you can, then reward yourself with an evening walk or morning drive, weather permitting. These are just a few basic suggestions, and you can adjust goals (and rewards) as you go along. I happen to like dark chocolate, so that’s my default treat. Make a list of yours and have it ready along with those seasonal keywords. I firmly believe we need as many reminders as possible that part of the work of writing is allowing for mental space, for infusions of beauty, for intentional nourishment—physical and otherwise. During these incredibly challenging times, I would wager that flexibility rules the day. Don’t abuse grace, of course; communicate clearly and continue to commit to due dates with integrity, but also make use of kindness—given, and received.

 

Khadijah Queen is the author of six books, including Anodyne (Tin House, 2020) and I’m So Fine: A List of Famous Men & What I Had On (YesYes Books, 2017). Her writing has also appeared in American Poetry Review, BuzzFeed, Fence, Poetry, and Tin House, among other publications. Holding a PhD in English from the University of Denver and an MFA from Antioch University, she teaches creative writing and literature at the University of Colorado in Boulder, and for Regis University’s Mile High MFA program.

Thumbnail: Oliver Hihn

Craft Capsule: Writing Hot

by

Jordan Kisner

11.30.20

This is no. 80 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was a writing student, a professor once commented to me that my writing was a little intense. I don’t remember exactly what he said, and he wasn’t unkind, but it was something like “Your writing is always at eleven,” or “Your writing is always just so hot-blooded.” 

This comment elicited a mixed reaction at the time. I wasn’t proud. I didn’t sense that this was a compliment. He was giving me a note: Learn to tone it down sometimes. It felt respectful in its way, as if he were saying, “Okay, you can write like your hair is on fire, but make sure that’s not the only thing you can do.” Which is a good and teacherly thing to do, to discourage a student from leaning too heavily on the thing that feels good, to point out tics and habits. But as a young writer—a female writer, a queer writer—to hear an older male professor note that your work is unrelentingly intense can set off a clamor of questions, insecurities, suspicions, irritations, doubts, shames. This is maybe especially the case when the young writer is writing (as I was) about her own life and self, the source of this overmuchness. 

So I was a little embarrassed, concerned that “intense” was code for melodramatic, maudlin, tacky, purple. Childish. Overfeminine. Hysterical. But also, I wanted to be an intense writer. What was the point of writing if it wasn’t vivid and compelling, if it wasn’t transporting, if it didn’t make you rock back in your seat? I wrote then, and write now, I suppose, to express an intensity to the condition of being, an aliveness that feels full and bewildering. 

After that, though, I spent several years trying to write in a way that was hot-blooded, or full of feeling, but also somehow cool. Writing that was fierce and ardent while being unimpeachably in control of itself. I’ve tried a few ways to do this over the years. The first, maybe, we’ll call The Didion method: Bury feeling in a near-hysterical radiance of detail or texture when describing absolutely mundane things like sock brands; directly reference imminent emotional breakdown (or past breakdown) in prose so deadpan and commanding it seems like possibly a complex joke. Then there is what we might call The Nelson: Go straight to eleven, get poetic and hot about sex, love, heartbreak, pain, and then stave off accusations of mawkishness with theory and academically rigorous discussions of the sex. 

I love both these methods—and Joan Didion and Maggie Nelson—but lately I’ve been thinking about what you lose when you insist on cooling down your prose. Early this summer I had a conversation with Ocean Vuong on my Thresholds podcast during which he spoke about his reclamation of prose that some might dismiss as purple. “I am interested in using a style that a lot of men have deemed too prissy for them to use in the present,” he told me. “It feels like drag to me—to be extra! There’s too much glitter because we want to be blindingly present and seen.” He was speaking about the historical moment when emotional and beautiful writing was deemed feminine and therefore less worthy, and the way that as a [queer] man he might begin to excavate and subvert that. He reminded me, also, that you can find fun and even joy in just going ahead and writing at eleven, writing hot, writing like your hair is on fire—to be blindingly present and seen.  

 

Jordan Kisner is the author of the essay collection Thin Places (Farrar, Straus and Giroux, 2020). Her writing has also appeared in the Atlantic, the Believer, the Guardian, n+1, the New York Times Magazine, and the Paris Review Daily. The recipient of fellowships from Pioneer Works, the Millay Colony for the Arts, and Art Omi, she is currently a fellow at the Black Mountain Institute in Las Vegas. 

Thumbnail: Dmitry Bayer

Craft Capsule: On Becoming a Pop Star, I Mean, a Poet

by

Chen Chen

11.2.20

This is no. 77 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1. I started to write poetry because of a secret that I had trouble sharing even with myself.

2. I continue to write poetry because, in the fifth grade, my short story about a pregnant witch living in Venice received the following peer critique: “You do know it takes nine months for the baby to grow inside the mom, not two?” I write poetry because I wish I’d responded, “You do know this is a witch baby???” 

3. I knew I would always be a poet after a barely audible “goodbye” in the doorway of a tenth-floor apartment. How there was no elevator and it was the middle of summer and I had to walk down and down those stairs. 

4. I wake up craving poetry because Sawako Nakayasu once said, “I work mostly in poetry because it claims to be neither fiction nor nonfiction, because it acknowledges the gap between what really was or is, and what is said about it.”1 

5. Poetry because French class, Russian class. Because Mandarin and English and Hokkien at home. Because English. Because I learn and learn, then forget so much Mandarin. Because I forgot all my Hokkien2 by age seven. Poetry because my first-year advisor in college, a professor of Russian Studies, asked me why all my three-page Tolstoy responses were so late. “Go on,” she said, “give us your narrative.” Poems because I loved how her prompt was a comment on the expected form of my response. Poet because I said, “Time management’s an issue,” which really meant I wanted every paper to be about everything and I wanted Takeshi Kaneshiro’s character in Chungking Express and I wanted Takeshi Kaneshiro and was rewatching the film over and over and Googling stills. 

6. In eighth grade I began writing poetry outside of school assignments because I couldn’t keep imitating Robert Frost. I kept writing poetry because it seemed no one else with a secret like this looked like me.

7. Poet because I am a failed musician. Failed painter. Failed scientist obsessed with the moon.3 Failed gymnast, though once I was very, very good at cartwheeling. Poetry because my favorite scenes in Power Rangers were when, instead of running, they all backflipped and backflipped to where the fighting would take place.

8. The violence of the state. The silence of the h in French words, like homme. How violent, many homes. To ask, “Where is home?” as if it’s ever a simple question. To say, “I have a home” as if it’s an unremarkable statement. To say “I have” in Russian, you use a genitive construction that translates to the awkward English, “At me there is.” At home the adults asked, “Why did you get an A-?” in three different languages; there were no questions about whether I would ever start hating myself for what and whom I loved.   

9. I continue to read poetry because it seems every poem has a big secret at its core and I always want to know if it’s a big gay secret. Because Anna Akhmatova wrote, “Sunset in the ethereal waves: / I cannot tell if the day / is ending, or the world, or if / the secret of secrets is inside me again”4 and that seems pretty gay to me. Because Denise Levertov wrote, “Two girls discover / the secret of life / in a sudden line of / poetry”5 and that sounds definitely gay. 

Because for years I had to settle for subtext and total projection. 

Because when I found Justin Chin’s Bite Hard in a college library, I glanced at just one poem then added the book to my stack to check out. Because I moved it to the middle of the stack, as if hiding it from both the sky and the ground. Because I was so moved to see both “Chinese New Year” and “ex-boyfriends” in one poem. Because was it hide or protect, and do I know the difference now? 

10. In English, I still have trouble with lie versus lay, which I always feel ashamed to admit, though I know English is a troublesome, troubling language that makes one want to lay down, to lie one’s body on its side till all one’s lies have tumbled out from one’s head and belly, and are lain out like one single shadow-body of a liar on the grass. 

11. I started off as a fiction writer. 

12.  I started as a reader of fantastical literature, a writer of both fantasy and science fiction. I started on the playground, telling friends that the jungle gym was a spaceship and we’d better hurry onboard before it took off: “Danny, you’re new to the cause, like me. Amanda, you’re the chosen one, our only hope.” I couldn’t get enough of the galactic, magic, any-kind-of-epic mission; the dueling-with-lasers-or-wands journey. I acted them out, wrote them down. 

Moments of poetry occurred in my stories when I stayed too long in the pocket dimension of an emotion; when I strayed too far into the magic of an image; when I mismanaged the time and leapt through the wormhole/plot-hole back to my implausible Venice and its witch baby. Poetry erupted when I couldn’t keep performing the narrative I was supposed to—that of a boy who liked Amandas, not Dannys. 

13. Looking back, dueling with lasers or wands sounds definitely phallic. 

14. I became a poet after my friends no longer wanted to play the games we made up. After they decided to only play games that would help them grow up. But growing up, for me, meant no longer just playing at, dancing around what I desired. And some days I wanted to grow up. And some days I wanted to die. 

15. I had to Google “coming out.” I had to Google “lie vs. lay.” I had to Google “gay and Asian” and found mainly what white men had to say about bodies like mine. I had to Google “gay Asian American literature.” I had to Google “queer.” I had to Google “fag.” I had to search for one sentence with “I” that eventually I could say out loud. 

16. Poems became my favorite way of telling stories because poems can tell a secret and talk about telling that secret and along the way become another secret.

17. Of course, all this can and does happen in other genres too. And when I write poems I’m drawing on aspects of fantastical fiction, autobiography, realist fiction, standup comedy, Tolstoy as much as Takeshi Kaneshiro, TV shows that got way too many seasons, and elements I don’t want to be able to name. In recent years, lots of prose poems and lyric essay–esque pieces have been showing their blocky faces to me. And very recently, a teensy spoonful of fiction. To call myself poet just makes the most sense, personally, creatively. Poet is where I feel freest to do this and that and wtf.

18. Some nights I just want to be an international sex symbol/pop star with Grammy-worthy vocal chops but still a ton of totally relatable habits, like eating bread. I envy the pop song that can end simply6 by repeating its chorus over and over, slowly fading out yet also burrowing itself into your ear. 

19. A barely audible “hey” in the collapsed year. The violence of state-sanctioned language. My own unbroken, snowy silences. To ask “Where is home?” as if there is one answer. To write home in a poem, like a poem could be a home—is this happy or sad? Strange yet not uncommon, to weep with and into joy. A form of power, a kind of language: to weep and disobey silence. My favorite silence is a space for thought, is spaciousness. A wormhole named Maybe. A parallel galaxy called Another Way. 

20. I continue to poet because now I have all these poet friends who’ll text me to ask what poems I’m writing and I have to start writing again so they’ll stop bugging me and I never want them to stop. 

I continue to poet because I’m not satisfied with the definitions behind, the narratives around “coming out,” “lie vs. lay,” “gay and Asian,” “gay Asian American literature,” “queer,” “fag.” I am always trying to say the everything I’ve lived, am living, but I never want to feel like I’ve said it all. 

For years I believed poetry was the only place where I could be all my selves, any self. I wrote, trying to answer the question, “How can a poem hold the myriad me’s and realms and loves and ferocities and shards and velocities—this whole multiverse that the life cannot, yet?” But can a poem do this? A book of poems? Is poetry a place? 

I am a poet because I ask poetry to do too much, and then it does it. 

 

ENDNOTES

1. From a working note that prefaced a set of Nakayasu’s poems published in How2
2. Except what my parents call each other. 
3. What joy! Poets! Not caring one bit how annoying we are when we go on and on about the moon!
4. “A land not mine,” translated by Jane Kenyon in
From Room to Room (Alice James Books, 1978). 
5. “The Secret” in
O Taste and See (New Directions, 1964). 
6. With the best pop music, this is no simple feat; the chorus has to be excellent.

 

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions, 2017), which was longlisted for the National Book Award for Poetry and won the Publishing Triangle Thom Gunn Award. His work has appeared in many publications, including Poetry and the 2015 and 2019 editions of The Best American Poetry. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence. 

Thumbnail: Romain Gille

Craft Capsule: Vertigo

by

Blair Hurley

9.13.21

This is no. 108 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

At least once a year my mother would be laid up for a day or two, unable to get out of bed because of titanic waves of dizziness. These bouts of vertigo were infrequent but severe—and frightening because absolutely nothing could be done to diminish their magnitude. My grandmother had the same condition, and both she and my mother would describe the experience as, ultimately, indescribable. Lying in bed, afraid to turn her head, my mother tried so hard to explain what it felt like, to doctors, to family members; it seemed important for someone else to feel the unfeelable thing, to understand the swaying seas inside her head.

I’ve experienced the affliction of vertigo myself. It is both miserable and, I realize, increasingly essential to my understanding of what makes good writing. More than anything else I want my readers to feel the feeling it gives me—an utterly humbling disorientation. The first time I experienced it, I was in my twenties, standing in my kitchen preparing dinner after a long day of teaching and commuting on two trains and a bus and back again. While stirring some peppers in a pan, suddenly it felt like the space between my ears expanded. The room simultaneously shrank and grew. It felt like I could feel the earth rotating in space and I was left behind.

I felt a spark of recognition a few years later when I watched Alfred Hitchcock’s classic movie Vertigo. The plot is twisty and incredible, one of Hitchcock’s more bizarre; it involves a doppelgänger, a faked murder, reincarnation, and a man with a fear of heights. The film also introduced viewers to the disorienting Dolly Zoom or Vertigo Effect, in which the camera zooms in while moving backward. I found the story captivating and the sensation of strangeness, the encounter with the uncanny, unforgettable.

There’s something literary about the experience of vertigo. A writer friend once asked me what emotion I most wanted to feel when reading a great short story, and I said, “unsettled.” I want that feeling of strangeness and otherworldliness, the sense that something is vaguely wrong—what precisely I cannot say. I love stories where the trains don’t run on time or people take wrong turns down blind alleys, ripping open unexpected doors in the story. For a story to give a reader a truly memorable experience, we need that shift in the third act, when the story we think we’re reading goes deeper and darker and becomes something entirely different.

The best depiction I’ve seen in pop culture of vertigo is the horror movie Get Out’s chilling invention “the sunken place.” After being hypnotized by his girlfriend’s mother, the protagonist finds himself in a black field of stars, falling forever in time, loose from any gravity or tether or friendly solid ground. The world only visible as a distant keyhole of unreachable light. The feeling of being divorced from yourself, or the narrative you had for your life.

In my classes on plot structure I tell students how stories tend to follow binary paths: either A or B. The good guys win or the bad guys do; the couple breaks up or stays together; she is fired from her job or the boss shows mercy; the abuser does the terrible act or abstains. But what we’re searching for as writers is that elusive third option: that pathway unforeseen at the beginning, surprising and yet apt, natural and uncanny. In a Murakami story, a character on a Ferris wheel sees herself in a distant apartment window; a character in an elevator stops between floors and enters a new world. In an Alice Munro story, a woman who has begun a tentative flirtation with a man suddenly learns that his child died in a terrible accident of his doing; a woman in a decades-long affair, who believes a maid has been blackmailing her for years, learns it is actually her lover doing the blackmailing. Reading these swerves in Murakami and Munro’s fiction, I feel the thrill of disorientation in these revelations, when a story forces me to reevaluate everything that has gone before.

But how do you come up with the twist? How do you send your characters wheeling and catapulting into the sinkholes and empty spaces lurking at the edges of their lives? Like Murakami and Munro, try drawing closer to your character, and consider what is most fragile about their lives. What if you removed one card from this house? What would shift, what would fall? What is the card you can remove to do the most damage? What is breakable about your character’s life? What would they reach out to for solid ground?

Like Dostoevsky’s seizures or Hildegard von Bingen’s migraines, I suppose, my brief episodes of vertigo remind me periodically of the limited, shattering experience of living in a body, and they remind me of how fundamentally unstable the earth under my feet can be. They prepared me for other, less literal but equally potent bouts of vertigo in my life: When my mother died, a profound disorientation came into my universe and has never really left. I’m teetering along the rail of a narrative that I never expected to be riding on, full of fraught memories, melancholy Christmases, moments when I wonder how it could be possible that I’ve gone six, seven, eight years without hearing her voice. I think for many people, life is a process of shock and disorientation and finding your footing, again and again.

I try to remember that in the stories I tell. To show how a relationship, a job, a dream, a romance, are all fragile things that do not belong to us and can be taken away. But there is a person who remains. The sinkhole opens, and a window into character is opened too. After the sinkhole opens, how do I reevaluate the story, character, and form? Who is the person spinning out into space?

 

Blair Hurley is the author of The Devoted (Norton, 2018), which was longlisted for the Center for Fiction First Novel Prize. Her writing can also be found in Electric Literature, the Georgia Review, Guernica, Ninth Letter, the Paris Review Daily, and West Branch, among other publications. The recipient of a 2018 Pushcart Prize, she received her BA from Princeton University and her MFA from New York University.

Thumbnail: unukorno

Craft Capsule: The “Routine” of Writing With Chronic Pain

by

Anjali Enjeti

7.12.21

This is no. 104 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Most days my eyes pop open around 3:30 AM. If I’m lucky, I’ll fall back asleep until 4 or 4:30. What wakes me in the wee hours of the morning isn’t a child, chirping birds, or the siren from the nearby firehouse—it’s pain. I’ve had chronic tailbone pain, coccydynia, for half of my life. It’s at its worst when I’m sitting or lying down, but lingers when I stand. I also have Hashimoto’s disease, which causes, among other things, stiffening, swelling, and joint pain, and I was most recently diagnosed with a rare but benign tumor, which has impacted my mobility.

My book tour(s) this spring bookended my myriad attempts to relieve my pain. A few weeks before my essay collection, Southbound: Essays on Identity, Inheritance, and Social Change, was published in April, I had a medical procedure to relieve my tailbone pain. (Unfortunately, it failed.) In June, I ended my book tour for my novel, The Parted Earth, with a surgery to remove the tumor. (It succeeded.) Over those two months I spent countless hours at five different doctors’ offices, and in the evenings I tuned into online events for my books.

I’m not alone. Many writers write while in pain and find ways to produce compelling work. In the Paris Review Daily, Nafissa Thompson-Spires described writing with chronic illness this way: “It means something to me to be able to produce when something is daily trying to take me out.” I couldn’t agree more. Some days I can’t get out of bed. Often I have to write while lying on my stomach, propped up on my elbows in a modified Sphinx pose, my back covered in ice packs. Still, I manage to find a way to write words that I’m proud of.

Chronic pain has made me reassess what it means to maintain a creative writing practice, and what this creative writing practice can or should look like. When my three children were little, I figured out how to write around their sleep schedules and stomach viruses. But chronic pain tosses my intentions to write at a certain time or on a specific day out the window. It has therefore forced me to challenge traditional notions of writing productivity.

In a piece for Literary Hub, Sonya Huber, author of Pain Woman Takes Your Keys, and Other Essays From a Nervous System (University of Nebraska Press, 2017), arrives at this conclusion: “I now think of my writing practice far more holistically, as a season of time, rather than a hard deadline. Thinking of time more broadly accommodates my physical needs on a given day, while still ensuring that I keep moving forward.”

I have been following Huber’s lead for years, dividing my creative writing goals, literally, into seasons. By this winter solstice, I hope to complete the first rewrite of my next novel. Finishing up just before the holidays is my goal, even though I know that I may have to go weeks without writing due to pain. And what happens if I do not succeed in meeting this self-imposed deadline?

Absolutely nothing. There is always another season.

What I have also built into this “schedule” (if it can be called that) is grace and forgiveness. My body has earned rest and restoration. My mind deserves the space to process the trauma and grief that comes from a life in constant pain. As a writer in pain, I can’t afford to yield an inch to guilt or regret for not writing.

Perhaps, while writing in pain, I have learned a valuable lesson that I never would have learned otherwise. I’m still a writer, even if I spend entire days lying on a heap of ice packs instead of chipping away at a manuscript. I’m a writer no matter how many or how few words actually make it to the page.

 

Anjali Enjeti is an author, teacher, and organizer. Her first essay collection, Southbound: Essays on Identity, Inheritance, and Social Change (University of Georgia Press, 2021), and her first novel, The Parted Earth (Hub City Press, 2021), were both published in the spring. The recipient of awards from the South Asian Journalists Association and the American Society of Journalists and Authors, she has written for Oxford American, USA Today, Harper’s Bazaar, and the Atlanta Journal-Constitution, among other publications. She cofounded the Georgia chapter of They See Blue, an organization for South Asian Democrats, and served on the Georgia AAPI Leadership Council for the Biden-Harris campaign. She teaches in the MFA program at Reinhardt University in Waleska, Georgia.

Thumbnail: Joyce McCown

Craft Capsule: Night Call

by

Alex Dimitrov

6.7.21

This is no. 100 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

New York’s streets are everywhere in my poems. In February of 2014 I used the city quite literally. It was for a project called Night Call. The idea was to travel to strangers and read them poems in bed, or in the most intimate space of their homes. For many people this ended up being the kitchen or living room. For one guy, his balcony in Tribeca. Mostly though, strangers walked me right into their bedrooms and offered me a glimpse of their lives.

I’ve lived in New York for more than ten years. It still feels like the city doesn’t need me or know that I’m here. And to be honest, I like that. I’m a writer who thrives off resistance. That kind of pushback and being ignored excites me. In Night Call, I wanted to fuse that feeling with the intimacy of going over to someone’s apartment. Being in a person’s space is often more intimate than sleeping with them. It’s an alluring exchange: people showing you where they spend the majority of their lives. The poem is also an exchange. It’s like showing you a map to the interior though not the interior itself. The poem, to me, is a conversation between people.

I announced Night Call on social media and offered to do readings for anyone who didn’t know me. That was the catch, they had to be total strangers. They could be in any borough and had the choice of four separate Sundays on which we could meet. I’d leave my apartment around eight in the evening with poems and my phone. Nothing more. Maybe a pack of cigarettes (though I was trying to quit). Sometimes I didn’t know the gender of the person I was going to read to (based on their name) and I didn’t care either. I took the N and the R and the 6 and the B trains. Most of the readings were quick. Twenty or twenty-five minutes. Other times I wouldn’t leave someone’s apartment until two or three in the morning and I’d cab back, exhausted and exhilarated both. People offered me drinks, told me stories about their childhoods, affairs, the death of their parents. They took me up to their roofs, made me coffee, showed me things they had written or painted. One stranger cooked me dinner and told me she regretted both of her marriages. “Don’t get married,” she said. “There are more interesting things to do with people.” I’ll never forget the way she kept adjusting a silver pendant around her neck.

At the time I had a nine-to-five job and I’m not sure how I got up on those Monday mornings. Several major media outlets asked to cover Night Call but I declined. I’ve never written or talked about it before. It was private. My interest was to open up a new space between the reader and the poet and between the reader and the poem. I wanted to demystify both. I wanted people, in the privacy of their beds, to encounter the poem like a bedtime story (being read to having been one of the only pleasures of my childhood).

The poems I read were from drafts of my second book, Together and by Ourselves. The strangers in Night Call were the first people to hear it. It’s my favorite book I’ve written and my most personal, too. In some ways I wrote it to survive the change in an important relationship. It’s amazing the things people shared with me when I read them those poems. We usually sat across from each other on top of the bedspread, sometimes about one or two arm-lengths apart, sometimes for long stretches of time, often in silence.

For about a month, in the dead of winter, I went to the Village and Queens and Brooklyn, and almost to Staten Island once but it was too late at that point. Some people I read to ended up becoming my friends. I remember even those I haven’t seen again, which is most of them. I remember what they told me about their lives and I remember their faces. The poem is, of course, a place to remember. It keeps people’s voices and things right there, outside time. And those first hours after midnight, when Night Call would often take place, they feel outside time to me also. It’s a beautiful illusion. The imagination is the only real freedom. That’s what Night Call helped me remember. I had forgotten it too.

 

Alex Dimitrov is the author of three books of poems, including Love and Other Poems (Copper Canyon Press, 2021), as well as the chapbook American Boys (Floating Wolf Quarterly, 2012). His work has been published in the New Yorker, the New York Times, the Paris Review, and Poetry. He was previously the senior content editor at the Academy of American Poets, where he edited the Poem-a-Day series and American Poets. He has taught creative writing at Princeton University, Columbia University, and New York University, among other institutions. With Dorothea Lasky, he is the coauthor of Astro Poets: Your Guides to the Zodiac (Flatiron Books, 2019). Dimitrov lives in New York City.

Thumbnail: Guillaume Técher

Craft Capsule: What’s So Funny?

by

Kristen Arnett

4.26.21

This is no. 96 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I do not consider myself a craft expert, but I do consider myself an aficionado of the dumb stuff that makes me laugh. Television plots centered on easily solved miscommunications? Check. Dogs that look like they’re smiling? Oh yeah. Writing that asks me to unpack the joke, repackage it, and then try to resell it as a brand-new product? Oh baby, absolutely yes.

There is something compelling about the standard joke format. What is the “standard” joke, you might ask? The best way to describe it is to consider the Dad Joke. Think of puns and silly wordplay. Or the Man Walks Into a Bar format. It’s the knock-knock joke your weird uncle tells at a family barbeque, one you wind up telling your kids years later. It’s the joke that gets modified with each retelling. Its primary purpose is simply that: retelling.

How many ways can you write the joke and still get a laugh?

For example, when I was growing up, my family inherited an ancient computer from my elderly aunt. She had managed to download a virus before gifting it to us, so its main use became listening to an animated bird do an abbreviated stand-up routine. Pete the Repeat Parrot fluttered in vibrant green-pink-yellow, squawking his fool head off, desperate to tell you his one and only zinger. Here is that joke:

“Pete and Repeat sat on a fence. Pete fell off. Who was left?”

Obviously, the answer here (and the joke itself) is found in the Repeat. But the humor came from the trajectory of the experience: It was funny at first because hey, it’s an unexpected joke. After a while, it became funny because our parents got so angry every time the bird popped up and disrupted their work. Further down the line, it was funny for a different reason entirely: The joke embedded itself in the language of our family. “Stop being such a Pete the Repeat,” I’d say when my brother was being especially annoying. The joke expanded, more fascinating than the original. It became its own story and contained its own plot trajectory.

I think about this a lot in my work. How can I repackage the initial premise of a joke in more colorful wrapping and offer it up to the reader as something brand-new? Gifting them the same bit, but a different experience of it? Often this means I need to situationally experience jokes for the first time as my characters experience them. Humor is subjective; it requires background to understand how any person would receive something as funny. As I write, I understand that even if the joke isn’t funny to the characters in the scene, it retains humor for the reader.

Another example: the scene in Rebecca Dinerstein Knight’s novel Hex (Viking, 2020) in which a large mattress is unexpectedly delivered during a dinner party. It’s left awkwardly on the entryway rug and no one knows what to do with it. There’s the joke setup. Later on, a guest at the dinner party exits the entryway bathroom and trips over the mattress, which was not there when he initially entered. That is a use of the mattress in a different comedic way, yet it is still the same joke: weird mattress where it shouldn’t be. The party continues along with the mattress, which gets used as the site of further hilarity. There are drunken secrets told on it, even an impromptu karaoke dance session occurs on its quilted top. Same joke, repackaged and retold to great and hilarious effect.

When considering how humor can sit inside fiction, perhaps imagine it as the same strange and unexpected body wearing different disguises to a costume event. If you can get the joke to put on a fake mustache and successfully reenter the party they have already been kicked out of, perhaps it is worth letting them stick around a while longer. Let them spike the punch. See what other kind of mischief they can get into. I bet it is worth repeating.

 

Kristen Arnett is a queer writer based in Florida. She is the author of the novel Mostly Dead Things (Tin House, 2019), which was a New York Times best-seller, and the story collection Felt in the Jaw (Split/Lip Press, 2017). Her writing has also appeared in the New York Times, North American Review, Gulf Coast, Guernica, and McSweeney’s, among other publications. Her second novel, With Teeth, is forthcoming from Riverhead Books in June.

Thumbnail: David Waite

Craft Capsule: The Short Short Story

by

Peter Kispert

2.22.21

This is no. 89 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I was assigned that first short short story in college, which I still return to today: Amy Hempel’s knockout “Going,” a three-page piece from her collection Reasons to Live (Knopf, 1985). Sitting in my dorm room, students loud in the common area outside, I recall thinking I had missed some pages, then the unmistakable feeling that I couldn’t have possibly. That perfect last line at the very bottom of the page, punctuating a deeply satisfying story that defied conventional narrative. There are moments one experiences as a reader and writer that blow the world wide open in the best way, and reading this story was one of those; to anyone who would (pretend to) listen, I couldn’t stop talking about it.

Short short stories hold the obvious charge of compressing narrative in a rather extreme way, but what I initially loved about writing the form was the possibility to attend to reverberation. I noticed how a detail could echo out more apparent, and controlled, than in the longer works of fiction I had been drafting. The attention of the reader had become, in writing these brief pieces, an available consideration, if not yet a manageable one. I had assumed that short short prose was written quickly because it was so quick to read, but as so often happens, the sketches began to take longer, and serious effort, the more I learned.

In my debut story collection, I Know You Know Who I Am, published by Penguin Books last year, I wrote about queer characters trapped by (often elaborate) falsehoods. I featured several short short stories of just one or two pages to mirror the restriction that I felt the liars of my fiction not only possessed but frequently valued. These narrators and protagonists are constricted by their deceptions, and sometimes say little, or just enough, to their own ends. In this way, the shorter pieces in the book felt true, and rang out with echoes from the longer stories in the book: doublings that hinted at a presiding consciousness over the collection, which I vied to make available, if not explicit.

The short short story form is, speaking frankly, often slighted. Quick, confident work can render something more like scene, and leave the reader ambivalent. Reader investment can be hard to manage. A detail can become a redundant crutch. The best short pieces are closed systems in which elements of narrative are brought into careful relief. And resonate in brevity that masks a world of meaning and complexity beneath their small surfaces.

Several years after studying that first short short story, I attended a reading Hempel gave at the New York Summer Writers Institute at Skidmore College in Saratoga Springs. At the time, I was working as an academic administrator for a gifted youth program (hosted by the same university) for children whose talents extended to running loudly down the hallways outside that auditorium as Hempel read beautifully from a longer story, “The Dog of the Marriage.” I remember thinking, as I sat rapt in that auditorium, how intricate the piece was. How each of its scenes delivered precise, accumulating thematic echoes. The spectacular ending. It called to mind the experience of first flipping that page—once, then again, for the words that couldn’t be there. Later, while walking from the campus gym, I passed by her near the main lawn. Of course, I couldn’t say one word.

 

Peter Kispert is the author of the debut story collection I Know You Know Who I Am (Penguin Books, 2020), which was selected as a Best Book of the Year by Elle and a Best LGBTQ Book of the Year by O, the Oprah Magazine. His stories and essays have appeared or are forthcoming in GQ, Esquire, them, Playboy, and other publications. He is finishing work on his first novel.

Thumbnail: Jakob Andreasen

Craft Capsule: Rethinking Theory and Poetics

by

Khadijah Queen

1.11.21

This is no. 85 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I entered my English PhD program in the fall of 2016 knowing that I wanted to write criticism—I felt excited to dive into prose and formally shape what I had learned about reading and writing literature over the course of nearly two decades. I wasn’t as excited about theory. My experience reading Heidegger during my MFA involved extreme disagreement, to put it mildly—disagreement with both classmates and my professor, not to mention Heidegger himself. This time around, as I read Foucault and structuralist texts, revisited Derrida and Baudrillard and Plato, I realized that their theories didn’t quite align with mine; when I tried to apply their thinking, it rang false. I came to different conclusions around what was important in shaping meaning within a text. Their texts are foundational, but they didn’t seem capable of even conceiving of the work I wanted to analyze—particularly literature by Black women. I also felt that the books I was assigned to analyze in class, works by John Ashbery and Ralph Ellison, for example, could benefit from a fresher, more updated approach to their work—an approach that didn’t take their being classics for granted, but examined, with feminist, queer and critical race theories in mind, how they approached both content and form. 

The literary criticism class I took was aggressively white, misogynist, and dead. The language of analysis favored rather violent words like argue, interrogate, force, demand, impose, rupture. The more I read, the less I understood why literary analysis had to be so painful. I loved literature! Why couldn’t I love analysis as well? I wondered, too, why literary analysis couldn’t reflect the love that we as writers and thinkers and readers have for the work. Objectivity felt like a farce; the so-called rigor felt like busywork, fake and antiproductive. The language of literary criticism (and the field overall, frankly) is steeped in imperialist hierarchy and exclusivity. If I wanted something more inclusive, I needed to read into the present and future as well as the past with, to paraphrase Audre Lorde’s famous quote, all new tools. 

I found myself approaching more feeling-centered analyses, in direct opposition to objectivity, which didn’t stand up to scrutiny as a default praxis, in my opinion. I decided to compile and add to a new critical framework to approach the work I wanted to study. Upon the recommendation of my advisor, Dr. Tayana Hardin, I found kinship, brilliance, and wisdom in Alexis Pauline Gumbs’s Revolutionary Mothering, and the interviews with Toni Cade Bambara, Nikki Giovanni, Maya Angelou, and Sonia Sanchez in Claudia Tate’s hard-to-find 1984 treasure Black Women Writers at Work. I revisited Audre Lorde’s Sister Outsider and Toni Morrison’s The Origin of Others. To help me articulate what I wanted to express about literary analysis and the field of literary theory, I drew inspiration and training from Edward Said’s Humanism and Democratic Criticism, Gayatri Spivak’s “Can the Subaltern Speak?,” Édouard Glissant’s Poetics of Relation, Dionne Brand’s A Map to the Door of No Return, and—surprisingly—Roland Barthes’s The Pleasure of the Text. By foregrounding enjoyment, aesthetically and content-wise, I could access nineteenth-century authors like Herman Melville in ways that acknowledged underlying queerness and class concerns in the work, as well as my own perspective as a Black woman. 

After reading and hearing about the nightmarishly racist and damaging experiences of my peers who had undertaken doctoral study, I was determined to enjoy my experience. I had to fight to identify and create that enjoyment, but once I did, I cherished and nurtured it. If you find literary theory inadequate for your needs, too convoluted, too dead—you aren’t alone. You can imagine new thinking methods for yourself, and trust your responses to theories that may be established and entrenched, but have outlived an unquestioned existence. 

Asking questions of one’s own work is part of any professional writing practice; it follows that our thinking about how writing works—in terms of craft, theory, and the work we choose to canonize—also benefits from periodic reexamination. If a work cannot stand up to such questioning, it is not only valuable to articulate why, but to point to works that do hold up to scrutiny. When we search for alternatives to problematic texts—alternatives that past critics may have overlooked or even actively dismissed—we expand the reach, influence, and richness of literature overall. Instead of lamenting “the death of the canon,” we can celebrate the power of human creativity to evolve for the better. We can recognize that we’ve always had examples of that power—all we have to do is remain open to changing how, and where, we look for and analyze it.

 

Khadijah Queen is the author of six books, including Anodyne (Tin House, 2020) and I’m So Fine: A List of Famous Men & What I Had On (YesYes Books, 2017). Her writing has also appeared in American Poetry Review, BuzzFeed, Fence, Poetry, and Tin House, among other publications. Holding a PhD in English from the University of Denver and an MFA from Antioch University, she teaches creative writing and literature at the University of Colorado in Boulder, and for Regis University’s Mile High MFA program.

Thumbnail: Jaredd Craig

Craft Capsule: The Arc of Epiphany

by

Jordan Kisner

12.7.20

This is no. 81 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I continually puzzle over something the essayist Amy Benson said during a seminar on “the lyric essay.” Or maybe she didn’t say it but alluded to it by the structure of her syllabus. This was a while ago, but essentially she proposed that essays might follow one of a few types of arcs: the arc of narrative, the arc of argument, the arc of epiphany.

This concept made intuitive sense to me. The feeling of the word arc—which for me always conjures the bowing of a ship’s prow, something sturdy and flexible, something constructed but buoyant, something that cuts through water and ice but is smooth enough to run your hand over—matches the feeling of an essay. The arc of narrative seems clear enough: The essay uses as its keel the rising and falling action of story. Its end point is coterminous with a feeling of resolution, or maybe just arrival, in the narrative. The arc of argument shapes an essay around an idea that needs advancing, a thought that needs interrogating and articulating—whether it’s clearly an argument or just a notion the writer is toying with. 

But what is an essay that follows the arc of epiphany?

I don’t remember how Benson defined it, and I prefer it that way. This way the arc of epiphany is something I get to imagine, to theorize, to puzzle over, to strive within. Is it an essay that provokes an epiphany? An essay that finds its arrival point in a moment of epiphany or bright realization? Does it replicate, structurally, the feeling of epiphany: total confusion followed by rupture and maybe rapture, followed by reassessment of everything that came before in light of the new knowledge, followed, perhaps, by disillusionment or fading fervor? Is it an essay that completely upends itself part of the way through and starts over on new premises? Does it just go right ahead and manifest the divine, as the word’s earliest uses in English (first, to describe Christ’s appearance to the Magi; and then to denote the revelation of a divinity more generally) would indicate?

When I wrote my first book, Thin Places, I toyed with creating an arc of epiphany not only within a single essay but through an arrangement of essays—or, to put it in geometric terms, a major arc produced by a series of minor arcs. I wanted to make a collection of essays that each individually riffed on the epiphanic (say, by ending with the appearance of a holy orange; or by putting the reader in a prolonged confrontation with death; or by pulling a U-turn halfway through a piece about debutante balls to talk about queerness) but also collectively and gradually, through sequential reading, crested into something like the epiphanic. I wanted that big inrush of air, that clearer picture, that sudden recognition of pattern. 

This is an extremely lofty goal, I realize, and I didn’t necessarily think such a thing would be possible (not least because I still wonder what “arc of epiphany” means), but it gave me something to play with and push against. Most writing that I like—of my own or by other people—is written as a genuine and urgent attempt to understand something inscrutable. When the writer stretches to comprehend something just out of their reach, or to articulate something for which they have no words—that’s when the air begins to crackle. It feels like a goal worth reaching for, even and especially if you have to make up its rubric yourself.

 

Jordan Kisner is the author of the essay collection Thin Places (Farrar, Straus and Giroux, 2020). Her writing has also appeared in the Atlantic, the Believer, the Guardiann+1, the New York Times Magazine, and the Paris Review Daily. The recipient of fellowships from Pioneer Works, the Millay Colony for the Arts, and Art Omi, she is currently a fellow at the Black Mountain Institute in Las Vegas.

Thumbnail: The National Oceanic and Atmospheric Administration Photo Library

Craft Capsule: On Nightmares

by

Chen Chen

11.9.20

This is no. 78 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1.
A nightmare: realizing I need to restructure this essay, again, and it’s due tomorrow. 

A nightmare: COVID-19 cases on the rise again all across the country. 

A nightmare: how often essayists, especially poets-turned-essayists, like to remind everyone that essay comes from the French verb essayer, meaning to try, to attempt, to test. 

Not a nightmare: I love the try, the attempt. 

A nightmare: the test. The test freaks me out. 

A nightmare: how long it’s taken in the United States for COVID tests to become more accessible. 

Why do I prefer the nightmare of being dreadfully stuck, working on a poem, over the nightmare of being dreadfully stuck, working on an essay? 

A collective, ongoing nightmare: the pandemic. 

2.
Working on my essays for this series has been both a welcome distraction and (as I knew would happen) a dive into the deep end of my anxieties. The process feels nightmarish because my preferred method of exploring and articulating craft ideas is writing poems (and it seems I’ve gotten to the point in my poetry writing where I can befriend the dread, the stuck-ness). Or through conversation: engaging with students and connecting with friends, all of which happens these days over the shared nightmare known as Zoom. 

Also, I hate paragraphs. The blocky-ness of paragraphs makes me anxious, like I’m trapped in a box and, in the essay form, can only move from one box to another. I feel I have to make sense. Too much sense. I like paragraphs in prose poems, because I’m freer to do—I know better how to do—weird things with sentences. Or not write sentences at all. 

I think of Mary Ruefle’s Madness, Rack, and Honey (Wave Books, 2012), a collection of essays based on lectures she was required to give as a teacher—at one point, Ruefle describes lectures as “bad dreams.” Ruefle has commented frequently on the fact that this one volume on poetry has far outsold her books of poetry; that people would rather read about poetry, than read a poem. That for many, poetry remains a nightmare. 

Poetry, to me, is the best dreaming. 

A form of breaking out of the Zoom room or the chain of paragraphs, into an expanse of fresh blooms,1 a field bursting with sunflowers. 

Still I’m drawn to essays for how they document a thought process, an attempt to think clearly and deeply. And I love good essays on poetry. I love Madness, Rack, and Honey. I’d like to write craft essays like Ruefle’s. I’m not sure that is possible, given our very different brains. But maybe my brain can do something else and figure out ways to enjoy writing an essay, or at least dislike it less. 

Could it be that my fear of the essay draws me to it? I’m afraid I won’t write as well in this genre, but the challenge entices. I’m nervous to delve into new subjects and discover scary truths, but surprise is also one of the key reasons I write anything. After all, in poetry it’s usually the door I don’t want to open that leads me to the room I most need to investigate.2

3.
I’ve long wanted to examine nightmares in my poetry. I’m intrigued by how fear can act as a signpost on the path to truth; how terror can mean getting closer to a complicated reality. I’ve written poems based on dreams—wild dreams that contain some frightening revelation at their core—but I have yet to write a poem based on a straight-up nightmare. Specifically, I’ve been itching to write a poem about my two recurring nightmares involving high school French teachers. 

One nightmare stars my sophomore year instructor, my favorite one, as a highly trained assassin. Her weapon of choice: one of my mother’s beloved Chinese cleavers. Somehow she manages very clean kills. In the nightmare I admire her and am also terrified. Sometimes I am the target, for getting a B on a quiz, say, and before the final blow she reminds me, “Cravate is a feminine noun, despite it referring to men’s neckties! It’s LA cravate, UNE cravate, SA cravate!” If I experience this again, I hope I remember to respond, “But anyone can wear a necktie!” Other times the nightmare gets loftier and the target is a corrupt politician, usually French. One time I am the corrupt French politician. 

I haven’t had this nightmare in a while, and I miss it—perhaps because 2020 is a global waking nightmare. What sleeping nightmare of mine could compare with Trump, COVID, and the police? I hesitate to type it out, but I miss this assassin nightmare because I wish there were worse consequences for the Trump administration. I wish there were consequences at all. As someone invested in abolition, I can’t advocate for prison. I have to imagine and help build other types of justice and accountability, ones that don’t rely on punishment and vengeance. At the same time, the part of me that misses the assassin nightmare would love for something nightmarish to visit these leaders who’ve abandoned all duty to the people. 

Another part of me misses this nightmare because seeing my mother’s cleaver in it is like seeing a part of her. I also associate high school language study with her because she teaches Mandarin at that level. I haven’t seen my mother since this pandemic was declared a pandemic. She’s immunocompromised and has been taking every precaution. Every call with her begins with her asking, “Have you been staying at home?” and ends with her command, “Keep staying at home.” My father, who never texts, texted me last week to say, “Avoid travel to any hot spots,” while travel ads pop up on my TV. Back in March my partner’s father was quarantined in a hospital in upstate New York after experiencing COVID-like symptoms. It was four days, but it felt like a year before the test results came back: negative. 

I check the news and check the news. I check social media, texts. I pick up the phone. The friends of friends with the virus. The friends with the virus. 

4.
Perhaps my fear of writing essays has to do with how my brain always associates the act with an academic assignment, a requirement, a grammar test that I might fail. It doesn’t help that so far most of the essays I write have in fact been assigned to me. They do help pay the bills. I do love a prompt. But is it, on some level, masochism? Is all my writing, in some way, a testing to which I subject myself, over and over? Am I perpetually trying to win a French teacher’s approval? 

The other French teacher nightmare goes like this: On an otherwise blissfully uneventful day, I receive a letter from my high school. I know something is amiss before even opening it. For a long time I just stare at it; it stares back from my coffee table. Then I open it. And it says because I never finished my senior year French project, I never actually passed high school. Therefore I have to return to school, where this time I will also reside. The second I step back into that memory-drenched building, I am met by my senior year French instructor. She looks me over then says in the most disappointed yet unsurprised way, “Bonjour.” 

What terrifies me in this dream is not the disruption of everyday life (by a cleaver-wielding assassin like in my other nightmare), but the resurrection of days I’ve long put behind me, a time and a self I’d rather not reinhabit. Not that high school was all stuffy, all busy work. No, I had many brilliant teachers and classmates, many life-changing experiences. This nightmare is the nightmare that my life didn’t really change. What I fear is going back to school but never learning, never growing. 

What I love is the school of poetry, which invites me to play anew and wonder differently and try strange things—to test in the sense of to experiment. To test in the sense of encountering nerve-wracking challenges, but trusting that the fear is a sign of one’s hunger for and effort toward real growth. Maybe one day I will experience essay writing more like that: an experiment in good fear. 

5.
A poem I find instructive for writing about nightmares is “The Dream”3 by Aracelis Girmay, one of my former professors, whose work continues to nourish as well as push me. Indeed, Girmay’s writing always reminds me how poems themselves can be the best poetry teachers. I also return to this one because it focuses on a mother, the figure beside or behind the French teacher of my first nightmare. Here is the startling start of “The Dream”: 

Last night, all night
the dream, the dead
mother, my small sister,
tiny, her mouth
over my shoulder
(screaming) like a knapsack
when she heard the news,
& my brother playing
the stereo. I howled
like the coyotes; myself.

The poem then shifts from the howl to a sunlit, tranquil scene, the way dreams can, suddenly and completely. “The Nightmare” ultimately wouldn’t be the most fitting title for this poem. The word dream can encompass good ones and bad. That said, nightmare can contain the abject as well as the gorgeous (my favorite horror movies have stellar aesthetics). My French teacher nightmares feature both terror and tenderness—fear of disappointing the mother/teacher figure, but also admiration for her and a longing for a time when I could, on a regular basis, talk with her in person. Rereading Girmay’s poem I realize that at the heart of the poem I want to write are questions like: How do fear and affection sit side by side? Why do I connect French teachers and mothers in this manner? 

This is what I mean by poems being the best poetry teachers: They offer an array of techniques to emulate, yes, but more fundamentally and expansively, they conjure up uncomfortable questions and encourage bewildering (sometimes frightening) leaps in imagination.

6.
One week, feeling particularly defeated by this essay, I write a draft of my poem “The Nightmare.” It reads ridiculous, then not, which seems like how a lot of my writing goes. I’d like one day to write a poem that shifts from not one bit ridiculous to utterly. Still, this poem is some new occurrence. Every truly new poem4 is its own strange school. 

I revise and revise. The poem teaches me about how my recurring nightmares are linked to the world’s shared nightmare of COVID-19. How afraid I am, as a teacher myself now, to be back this fall; how fortunate I feel that my university has allowed me to teach online; how much I miss teaching in person; how angry I am that not every teacher “gets to” do this. 

I revise and revise the ending of this essay. I’m afraid of being so direct and so pared down in my diction. But I know from poetry that it’s often when I’m trying the least to be “poetic” that the most charged truths emerge. 

Truths like: I’m afraid my students will get sick. I’m afraid of losing a student, more than one student. I think I should be more afraid of getting very sick too. I miss my mother, who, as a high school Mandarin teacher, knows that school is more than a building, but misses her classroom. I’m relieved she has the option to teach online as well. I miss many of my high school teachers and hope they are safe and finding ways to rest. 

To dream, both literally and creatively. To speak back to the nightmares, both personal and collective.

 

ENDNOTES

1. A beautiful nightmare: how much poets adore the word bloom.
2. In life, I know better than to go exploring attics, basements, or other favorite hangout spots of vengeful ghosts and demons. 
3. From
Kingdom Animalia (BOA Editions, 2011).
4. I mean new mainly in terms of process; new to the writer. The big hope is that the poem will then do something new for a reader.

 

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions, 2017)which was longlisted for the National Book Award for Poetry and won the Publishing Triangle Thom Gunn Award. His work has appeared in many publications, including Poetry and the 2015 and 2019 editions of The Best American Poetry. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence. 

Thumbnail: Chuttersnap

Craft Capsule: The Art of Literary Criticism

by

Jenny Bhatt

9.28.20

This is no. 74 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

A personal manifesto for literary criticism:

1. On close reading: Before reviewing, read a book at least three times for the following: text, subtext, and what’s left off the page. Often the latter two will reveal more about the writer’s true intent.

2. On references and associations: A good review is, first and foremost, about expanding the literary conversation between the text, the author, other readers, and ourselves—determining what the text means to us as individuals and as societies. Enrich your frames of reference by reading widely, purposefully, and mindfully. And then look for the literary associations, assemblages, affinities, and networks of relevant ideas, texts, people, and objects. Remember W. H. Auden’s sixth must-have for literary criticism: “Throw light upon the relation of art to life, to science, economics, ethics, religion, etc.”

3. On fairness: Ensure fairness and balance for the author and for readers (of both the review and the work itself). It is not enough to say what’s good or bad about a book. Make the case with evidence as to why. It is also not enough to write an information-filled essay that’s missing a “so what?” Every major point in the review should answer the twofold question: Why is this good or bad, and why does it matter?

4. On argument: Never speculate. Always contextualize. The review thesis must have plausible counterarguments, and the essay must include and respond to those counterarguments. That said, don’t indulge in what Virginia Woolf called the “desiccation of the living tissues of literature into a network of little bones” as some critics do with their “able and industrious pens.”

5. On comparison: Keep in mind Elizabeth Hardwick’s indictment: “How often we read a beginner’s review that compares a thin thing to a fat one. ‘John Smith, like Tolstoy, is very interested in the way men interact under the conditions of battle.’ Well, no.” Also, resist your cognitive biases—recency, confirmation, in-group, distinction, and attentional—in such comparative analysis.

6. On building up versus tearing down: A work of literature can do so much more than “demystify, destabilize, denaturalize, deconstruct, debunk, decipher,” as Rita Felski reminds us in The Limits of Critique (University of Chicago Press, 2015). It can, more significantly, also “recontextualize, reconfigure, remake, recharge perceptions.” Instead of simply focusing on excavating a text for causes, conditions, and motives, follow Felski’s advice to reflect on the text’s revelations and possibilities. Because, as Felski argues, “Works of art do not only subvert, but also convert; they do not only inform but also transform—a transformation that is not just a matter of intellectual readjustment but one of affective realignment as well (a shift of mood, a sharpened sensation, an unexpected surge of affinity or disorientation).”

7. On readership: Understand the target audience of a book—never mind who its writer or translator or publisher might have intended—and whether it meets their needs. Engage the reader as a smart, active participant in the conversation rather than a passive receiver of information. Felski’s four modes of textual engagement—recognition, enchantment, knowledge, and shock—also apply to how we engage with a review. Recognition is about the text as a source of self-interpretation and self-understanding. Enchantment is that pleasurable self-forgetting while reading. Knowledge refers to what literature discloses about the world beyond oneself. Shock speaks to the troubling and taboo aspects of human existence.

8. On language: Be specific, precise, and clear. Craft each sentence to make the review aesthetically pleasing. But avoid overwrought sentences that call more attention to themselves (or to you) than to the points they are making.

9. On the why: The payoff of writing criticism is deepening our reading pleasure and making it time well-spent. It helps us create a sense of understanding amid the constant activity of our surroundings. As Virginia Woolf wrote: “Poems and novels, histories and memoirs, dictionaries and blue-books; books written in all languages by men and women of all tempers, races, and ages jostle each other on the shelf. And outside the donkey brays, the women gossip at the pump, the colts gallop across the fields. Where are we to begin? How are we to bring order into this multitudinous chaos and so get the deepest and widest pleasure from what we read?”

10. On the so what: Do all of the above because a book is a sociocultural, historical, and political artifact. Like all human creations, it is a product of our experiences and reflects our desires, conflicts, and potential. Critiquing literature well involves learning about some crucial aspects of ourselves as individuals and as a species. It is how we elevate and preserve our literary traditions.

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, LongreadsPoets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Thumbnail: Markus Winkler

Craft Capsule: Lyric vs. Narrative

by

Will Harris

8.24.20

This is no. 69 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

A few years ago I showed a series of new poems to some friends and a deflating word kept coming up: narrative. The poems involved a speaker moving through London, having random encounters. They were baggy poems that contained events, but I didn’t think of them as narrative. I had been trying to avoid some of the pitfalls of the lyric; now I worried I’d unintentionally slipped into another mode, one that was artificial and linear, associated with dead white men known—like brands of cake—by their surnames: Wordsworth, Browning, (Mr.) Kipling. 

I started thinking about the differences between lyric and narrative. Maybe the biggest one is time. According to Aristotle, narrative is the “imitation of an action,” and that requires time in which to happen. A lyric, on the other hand, if it was filmed, might flit across the screen in a second or two. Take fragment 105A by Sappho—one of the first lyric poets—translated here by Anne Carson: 

as the sweetapple reddens on a high branch 
   high on the highest branch and the applepickers forgot—
no, not forgot: were unable to reach

Summary: Person reaches for apple. End of shot. 

But in that moment, the real action has nothing to do with apples. It’s internal: a swerving thought-line, folding back in on itself. Those apples—too high to pick, and thus objects of longing—represent something the speaker either forgets about (maybe wants to forget about) or chooses to remember as out of reach.

Though Sappho didn’t conceive of this as a whole poem, it feels of a piece with the contemporary lyric. “Disembodied, the poem provokes longing,” writes poet and scholar Jennifer Moxley. “The song it sings is either a lament of exile from the body or a celebration of freedom from its material prison, depending on the direction of the winds.” Or as the literary critic Helen Vendler puts it: In lyric, voice is “made abstract,” emancipated from time and space; it’s “the gesture of immortality and freedom.” By contrast, “the novel is the gesture of the historical and the spatial.” 

This transcendental view of the lyric has made some poets want to throw all conventional distinctions out the window. At a talk for the Kootenay School of Writing in 1990, Lisa Robertson identifies Bruce Andrews as one such poet who railed against, as he put it, “the intrinsic evils of narrative, lyric, identity among other traditional constructions.” Behind this rage at “traditional constructions”—tied to systems of structural oppression like capitalism—is the understandable desire to renew language by purging it. 

Though what else would that kind of purged language erase? Identity is rarely a choice; it chooses you. But writing through identity, whether I like it or not, has been my way to engage with the social and political conditions in which I exist—to reclaim, in small part, the choice that racialization takes away. This might explain why I lean on narrative sometimes, and why I’ve tried to set it—unintentionally or otherwise—against the lyric. Because my experience is “historical and spatial,” as much as it gestures towards “freedom.”

Questions still nag, though: Why bother? Why say “lyric” or “narrative”? Why not invent new forms, new genres, new terms? Why not just write

I can only respond—I’m talking to myself here—that the poles of lyric and narrative have helped me navigate the blank night of the page. They’ve helped me to think, in particular, about how time functions: With narrative, a focus on action centers time; with lyric, the suspension of time centers language. 

And sometimes I go back to The Virago Book of Fairy Tales to remember how varied and strange “narrative” can be—to remind myself that it doesn’t have to limit the work of poets at all. This is the first paragraph of a Greenlandic tale:

There was woman who was old, blind and likewise unable to walk. Once she asked her daughter for a drink of water. The daughter was so bored with her old mother that she gave her a bowl of her own piss. The old woman drank it all up, then said: “You’re a nice one, daughter. Tell me—which would you prefer as a lover, a louse or a sea scorpion?”

This could be reconstituted as a lyric. It demands—and rewards—a careful consideration of word choice and rhythm: the use of “likewise” in the first sentence; that phrase “nice one”; the ambiance of violent boredom. 

But it’s not a lyric. If you changed the words of a lyric poem—like that Sappho fragment earlier—it would become another poem altogether. If you changed the words here, the content would survive; narrative doesn’t rely quite so heavily on language itself for meaning. In this case, it’s already survived translation to reach us. And more could be added to it, taken away, spun off. 

This is the place I always end up at: The poem comes to life where lyric and narrative meet—where time and language cross over—and a possibility emerges of a poem that’s neither lyric nor narrative, but contains elements of both. Which has a body that moves through time and space, even as language tugs it skyward.

 

Will Harris is the author of the poetry collection RENDANG (Wesleyan University Press, 2020), which was selected as a Poetry Book Society Choice and shortlisted for the Forward Prize for Best First Collection. He has worked in schools and led workshops at the Southbank Centre and currently teaches for the Poetry School. A contributing editor at the Rialto, he lives in London. 

Thumbnail: Charlotte Noelle

Craft Capsule: Craft Is Not Objective

by

Joy Priest

7.13.20

This is no. 65 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

In order to discuss ways to practice craft—the sustained attention that distinguishes poets from those who occasionally write poems or carpenters from those who once made a table of compromised integrity—we must first establish that craft is not an objective activity. Craft is not simply technical. If we take our craft seriously, or even if we want to play, we must realize that what we bring to craft is the world that crafted us. The way we work, our technique, holds all of our subconscious anxieties and desires. 

Toni Morrison talked about the U.S. literary imagination as one that has been wholly constructed from an uninterrogated unease. That is, a subconscious response to the presence of Blackness, and all of the resulting politesse, avoidance, shorthand, and metaphorical language—purity and innocence (read: light), and sinfulness and evil (read: dark)—that maintaining such an anxiety requires.

In Playing in the Dark: Whiteness and the Literary Imagination, Morrison writes,

For some time now, I have been thinking about the validity or vulnerability of a certain set of assumptions conventionally accepted among literary historians or critics and circulated as “knowledge.” This knowledge holds that traditional, canonical American literature is free of, uninformed, and unshaped by the four-hundred-year old presence of, first, Africans and then African Americans in the United States. It assumes that this presence—which shaped the body politic, the Constitution, and the entire history of the culture—has had no significant place or consequence in the origin and development of that culture’s literature…. Just as the formation of the nation necessitated coded language and purposeful restriction to deal with the racial disingenuousness and moral frailty at its heart, so too did the literature, whose founding characteristics extend into the twentieth century, reproduce the necessity for codes and restriction. 

This “knowledge” has been internalized, to some degree, by all Americans, but some of us are subjects of it, and some of us are subjugated by it. Still, Morrison is interested in how this phenomenon occurs in the U.S. literary imagination not because it is a problem of Black people—as is often assumed when a Black writer writes about race—but because she wants to understand “the impact of racism on those who perpetuate it,” to “see what racial ideology does to the mind, imagination, and behavior of masters,” and to “observe how their lavish exploration of literature manages not to see meaning in the thunderous, theatrical presence of black surrogacy”—that which is released, which seeps out uninterrogated, undetected, that subconscious obsession. 

*

To practice craft, let us go back to the child. To that time before an awareness of formal craft: the beginner’s mind. To that fleeting moment before we fully absorbed the tropes of the U.S. literary imagination. Is this possible? Was it ever? Did we retain any of what we worked so hard to outgrow? 

As a subjugated child, what drove my craft—my record of little noticings and the subsequent piecing of them together, like the box puzzles I worked on with my grandfather—was a desire to know the truth about myself in a household where the adults secreted (secret-ed and secreted) my Blackness; hid it and released it; quieted it and let it seep; vigilantly avoided it and therefore obsessed over it. I knew that I was keeping a secret for my white grandfather, even if I didn’t know why. I noticed the releasing and seeping, even when he didn’t. After all, I was a child. 

After all, I was a Black child. The world outside my grandfather’s house wouldn’t let me avoid this truth.  

*

What shapes your craft? Your technical discipline? What shapes what you notice and therefore what you attend to? What do you refuse to notice and therefore deny? 

What do you see about yourself? Is there an active, critical interrogation of the self? Is there self-discipline (which is distinct from being policed or policing the self)? Self-discipline is an internal cultivation or a spiritual exercise, while being policed or self-policing is an external social force placed upon us to protect the material interests of the ruling elite. This must be a spiritual practice, this craft thing. Because, otherwise, this new knowledge-construction, this record-making, will reproduce the official knowledge and narratives of the status quo, inherent in which is that uninterrogated unease, that subconscious, but seeping, racism. 

When you go back to the child, when you achieve the beginner’s mind as an adult, you aren’t an authentic beginner anymore. Once you know craft, no matter how much you unlearn it, you hold that knowledge, alongside your newly remembered childhood attentiveness. Place this unlearning next to a self-discipline instead of a canonical knowledge or academic discipline. 

If you are white, notice yourself:

When you are sitting there working on an image, a metaphor, a simile, a symbol, an allusion; when you are considering personification, the narrative, the elliptical, the word choice, the music and your approach to music; when you are working in an elevated, established, and legitimized system of prosody—

What are you avoiding? What are you leaving out? What is uninterrogated? What trope is activated in that allusion, that figuration? What is behind your shorthand, your word choice, your line break? What is behind the way you employ color? The language of color? Who do you sacrifice for your music?

Are you exhausted? Good. The child isn’t. Don’t be the “knowledge”-holding adult. Be the noticing child. 

*

What did Ciara, Hannah, Markis, Abigail, Devonte, and Jeremiah notice before Jennifer and Sarah Hart drove them over that cliff in 2018? What did they have to notice as they tried to survive? What did the adults, who could have protected them, refuse to notice?

What do the children at the border notice from inside the cages, where they remain, still, today? Our avoidance, our passive refusal to notice them, keeps them there. 

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Thumbnail: New York Public Library

Craft Capsule: Craft Is Not Objective

by

Joy Priest

7.13.20

This is no. 65 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

In order to discuss ways to practice craft—the sustained attention that distinguishes poets from those who occasionally write poems or carpenters from those who once made a table of compromised integrity—we must first establish that craft is not an objective activity. Craft is not simply technical. If we take our craft seriously, or even if we want to play, we must realize that what we bring to craft is the world that crafted us. The way we work, our technique, holds all of our subconscious anxieties and desires. 

Toni Morrison talked about the U.S. literary imagination as one that has been wholly constructed from an uninterrogated unease. That is, a subconscious response to the presence of Blackness, and all of the resulting politesse, avoidance, shorthand, and metaphorical language—purity and innocence (read: light), and sinfulness and evil (read: dark)—that maintaining such an anxiety requires.

In Playing in the Dark: Whiteness and the Literary Imagination, Morrison writes,

For some time now, I have been thinking about the validity or vulnerability of a certain set of assumptions conventionally accepted among literary historians or critics and circulated as “knowledge.” This knowledge holds that traditional, canonical American literature is free of, uninformed, and unshaped by the four-hundred-year old presence of, first, Africans and then African Americans in the United States. It assumes that this presence—which shaped the body politic, the Constitution, and the entire history of the culture—has had no significant place or consequence in the origin and development of that culture’s literature…. Just as the formation of the nation necessitated coded language and purposeful restriction to deal with the racial disingenuousness and moral frailty at its heart, so too did the literature, whose founding characteristics extend into the twentieth century, reproduce the necessity for codes and restriction. 

This “knowledge” has been internalized, to some degree, by all Americans, but some of us are subjects of it, and some of us are subjugated by it. Still, Morrison is interested in how this phenomenon occurs in the U.S. literary imagination not because it is a problem of Black people—as is often assumed when a Black writer writes about race—but because she wants to understand “the impact of racism on those who perpetuate it,” to “see what racial ideology does to the mind, imagination, and behavior of masters,” and to “observe how their lavish exploration of literature manages not to see meaning in the thunderous, theatrical presence of black surrogacy”—that which is released, which seeps out uninterrogated, undetected, that subconscious obsession. 

*

To practice craft, let us go back to the child. To that time before an awareness of formal craft: the beginner’s mind. To that fleeting moment before we fully absorbed the tropes of the U.S. literary imagination. Is this possible? Was it ever? Did we retain any of what we worked so hard to outgrow? 

As a subjugated child, what drove my craft—my record of little noticings and the subsequent piecing of them together, like the box puzzles I worked on with my grandfather—was a desire to know the truth about myself in a household where the adults secreted (secret-ed and secreted) my Blackness; hid it and released it; quieted it and let it seep; vigilantly avoided it and therefore obsessed over it. I knew that I was keeping a secret for my white grandfather, even if I didn’t know why. I noticed the releasing and seeping, even when he didn’t. After all, I was a child. 

After all, I was a Black child. The world outside my grandfather’s house wouldn’t let me avoid this truth.  

*

What shapes your craft? Your technical discipline? What shapes what you notice and therefore what you attend to? What do you refuse to notice and therefore deny? 

What do you see about yourself? Is there an active, critical interrogation of the self? Is there self-discipline (which is distinct from being policed or policing the self)? Self-discipline is an internal cultivation or a spiritual exercise, while being policed or self-policing is an external social force placed upon us to protect the material interests of the ruling elite. This must be a spiritual practice, this craft thing. Because, otherwise, this new knowledge-construction, this record-making, will reproduce the official knowledge and narratives of the status quo, inherent in which is that uninterrogated unease, that subconscious, but seeping, racism. 

When you go back to the child, when you achieve the beginner’s mind as an adult, you aren’t an authentic beginner anymore. Once you know craft, no matter how much you unlearn it, you hold that knowledge, alongside your newly remembered childhood attentiveness. Place this unlearning next to a self-discipline instead of a canonical knowledge or academic discipline. 

If you are white, notice yourself:

When you are sitting there working on an image, a metaphor, a simile, a symbol, an allusion; when you are considering personification, the narrative, the elliptical, the word choice, the music and your approach to music; when you are working in an elevated, established, and legitimized system of prosody—

What are you avoiding? What are you leaving out? What is uninterrogated? What trope is activated in that allusion, that figuration? What is behind your shorthand, your word choice, your line break? What is behind the way you employ color? The language of color? Who do you sacrifice for your music?

Are you exhausted? Good. The child isn’t. Don’t be the “knowledge”-holding adult. Be the noticing child. 

*

What did Ciara, Hannah, Markis, Abigail, Devonte, and Jeremiah notice before Jennifer and Sarah Hart drove them over that cliff in 2018? What did they have to notice as they tried to survive? What did the adults, who could have protected them, refuse to notice?

What do the children at the border notice from inside the cages, where they remain, still, today? Our avoidance, our passive refusal to notice them, keeps them there. 

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Thumbnail: New York Public Library

Craft Capsule: Lyric vs. Narrative

by

Will Harris

8.24.20

This is no. 69 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

A few years ago I showed a series of new poems to some friends and a deflating word kept coming up: narrative. The poems involved a speaker moving through London, having random encounters. They were baggy poems that contained events, but I didn’t think of them as narrative. I had been trying to avoid some of the pitfalls of the lyric; now I worried I’d unintentionally slipped into another mode, one that was artificial and linear, associated with dead white men known—like brands of cake—by their surnames: Wordsworth, Browning, (Mr.) Kipling. 

I started thinking about the differences between lyric and narrative. Maybe the biggest one is time. According to Aristotle, narrative is the “imitation of an action,” and that requires time in which to happen. A lyric, on the other hand, if it was filmed, might flit across the screen in a second or two. Take fragment 105A by Sappho—one of the first lyric poets—translated here by Anne Carson: 

as the sweetapple reddens on a high branch 
   high on the highest branch and the applepickers forgot—
no, not forgot: were unable to reach

Summary: Person reaches for apple. End of shot. 

But in that moment, the real action has nothing to do with apples. It’s internal: a swerving thought-line, folding back in on itself. Those apples—too high to pick, and thus objects of longing—represent something the speaker either forgets about (maybe wants to forget about) or chooses to remember as out of reach.

Though Sappho didn’t conceive of this as a whole poem, it feels of a piece with the contemporary lyric. “Disembodied, the poem provokes longing,” writes poet and scholar Jennifer Moxley. “The song it sings is either a lament of exile from the body or a celebration of freedom from its material prison, depending on the direction of the winds.” Or as the literary critic Helen Vendler puts it: In lyric, voice is “made abstract,” emancipated from time and space; it’s “the gesture of immortality and freedom.” By contrast, “the novel is the gesture of the historical and the spatial.” 

This transcendental view of the lyric has made some poets want to throw all conventional distinctions out the window. At a talk for the Kootenay School of Writing in 1990, Lisa Robertson identifies Bruce Andrews as one such poet who railed against, as he put it, “the intrinsic evils of narrative, lyric, identity among other traditional constructions.” Behind this rage at “traditional constructions”—tied to systems of structural oppression like capitalism—is the understandable desire to renew language by purging it. 

Though what else would that kind of purged language erase? Identity is rarely a choice; it chooses you. But writing through identity, whether I like it or not, has been my way to engage with the social and political conditions in which I exist—to reclaim, in small part, the choice that racialization takes away. This might explain why I lean on narrative sometimes, and why I’ve tried to set it—unintentionally or otherwise—against the lyric. Because my experience is “historical and spatial,” as much as it gestures towards “freedom.”

Questions still nag, though: Why bother? Why say “lyric” or “narrative”? Why not invent new forms, new genres, new terms? Why not just write

I can only respond—I’m talking to myself here—that the poles of lyric and narrative have helped me navigate the blank night of the page. They’ve helped me to think, in particular, about how time functions: With narrative, a focus on action centers time; with lyric, the suspension of time centers language. 

And sometimes I go back to The Virago Book of Fairy Tales to remember how varied and strange “narrative” can be—to remind myself that it doesn’t have to limit the work of poets at all. This is the first paragraph of a Greenlandic tale:

There was woman who was old, blind and likewise unable to walk. Once she asked her daughter for a drink of water. The daughter was so bored with her old mother that she gave her a bowl of her own piss. The old woman drank it all up, then said: “You’re a nice one, daughter. Tell me—which would you prefer as a lover, a louse or a sea scorpion?”

This could be reconstituted as a lyric. It demands—and rewards—a careful consideration of word choice and rhythm: the use of “likewise” in the first sentence; that phrase “nice one”; the ambiance of violent boredom. 

But it’s not a lyric. If you changed the words of a lyric poem—like that Sappho fragment earlier—it would become another poem altogether. If you changed the words here, the content would survive; narrative doesn’t rely quite so heavily on language itself for meaning. In this case, it’s already survived translation to reach us. And more could be added to it, taken away, spun off. 

This is the place I always end up at: The poem comes to life where lyric and narrative meet—where time and language cross over—and a possibility emerges of a poem that’s neither lyric nor narrative, but contains elements of both. Which has a body that moves through time and space, even as language tugs it skyward.

 

Will Harris is the author of the poetry collection RENDANG (Wesleyan University Press, 2020), which was selected as a Poetry Book Society Choice and shortlisted for the Forward Prize for Best First Collection. He has worked in schools and led workshops at the Southbank Centre and currently teaches for the Poetry School. A contributing editor at the Rialto, he lives in London. 

Thumbnail: Charlotte Noelle

Craft Capsule: Craft Is Not Objective

by

Joy Priest

7.13.20

This is no. 65 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

In order to discuss ways to practice craft—the sustained attention that distinguishes poets from those who occasionally write poems or carpenters from those who once made a table of compromised integrity—we must first establish that craft is not an objective activity. Craft is not simply technical. If we take our craft seriously, or even if we want to play, we must realize that what we bring to craft is the world that crafted us. The way we work, our technique, holds all of our subconscious anxieties and desires. 

Toni Morrison talked about the U.S. literary imagination as one that has been wholly constructed from an uninterrogated unease. That is, a subconscious response to the presence of Blackness, and all of the resulting politesse, avoidance, shorthand, and metaphorical language—purity and innocence (read: light), and sinfulness and evil (read: dark)—that maintaining such an anxiety requires.

In Playing in the Dark: Whiteness and the Literary Imagination, Morrison writes,

For some time now, I have been thinking about the validity or vulnerability of a certain set of assumptions conventionally accepted among literary historians or critics and circulated as “knowledge.” This knowledge holds that traditional, canonical American literature is free of, uninformed, and unshaped by the four-hundred-year old presence of, first, Africans and then African Americans in the United States. It assumes that this presence—which shaped the body politic, the Constitution, and the entire history of the culture—has had no significant place or consequence in the origin and development of that culture’s literature…. Just as the formation of the nation necessitated coded language and purposeful restriction to deal with the racial disingenuousness and moral frailty at its heart, so too did the literature, whose founding characteristics extend into the twentieth century, reproduce the necessity for codes and restriction. 

This “knowledge” has been internalized, to some degree, by all Americans, but some of us are subjects of it, and some of us are subjugated by it. Still, Morrison is interested in how this phenomenon occurs in the U.S. literary imagination not because it is a problem of Black people—as is often assumed when a Black writer writes about race—but because she wants to understand “the impact of racism on those who perpetuate it,” to “see what racial ideology does to the mind, imagination, and behavior of masters,” and to “observe how their lavish exploration of literature manages not to see meaning in the thunderous, theatrical presence of black surrogacy”—that which is released, which seeps out uninterrogated, undetected, that subconscious obsession. 

*

To practice craft, let us go back to the child. To that time before an awareness of formal craft: the beginner’s mind. To that fleeting moment before we fully absorbed the tropes of the U.S. literary imagination. Is this possible? Was it ever? Did we retain any of what we worked so hard to outgrow? 

As a subjugated child, what drove my craft—my record of little noticings and the subsequent piecing of them together, like the box puzzles I worked on with my grandfather—was a desire to know the truth about myself in a household where the adults secreted (secret-ed and secreted) my Blackness; hid it and released it; quieted it and let it seep; vigilantly avoided it and therefore obsessed over it. I knew that I was keeping a secret for my white grandfather, even if I didn’t know why. I noticed the releasing and seeping, even when he didn’t. After all, I was a child. 

After all, I was a Black child. The world outside my grandfather’s house wouldn’t let me avoid this truth.  

*

What shapes your craft? Your technical discipline? What shapes what you notice and therefore what you attend to? What do you refuse to notice and therefore deny? 

What do you see about yourself? Is there an active, critical interrogation of the self? Is there self-discipline (which is distinct from being policed or policing the self)? Self-discipline is an internal cultivation or a spiritual exercise, while being policed or self-policing is an external social force placed upon us to protect the material interests of the ruling elite. This must be a spiritual practice, this craft thing. Because, otherwise, this new knowledge-construction, this record-making, will reproduce the official knowledge and narratives of the status quo, inherent in which is that uninterrogated unease, that subconscious, but seeping, racism. 

When you go back to the child, when you achieve the beginner’s mind as an adult, you aren’t an authentic beginner anymore. Once you know craft, no matter how much you unlearn it, you hold that knowledge, alongside your newly remembered childhood attentiveness. Place this unlearning next to a self-discipline instead of a canonical knowledge or academic discipline. 

If you are white, notice yourself:

When you are sitting there working on an image, a metaphor, a simile, a symbol, an allusion; when you are considering personification, the narrative, the elliptical, the word choice, the music and your approach to music; when you are working in an elevated, established, and legitimized system of prosody—

What are you avoiding? What are you leaving out? What is uninterrogated? What trope is activated in that allusion, that figuration? What is behind your shorthand, your word choice, your line break? What is behind the way you employ color? The language of color? Who do you sacrifice for your music?

Are you exhausted? Good. The child isn’t. Don’t be the “knowledge”-holding adult. Be the noticing child. 

*

What did Ciara, Hannah, Markis, Abigail, Devonte, and Jeremiah notice before Jennifer and Sarah Hart drove them over that cliff in 2018? What did they have to notice as they tried to survive? What did the adults, who could have protected them, refuse to notice?

What do the children at the border notice from inside the cages, where they remain, still, today? Our avoidance, our passive refusal to notice them, keeps them there. 

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Thumbnail: New York Public Library

Craft Capsule: The Art of Literary Criticism

by

Jenny Bhatt

9.28.20

This is no. 74 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

A personal manifesto for literary criticism:

1. On close reading: Before reviewing, read a book at least three times for the following: text, subtext, and what’s left off the page. Often the latter two will reveal more about the writer’s true intent.

2. On references and associations: A good review is, first and foremost, about expanding the literary conversation between the text, the author, other readers, and ourselves—determining what the text means to us as individuals and as societies. Enrich your frames of reference by reading widely, purposefully, and mindfully. And then look for the literary associations, assemblages, affinities, and networks of relevant ideas, texts, people, and objects. Remember W. H. Auden’s sixth must-have for literary criticism: “Throw light upon the relation of art to life, to science, economics, ethics, religion, etc.”

3. On fairness: Ensure fairness and balance for the author and for readers (of both the review and the work itself). It is not enough to say what’s good or bad about a book. Make the case with evidence as to why. It is also not enough to write an information-filled essay that’s missing a “so what?” Every major point in the review should answer the twofold question: Why is this good or bad, and why does it matter?

4. On argument: Never speculate. Always contextualize. The review thesis must have plausible counterarguments, and the essay must include and respond to those counterarguments. That said, don’t indulge in what Virginia Woolf called the “desiccation of the living tissues of literature into a network of little bones” as some critics do with their “able and industrious pens.”

5. On comparison: Keep in mind Elizabeth Hardwick’s indictment: “How often we read a beginner’s review that compares a thin thing to a fat one. ‘John Smith, like Tolstoy, is very interested in the way men interact under the conditions of battle.’ Well, no.” Also, resist your cognitive biases—recency, confirmation, in-group, distinction, and attentional—in such comparative analysis.

6. On building up versus tearing down: A work of literature can do so much more than “demystify, destabilize, denaturalize, deconstruct, debunk, decipher,” as Rita Felski reminds us in The Limits of Critique (University of Chicago Press, 2015). It can, more significantly, also “recontextualize, reconfigure, remake, recharge perceptions.” Instead of simply focusing on excavating a text for causes, conditions, and motives, follow Felski’s advice to reflect on the text’s revelations and possibilities. Because, as Felski argues, “Works of art do not only subvert, but also convert; they do not only inform but also transform—a transformation that is not just a matter of intellectual readjustment but one of affective realignment as well (a shift of mood, a sharpened sensation, an unexpected surge of affinity or disorientation).”

7. On readership: Understand the target audience of a book—never mind who its writer or translator or publisher might have intended—and whether it meets their needs. Engage the reader as a smart, active participant in the conversation rather than a passive receiver of information. Felski’s four modes of textual engagement—recognition, enchantment, knowledge, and shock—also apply to how we engage with a review. Recognition is about the text as a source of self-interpretation and self-understanding. Enchantment is that pleasurable self-forgetting while reading. Knowledge refers to what literature discloses about the world beyond oneself. Shock speaks to the troubling and taboo aspects of human existence.

8. On language: Be specific, precise, and clear. Craft each sentence to make the review aesthetically pleasing. But avoid overwrought sentences that call more attention to themselves (or to you) than to the points they are making.

9. On the why: The payoff of writing criticism is deepening our reading pleasure and making it time well-spent. It helps us create a sense of understanding amid the constant activity of our surroundings. As Virginia Woolf wrote: “Poems and novels, histories and memoirs, dictionaries and blue-books; books written in all languages by men and women of all tempers, races, and ages jostle each other on the shelf. And outside the donkey brays, the women gossip at the pump, the colts gallop across the fields. Where are we to begin? How are we to bring order into this multitudinous chaos and so get the deepest and widest pleasure from what we read?”

10. On the so what: Do all of the above because a book is a sociocultural, historical, and political artifact. Like all human creations, it is a product of our experiences and reflects our desires, conflicts, and potential. Critiquing literature well involves learning about some crucial aspects of ourselves as individuals and as a species. It is how we elevate and preserve our literary traditions.

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, LongreadsPoets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Thumbnail: Markus Winkler

Craft Capsule: Lyric vs. Narrative

by

Will Harris

8.24.20

This is no. 69 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

A few years ago I showed a series of new poems to some friends and a deflating word kept coming up: narrative. The poems involved a speaker moving through London, having random encounters. They were baggy poems that contained events, but I didn’t think of them as narrative. I had been trying to avoid some of the pitfalls of the lyric; now I worried I’d unintentionally slipped into another mode, one that was artificial and linear, associated with dead white men known—like brands of cake—by their surnames: Wordsworth, Browning, (Mr.) Kipling. 

I started thinking about the differences between lyric and narrative. Maybe the biggest one is time. According to Aristotle, narrative is the “imitation of an action,” and that requires time in which to happen. A lyric, on the other hand, if it was filmed, might flit across the screen in a second or two. Take fragment 105A by Sappho—one of the first lyric poets—translated here by Anne Carson: 

as the sweetapple reddens on a high branch 
   high on the highest branch and the applepickers forgot—
no, not forgot: were unable to reach

Summary: Person reaches for apple. End of shot. 

But in that moment, the real action has nothing to do with apples. It’s internal: a swerving thought-line, folding back in on itself. Those apples—too high to pick, and thus objects of longing—represent something the speaker either forgets about (maybe wants to forget about) or chooses to remember as out of reach.

Though Sappho didn’t conceive of this as a whole poem, it feels of a piece with the contemporary lyric. “Disembodied, the poem provokes longing,” writes poet and scholar Jennifer Moxley. “The song it sings is either a lament of exile from the body or a celebration of freedom from its material prison, depending on the direction of the winds.” Or as the literary critic Helen Vendler puts it: In lyric, voice is “made abstract,” emancipated from time and space; it’s “the gesture of immortality and freedom.” By contrast, “the novel is the gesture of the historical and the spatial.” 

This transcendental view of the lyric has made some poets want to throw all conventional distinctions out the window. At a talk for the Kootenay School of Writing in 1990, Lisa Robertson identifies Bruce Andrews as one such poet who railed against, as he put it, “the intrinsic evils of narrative, lyric, identity among other traditional constructions.” Behind this rage at “traditional constructions”—tied to systems of structural oppression like capitalism—is the understandable desire to renew language by purging it. 

Though what else would that kind of purged language erase? Identity is rarely a choice; it chooses you. But writing through identity, whether I like it or not, has been my way to engage with the social and political conditions in which I exist—to reclaim, in small part, the choice that racialization takes away. This might explain why I lean on narrative sometimes, and why I’ve tried to set it—unintentionally or otherwise—against the lyric. Because my experience is “historical and spatial,” as much as it gestures towards “freedom.”

Questions still nag, though: Why bother? Why say “lyric” or “narrative”? Why not invent new forms, new genres, new terms? Why not just write

I can only respond—I’m talking to myself here—that the poles of lyric and narrative have helped me navigate the blank night of the page. They’ve helped me to think, in particular, about how time functions: With narrative, a focus on action centers time; with lyric, the suspension of time centers language. 

And sometimes I go back to The Virago Book of Fairy Tales to remember how varied and strange “narrative” can be—to remind myself that it doesn’t have to limit the work of poets at all. This is the first paragraph of a Greenlandic tale:

There was woman who was old, blind and likewise unable to walk. Once she asked her daughter for a drink of water. The daughter was so bored with her old mother that she gave her a bowl of her own piss. The old woman drank it all up, then said: “You’re a nice one, daughter. Tell me—which would you prefer as a lover, a louse or a sea scorpion?”

This could be reconstituted as a lyric. It demands—and rewards—a careful consideration of word choice and rhythm: the use of “likewise” in the first sentence; that phrase “nice one”; the ambiance of violent boredom. 

But it’s not a lyric. If you changed the words of a lyric poem—like that Sappho fragment earlier—it would become another poem altogether. If you changed the words here, the content would survive; narrative doesn’t rely quite so heavily on language itself for meaning. In this case, it’s already survived translation to reach us. And more could be added to it, taken away, spun off. 

This is the place I always end up at: The poem comes to life where lyric and narrative meet—where time and language cross over—and a possibility emerges of a poem that’s neither lyric nor narrative, but contains elements of both. Which has a body that moves through time and space, even as language tugs it skyward.

 

Will Harris is the author of the poetry collection RENDANG (Wesleyan University Press, 2020), which was selected as a Poetry Book Society Choice and shortlisted for the Forward Prize for Best First Collection. He has worked in schools and led workshops at the Southbank Centre and currently teaches for the Poetry School. A contributing editor at the Rialto, he lives in London. 

Thumbnail: Charlotte Noelle

Craft Capsule: On Nightmares

by

Chen Chen

11.9.20

This is no. 78 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1.
A nightmare: realizing I need to restructure this essay, again, and it’s due tomorrow. 

A nightmare: COVID-19 cases on the rise again all across the country. 

A nightmare: how often essayists, especially poets-turned-essayists, like to remind everyone that essay comes from the French verb essayer, meaning to try, to attempt, to test. 

Not a nightmare: I love the try, the attempt. 

A nightmare: the test. The test freaks me out. 

A nightmare: how long it’s taken in the United States for COVID tests to become more accessible. 

Why do I prefer the nightmare of being dreadfully stuck, working on a poem, over the nightmare of being dreadfully stuck, working on an essay? 

A collective, ongoing nightmare: the pandemic. 

2.
Working on my essays for this series has been both a welcome distraction and (as I knew would happen) a dive into the deep end of my anxieties. The process feels nightmarish because my preferred method of exploring and articulating craft ideas is writing poems (and it seems I’ve gotten to the point in my poetry writing where I can befriend the dread, the stuck-ness). Or through conversation: engaging with students and connecting with friends, all of which happens these days over the shared nightmare known as Zoom. 

Also, I hate paragraphs. The blocky-ness of paragraphs makes me anxious, like I’m trapped in a box and, in the essay form, can only move from one box to another. I feel I have to make sense. Too much sense. I like paragraphs in prose poems, because I’m freer to do—I know better how to do—weird things with sentences. Or not write sentences at all. 

I think of Mary Ruefle’s Madness, Rack, and Honey (Wave Books, 2012), a collection of essays based on lectures she was required to give as a teacher—at one point, Ruefle describes lectures as “bad dreams.” Ruefle has commented frequently on the fact that this one volume on poetry has far outsold her books of poetry; that people would rather read about poetry, than read a poem. That for many, poetry remains a nightmare. 

Poetry, to me, is the best dreaming. 

A form of breaking out of the Zoom room or the chain of paragraphs, into an expanse of fresh blooms,1 a field bursting with sunflowers. 

Still I’m drawn to essays for how they document a thought process, an attempt to think clearly and deeply. And I love good essays on poetry. I love Madness, Rack, and Honey. I’d like to write craft essays like Ruefle’s. I’m not sure that is possible, given our very different brains. But maybe my brain can do something else and figure out ways to enjoy writing an essay, or at least dislike it less. 

Could it be that my fear of the essay draws me to it? I’m afraid I won’t write as well in this genre, but the challenge entices. I’m nervous to delve into new subjects and discover scary truths, but surprise is also one of the key reasons I write anything. After all, in poetry it’s usually the door I don’t want to open that leads me to the room I most need to investigate.2

3.
I’ve long wanted to examine nightmares in my poetry. I’m intrigued by how fear can act as a signpost on the path to truth; how terror can mean getting closer to a complicated reality. I’ve written poems based on dreams—wild dreams that contain some frightening revelation at their core—but I have yet to write a poem based on a straight-up nightmare. Specifically, I’ve been itching to write a poem about my two recurring nightmares involving high school French teachers. 

One nightmare stars my sophomore year instructor, my favorite one, as a highly trained assassin. Her weapon of choice: one of my mother’s beloved Chinese cleavers. Somehow she manages very clean kills. In the nightmare I admire her and am also terrified. Sometimes I am the target, for getting a B on a quiz, say, and before the final blow she reminds me, “Cravate is a feminine noun, despite it referring to men’s neckties! It’s LA cravate, UNE cravate, SA cravate!” If I experience this again, I hope I remember to respond, “But anyone can wear a necktie!” Other times the nightmare gets loftier and the target is a corrupt politician, usually French. One time I am the corrupt French politician. 

I haven’t had this nightmare in a while, and I miss it—perhaps because 2020 is a global waking nightmare. What sleeping nightmare of mine could compare with Trump, COVID, and the police? I hesitate to type it out, but I miss this assassin nightmare because I wish there were worse consequences for the Trump administration. I wish there were consequences at all. As someone invested in abolition, I can’t advocate for prison. I have to imagine and help build other types of justice and accountability, ones that don’t rely on punishment and vengeance. At the same time, the part of me that misses the assassin nightmare would love for something nightmarish to visit these leaders who’ve abandoned all duty to the people. 

Another part of me misses this nightmare because seeing my mother’s cleaver in it is like seeing a part of her. I also associate high school language study with her because she teaches Mandarin at that level. I haven’t seen my mother since this pandemic was declared a pandemic. She’s immunocompromised and has been taking every precaution. Every call with her begins with her asking, “Have you been staying at home?” and ends with her command, “Keep staying at home.” My father, who never texts, texted me last week to say, “Avoid travel to any hot spots,” while travel ads pop up on my TV. Back in March my partner’s father was quarantined in a hospital in upstate New York after experiencing COVID-like symptoms. It was four days, but it felt like a year before the test results came back: negative. 

I check the news and check the news. I check social media, texts. I pick up the phone. The friends of friends with the virus. The friends with the virus. 

4.
Perhaps my fear of writing essays has to do with how my brain always associates the act with an academic assignment, a requirement, a grammar test that I might fail. It doesn’t help that so far most of the essays I write have in fact been assigned to me. They do help pay the bills. I do love a prompt. But is it, on some level, masochism? Is all my writing, in some way, a testing to which I subject myself, over and over? Am I perpetually trying to win a French teacher’s approval? 

The other French teacher nightmare goes like this: On an otherwise blissfully uneventful day, I receive a letter from my high school. I know something is amiss before even opening it. For a long time I just stare at it; it stares back from my coffee table. Then I open it. And it says because I never finished my senior year French project, I never actually passed high school. Therefore I have to return to school, where this time I will also reside. The second I step back into that memory-drenched building, I am met by my senior year French instructor. She looks me over then says in the most disappointed yet unsurprised way, “Bonjour.” 

What terrifies me in this dream is not the disruption of everyday life (by a cleaver-wielding assassin like in my other nightmare), but the resurrection of days I’ve long put behind me, a time and a self I’d rather not reinhabit. Not that high school was all stuffy, all busy work. No, I had many brilliant teachers and classmates, many life-changing experiences. This nightmare is the nightmare that my life didn’t really change. What I fear is going back to school but never learning, never growing. 

What I love is the school of poetry, which invites me to play anew and wonder differently and try strange things—to test in the sense of to experiment. To test in the sense of encountering nerve-wracking challenges, but trusting that the fear is a sign of one’s hunger for and effort toward real growth. Maybe one day I will experience essay writing more like that: an experiment in good fear. 

5.
A poem I find instructive for writing about nightmares is “The Dream”3 by Aracelis Girmay, one of my former professors, whose work continues to nourish as well as push me. Indeed, Girmay’s writing always reminds me how poems themselves can be the best poetry teachers. I also return to this one because it focuses on a mother, the figure beside or behind the French teacher of my first nightmare. Here is the startling start of “The Dream”: 

Last night, all night
the dream, the dead
mother, my small sister,
tiny, her mouth
over my shoulder
(screaming) like a knapsack
when she heard the news,
& my brother playing
the stereo. I howled
like the coyotes; myself.

The poem then shifts from the howl to a sunlit, tranquil scene, the way dreams can, suddenly and completely. “The Nightmare” ultimately wouldn’t be the most fitting title for this poem. The word dream can encompass good ones and bad. That said, nightmare can contain the abject as well as the gorgeous (my favorite horror movies have stellar aesthetics). My French teacher nightmares feature both terror and tenderness—fear of disappointing the mother/teacher figure, but also admiration for her and a longing for a time when I could, on a regular basis, talk with her in person. Rereading Girmay’s poem I realize that at the heart of the poem I want to write are questions like: How do fear and affection sit side by side? Why do I connect French teachers and mothers in this manner? 

This is what I mean by poems being the best poetry teachers: They offer an array of techniques to emulate, yes, but more fundamentally and expansively, they conjure up uncomfortable questions and encourage bewildering (sometimes frightening) leaps in imagination.

6.
One week, feeling particularly defeated by this essay, I write a draft of my poem “The Nightmare.” It reads ridiculous, then not, which seems like how a lot of my writing goes. I’d like one day to write a poem that shifts from not one bit ridiculous to utterly. Still, this poem is some new occurrence. Every truly new poem4 is its own strange school. 

I revise and revise. The poem teaches me about how my recurring nightmares are linked to the world’s shared nightmare of COVID-19. How afraid I am, as a teacher myself now, to be back this fall; how fortunate I feel that my university has allowed me to teach online; how much I miss teaching in person; how angry I am that not every teacher “gets to” do this. 

I revise and revise the ending of this essay. I’m afraid of being so direct and so pared down in my diction. But I know from poetry that it’s often when I’m trying the least to be “poetic” that the most charged truths emerge. 

Truths like: I’m afraid my students will get sick. I’m afraid of losing a student, more than one student. I think I should be more afraid of getting very sick too. I miss my mother, who, as a high school Mandarin teacher, knows that school is more than a building, but misses her classroom. I’m relieved she has the option to teach online as well. I miss many of my high school teachers and hope they are safe and finding ways to rest. 

To dream, both literally and creatively. To speak back to the nightmares, both personal and collective.

 

ENDNOTES

1. A beautiful nightmare: how much poets adore the word bloom.
2. In life, I know better than to go exploring attics, basements, or other favorite hangout spots of vengeful ghosts and demons. 
3. From
Kingdom Animalia (BOA Editions, 2011).
4. I mean new mainly in terms of process; new to the writer. The big hope is that the poem will then do something new for a reader.

 

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions, 2017)which was longlisted for the National Book Award for Poetry and won the Publishing Triangle Thom Gunn Award. His work has appeared in many publications, including Poetry and the 2015 and 2019 editions of The Best American Poetry. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence. 

Thumbnail: Chuttersnap

Craft Capsule: The Art of Literary Criticism

by

Jenny Bhatt

9.28.20

This is no. 74 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

A personal manifesto for literary criticism:

1. On close reading: Before reviewing, read a book at least three times for the following: text, subtext, and what’s left off the page. Often the latter two will reveal more about the writer’s true intent.

2. On references and associations: A good review is, first and foremost, about expanding the literary conversation between the text, the author, other readers, and ourselves—determining what the text means to us as individuals and as societies. Enrich your frames of reference by reading widely, purposefully, and mindfully. And then look for the literary associations, assemblages, affinities, and networks of relevant ideas, texts, people, and objects. Remember W. H. Auden’s sixth must-have for literary criticism: “Throw light upon the relation of art to life, to science, economics, ethics, religion, etc.”

3. On fairness: Ensure fairness and balance for the author and for readers (of both the review and the work itself). It is not enough to say what’s good or bad about a book. Make the case with evidence as to why. It is also not enough to write an information-filled essay that’s missing a “so what?” Every major point in the review should answer the twofold question: Why is this good or bad, and why does it matter?

4. On argument: Never speculate. Always contextualize. The review thesis must have plausible counterarguments, and the essay must include and respond to those counterarguments. That said, don’t indulge in what Virginia Woolf called the “desiccation of the living tissues of literature into a network of little bones” as some critics do with their “able and industrious pens.”

5. On comparison: Keep in mind Elizabeth Hardwick’s indictment: “How often we read a beginner’s review that compares a thin thing to a fat one. ‘John Smith, like Tolstoy, is very interested in the way men interact under the conditions of battle.’ Well, no.” Also, resist your cognitive biases—recency, confirmation, in-group, distinction, and attentional—in such comparative analysis.

6. On building up versus tearing down: A work of literature can do so much more than “demystify, destabilize, denaturalize, deconstruct, debunk, decipher,” as Rita Felski reminds us in The Limits of Critique (University of Chicago Press, 2015). It can, more significantly, also “recontextualize, reconfigure, remake, recharge perceptions.” Instead of simply focusing on excavating a text for causes, conditions, and motives, follow Felski’s advice to reflect on the text’s revelations and possibilities. Because, as Felski argues, “Works of art do not only subvert, but also convert; they do not only inform but also transform—a transformation that is not just a matter of intellectual readjustment but one of affective realignment as well (a shift of mood, a sharpened sensation, an unexpected surge of affinity or disorientation).”

7. On readership: Understand the target audience of a book—never mind who its writer or translator or publisher might have intended—and whether it meets their needs. Engage the reader as a smart, active participant in the conversation rather than a passive receiver of information. Felski’s four modes of textual engagement—recognition, enchantment, knowledge, and shock—also apply to how we engage with a review. Recognition is about the text as a source of self-interpretation and self-understanding. Enchantment is that pleasurable self-forgetting while reading. Knowledge refers to what literature discloses about the world beyond oneself. Shock speaks to the troubling and taboo aspects of human existence.

8. On language: Be specific, precise, and clear. Craft each sentence to make the review aesthetically pleasing. But avoid overwrought sentences that call more attention to themselves (or to you) than to the points they are making.

9. On the why: The payoff of writing criticism is deepening our reading pleasure and making it time well-spent. It helps us create a sense of understanding amid the constant activity of our surroundings. As Virginia Woolf wrote: “Poems and novels, histories and memoirs, dictionaries and blue-books; books written in all languages by men and women of all tempers, races, and ages jostle each other on the shelf. And outside the donkey brays, the women gossip at the pump, the colts gallop across the fields. Where are we to begin? How are we to bring order into this multitudinous chaos and so get the deepest and widest pleasure from what we read?”

10. On the so what: Do all of the above because a book is a sociocultural, historical, and political artifact. Like all human creations, it is a product of our experiences and reflects our desires, conflicts, and potential. Critiquing literature well involves learning about some crucial aspects of ourselves as individuals and as a species. It is how we elevate and preserve our literary traditions.

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, LongreadsPoets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Thumbnail: Markus Winkler

Craft Capsule: The Arc of Epiphany

by

Jordan Kisner

12.7.20

This is no. 81 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I continually puzzle over something the essayist Amy Benson said during a seminar on “the lyric essay.” Or maybe she didn’t say it but alluded to it by the structure of her syllabus. This was a while ago, but essentially she proposed that essays might follow one of a few types of arcs: the arc of narrative, the arc of argument, the arc of epiphany.

This concept made intuitive sense to me. The feeling of the word arc—which for me always conjures the bowing of a ship’s prow, something sturdy and flexible, something constructed but buoyant, something that cuts through water and ice but is smooth enough to run your hand over—matches the feeling of an essay. The arc of narrative seems clear enough: The essay uses as its keel the rising and falling action of story. Its end point is coterminous with a feeling of resolution, or maybe just arrival, in the narrative. The arc of argument shapes an essay around an idea that needs advancing, a thought that needs interrogating and articulating—whether it’s clearly an argument or just a notion the writer is toying with. 

But what is an essay that follows the arc of epiphany?

I don’t remember how Benson defined it, and I prefer it that way. This way the arc of epiphany is something I get to imagine, to theorize, to puzzle over, to strive within. Is it an essay that provokes an epiphany? An essay that finds its arrival point in a moment of epiphany or bright realization? Does it replicate, structurally, the feeling of epiphany: total confusion followed by rupture and maybe rapture, followed by reassessment of everything that came before in light of the new knowledge, followed, perhaps, by disillusionment or fading fervor? Is it an essay that completely upends itself part of the way through and starts over on new premises? Does it just go right ahead and manifest the divine, as the word’s earliest uses in English (first, to describe Christ’s appearance to the Magi; and then to denote the revelation of a divinity more generally) would indicate?

When I wrote my first book, Thin Places, I toyed with creating an arc of epiphany not only within a single essay but through an arrangement of essays—or, to put it in geometric terms, a major arc produced by a series of minor arcs. I wanted to make a collection of essays that each individually riffed on the epiphanic (say, by ending with the appearance of a holy orange; or by putting the reader in a prolonged confrontation with death; or by pulling a U-turn halfway through a piece about debutante balls to talk about queerness) but also collectively and gradually, through sequential reading, crested into something like the epiphanic. I wanted that big inrush of air, that clearer picture, that sudden recognition of pattern. 

This is an extremely lofty goal, I realize, and I didn’t necessarily think such a thing would be possible (not least because I still wonder what “arc of epiphany” means), but it gave me something to play with and push against. Most writing that I like—of my own or by other people—is written as a genuine and urgent attempt to understand something inscrutable. When the writer stretches to comprehend something just out of their reach, or to articulate something for which they have no words—that’s when the air begins to crackle. It feels like a goal worth reaching for, even and especially if you have to make up its rubric yourself.

 

Jordan Kisner is the author of the essay collection Thin Places (Farrar, Straus and Giroux, 2020). Her writing has also appeared in the Atlantic, the Believer, the Guardiann+1, the New York Times Magazine, and the Paris Review Daily. The recipient of fellowships from Pioneer Works, the Millay Colony for the Arts, and Art Omi, she is currently a fellow at the Black Mountain Institute in Las Vegas.

Thumbnail: The National Oceanic and Atmospheric Administration Photo Library

Craft Capsule: On Nightmares

by

Chen Chen

11.9.20

This is no. 78 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1.
A nightmare: realizing I need to restructure this essay, again, and it’s due tomorrow. 

A nightmare: COVID-19 cases on the rise again all across the country. 

A nightmare: how often essayists, especially poets-turned-essayists, like to remind everyone that essay comes from the French verb essayer, meaning to try, to attempt, to test. 

Not a nightmare: I love the try, the attempt. 

A nightmare: the test. The test freaks me out. 

A nightmare: how long it’s taken in the United States for COVID tests to become more accessible. 

Why do I prefer the nightmare of being dreadfully stuck, working on a poem, over the nightmare of being dreadfully stuck, working on an essay? 

A collective, ongoing nightmare: the pandemic. 

2.
Working on my essays for this series has been both a welcome distraction and (as I knew would happen) a dive into the deep end of my anxieties. The process feels nightmarish because my preferred method of exploring and articulating craft ideas is writing poems (and it seems I’ve gotten to the point in my poetry writing where I can befriend the dread, the stuck-ness). Or through conversation: engaging with students and connecting with friends, all of which happens these days over the shared nightmare known as Zoom. 

Also, I hate paragraphs. The blocky-ness of paragraphs makes me anxious, like I’m trapped in a box and, in the essay form, can only move from one box to another. I feel I have to make sense. Too much sense. I like paragraphs in prose poems, because I’m freer to do—I know better how to do—weird things with sentences. Or not write sentences at all. 

I think of Mary Ruefle’s Madness, Rack, and Honey (Wave Books, 2012), a collection of essays based on lectures she was required to give as a teacher—at one point, Ruefle describes lectures as “bad dreams.” Ruefle has commented frequently on the fact that this one volume on poetry has far outsold her books of poetry; that people would rather read about poetry, than read a poem. That for many, poetry remains a nightmare. 

Poetry, to me, is the best dreaming. 

A form of breaking out of the Zoom room or the chain of paragraphs, into an expanse of fresh blooms,1 a field bursting with sunflowers. 

Still I’m drawn to essays for how they document a thought process, an attempt to think clearly and deeply. And I love good essays on poetry. I love Madness, Rack, and Honey. I’d like to write craft essays like Ruefle’s. I’m not sure that is possible, given our very different brains. But maybe my brain can do something else and figure out ways to enjoy writing an essay, or at least dislike it less. 

Could it be that my fear of the essay draws me to it? I’m afraid I won’t write as well in this genre, but the challenge entices. I’m nervous to delve into new subjects and discover scary truths, but surprise is also one of the key reasons I write anything. After all, in poetry it’s usually the door I don’t want to open that leads me to the room I most need to investigate.2

3.
I’ve long wanted to examine nightmares in my poetry. I’m intrigued by how fear can act as a signpost on the path to truth; how terror can mean getting closer to a complicated reality. I’ve written poems based on dreams—wild dreams that contain some frightening revelation at their core—but I have yet to write a poem based on a straight-up nightmare. Specifically, I’ve been itching to write a poem about my two recurring nightmares involving high school French teachers. 

One nightmare stars my sophomore year instructor, my favorite one, as a highly trained assassin. Her weapon of choice: one of my mother’s beloved Chinese cleavers. Somehow she manages very clean kills. In the nightmare I admire her and am also terrified. Sometimes I am the target, for getting a B on a quiz, say, and before the final blow she reminds me, “Cravate is a feminine noun, despite it referring to men’s neckties! It’s LA cravate, UNE cravate, SA cravate!” If I experience this again, I hope I remember to respond, “But anyone can wear a necktie!” Other times the nightmare gets loftier and the target is a corrupt politician, usually French. One time I am the corrupt French politician. 

I haven’t had this nightmare in a while, and I miss it—perhaps because 2020 is a global waking nightmare. What sleeping nightmare of mine could compare with Trump, COVID, and the police? I hesitate to type it out, but I miss this assassin nightmare because I wish there were worse consequences for the Trump administration. I wish there were consequences at all. As someone invested in abolition, I can’t advocate for prison. I have to imagine and help build other types of justice and accountability, ones that don’t rely on punishment and vengeance. At the same time, the part of me that misses the assassin nightmare would love for something nightmarish to visit these leaders who’ve abandoned all duty to the people. 

Another part of me misses this nightmare because seeing my mother’s cleaver in it is like seeing a part of her. I also associate high school language study with her because she teaches Mandarin at that level. I haven’t seen my mother since this pandemic was declared a pandemic. She’s immunocompromised and has been taking every precaution. Every call with her begins with her asking, “Have you been staying at home?” and ends with her command, “Keep staying at home.” My father, who never texts, texted me last week to say, “Avoid travel to any hot spots,” while travel ads pop up on my TV. Back in March my partner’s father was quarantined in a hospital in upstate New York after experiencing COVID-like symptoms. It was four days, but it felt like a year before the test results came back: negative. 

I check the news and check the news. I check social media, texts. I pick up the phone. The friends of friends with the virus. The friends with the virus. 

4.
Perhaps my fear of writing essays has to do with how my brain always associates the act with an academic assignment, a requirement, a grammar test that I might fail. It doesn’t help that so far most of the essays I write have in fact been assigned to me. They do help pay the bills. I do love a prompt. But is it, on some level, masochism? Is all my writing, in some way, a testing to which I subject myself, over and over? Am I perpetually trying to win a French teacher’s approval? 

The other French teacher nightmare goes like this: On an otherwise blissfully uneventful day, I receive a letter from my high school. I know something is amiss before even opening it. For a long time I just stare at it; it stares back from my coffee table. Then I open it. And it says because I never finished my senior year French project, I never actually passed high school. Therefore I have to return to school, where this time I will also reside. The second I step back into that memory-drenched building, I am met by my senior year French instructor. She looks me over then says in the most disappointed yet unsurprised way, “Bonjour.” 

What terrifies me in this dream is not the disruption of everyday life (by a cleaver-wielding assassin like in my other nightmare), but the resurrection of days I’ve long put behind me, a time and a self I’d rather not reinhabit. Not that high school was all stuffy, all busy work. No, I had many brilliant teachers and classmates, many life-changing experiences. This nightmare is the nightmare that my life didn’t really change. What I fear is going back to school but never learning, never growing. 

What I love is the school of poetry, which invites me to play anew and wonder differently and try strange things—to test in the sense of to experiment. To test in the sense of encountering nerve-wracking challenges, but trusting that the fear is a sign of one’s hunger for and effort toward real growth. Maybe one day I will experience essay writing more like that: an experiment in good fear. 

5.
A poem I find instructive for writing about nightmares is “The Dream”3 by Aracelis Girmay, one of my former professors, whose work continues to nourish as well as push me. Indeed, Girmay’s writing always reminds me how poems themselves can be the best poetry teachers. I also return to this one because it focuses on a mother, the figure beside or behind the French teacher of my first nightmare. Here is the startling start of “The Dream”: 

Last night, all night
the dream, the dead
mother, my small sister,
tiny, her mouth
over my shoulder
(screaming) like a knapsack
when she heard the news,
& my brother playing
the stereo. I howled
like the coyotes; myself.

The poem then shifts from the howl to a sunlit, tranquil scene, the way dreams can, suddenly and completely. “The Nightmare” ultimately wouldn’t be the most fitting title for this poem. The word dream can encompass good ones and bad. That said, nightmare can contain the abject as well as the gorgeous (my favorite horror movies have stellar aesthetics). My French teacher nightmares feature both terror and tenderness—fear of disappointing the mother/teacher figure, but also admiration for her and a longing for a time when I could, on a regular basis, talk with her in person. Rereading Girmay’s poem I realize that at the heart of the poem I want to write are questions like: How do fear and affection sit side by side? Why do I connect French teachers and mothers in this manner? 

This is what I mean by poems being the best poetry teachers: They offer an array of techniques to emulate, yes, but more fundamentally and expansively, they conjure up uncomfortable questions and encourage bewildering (sometimes frightening) leaps in imagination.

6.
One week, feeling particularly defeated by this essay, I write a draft of my poem “The Nightmare.” It reads ridiculous, then not, which seems like how a lot of my writing goes. I’d like one day to write a poem that shifts from not one bit ridiculous to utterly. Still, this poem is some new occurrence. Every truly new poem4 is its own strange school. 

I revise and revise. The poem teaches me about how my recurring nightmares are linked to the world’s shared nightmare of COVID-19. How afraid I am, as a teacher myself now, to be back this fall; how fortunate I feel that my university has allowed me to teach online; how much I miss teaching in person; how angry I am that not every teacher “gets to” do this. 

I revise and revise the ending of this essay. I’m afraid of being so direct and so pared down in my diction. But I know from poetry that it’s often when I’m trying the least to be “poetic” that the most charged truths emerge. 

Truths like: I’m afraid my students will get sick. I’m afraid of losing a student, more than one student. I think I should be more afraid of getting very sick too. I miss my mother, who, as a high school Mandarin teacher, knows that school is more than a building, but misses her classroom. I’m relieved she has the option to teach online as well. I miss many of my high school teachers and hope they are safe and finding ways to rest. 

To dream, both literally and creatively. To speak back to the nightmares, both personal and collective.

 

ENDNOTES

1. A beautiful nightmare: how much poets adore the word bloom.
2. In life, I know better than to go exploring attics, basements, or other favorite hangout spots of vengeful ghosts and demons. 
3. From
Kingdom Animalia (BOA Editions, 2011).
4. I mean new mainly in terms of process; new to the writer. The big hope is that the poem will then do something new for a reader.

 

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions, 2017)which was longlisted for the National Book Award for Poetry and won the Publishing Triangle Thom Gunn Award. His work has appeared in many publications, including Poetry and the 2015 and 2019 editions of The Best American Poetry. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence. 

Thumbnail: Chuttersnap

Craft Capsule: The Art of Literary Criticism

by

Jenny Bhatt

9.28.20

This is no. 74 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

A personal manifesto for literary criticism:

1. On close reading: Before reviewing, read a book at least three times for the following: text, subtext, and what’s left off the page. Often the latter two will reveal more about the writer’s true intent.

2. On references and associations: A good review is, first and foremost, about expanding the literary conversation between the text, the author, other readers, and ourselves—determining what the text means to us as individuals and as societies. Enrich your frames of reference by reading widely, purposefully, and mindfully. And then look for the literary associations, assemblages, affinities, and networks of relevant ideas, texts, people, and objects. Remember W. H. Auden’s sixth must-have for literary criticism: “Throw light upon the relation of art to life, to science, economics, ethics, religion, etc.”

3. On fairness: Ensure fairness and balance for the author and for readers (of both the review and the work itself). It is not enough to say what’s good or bad about a book. Make the case with evidence as to why. It is also not enough to write an information-filled essay that’s missing a “so what?” Every major point in the review should answer the twofold question: Why is this good or bad, and why does it matter?

4. On argument: Never speculate. Always contextualize. The review thesis must have plausible counterarguments, and the essay must include and respond to those counterarguments. That said, don’t indulge in what Virginia Woolf called the “desiccation of the living tissues of literature into a network of little bones” as some critics do with their “able and industrious pens.”

5. On comparison: Keep in mind Elizabeth Hardwick’s indictment: “How often we read a beginner’s review that compares a thin thing to a fat one. ‘John Smith, like Tolstoy, is very interested in the way men interact under the conditions of battle.’ Well, no.” Also, resist your cognitive biases—recency, confirmation, in-group, distinction, and attentional—in such comparative analysis.

6. On building up versus tearing down: A work of literature can do so much more than “demystify, destabilize, denaturalize, deconstruct, debunk, decipher,” as Rita Felski reminds us in The Limits of Critique (University of Chicago Press, 2015). It can, more significantly, also “recontextualize, reconfigure, remake, recharge perceptions.” Instead of simply focusing on excavating a text for causes, conditions, and motives, follow Felski’s advice to reflect on the text’s revelations and possibilities. Because, as Felski argues, “Works of art do not only subvert, but also convert; they do not only inform but also transform—a transformation that is not just a matter of intellectual readjustment but one of affective realignment as well (a shift of mood, a sharpened sensation, an unexpected surge of affinity or disorientation).”

7. On readership: Understand the target audience of a book—never mind who its writer or translator or publisher might have intended—and whether it meets their needs. Engage the reader as a smart, active participant in the conversation rather than a passive receiver of information. Felski’s four modes of textual engagement—recognition, enchantment, knowledge, and shock—also apply to how we engage with a review. Recognition is about the text as a source of self-interpretation and self-understanding. Enchantment is that pleasurable self-forgetting while reading. Knowledge refers to what literature discloses about the world beyond oneself. Shock speaks to the troubling and taboo aspects of human existence.

8. On language: Be specific, precise, and clear. Craft each sentence to make the review aesthetically pleasing. But avoid overwrought sentences that call more attention to themselves (or to you) than to the points they are making.

9. On the why: The payoff of writing criticism is deepening our reading pleasure and making it time well-spent. It helps us create a sense of understanding amid the constant activity of our surroundings. As Virginia Woolf wrote: “Poems and novels, histories and memoirs, dictionaries and blue-books; books written in all languages by men and women of all tempers, races, and ages jostle each other on the shelf. And outside the donkey brays, the women gossip at the pump, the colts gallop across the fields. Where are we to begin? How are we to bring order into this multitudinous chaos and so get the deepest and widest pleasure from what we read?”

10. On the so what: Do all of the above because a book is a sociocultural, historical, and political artifact. Like all human creations, it is a product of our experiences and reflects our desires, conflicts, and potential. Critiquing literature well involves learning about some crucial aspects of ourselves as individuals and as a species. It is how we elevate and preserve our literary traditions.

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, LongreadsPoets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Thumbnail: Markus Winkler

Craft Capsule: What’s So Funny?

by

Kristen Arnett

4.26.21

This is no. 96 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I do not consider myself a craft expert, but I do consider myself an aficionado of the dumb stuff that makes me laugh. Television plots centered on easily solved miscommunications? Check. Dogs that look like they’re smiling? Oh yeah. Writing that asks me to unpack the joke, repackage it, and then try to resell it as a brand-new product? Oh baby, absolutely yes.

There is something compelling about the standard joke format. What is the “standard” joke, you might ask? The best way to describe it is to consider the Dad Joke. Think of puns and silly wordplay. Or the Man Walks Into a Bar format. It’s the knock-knock joke your weird uncle tells at a family barbeque, one you wind up telling your kids years later. It’s the joke that gets modified with each retelling. Its primary purpose is simply that: retelling.

How many ways can you write the joke and still get a laugh?

For example, when I was growing up, my family inherited an ancient computer from my elderly aunt. She had managed to download a virus before gifting it to us, so its main use became listening to an animated bird do an abbreviated stand-up routine. Pete the Repeat Parrot fluttered in vibrant green-pink-yellow, squawking his fool head off, desperate to tell you his one and only zinger. Here is that joke:

“Pete and Repeat sat on a fence. Pete fell off. Who was left?”

Obviously, the answer here (and the joke itself) is found in the Repeat. But the humor came from the trajectory of the experience: It was funny at first because hey, it’s an unexpected joke. After a while, it became funny because our parents got so angry every time the bird popped up and disrupted their work. Further down the line, it was funny for a different reason entirely: The joke embedded itself in the language of our family. “Stop being such a Pete the Repeat,” I’d say when my brother was being especially annoying. The joke expanded, more fascinating than the original. It became its own story and contained its own plot trajectory.

I think about this a lot in my work. How can I repackage the initial premise of a joke in more colorful wrapping and offer it up to the reader as something brand-new? Gifting them the same bit, but a different experience of it? Often this means I need to situationally experience jokes for the first time as my characters experience them. Humor is subjective; it requires background to understand how any person would receive something as funny. As I write, I understand that even if the joke isn’t funny to the characters in the scene, it retains humor for the reader.

Another example: the scene in Rebecca Dinerstein Knight’s novel Hex (Viking, 2020) in which a large mattress is unexpectedly delivered during a dinner party. It’s left awkwardly on the entryway rug and no one knows what to do with it. There’s the joke setup. Later on, a guest at the dinner party exits the entryway bathroom and trips over the mattress, which was not there when he initially entered. That is a use of the mattress in a different comedic way, yet it is still the same joke: weird mattress where it shouldn’t be. The party continues along with the mattress, which gets used as the site of further hilarity. There are drunken secrets told on it, even an impromptu karaoke dance session occurs on its quilted top. Same joke, repackaged and retold to great and hilarious effect.

When considering how humor can sit inside fiction, perhaps imagine it as the same strange and unexpected body wearing different disguises to a costume event. If you can get the joke to put on a fake mustache and successfully reenter the party they have already been kicked out of, perhaps it is worth letting them stick around a while longer. Let them spike the punch. See what other kind of mischief they can get into. I bet it is worth repeating.

 

Kristen Arnett is a queer writer based in Florida. She is the author of the novel Mostly Dead Things (Tin House, 2019), which was a New York Times best-seller, and the story collection Felt in the Jaw (Split/Lip Press, 2017). Her writing has also appeared in the New York Times, North American Review, Gulf Coast, Guernica, and McSweeney’s, among other publications. Her second novel, With Teeth, is forthcoming from Riverhead Books in June.

Thumbnail: David Waite

Craft Capsule: Night Call

by

Alex Dimitrov

6.7.21

This is no. 100 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

New York’s streets are everywhere in my poems. In February of 2014 I used the city quite literally. It was for a project called Night Call. The idea was to travel to strangers and read them poems in bed, or in the most intimate space of their homes. For many people this ended up being the kitchen or living room. For one guy, his balcony in Tribeca. Mostly though, strangers walked me right into their bedrooms and offered me a glimpse of their lives.

I’ve lived in New York for more than ten years. It still feels like the city doesn’t need me or know that I’m here. And to be honest, I like that. I’m a writer who thrives off resistance. That kind of pushback and being ignored excites me. In Night Call, I wanted to fuse that feeling with the intimacy of going over to someone’s apartment. Being in a person’s space is often more intimate than sleeping with them. It’s an alluring exchange: people showing you where they spend the majority of their lives. The poem is also an exchange. It’s like showing you a map to the interior though not the interior itself. The poem, to me, is a conversation between people.

I announced Night Call on social media and offered to do readings for anyone who didn’t know me. That was the catch, they had to be total strangers. They could be in any borough and had the choice of four separate Sundays on which we could meet. I’d leave my apartment around eight in the evening with poems and my phone. Nothing more. Maybe a pack of cigarettes (though I was trying to quit). Sometimes I didn’t know the gender of the person I was going to read to (based on their name) and I didn’t care either. I took the N and the R and the 6 and the B trains. Most of the readings were quick. Twenty or twenty-five minutes. Other times I wouldn’t leave someone’s apartment until two or three in the morning and I’d cab back, exhausted and exhilarated both. People offered me drinks, told me stories about their childhoods, affairs, the death of their parents. They took me up to their roofs, made me coffee, showed me things they had written or painted. One stranger cooked me dinner and told me she regretted both of her marriages. “Don’t get married,” she said. “There are more interesting things to do with people.” I’ll never forget the way she kept adjusting a silver pendant around her neck.

At the time I had a nine-to-five job and I’m not sure how I got up on those Monday mornings. Several major media outlets asked to cover Night Call but I declined. I’ve never written or talked about it before. It was private. My interest was to open up a new space between the reader and the poet and between the reader and the poem. I wanted to demystify both. I wanted people, in the privacy of their beds, to encounter the poem like a bedtime story (being read to having been one of the only pleasures of my childhood).

The poems I read were from drafts of my second book, Together and by Ourselves. The strangers in Night Call were the first people to hear it. It’s my favorite book I’ve written and my most personal, too. In some ways I wrote it to survive the change in an important relationship. It’s amazing the things people shared with me when I read them those poems. We usually sat across from each other on top of the bedspread, sometimes about one or two arm-lengths apart, sometimes for long stretches of time, often in silence.

For about a month, in the dead of winter, I went to the Village and Queens and Brooklyn, and almost to Staten Island once but it was too late at that point. Some people I read to ended up becoming my friends. I remember even those I haven’t seen again, which is most of them. I remember what they told me about their lives and I remember their faces. The poem is, of course, a place to remember. It keeps people’s voices and things right there, outside time. And those first hours after midnight, when Night Call would often take place, they feel outside time to me also. It’s a beautiful illusion. The imagination is the only real freedom. That’s what Night Call helped me remember. I had forgotten it too.

 

Alex Dimitrov is the author of three books of poems, including Love and Other Poems (Copper Canyon Press, 2021), as well as the chapbook American Boys (Floating Wolf Quarterly, 2012). His work has been published in the New Yorker, the New York Times, the Paris Review, and Poetry. He was previously the senior content editor at the Academy of American Poets, where he edited the Poem-a-Day series and American Poets. He has taught creative writing at Princeton University, Columbia University, and New York University, among other institutions. With Dorothea Lasky, he is the coauthor of Astro Poets: Your Guides to the Zodiac (Flatiron Books, 2019). Dimitrov lives in New York City.

Thumbnail: Guillaume Técher

Craft Capsule: Who Cares?

by

Jordan Kisner

12.21.20

This is no. 83 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I feel lately that there’s so little I know how to say about writing in a general, prescriptive sense, despite the fact that I write for a living, despite the fact that I teach writing and can, in that context, usually manage prescriptive statements. The “craft” of writing to me feels synonymous with the craft of sitting still, which I find difficult; or the craft of patiently pursuing the rightest, most elegant piece for whatever part of the puzzle is in front of me; the craft of making little rituals to call forth both order and chaos; the craft of snacking; the craft of eavesdropping. Once, when I was about fifteen and had no aspirations to write at all, I spent a few days with an author of a famous book about teenage girls and their derangements, and she remarked to me that I would be a writer. This surprised and flattered me. I thought maybe she could see something about my mind. “You carry a notebook,” she pointed out. The craft of having a pen on hand.

This tension between the writer’s need to take her mind seriously and the reality that most of the world is less automatically enthralled with it, feels like one of the hardest things to get right, especially for anyone whose written I is themselves. Taking an inner life seriously but not too seriously, I think, is as much a technique or a practice as anything else. Inner life drives most of the writing I find fascinating, whether or not the end result is explicitly about the writer. Take Anne Boyer’s The Undying. Housekeeping by Marilynne Robinson. Homie by Danez Smith. Still Life With Oyster and Lemon by Mark Doty. On Immunity by Eula Biss. All different forms (memoir, poetry, researched essay, novel) and all totally about and deeply drawn from a writer’s interiority—their questions, their experiences, their loves, their griefs, their memories. I could now—but won’t—name five books that could be described the same way but feel, to me, solipsistic and masturbatory. 

This is the high-wire act with which I am personally concerned from a craft perspective: how to write with your full self, and perhaps including yourself, while not writing in a way that’s just so far up your own navel.

Who cares, who cares, who cares, I sometimes want to write in the margins of my students’ essays. I don’t, remembering the teachers who kindly didn’t write that in my margins though I am absolutely sure they wanted to. I don’t mean the question cruelly—or literally: They care, obviously! And often I do, too—but it would be felt as cruelty, probably. Which is too bad because it’s a worthy question. It’s maybe the most salient question I could present to my students. It is the question I ask myself most often when I’m working, honestly. (I am asking it right now.) 

When we say a work is masturbatory, we mean that it was written to please the person who made it to the neglect of anyone else’s pleasure. It is, to use the argot of writing pedagogy, “writer-based,” as opposed to “reader-based.” “Writer-based” prose feels good for the writer, maybe, but it does not do much for a reader—because it has not really considered the reader. It has not concerned itself with whether a reader will, or should, find pleasure or meaning in the experience. 

So to consider who might care and why—this is a kindness, an ethic, a canny nod to pleasure. How many people do you want to bring into the circle with you? The craft of obsessive query: Who cares about flower seasons, about autopsies, about writing, a dead lake, a dead musician, a particular septuagenarian’s books? Why would they care? Just because I care, will anyone else? Assuming that not everyone will care about everything, whom do I wish to address? Who would I like to make care?

 

Jordan Kisner is the author of the essay collection Thin Places (Farrar, Straus and Giroux, 2020). Her writing has also appeared in the Atlantic, the Believer, the Guardiann+1, the New York Times Magazine, and the Paris Review Daily. The recipient of fellowships from Pioneer Works, the Millay Colony for the Arts, and Art Omi, she is currently a fellow at the Black Mountain Institute in Las Vegas.

Thumbnail: Sean Benesh

Craft Capsule: The Schedule

by

Jordan Kisner

12.14.20

This is no. 82 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Maya Angelou rented herself a hotel room and went off to it every morning at six-thirty. Susan Sontag forbade herself from reading until the evening. Kafka wrote all night. Capote wrote laying down all day. Virginia Woolf wrote standing up. Gertrude Stein wrote outside, in the countryside, preferably while looking at a cow. Alice Munro wrote when her children napped. Robert Lowell worked in bed with a bottle of milk. Auden used speed. Didion needed an hour before dinner with a drink to go over the day’s work. Ntozake Shange wrote with Perrier and a glass of wine at a cafe during off-hours. 

I have one friend who washes her hands before she sits down to write. Another friend gets up at the crack of dawn. A third friend works by word-count quotas and keeps a sticky note next to her so she can note the incremental increases: five hundred words here, two hundred words there. 

I have no daily habits or routines, other than coffee and walking the dog. For years I’ve tried. There was a period of time in graduate school when I wrote from ten to one on either side of the clock, but that became less feasible once I had a partner. For long stretches I’ll make myself write a few pages right when I wake up, a version of the “morning pages” in Julia Cameron’s The Artist Way, a pseudo spiritual guide to sorting out your creativity problems that’s popular among writers and artists I know—but then I’ll stop. At the beginning of this year, I wrote a note to myself declaring the intention to start with my own writing first (as opposed to e-mail or contract work) and to begin with five minutes of meditation for focus. I do not do this. If I were to look back over my notebooks from the last five years, I’d find failed attempt after failed attempt to make myself a schedule, to develop a program, to devise some infrastructure for the nebulous work of materializing thoughts and arranging them in words.

Many writers I know are strange and obsessive about the notion of keeping a schedule, even and especially when they don’t. I am one of those. I imagine it will make writing easier, because for me at least writing feels not just technically difficult but spiritually difficult. It feels as extractive as it is expressive. Routine, I suspect, would alleviate this, or at least get me more inured to it. It would make me more productive, maybe. It would make my labor more legible as labor, not only to the world but to myself. Sitting at a desk at appointed hours, like the rest of the desk-bound workforce—in other words cosplaying work as others perform it—might mitigate the suspicion that my chosen vocation, which involves spending a lot of time motionlessly staring into space, is too loose and diaphanous to be real work. Elizabeth Gilbert keeps a “militaristic” schedule, waking up at four-thirty and writing all morning, on the theory that you can’t choose when the muse shows up; if you show up you’ve done your part. This sounds right and totally soothing to me. 

I’ve never managed it. Something about my personality refuses it and insists I work in spurts, at random hours, crashing deadlines and taking ill-advised breaks and wasting just so much time. And of course there is no right way to have a writing schedule; of course brilliant writers have written at all hours and according to all manner of quirky or mundane habits; of course the only thing anyone cares about in the end is whether you wrote and whether it’s any good. But it’s continued to bother and fascinate me, this question of managing writing by tightly managing time. But then last night I happened to read (for work, at 11:45 PM) the latest book by Eileen Myles, which is a slim volume that’s sort of about being a writer and a lot about having an apartment, and Myles wrote something that broke over me like a huge wave of relief: “Literature is wasted time.”

It really takes so much time to become a writer and you have to be able to roll in time itself, that was my experience, it seems to me, like a dog likes to roll in dead fish at the beach. Or a dog (my dog) stands in the shit of a stable underneath the body of a horse (trembling) and feels awe. Cause there’s so much shit and there’s so much horse.

Reading this was startling and clarifying. The Schedule, or whatever I’m imagining when I comb the archives of Daily Routines (an excellent blog, if you’re into snooping the day planners of dead writers—which clearly I am), makes time and writing very tidy. Writing isn’t very tidy, which my inner time-anarchist seems to have always known. Writing—or the writing that feels good coming out of my hands—is much more like trembling, like awe, or even like shit. It bears the mark of abundance, a so-muchness of time, thought, sensation; you can roll around in it. It gets to feel like forever. 

 

Jordan Kisner is the author of the essay collection Thin Places (Farrar, Straus and Giroux, 2020). Her writing has also appeared in the Atlantic, the Believer, the Guardian, n+1, the New York Times Magazine, and the Paris Review Daily. The recipient of fellowships from Pioneer Works, the Millay Colony for the Arts, and Art Omi, she is currently a fellow at the Black Mountain Institute in Las Vegas.

Thumbnail: Daniele Levis Pelusi

Craft Capsule: Against Universality, in Praise of Anger

by

Chen Chen

11.16.20

This is no. 79 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Of my fury,
I come like a joint popping into place.

—Sarah Gambito, “Of My Fury”1 

Another thing you didn’t mention in your letter: the fact that you must feel profoundly alone.

—Yanyi, “How Do I Write About My Identity Authentically?”2

 

1. One of my earliest crushes was Tuxedo Mask. I still think he’s a babe. 

2. During my MFA, I wrote a love poem that referenced Tuxedo Mask plus another early crush, Spider-Man. I don’t remember if I brought it to workshop. I remember feeling anxious that someone might advise cutting those references in order to make it a more “timeless” poem. How angry I got, thinking that would likely happen. 

3. One of my favorite movies is Sailor Moon R: The Movie, in which an alien dude named Fiore develops a big crush on Tuxedo Mask. Sailor Moon, who’s destined to be with Tuxedo Mask, has to fight Fiore for her man. Also, save the Earth. 

4. During an MFA workshop, a white classmate declared he represented “millions of readers” who would stop reading a poem if they came across a stanza in Mandarin. He insisted I cut it to one line, if the poem needed even that. 

5. Which is more universal: a species of bird that some readers will have to look up or an animated character that some readers will have to look up? 

6. These days I embrace writing to an Asian American reader, or more specifically, a queer Asian American reader, a queer Chinese American reader. It’s taken me a long time to get to this place and some days I forget how much I can embrace it. 

7. A white professor in my MFA advised us not to use the term white people in poetry because it was “alienating.”

8. I love that Tuxedo Mask fights with roses, that Sailor Moon fights with her tiara and eventually with even mightier, gorgeouser accessories. I love that when you visit sailormoon.fandom.com, your mouse arrow transforms into her Spiral Moon Heart Rod. 

9. Which is more universal: Tuxedo Mask, Spider-Man, the Great Sphinx of Giza, or a queer Asian American poet referencing each in a love poem for another big nerd?

10. Another white classmate called the Mandarin “gobbledygook.” Of course, neither classmate complained about the French in a previous poem—or in others, my references to Russian literature. 

11. Fiore, whose name means flower in Italian, is obsessed with finding the perfect one for Tuxedo Mask, who gave him a rose when they were both lonely children. Fiore was lonely because he seemed to be the only one left of his species. Tuxedo Mask, who back then was only Mamoru, was lonely because his parents had just been killed in a car accident. After years of wandering alone through space, an exhausted Fiore landed on Earth, outside the hospital where Mamoru was staying. Mamoru found him and the two immediately formed a deep bond. When, just a short time later, Fiore had to leave3 the Earth due to its incompatible atmosphere, he made it his mission to find a gift worthy of the one who had made him feel no longer alone. 

12. The Mandarin was translated in the poem itself. Now I’m working on poems that keep my Mandarin untranslated. Full stanzas.4

Which is more universal: Italian, Mandarin, French, Russian, Japanese, English, or the English dub of Sailor Moon R: The Movie

13. In recent years my work has been praised for transcending identity categories. I know this is a well-intentioned compliment, and I feel fortunate to be read with enthusiasm. But I wonder if a white dude has ever been praised for transcending his white dudery. 

14. In an interview about her second book, Some Say the Lark (Alice James Book, 2017), Jennifer Chang discusses the expectation to write about and from identity in straightforward ways: 

Early in my career…I would repeatedly encounter the critique that my work seemed unrelated to my biography. I understood that these editors and judges were reading my work as insufficiently Asian American…. I thought my writing was Asian American, despite the lack of whatever they think makes for authentic Asian American writing. Ethnography? Bilingualism? And yet, at the same time, I wondered if I was hiding behind metaphor and mythology because I didn’t know or want to write about race or identity. I was confused. Wasn’t writing about the self an interrogation of identity? Or, worse, had I internalized the misguided aesthetic imperative that literature be apolitical and universal (and therefore nonthreatening to white readers)?5

15. Fan interpretations of Fiore’s feelings for Tuxedo Mask range from they’re totally gay to aww friends. In the movie itself Sailor Mercury, Mars, Jupiter, and Venus briefly discuss whether something romantic had occurred between the two. The English dub downplays this possibility, as it did with the anime TV series, for an overtly gay relationship between two women, Sailor Uranus and (my fave!) Sailor Neptune.6 

16. In recent years my work has been compared to Frank O’Hara’s. A lot. It’s flattering; I love O’Hara. His appetite for pop culture, everyday conversation, play. His gayness. His gaiety and his gravity. He’s a big influence. Still, there’s something odd about how this is considered such high praise: to be compared to a canonical white poet. “You’re the next Frank O’Hara!” “You’re like an Asian O’Hara!” I’ve been thinking of writing a poem titled “Frank O’Hara Is the White Me.”7

17. One afternoon I tried to talk to a white professor about the complicated feelings I had when visiting extended family in China after not being able to see them for over a decade. She then showed me pictures from her vacation travels in China, Vietnam, Cambodia. 

18. Jennifer Chang: 

In writing Some Say the Lark, I was intentional about writing about race and my Asian American identity on my own terms. I wanted to make the reader uncomfortable. I wanted the reader to know I was pissed off at the world and quite possibly at her.8 

19. After searching the cosmos for the perfect flower for Tuxedo Mask, Fiore is deceived by a beautiful but parasitic space plant called the Xenian Flower, who possesses him, turns his sorrow into a lust for vengeance. Fiore believes that he must attack the Earth—to punish humanity for letting Tuxedo Mask be lonely and to claim the planet for his perfect gift to fully bloom, i.e. drain all life energy from the world. Fiore asserts that Tuxedo Mask can never be truly unlonely with anyone except him. He works to destroy the Sailor Scouts defending the Earth, in particular Sailor Moon, whose connection with Tuxedo Mask drives him into a jealous fury. 

20. I wasn’t surprised by the confidence with which my white classmate claimed to know how millions of readers read. Nor was I surprised that he didn’t say white readers. What I was taken aback by was the implication that that many people would even come across a poem of mine—how he framed his critique as concern: that I’d be losing out on all these potential readers. As though he were looking out for me, as a friend.

21. Another white classmate said he found Nikky Finney’s Head Off & Split (TriQuarterly Books, 2011) “alienating.” Another referred to Kiki Petrosino’s Hymn for the Black Terrific (Sarabande Books, 2013) as “another one of those books all about identity.” Which is more universal: a white student feeling excluded from a text or Black students and students of color being excluded from the field of literature? Which is universal: a white professor’s anger over getting called white or an Asian American student’s anger over racism as well as queerphobia in workshops, literature courses, program culture, the culture of the university? 

22. What makes my poems queer and Asian American? In another version of this essay I type twelve single-spaced pages trying to answer that. I could keep going. Into this universe.9 

23. If you cut my yellow wrists, I’ll teach my yellow toes to write. 
If you cut my yellow fists, I’ll teach my yellow feet to fight.

—Marilyn Chin, “Blues on Yellow”10 

These lines blaze from a postcard I keep tacked above my bed. They’re among the first things I see when I wake up. They bless me as I’m falling asleep. The lines are by groundbreaking Chinese American poet Marilyn Chin; the postcard is made by Kundiman, a groundbreaking organization that supports Asian American writers and readers. When I write groundbreaking, I mean world-reshaping, heart-replenishing. 

24. Yes, most of my MFA classes took place in a building called “Hall of Languages,” but really all of them were in a department called English that made some students comfortably ignorant and some deeply alienated by insisting it was the universe. Yes, during that time I fell in love with the boy I’m still with today. But I was lonely, lonely, lonely in school.

25. As I write this essay, the pandemic. As I write, cops beating up protestors. I tell my friend Muriel Leung, a poet I met through Kundiman, that I haven’t been doing well lately. She sends a letter, a candle, and a sticker. The sticker is of Sailor Moon in her classic ready-to-fight pose with the magnificent caption: “Sailor Moon says: FUCK RACIST POLICE.” 

26. Anger, loneliness, and hope for a better writing community led me to apply and apply for the Kundiman Retreat—led me to my first retreat, summer of 2014. I had just completed the second year of my MFA and had one more to go. I needed Kundiman; I so needed that first retreat where I got to work with, among other brilliances, those cited in this essay: cofounder Sarah Gambito, executive director Cathy Linh Che, home group leader Jennifer Chang, and poetry faculty Marilyn Chin. Chin, whose work I first read in college. Chin, who at one point during the retreat, looked around the room where more than thirty fellows new and returning were gathered, and said: “You are the future of Asian American literature.” 

27. I continue to need Kundiman. It continues to evolve, sometimes with shortcomings. In my experience the organization is committed to engaging in the less comfortable discussions so crucial for real growth. I’m glad to see the expansion of funding and leadership opportunities as well as the addressing of serious gaps in who gets to attend the retreat—who needs an Asian American literary space and isn’t yet finding the access. I’m glad for those who’ve spoken up11 with urgent critique, with loving anger, to hold Kundiman and other organizations like it accountable. 

That anger gives me hope and encourages me to add my own critical voice. In particular, I’d like to reiterate the demand for these organizations to do more to support Black Asians, Pacific Islanders, and West Asians. I want always to be part of Asian American writing communities where accountability isn’t avoided and difference isn’t flattened.

28. I hope to one day write something as beautiful as Sailor Moon’s catchphrase, “In the name of the moon, I’ll punish you!” Though my abolitionist politics would revise that to: “In the name of the moon, let’s fight for nonpunitive forms of justice!” 

29. I’d like white writers to get angrier. Why did so few of my white grad school classmates speak out? Some of my Asian American peers could get angrier too. About racism. About who still gets left out of Asian American spaces. About anti-Blackness in Asian America.  

30. In a final effort to stop Sailor Moon, Fiore tries to take from her the immensely powerful Silver Crystal. Sailor Moon says that she wants to save him, too; that he doesn’t have to be lonely anymore, but Fiore won’t hear it. Suddenly a vision, seemingly from the Silver Crystal, allows Fiore to see that it was Sailor Moon, back then only Usagi and also a child, who first gave Mamoru the rose that he would give Fiore. Usagi had come to the same hospital, carrying a bouquet of roses to celebrate the birth of her sister. Realizing this, Fiore is able to break the Xenian Flower’s grip on his heart. Meanwhile, Sailor Moon has died, having depleted her life energy to save Earth. To make amends, Fiore finally hands Tuxedo Mask the perfect flower: one containing his own life energy, which he tells his great love to use to revive Sailor Moon. This act is Fiore’s last. 

31. Why does the alien have to sacrifice everything to save everyone else, in the end? 

32. How often I was critiqued in workshop for being alienating, being alien. How often I am praised now for being so specific and yet (and yet!) so relatable.12 As though my only options are bad alien or good alien. Or Frank O’Hara with a perpetual crush on Tuxedo Mask. 

33. If the particular is the doorway to the universal, who maintains the door? Who made it? Do I want to travel to that universe anyway? If the particulars must be understandable, palatable to a white audience, is that a universe or is that the white gaze? 

34. I think of Paul Celan—a poet whose work is steeped in his Jewishness, his always-fraught relationship with the German language, his having survived the Holocaust. In a speech delivered in 1958 he said, “For the poem does not stand outside time. True, it claims the infinite and tries to reach across time—but across, not above.”13 Then again, am I quoting Celan here because he’s a poet I believe white poets will listen to? He doesn’t fit easily at all into whiteness, yet I remember my white classmates being completely unbothered by having to learn his particular history. 

35. “Why are you so angry all the time?” I get asked, sometimes in response to the mere mention of race or sexuality. I’m not angry 24-7, but I believe in the power of a queer person of color’s anger. It is fear of such power that leads to the dismissive title of Angry Minority.14 And I recognize that as a cis man of Chinese descent, my anger tends to get treated in the white imagination as more “rational” or less threatening (this depends on the status of “China” in the white imagination). Still, I’ve been dismissed by white people as “just upset,” “too frustrated,” “divisive,” and (my fave!) “anguished”—as though my anger towards racism and other issues is the issue.15 

I’ve come to love my powerful anger; it’s fueled and steered me in the best directions. I also don’t experience anger as separate from other emotions. For instance, my anger is a part of my joy—because without it, what kind of joy is possible? A deluded, diluted one. The country I live in is racist, misogynist, ableist, transphobic, queerphobic, classist, imperialist, genocidal. Part of the anger is that a basic recognition of (not even a reckoning with) this reality is not universal. 

36. And to what extent have I internalized white literary sensibilities? To what degree am I still writing, living in their restrictive universe? 

37. The ending of Jennifer Chang’s “Again a Solstice”16

What it does even mean to write a poem? 
It means today 
I’m correcting my mistakes. 
It means I don’t want to be lonely. 

38. Another reading of the movie’s ending: Sailor Moon—through her connection with Tuxedo Mask but just as much through her friendship with the other Sailor Scouts—shows Fiore what love looks like, free of the draining anger of jealousy, the anger of a crushing loneliness. And Fiore responds with an enormous act of love. I wish it didn’t have to involve dying though; I dream for Fiore an untragic conclusion. A scene of him eventually revived, too, and finding his own fierce circle. 

39. Since my book was published, I’ve traveled across the United States and have gotten to meet so many Asian American, queer Asian American, queer Chinese American readers. I’ve also met readers of Asian descent in the U.K. and in New Zealand, many of them queer. These experiences confirmed what my truest self always knew, what white MFA culture didn’t: that impassioned readers for my work—at its most idiosyncratically identity-filled—exist.17 These experiences also pushed me to think further on the term Asian diasporic—not only for those outside the United States or those who don’t identify as American, but also for when Asian American slides into a violent18 U.S. nationalism. I’m also interested in what the term Sino offers over Chinese,19 when Chinese gets weaponized for nationalist aims. Queer can also get appropriated, become reductive, lose its radical politics. How to keep these terms active, alive? 

40. When asked what advice he would give to “emerging writers, particularly of marginalized identities,” poet Michael Wasson said: 

For marginalized identities, discover the deep complexities in who you are & what spaces you & your body occupy. I hope you stay true to your path…because too often we are told to simplify & make the work accessible to the reader (i.e. white, hetero, male). This ends up watering down the nuance of the histories that you’ve been trusted to carry through each day.20

41. Toni Morrison was asked again and again about whether she found the label “Black woman writer” limiting. One of her responses: 

Oh, so boring, oh God.… You know, “male French writer;” is that limiting? No, I don’t think it is. But I understood instantly that [“Black woman writer”] was meant to be.…

So instead of pretending that the label had no force in the minds of readers, I decided very early on that I would not just accept it, but wear it. Force people to say “Black woman writer” and then to see what the fallout would be. I don’t want to be an honorary white man.

But that doesn’t narrow the field. Not for me.

It’s an interesting, rich terrain in which to work. If I tried to compare it with something that is probably more powerful in terms of culture, it would be like saying “Black music.” And what does that mean? Does that sound narrow?21

42. In these months, this year of pandemic, I miss so many of my favorite people—so much of my universe. I text, call, Zoom. Attend online readings. Reread the poems that hold me, that reinvent holding. I search for the perfect sticker to send to Muriel.

43. Rewatching the movie, I develop a crush on Fiore. The way he tells the gay truth about his feelings. The way he lyrically meditates on loneliness. The way he gives me a different way. Not an Asian version of someone else, neither good nor bad alien, no: a badass truth-teller with great hair. 

44. When the term universal comes up, ask: Whose universe?22 When the term timeless: Who can stand outside of time? When transcends categories: Why not transgress? I don’t want to transcend. I want to sing about living in a tangle of histories and dreams. Embrace that song, I’m reminding myself. Keep writing in and to a vastness of queer Asian trouble—a cosmos full of protest and tiaras, laughter and pissed-off poems, roses and ruptures and hot stubborn shit-starters who live. 

 

ENDNOTES

1. Matadora (Alice James, 2004). 
2. An installment from the poet’s Substack, The Reading, published in July 2020
3. Until Fiore’s return years later, Mamoru/Tuxedo Mask is unsure whether he was a real or imaginary friend.
4. In a 2018 interview for the Rumpus, Cathy Linh Che responds to a question about translating the Vietnamese in her poetry: 

I don’t.…

When I write, my primary audience is someone who occupies my exact same language and identity space…. Those who don’t understand Vietnamese can understand the language around it, or they can look it up. I’ve seen my parents labor over dictionaries their whole lives to decode letters from government officials—I think English-speaking audiences can do the same for my parents’ words.

5. From a 2018 interview with Tupelo Quarterly
6. The English version made them cousins—as though that would make their romantic dynamic less odd. 
7. After completing the first full draft of this essay, I discovered an orientalist poem by O’Hara that begins “At night Chinamen jump / on Asia with a thump” and ends “we couple in the grace / of that mysterious race” (from “Poem” in
The Collected Poems of Frank O’Hara, University of California Press, 1995). 
8. From the same interview as earlier. 
9. I carry with me Ocean Vuong’s lines, “The most beautiful part of your body / is where it’s headed,” from “Someday I’ll Love Ocean Vuong,” in
Night Sky With Exit Wounds (Copper Canyon, 2016). 
10. 
Rhapsody in Plain Yellow (Norton, 2003). 
11. I’ve gone back and forth on whether to provide a more detailed account; due to the complexity of the issues and privacy concerns, I’ve decided, for this essay, to keep the details of these internal community discussions internal. 
12. As with universality, I question the assumptions behind relatability and how it gets used, especially in workshop. Same with empathy—who gets to empathize? Who’s prioritized when relating to a piece? Should a writer of color aim for a text that invites empathy? Why not critique the white imagination instead—and push white writers to do more of that work? Read: “Empathy Is an End Point,” a 2017 conversation in Sublevel between Solmaz Sharif and Rickey Laurentiis. 
13. “Speech on the Occasion of Receiving the Literature Prize of the Free Hanseatic City of Bremen.” Translated by Rosemarie Waldrop in
Paul Celan: Collected Prose (Sheep Meadow Press, 1986). With gratitude to Dorothy J. Wang, whose Thinking Its Presence: Form, Race, and Subjectivity in Contemporary Asian American Poetry (Stanford University Press, 2014) is where I first encountered this speech.
14. Grateful for this June 2020 conversation in
Los Angeles Review of Books between Omar Sakr and George Abraham, in which Abraham says: “This circles back to your point about how we’re being read versus Read. It’s almost as easy for the publishing world to ignore our voices as it is for them to lazily read and casually misinterpret us, assigning implicitly racist labels on our work like ‘amply justified anger.’”
15. I’m indebted to Sara Ahmed’s work on how talking about the problem means becoming the problem, a phenomenon she identifies and explores in
Living a Feminist Life (Duke University Press, 2017).
16.
Some Say the Lark (Alice James Books, 2017).
17. Being a poet, I never expected a giant audience (though poetry readership in the United States has been growing). Still, it’s good to laugh at those who insisted I’d never have any real audience and so must write more “broadly.”

18. Is this word redundant? I’m suspicious of most nationalisms and U.S. nationalism I recognize as inherently violent—as inextricable from white supremacy. 
19. Thanks also to
sinθ magazine for opening up a myriad of distinct possibilities for Sino literary discourse and community. 
20. A 2018 interview on VIDA. 
21. A 2003 interview for Wisconsin Public Radio.
22. Whose verse gets to be read as a universe?

 

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions, 2017)which was longlisted for the National Book Award for Poetry and won the Publishing Triangle Thom Gunn Award. His work has appeared in many publications, including Poetry and the 2015 and 2019 editions of The Best American Poetry. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence. 

Thumbnail: NASA

Craft Capsule: Revising Folktales and Myths

by

Jenny Bhatt

10.5.20

This is no. 75 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Archetypes from folktales, fairy tales, and myths appear again and again in a wide range of contemporary stories and genres. But even if they are familiar, there is a sense that each archetype is a kind of blank slate: We can read our own interpretations into them both as readers and writers. Each time one is retold, new colors, shapes, and shadows are filled in to suit more contemporary tastes. Each new version gives us, beyond a fresh context, a way to understand our present world through an ancient one.

Why are writers of various stripes drawn to the tradition of revisionism, of retelling or subverting these age-old stories? First, folktales and myths hold a pervasive and persuasive charm because we’ve heard them from an early age. They are cultural, historical, and aesthetic artifacts passed down from generation to generation. Second, we often need to recast older works because the stereotypes and clichés that we are willing to accept or the things that need to be explained have changed. So revisionism helps us keep these stories alive and relevant for our times. Third, we get a certain satisfaction from working with the specific forms and techniques generally employed by such stories. Beyond the pleasure and play involved, we’re also adding to time-honored and beloved literary traditions.

For some of the stories in my collection, Each of Us Killers, I reached back to Gujarati folklore and Hindu myths. Gujarat is a west-coast state in India that over the centuries has seen a regular influx of travelers and immigrants from other places with ancient cultures, such as Greece, Persia, East Africa, and Arabia. Gujarati folklore and language absorbed and adapted aspects of those cultures, meaning many indigenous stories began to incorporate new traditions, rituals, and beliefs. In a similar manner, I’ve participated in the ongoing revisionism tradition by integrating contemporary themes and responding to or subverting older ones.

Here is how I have observed, classified, and approached three revisionism traditions:

Retelling: This keeps the main plot and story elements but uses different forms or points of view to explore new themes. The goal is to bring something old and something new together, causing both recognition and surprise. For instance, “Separation Notice” in my collection is a straight retelling about the Hindu god, Vishnu. While I’ve stayed true to the widely accepted myths, I’ve explored new themes by using the epistolary form and a formal business voice with a celestial (as opposed to a human) resources manager’s point of view.

Adaptation: This preserves most of the original plot but differs in structural elements like the setting, frame, or time period to complicate or raise questions about the original’s contemporary relevance. My story “Journey to a Stepwell” includes a Gujarati folktale I heard often from my mother in childhood. I never cared for its misogynistic morality so I added plot elements and a contemporary frame. And I subverted the ending.

Spinoff: This tells a new story centering a minor character from the original story. Other characters may recur but in different ways. In my story “The Waiting,” a dead wife’s ghost narrates the story about her grieving husband. In Indian folklore, many stories feature dead lovers or spouses haunting their beloveds because of “unfinished business.” Such stories typically focus on the one who is alive and how they are driven to deal with that business. My version complicates all of that, centering the emotions and concerns of the dead over those of the living. 

For any such work to stand out, it needs to accomplish at least one of these three things. First, the revised version has to colonize the original to the extent that readers internalize the revised version as easily as the original. For example, Mary Shelley’s Frankenstein, which was based in large part on ancient Greek myths about Prometheus, is as memorable as its predecessor. Second, the revised version needs to defamiliarize or dismantle stereotypes so that our understanding and interaction with classic identities evolve too. For example, much of Angela Carter’s 1979 collection, The Bloody Chamber, which draws heavily on fairy tales and folktales, gives us new ways of looking at the old stereotype of the oppressed or imprisoned woman seeking liberation. And, finally, the revised version must engage with and broaden discussions around key evolving socio-political narratives of our times. I admire, for instance, the feminist revisions of the Odyssey in Margaret Atwood’s The Penelopiad and Madeline Miller’s Circe.

Complex as all this may sound, these simple classic stories remain endless troves of profound truths and pleasures that writers can discover with each revision.

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, LongreadsPoets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Craft Capsule: Witness vs. Withness

by

Will Harris

8.31.20

This is no. 70 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Poems express a relationship between a subject and an object, but they don’t just say, Here’s a subject (“I”), here’s an object (“you,” a “tree”), this is how they relate (“I saw a red leaf”). They express something about the nature—and possibilities—of the subject-object relationship. 

One model for the subject-object relationship can be found in the poetry of witness, a term coined by Carolyn Forché. The poetry of witness, Forché writes, is “the literature of that-which-happened and its mode is evidentiary rather than representational—as evidentiary, in fact, as spilled blood.” Her most famous poem, “The Colonel,” begins “What you have heard is true,” before giving a gruesome account of her meal with a Salvadoran military leader who spills a sack of human ears onto the table in front of her. 

The poem derives power from its “truth,” its objectivity. Reading it, however, makes me wonder how active—or troublingly passive—a witness is in what they see. In bearing witness to spilled blood and writing about it to what extent does the poet participate in that violence? Think of the phrase bear witness. “Witness” might sound abstract and legalistic by itself; “bear” gives it weight and physicality. It gives the witnessing “I”/eye presence in the world, like a rain-buffeted journalist clutching at their notepad. It establishes a relationship that is simple—however difficult it may be—in the sense that there is a clear “I” (the subject) that goes out into the world to witness something (the object) and bring back an account of it.

In my own work, I’ve always been uncomfortable with how subjects and objects relate—maybe this comes from the experience of being objectified through race, and from my perennial uncertainty as to my own subject position. (What am “I”?) Recently I was thinking about the amazing simplicity with which John the Baptist’s relationship to Jesus is described in the Bible: “He [John] was not that Light, but was sent to bear witness of that Light” (John 1:8). A few lines later, the gospel author uses an unusual past form of bear: “John bare witness of him, and cried” (1:15). Though the pun is probably unintentional, that slide from bear to bare derives such power, for me, from the implied metaphor of witness as a physical act: It is a weight you can carry and sometimes a weight you can throw off, leaving the subject (yourself) bare and exposed. Perhaps this idea of baring witness is the logical extension of Forché’s position, offering a beautiful—if impossible—possibility: That of a subjectless perspective, an act of seeing that obliterates the self. 

In Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (Oxford University Press, 1997), Saidiya Hartman claims that there’s an “uncertain line between witness and spectator.” Accordingly, she refuses to reproduce the graphic account of Aunt Hester’s beating from the first chapter of Narrative of the Life of Frederick Douglass, first published in 1845. It’s too easy to put such horror into words and so think that you’ve faced up to it. Accounts of extreme hurt may prompt indignation, but Hartman argues that they eventually “immure us to pain by virtue of their familiarity.” That in some sense, to demand “suffering be materialized and evidenced” is more “obscene” than the original torture.

The refusal to type out an act of violence again—to re-witness it—points to a different subject-object relation. It acknowledges that the subject is implicated in what and how they see. And if we care about respecting the suffering of others this needs to be taken into account. Witness carries no moral imperative in itself; the act of seeing is not inherently virtuous. Or you could say, its moral charge lies less in the “evidence” it provides than in how it’s rendered in language. The viewing “I”/eye is a fiction, inasmuch as it cleanly separates the subject from the object. So the job of the writer is not just to choose what to look at, but to work out how to represent the complex relationships embedded in the act of looking.

In an endnote at the back of her book Strange Encounters: Embodied Others in Post-Coloniality (Routledge, 2000), Sara Ahmed argues for a particular reading of Heidegger’s notion of Mitsein (being-with or with-ness): “I would argue that ‘with-ness’ could be theorized as pre-ontological, that is, before one ‘is,’ one is ‘with.’ In other words, with-ness could be theorized as prior to being.”

Reading that makes me think of Gerard Manley Hopkins’s bleak and beautiful poem “I wake and feel the fell of dark, not day.” In it, the speaker—or subject—is depressed, crying, cut off from someone he refers to only as “dearest him.” The problem is that though the object of the speaker’s affection isn’t present he isn’t fully absent either. He’s as visible as if he were in front of him, his absence texturing the world. Subject and object are no longer distinct from one another. In such a state, the self is implicated—emotionally and ethically—in the other. It’s impossible to conceive of “being” without “being-with.” Hopkins writes: “With witness I speak this.” In my head that line always reads: “With withness I speak this.”

 

Will Harris is the author of the poetry collection RENDANG (Wesleyan University Press, 2020), which was selected as a Poetry Book Society Choice and shortlisted for the Forward Prize for Best First Collection. He has worked in schools and led workshops at the Southbank Centre and currently teaches for the Poetry School. A contributing editor at the Rialto, he lives in London. 

Thumbnail: Nazar Sharafutdinov

Craft Capsule: The Black Bildungsroman

by

Joy Priest

7.20.20

This is no. 66 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things

—1 Corinthians 13:11

At some point while putting together the manuscript that would become my debut poetry collection, Horsepower, I got it into my mind that I was writing a bildungsroman—a bildungsroman in poems. Maybe someone used this term when my poem was up in workshop, or maybe one of my MFA professors suggested it in office hours. Before this point, I’d been talking about it for several years as “an escape narrative,” but it was, specifically, the escape narrative of a child. 

The coming-of-age story, as we know it in the American literary canon, usually depicts a white boy-child—possessed of naïveté and mischief, prone to being punished—who sets off on a literal or figurative journey, during which he is presented with a series of lessons and, through them, reaches a stage of maturity or young adulthood. The Adventures of Tom Sawyer likely comes to mind. 

Originally a German literary genre, the word bildungsroman translates to “novel of education” or “novel of formation.” “Coming of age” is a derivative of this genre, but similarly signals to a process of maturation or the development of a character. This genre was—and still is—seen as a useful way to teach children what “childish things” they should leave behind, to what character and behavior they should aspire. But when the genre developed in the American tradition, it took on America’s subconscious anxieties. 

What has white U.S. society historically seen as “childish”? Are the lessons of the traditional canon useful for everyone? Harmful to some? Not too long ago—and still in some instances and places—adult Black men were referred to as “boy” by white citizens, adult and child alike, and Black people and traditions are often still not seen as “sophisticated.”

As a poet, I spend a lot of time trying to recover what I’ve been encouraged to leave in childhood—imagination and wonder, but also, as a Black person, certain aspects of my identity. Because of this double-consciousness, I’m inclined to peel back the dogma of adulthood, and I have found one of the layers of this education to be an assimilation project. Inherent in this assimilation project is a belief in the superiority of white things: customs, canons, behavior, hairstyles, speaking and writing styles. 

Is a genre in this tradition useful for non-white children if to become an adult in our society is to adopt white customs, while certain features of Black culture (the way we wear our hair or dress or speak or communicate) are seen as “childish” or “unsophisticated”? What is the relationship between Black culture and “professionalism”? What is “sophisticated” literature? What do these standards of adulthood teach Black children about themselves, about what they should aspire to and what they should leave behind? But, more important, what would a Black child’s coming-of-age story reveal or teach us about our society? 

*

Bring on the children, imitate the children. Not childish, but child-like. 

 —“Swagger Jackson’s Revenge,” Jay Electronica

I remember a particular experience in workshop around a poem in my manuscript now titled “Self-Portrait as Disney Princess.” In the poem, the speaker speaks directly to her child-self who is galivanting around the urban-pastoral of her backyard. The direct address performs two functions. The first is description—the speaker describes the scene in which she finds her child-self in memory: “You are green / as the colonial Pippins piling beneath a neighbor’s Newtown.” The second function is recovery—rather than merely describing the fixed scene that the child inhabits, the adult-speaker contextualizes the scene with the wisdom of hindsight, or, in other words, the adult-speaker speaks from the other side of the lessons that have led her to this matured vantage: “Never a child with other children. Dead summer, so dark / The bottoms of your feet look as if you’ve skipped through ash.” 

During the workshop, most of my cohort read the poem as tragic—there was a sense of pity around the child, who they felt was trapped in the household of her racist grandfather. What bothered me the most was their feeling that she was doomed. But one person, another Black woman at the table, recognized the poem’s nuanced, complex emotional tones, which held a simultaneity—survival but also exploration, subjugation but also Black joy. Some of these plot-outcomes and behaviors of the child-speaker might be read as failure via a white canonical understanding of the bildungsroman because some of the necessary lessons and strategies for a Black child’s survival and arrival at adulthood—escape, waywardness, the rejection of a hero or savior complex—directly conflict with the values of a white-supremacist society. 

After this workshop, I began to look at my work-in-progress as part of a distinct genre with its own respective conventions: the Black bildungsroman. During the revision stage, I asked myself: What are some of the distinguishing features characteristic of Black childhood that are illegible in the traditional bildungsroman? What did I want to honor, recover, rescue? 

Once I had this framework, I could transform the work; I could craft what would normally be seen as tragic as triumphant. Escape could be skilled and elusive. Waywardness could be aspirational. The Black child didn’t have to return to society and the status quo, fitting in better. The Black child could be celebrated as a perpetual runaway. 

In the Black bildungsroman, the narrative arc does not result in the child arriving at maturity or adulthood because the Black child lacks the freedom to come of age naively, and must, from the beginning, possess a wisdom of the conflicts and dangers inherent to adulthood, namely the violence that results from a societal creed of white superiority. The Black bildungsroman presents an arc at the end of which the Black child has become adept at surviving such a society. Rather than a “novel of education” or a “novel of formation,” the Black bildungsroman is a collection of preservation or a collection of survival, the preservation and survival of the Black child in the world created by the poet, and in the sensibility and memory of the adult-speaker. 

*

When I was a child, I spoke not, I learned to understand the adults around me, to think like them, I lived with an adult’s awareness: but when I became an adult, I went back to rescue the child, to encourage the child, to honor the child. 

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Craft Capsule: The Black Bildungsroman

by

Joy Priest

7.20.20

This is no. 66 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things

—1 Corinthians 13:11

At some point while putting together the manuscript that would become my debut poetry collection, Horsepower, I got it into my mind that I was writing a bildungsroman—a bildungsroman in poems. Maybe someone used this term when my poem was up in workshop, or maybe one of my MFA professors suggested it in office hours. Before this point, I’d been talking about it for several years as “an escape narrative,” but it was, specifically, the escape narrative of a child. 

The coming-of-age story, as we know it in the American literary canon, usually depicts a white boy-child—possessed of naïveté and mischief, prone to being punished—who sets off on a literal or figurative journey, during which he is presented with a series of lessons and, through them, reaches a stage of maturity or young adulthood. The Adventures of Tom Sawyer likely comes to mind. 

Originally a German literary genre, the word bildungsroman translates to “novel of education” or “novel of formation.” “Coming of age” is a derivative of this genre, but similarly signals to a process of maturation or the development of a character. This genre was—and still is—seen as a useful way to teach children what “childish things” they should leave behind, to what character and behavior they should aspire. But when the genre developed in the American tradition, it took on America’s subconscious anxieties. 

What has white U.S. society historically seen as “childish”? Are the lessons of the traditional canon useful for everyone? Harmful to some? Not too long ago—and still in some instances and places—adult Black men were referred to as “boy” by white citizens, adult and child alike, and Black people and traditions are often still not seen as “sophisticated.”

As a poet, I spend a lot of time trying to recover what I’ve been encouraged to leave in childhood—imagination and wonder, but also, as a Black person, certain aspects of my identity. Because of this double-consciousness, I’m inclined to peel back the dogma of adulthood, and I have found one of the layers of this education to be an assimilation project. Inherent in this assimilation project is a belief in the superiority of white things: customs, canons, behavior, hairstyles, speaking and writing styles. 

Is a genre in this tradition useful for non-white children if to become an adult in our society is to adopt white customs, while certain features of Black culture (the way we wear our hair or dress or speak or communicate) are seen as “childish” or “unsophisticated”? What is the relationship between Black culture and “professionalism”? What is “sophisticated” literature? What do these standards of adulthood teach Black children about themselves, about what they should aspire to and what they should leave behind? But, more important, what would a Black child’s coming-of-age story reveal or teach us about our society? 

*

Bring on the children, imitate the children. Not childish, but child-like. 

 —“Swagger Jackson’s Revenge,” Jay Electronica

I remember a particular experience in workshop around a poem in my manuscript now titled “Self-Portrait as Disney Princess.” In the poem, the speaker speaks directly to her child-self who is galivanting around the urban-pastoral of her backyard. The direct address performs two functions. The first is description—the speaker describes the scene in which she finds her child-self in memory: “You are green / as the colonial Pippins piling beneath a neighbor’s Newtown.” The second function is recovery—rather than merely describing the fixed scene that the child inhabits, the adult-speaker contextualizes the scene with the wisdom of hindsight, or, in other words, the adult-speaker speaks from the other side of the lessons that have led her to this matured vantage: “Never a child with other children. Dead summer, so dark / The bottoms of your feet look as if you’ve skipped through ash.” 

During the workshop, most of my cohort read the poem as tragic—there was a sense of pity around the child, who they felt was trapped in the household of her racist grandfather. What bothered me the most was their feeling that she was doomed. But one person, another Black woman at the table, recognized the poem’s nuanced, complex emotional tones, which held a simultaneity—survival but also exploration, subjugation but also Black joy. Some of these plot-outcomes and behaviors of the child-speaker might be read as failure via a white canonical understanding of the bildungsroman because some of the necessary lessons and strategies for a Black child’s survival and arrival at adulthood—escape, waywardness, the rejection of a hero or savior complex—directly conflict with the values of a white-supremacist society. 

After this workshop, I began to look at my work-in-progress as part of a distinct genre with its own respective conventions: the Black bildungsroman. During the revision stage, I asked myself: What are some of the distinguishing features characteristic of Black childhood that are illegible in the traditional bildungsroman? What did I want to honor, recover, rescue? 

Once I had this framework, I could transform the work; I could craft what would normally be seen as tragic as triumphant. Escape could be skilled and elusive. Waywardness could be aspirational. The Black child didn’t have to return to society and the status quo, fitting in better. The Black child could be celebrated as a perpetual runaway. 

In the Black bildungsroman, the narrative arc does not result in the child arriving at maturity or adulthood because the Black child lacks the freedom to come of age naively, and must, from the beginning, possess a wisdom of the conflicts and dangers inherent to adulthood, namely the violence that results from a societal creed of white superiority. The Black bildungsroman presents an arc at the end of which the Black child has become adept at surviving such a society. Rather than a “novel of education” or a “novel of formation,” the Black bildungsroman is a collection of preservation or a collection of survival, the preservation and survival of the Black child in the world created by the poet, and in the sensibility and memory of the adult-speaker. 

*

When I was a child, I spoke not, I learned to understand the adults around me, to think like them, I lived with an adult’s awareness: but when I became an adult, I went back to rescue the child, to encourage the child, to honor the child. 

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Craft Capsule: Possible and Impossible

by

Will Harris

9.7.20

This is no. 71 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

In her essay “Erasing the Signs of Labor Under the Signs of Happiness,” poet and translator Sophie Collins takes issue with the idea that translation work should always be filled with “joy.” Despite often feeling excited by translating, she writes that the process also “evokes feelings of uncertainty and self-consciousness, and—perhaps more frequently than might be imagined—breakdown and frustration.” I don’t translate but I can sympathize with this experience, which I associate with reading and writing. Not having grown up in a bookish household, a part of me—however much I read or write—still finds books hard, inscrutable things. And if hard things allow for a kind of pleasure, it’s a pleasure laced with darker feelings of failure, apathy, and self-doubt. 

At a Zoom event in May, Sophie and I chatted about a poet and critic we both admire: Veronica Forrest-Thomson—a writer who’s helped both of us think about how to read and understand poems. Over the last few months, I’ve been running an online course based around Forrest-Thomson’s Poetic Artifice, a barbed, idiosyncratic monograph published after her death in 1975 at the age of twenty-seven. It begins with a question: “How do poems work?” For Forrest-Thomson, one way that poems work is by refusing normal sense. In doing so, they bring to the surface what she calls the “nonmeaningful aspects” of language: sound patterns, echoes, connotations. These aren’t “nonmeaningful” in the sense of being meaningless; they’re just not what we might focus on in a message from a friend or when reading an article—in those situations, we glean a text for information. In a poem, the language of information is being put to a different use. It gleans us: We find scraps of words, memories, and desires that collect and connect in unknown ways in our preverbal imagination.

This is why Forrest-Thomson reacts against what she calls “the tendency to make the already-known or already-thought the point of arrival, to make poetry an obscure and figured statement which one understands by translating it into the already-known.” One of the things that put me off poetry for a long time was the idea that poems were really saying something simple, but using “obscure and figured” language to do it. So the reader’s job was to “translate” the poem into normal, “already-known” sense, in the process showing off their supposed intelligence. 

Forrest-Thomson writes about a line by the French surrealist Max Jacob, “Dahlia! dahlia! que Dalila lia” (Dahlia! Dahlia! that Delilah tied together), which joyfully defies translation into “the already-known.” In her words, “Our pleasure in the line comes from a realization that what seems, at first, a complete surrender of the conscious mind to an impersonal network of meaningless verbal resemblances, in fact reveals the latent intentionality of poetic language.” We surrender to the poem, but not passively. Instead, we become part of the meaning-making process, plugged into the poem’s play of connotations and “verbal resemblances.” For example, Jacob draws our attention the pun and resemblance between the French verb “lia” and “dahlia.” Lia (or lier) means “to tie up,” or figuratively “to bind.” The poet’s role, by extension, is to bind and loosen the threads between sound and sense.

*

Forrest-Thomson’s thinking on the pleasure (or joy) of reading led me back to her own poems, tracing the point at which her theories blur into her writing. I’ve thought a lot about two lines, in particular, from her poem “Cordelia, or ‘A Poem Should Not Mean, But Be’”: 

Waste not and want not while you’re here
The possibles of joy.

I love the way Forrest-Thomson repurposes the sanctimony of “waste not and want not,” raising the stakes by adding “while you’re here” (which brings out the morbidity of “waste”), and then complicating it with that incredible phrase: “The possibles of joy.” It feels like an anti-homiletic homily. And, as in much of Forrest-Thomson’s work, it’s a parable about how to read poems.

On the one hand, “waste not and want not” suggests a certain frugality (save up your pennies, make every moment count). On the other hand, “possibles” indicates profusion, both as a casual synonym for alternatives and as a philosophical term referring to possible worlds. Forrest-Thomson seems to argue that we shouldn’t waste joy. Which is to say, we shouldn’t deny the “latent intentionality” of the poem—its “possibles”—by reducing it to joyless paraphrase. Even as it might prove impossible to discuss a poem without curtailing it through description, it’s still crucial to recognize that the poem’s “I” is a voice licensed to perform numerous, contradictory statements.

I connect those lines in “Cordelia” with these from Sylvia Plath’s “Purdah,” which is the last poem Forrest-Thomson discusses in Poetic Artifice, part of a final, passionate argument in favor of poems where “the ‘I’ is clothed in its negation,” not asserting its “already-known” self on the reader.

… I 
Revolve in my
Sheath of impossibles,

Priceless and quiet

Plath’s speaker—like the one in “Cordelia”—takes pleasure in being “enigmatical”, constantly deflecting and undermining her self-image. The jagged line breaks after “I” and “my” draw out this sense of the self coming briefly into view before disappearing again. Elsewhere in the poem, she writes, “My visibilities hide. / I gleam like a mirror.” 

I can’t help but read Forrest-Thomson’s “possibles of joy” and Plath’s “sheath of impossibles” as two ways of saying something similar: The “I” is at once a series of open “possibles,” capable of being read and reread, and a series of “impossibles,” incapable of being finally understood. Maybe this gets at what makes reading poems so frustrating sometimes. They’re plural and profuse, possible and impossible. But acknowledging this frustration—the fact that poems often fill me with a sense of failure—also affirms why I go back to them. Uncertainty and frustration aren’t opposed to pleasure; they’re bound up in it.

 

Will Harris is the author of the poetry collection RENDANG (Wesleyan University Press, 2020), which was selected as a Poetry Book Society Choice and shortlisted for the Forward Prize for Best First Collection. He has worked in schools and led workshops at the Southbank Centre and currently teaches for the Poetry School. A contributing editor at the Rialto, he lives in London. 

Craft Capsule: The Cinema Factory

by

Joy Priest

8.3.20

This is no. 67 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

What is “craft” anyway? Google says: an activity involving skill or technique in making things. If the activity is poetry, you might think about how you deploy figurative language, the choices you make around form and structure, and so on. But because I come out of a tradition that orients me as a trickster to the status quo, I often avoid formal craft “rules” and rely mostly on instinct when drafting a poem. I wrote poetry before I encountered “formal” craft techniques, and in this “amateur hour” period of poetry writing, in this private activity, I developed these instincts about what sounded good or what worked. “The objective is not to transmit my tricks to you, it’s for you to become the trick factory for yourself,” says my friend, poet and educator Tongo Eisen-Martin. Sure, you can sometimes borrow a trick factory—like that used clarinet workbook you checked out for a semester in middle school band, until you could play the basic tunes—but eventually you have to build your own oeuvre. 

For the most part, I’m not conscious of my trick factory until the revision stage, and I mostly focus my technique on the line: What can I fit onto a single line? Where to break? What can I juxtapose on the same line to suggest, like a subliminal layer, the revelation of the poem? When I went to put together my debut collection, Horsepower, I realized I had yet to develop a trick factory for this level of the process—curating an entire collection. Before you put together a collection, craft is something that happens at the level of a single poem. What is best for that poem? What does that poem need or what is it trying to do? When revising your manuscript, however, you begin to think about the poems not as individual units but as part of a larger work. How do you order the poems in a way that constructs a cohesive whole? How does a single poem need to be revised to serve the arc of the collection? 

My teacher Nikky Finney had to prompt me to consider formal craft at this level and stage of revision: “What tense is this?” she asked spreading the pages of a few carefully selected poems from the collection across her office table. “Future perfect?” When I went back to look at the organizing tense in each poem, I realized I had made these choices intuitively, and now they appeared to be rendered in an arbitrary manner—too arbitrary. Nikky suggested that I try revising all the poems set in the speaker’s childhood in the same tense in order to create a reliable system that signaled to the reader where they were in the story. 

As I worked on this system and began to order the poems, the formation of a nonlinear narrative materialized, a cinematic experience. I began to think of curating the collection like one would a film, splicing and cutting, pasting scenes together, camera cutaways and zoom-ins. I’d been reading Kara Keeling’s The Witch’s Flight: The Cinematic, The Black Femme, and the Image of Common Sense (Duke University Press, 2007), and I’d fallen in love with the concept of the Black Femme figure—where she might appear or, commonly, be overlooked in mainstream frames. Could my poems be scenes? Frames in which the Black girl-child appeared, rescued from the margins? A collection of preservation and survival, a way to honor Black childhood?

Nikky’s suggestion to focus on tense helped me begin to see how I could build this cinematic experience within the collection. But I also quickly noticed that there was more than tense at play. The nonlinear narrative arc of these poems was also informed by point of view and address—a whole complex of narrative elements. I realized that I could select from this complex in order to strategically release information—important information about the passage of time, the relationship between the physical setting and the speaker’s emotional state, and the relationship between the adult speaker and her child self. 

To give an example of this complex of narrative elements: I realized that the several poems Nikky had isolated were all narrated by a child speaker in present tense, but with omniscient foresight. The effect is the speaker speaking as her child self in first-person “I,” but with details for the reader that the child could not know in the moment the memory captures. 

In the middle of the title poem, “Horsepower,” the speaker tells us: 

Beyond the spires 
is a larger world I do not know 
exists. A mile West, in my line 
of vision, is a family 
I do not know 
I have. 

The child speaker in this memory cannot know that this family existed at the time of this setting. In fact, she tells you she doesn’t know. What this communicates to us is that it is actually the adult speaker talking, in a kind of omniscient first-person as her child-self. The poem could’ve easily been: “Beyond the spires / is a larger world she does not know exists…a family / she does not know / she has,”—a close third-person narrator, typical of fiction. 

In another poem rendered in this way, the speaker recalls her own birth: “I am born in the season of color-blocking and crack, / in the dawn of the Reagan era.” I am rather than I was. Such a configuration—first-person present tense—puts the reader or listener, to whom the story is addressed, immediately down into the scene, making the layer of memory—explicitly pronounced in first-person past tense—indetectable. Via this complex, the speaker is also able to slip in important assessments and analyses of the sociopolitical elements of the setting—something that might feel inauthentic in a young child’s voice. 

In understanding how these omniscient child poems were working, and the patterns that some of the other poems obeyed, I developed my own technique, or to borrow Eisen-Martin’s metaphor: I developed my own trick—the cinema factory by which the collection ran. 

What craft elements will you use to assemble your poetry collection? What tools will you use to inform the narrative? Will you move along a progressive line, or will there be alternate paths, cutaways and flashes, trick mirrors?

 

Joy Priest is the author of Horsepower, which won the 2019 Donald Hall Prize for Poetry and is forthcoming from the University of Pittsburgh Press in September. Her poems and essays appear or are forthcoming in numerous publications, including BOAAT, Connotation Press, Four Way Review, espnW, Gulf Coast, Mississippi Review, and Poetry Northwest, and have been anthologized in The Louisville Anthology (Belt Publishing, September 2020), A Measure of Belonging: Writers of Color on the New American South (Hub City Press, October 2020) and Best New Poets 2014, 2016, and 2019. A doctoral student in literature and creative writing at the University of Houston, Priest has also been a journalist, a theater attendant, a waitress, and a fast food worker. She has facilitated writing workshops and arbitration programs with adult and juvenile incarcerated women, and has taught composition, rhetoric, comedy, and African American arts and culture at the university level.

Thumbnail: Jeremy Yap

Craft Capsule: Revising Folktales and Myths

by

Jenny Bhatt

10.5.20

This is no. 75 in a series of micro craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

Archetypes from folktales, fairy tales, and myths appear again and again in a wide range of contemporary stories and genres. But even if they are familiar, there is a sense that each archetype is a kind of blank slate: We can read our own interpretations into them both as readers and writers. Each time one is retold, new colors, shapes, and shadows are filled in to suit more contemporary tastes. Each new version gives us, beyond a fresh context, a way to understand our present world through an ancient one.

Why are writers of various stripes drawn to the tradition of revisionism, of retelling or subverting these age-old stories? First, folktales and myths hold a pervasive and persuasive charm because we’ve heard them from an early age. They are cultural, historical, and aesthetic artifacts passed down from generation to generation. Second, we often need to recast older works because the stereotypes and clichés that we are willing to accept or the things that need to be explained have changed. So revisionism helps us keep these stories alive and relevant for our times. Third, we get a certain satisfaction from working with the specific forms and techniques generally employed by such stories. Beyond the pleasure and play involved, we’re also adding to time-honored and beloved literary traditions.

For some of the stories in my collection, Each of Us Killers, I reached back to Gujarati folklore and Hindu myths. Gujarat is a west-coast state in India that over the centuries has seen a regular influx of travelers and immigrants from other places with ancient cultures, such as Greece, Persia, East Africa, and Arabia. Gujarati folklore and language absorbed and adapted aspects of those cultures, meaning many indigenous stories began to incorporate new traditions, rituals, and beliefs. In a similar manner, I’ve participated in the ongoing revisionism tradition by integrating contemporary themes and responding to or subverting older ones.

Here is how I have observed, classified, and approached three revisionism traditions:

Retelling: This keeps the main plot and story elements but uses different forms or points of view to explore new themes. The goal is to bring something old and something new together, causing both recognition and surprise. For instance, “Separation Notice” in my collection is a straight retelling about the Hindu god, Vishnu. While I’ve stayed true to the widely accepted myths, I’ve explored new themes by using the epistolary form and a formal business voice with a celestial (as opposed to a human) resources manager’s point of view.

Adaptation: This preserves most of the original plot but differs in structural elements like the setting, frame, or time period to complicate or raise questions about the original’s contemporary relevance. My story “Journey to a Stepwell” includes a Gujarati folktale I heard often from my mother in childhood. I never cared for its misogynistic morality so I added plot elements and a contemporary frame. And I subverted the ending.

Spinoff: This tells a new story centering a minor character from the original story. Other characters may recur but in different ways. In my story “The Waiting,” a dead wife’s ghost narrates the story about her grieving husband. In Indian folklore, many stories feature dead lovers or spouses haunting their beloveds because of “unfinished business.” Such stories typically focus on the one who is alive and how they are driven to deal with that business. My version complicates all of that, centering the emotions and concerns of the dead over those of the living. 

For any such work to stand out, it needs to accomplish at least one of these three things. First, the revised version has to colonize the original to the extent that readers internalize the revised version as easily as the original. For example, Mary Shelley’s Frankenstein, which was based in large part on ancient Greek myths about Prometheus, is as memorable as its predecessor. Second, the revised version needs to defamiliarize or dismantle stereotypes so that our understanding and interaction with classic identities evolve too. For example, much of Angela Carter’s 1979 collection, The Bloody Chamber, which draws heavily on fairy tales and folktales, gives us new ways of looking at the old stereotype of the oppressed or imprisoned woman seeking liberation. And, finally, the revised version must engage with and broaden discussions around key evolving socio-political narratives of our times. I admire, for instance, the feminist revisions of the Odyssey in Margaret Atwood’s The Penelopiad and Madeline Miller’s Circe.

Complex as all this may sound, these simple classic stories remain endless troves of profound truths and pleasures that writers can discover with each revision.

 

Jenny Bhatt is a writer, translator, and literary critic. She is the host of the Desi Books podcast and the author of the short story collection Each of Us Killers (7.13 Books, 2020). Her literary translation of Gujarati writer Dhumketu’s best short fiction is forthcoming from HarperCollins India in late 2020. Her writing has appeared or is forthcoming in numerous publications, including the Atlantic, the Washington Post, Literary Hub, LongreadsPoets & Writers Magazine, the Millions, Electric Literature, the Rumpus, and Kenyon Review. Having lived and worked in India, England, Germany, Scotland, and various parts of the United States, she now lives in a suburb of Dallas.

Craft Capsule: On Nightmares

by

Chen Chen

11.9.20

This is no. 78 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

1.
A nightmare: realizing I need to restructure this essay, again, and it’s due tomorrow. 

A nightmare: COVID-19 cases on the rise again all across the country. 

A nightmare: how often essayists, especially poets-turned-essayists, like to remind everyone that essay comes from the French verb essayer, meaning to try, to attempt, to test. 

Not a nightmare: I love the try, the attempt. 

A nightmare: the test. The test freaks me out. 

A nightmare: how long it’s taken in the United States for COVID tests to become more accessible. 

Why do I prefer the nightmare of being dreadfully stuck, working on a poem, over the nightmare of being dreadfully stuck, working on an essay? 

A collective, ongoing nightmare: the pandemic. 

2.
Working on my essays for this series has been both a welcome distraction and (as I knew would happen) a dive into the deep end of my anxieties. The process feels nightmarish because my preferred method of exploring and articulating craft ideas is writing poems (and it seems I’ve gotten to the point in my poetry writing where I can befriend the dread, the stuck-ness). Or through conversation: engaging with students and connecting with friends, all of which happens these days over the shared nightmare known as Zoom. 

Also, I hate paragraphs. The blocky-ness of paragraphs makes me anxious, like I’m trapped in a box and, in the essay form, can only move from one box to another. I feel I have to make sense. Too much sense. I like paragraphs in prose poems, because I’m freer to do—I know better how to do—weird things with sentences. Or not write sentences at all. 

I think of Mary Ruefle’s Madness, Rack, and Honey (Wave Books, 2012), a collection of essays based on lectures she was required to give as a teacher—at one point, Ruefle describes lectures as “bad dreams.” Ruefle has commented frequently on the fact that this one volume on poetry has far outsold her books of poetry; that people would rather read about poetry, than read a poem. That for many, poetry remains a nightmare. 

Poetry, to me, is the best dreaming. 

A form of breaking out of the Zoom room or the chain of paragraphs, into an expanse of fresh blooms,1 a field bursting with sunflowers. 

Still I’m drawn to essays for how they document a thought process, an attempt to think clearly and deeply. And I love good essays on poetry. I love Madness, Rack, and Honey. I’d like to write craft essays like Ruefle’s. I’m not sure that is possible, given our very different brains. But maybe my brain can do something else and figure out ways to enjoy writing an essay, or at least dislike it less. 

Could it be that my fear of the essay draws me to it? I’m afraid I won’t write as well in this genre, but the challenge entices. I’m nervous to delve into new subjects and discover scary truths, but surprise is also one of the key reasons I write anything. After all, in poetry it’s usually the door I don’t want to open that leads me to the room I most need to investigate.2

3.
I’ve long wanted to examine nightmares in my poetry. I’m intrigued by how fear can act as a signpost on the path to truth; how terror can mean getting closer to a complicated reality. I’ve written poems based on dreams—wild dreams that contain some frightening revelation at their core—but I have yet to write a poem based on a straight-up nightmare. Specifically, I’ve been itching to write a poem about my two recurring nightmares involving high school French teachers. 

One nightmare stars my sophomore year instructor, my favorite one, as a highly trained assassin. Her weapon of choice: one of my mother’s beloved Chinese cleavers. Somehow she manages very clean kills. In the nightmare I admire her and am also terrified. Sometimes I am the target, for getting a B on a quiz, say, and before the final blow she reminds me, “Cravate is a feminine noun, despite it referring to men’s neckties! It’s LA cravate, UNE cravate, SA cravate!” If I experience this again, I hope I remember to respond, “But anyone can wear a necktie!” Other times the nightmare gets loftier and the target is a corrupt politician, usually French. One time I am the corrupt French politician. 

I haven’t had this nightmare in a while, and I miss it—perhaps because 2020 is a global waking nightmare. What sleeping nightmare of mine could compare with Trump, COVID, and the police? I hesitate to type it out, but I miss this assassin nightmare because I wish there were worse consequences for the Trump administration. I wish there were consequences at all. As someone invested in abolition, I can’t advocate for prison. I have to imagine and help build other types of justice and accountability, ones that don’t rely on punishment and vengeance. At the same time, the part of me that misses the assassin nightmare would love for something nightmarish to visit these leaders who’ve abandoned all duty to the people. 

Another part of me misses this nightmare because seeing my mother’s cleaver in it is like seeing a part of her. I also associate high school language study with her because she teaches Mandarin at that level. I haven’t seen my mother since this pandemic was declared a pandemic. She’s immunocompromised and has been taking every precaution. Every call with her begins with her asking, “Have you been staying at home?” and ends with her command, “Keep staying at home.” My father, who never texts, texted me last week to say, “Avoid travel to any hot spots,” while travel ads pop up on my TV. Back in March my partner’s father was quarantined in a hospital in upstate New York after experiencing COVID-like symptoms. It was four days, but it felt like a year before the test results came back: negative. 

I check the news and check the news. I check social media, texts. I pick up the phone. The friends of friends with the virus. The friends with the virus. 

4.
Perhaps my fear of writing essays has to do with how my brain always associates the act with an academic assignment, a requirement, a grammar test that I might fail. It doesn’t help that so far most of the essays I write have in fact been assigned to me. They do help pay the bills. I do love a prompt. But is it, on some level, masochism? Is all my writing, in some way, a testing to which I subject myself, over and over? Am I perpetually trying to win a French teacher’s approval? 

The other French teacher nightmare goes like this: On an otherwise blissfully uneventful day, I receive a letter from my high school. I know something is amiss before even opening it. For a long time I just stare at it; it stares back from my coffee table. Then I open it. And it says because I never finished my senior year French project, I never actually passed high school. Therefore I have to return to school, where this time I will also reside. The second I step back into that memory-drenched building, I am met by my senior year French instructor. She looks me over then says in the most disappointed yet unsurprised way, “Bonjour.” 

What terrifies me in this dream is not the disruption of everyday life (by a cleaver-wielding assassin like in my other nightmare), but the resurrection of days I’ve long put behind me, a time and a self I’d rather not reinhabit. Not that high school was all stuffy, all busy work. No, I had many brilliant teachers and classmates, many life-changing experiences. This nightmare is the nightmare that my life didn’t really change. What I fear is going back to school but never learning, never growing. 

What I love is the school of poetry, which invites me to play anew and wonder differently and try strange things—to test in the sense of to experiment. To test in the sense of encountering nerve-wracking challenges, but trusting that the fear is a sign of one’s hunger for and effort toward real growth. Maybe one day I will experience essay writing more like that: an experiment in good fear. 

5.
A poem I find instructive for writing about nightmares is “The Dream”3 by Aracelis Girmay, one of my former professors, whose work continues to nourish as well as push me. Indeed, Girmay’s writing always reminds me how poems themselves can be the best poetry teachers. I also return to this one because it focuses on a mother, the figure beside or behind the French teacher of my first nightmare. Here is the startling start of “The Dream”: 

Last night, all night
the dream, the dead
mother, my small sister,
tiny, her mouth
over my shoulder
(screaming) like a knapsack
when she heard the news,
& my brother playing
the stereo. I howled
like the coyotes; myself.

The poem then shifts from the howl to a sunlit, tranquil scene, the way dreams can, suddenly and completely. “The Nightmare” ultimately wouldn’t be the most fitting title for this poem. The word dream can encompass good ones and bad. That said, nightmare can contain the abject as well as the gorgeous (my favorite horror movies have stellar aesthetics). My French teacher nightmares feature both terror and tenderness—fear of disappointing the mother/teacher figure, but also admiration for her and a longing for a time when I could, on a regular basis, talk with her in person. Rereading Girmay’s poem I realize that at the heart of the poem I want to write are questions like: How do fear and affection sit side by side? Why do I connect French teachers and mothers in this manner? 

This is what I mean by poems being the best poetry teachers: They offer an array of techniques to emulate, yes, but more fundamentally and expansively, they conjure up uncomfortable questions and encourage bewildering (sometimes frightening) leaps in imagination.

6.
One week, feeling particularly defeated by this essay, I write a draft of my poem “The Nightmare.” It reads ridiculous, then not, which seems like how a lot of my writing goes. I’d like one day to write a poem that shifts from not one bit ridiculous to utterly. Still, this poem is some new occurrence. Every truly new poem4 is its own strange school. 

I revise and revise. The poem teaches me about how my recurring nightmares are linked to the world’s shared nightmare of COVID-19. How afraid I am, as a teacher myself now, to be back this fall; how fortunate I feel that my university has allowed me to teach online; how much I miss teaching in person; how angry I am that not every teacher “gets to” do this. 

I revise and revise the ending of this essay. I’m afraid of being so direct and so pared down in my diction. But I know from poetry that it’s often when I’m trying the least to be “poetic” that the most charged truths emerge. 

Truths like: I’m afraid my students will get sick. I’m afraid of losing a student, more than one student. I think I should be more afraid of getting very sick too. I miss my mother, who, as a high school Mandarin teacher, knows that school is more than a building, but misses her classroom. I’m relieved she has the option to teach online as well. I miss many of my high school teachers and hope they are safe and finding ways to rest. 

To dream, both literally and creatively. To speak back to the nightmares, both personal and collective.

 

ENDNOTES

1. A beautiful nightmare: how much poets adore the word bloom.
2. In life, I know better than to go exploring attics, basements, or other favorite hangout spots of vengeful ghosts and demons. 
3. From
Kingdom Animalia (BOA Editions, 2011).
4. I mean new mainly in terms of process; new to the writer. The big hope is that the poem will then do something new for a reader.

 

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions, 2017)which was longlisted for the National Book Award for Poetry and won the Publishing Triangle Thom Gunn Award. His work has appeared in many publications, including Poetry and the 2015 and 2019 editions of The Best American Poetry. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence. 

Thumbnail: Chuttersnap

Craft Capsule: Night Call

by

Alex Dimitrov

6.7.21

This is no. 100 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

New York’s streets are everywhere in my poems. In February of 2014 I used the city quite literally. It was for a project called Night Call. The idea was to travel to strangers and read them poems in bed, or in the most intimate space of their homes. For many people this ended up being the kitchen or living room. For one guy, his balcony in Tribeca. Mostly though, strangers walked me right into their bedrooms and offered me a glimpse of their lives.

I’ve lived in New York for more than ten years. It still feels like the city doesn’t need me or know that I’m here. And to be honest, I like that. I’m a writer who thrives off resistance. That kind of pushback and being ignored excites me. In Night Call, I wanted to fuse that feeling with the intimacy of going over to someone’s apartment. Being in a person’s space is often more intimate than sleeping with them. It’s an alluring exchange: people showing you where they spend the majority of their lives. The poem is also an exchange. It’s like showing you a map to the interior though not the interior itself. The poem, to me, is a conversation between people.

I announced Night Call on social media and offered to do readings for anyone who didn’t know me. That was the catch, they had to be total strangers. They could be in any borough and had the choice of four separate Sundays on which we could meet. I’d leave my apartment around eight in the evening with poems and my phone. Nothing more. Maybe a pack of cigarettes (though I was trying to quit). Sometimes I didn’t know the gender of the person I was going to read to (based on their name) and I didn’t care either. I took the N and the R and the 6 and the B trains. Most of the readings were quick. Twenty or twenty-five minutes. Other times I wouldn’t leave someone’s apartment until two or three in the morning and I’d cab back, exhausted and exhilarated both. People offered me drinks, told me stories about their childhoods, affairs, the death of their parents. They took me up to their roofs, made me coffee, showed me things they had written or painted. One stranger cooked me dinner and told me she regretted both of her marriages. “Don’t get married,” she said. “There are more interesting things to do with people.” I’ll never forget the way she kept adjusting a silver pendant around her neck.

At the time I had a nine-to-five job and I’m not sure how I got up on those Monday mornings. Several major media outlets asked to cover Night Call but I declined. I’ve never written or talked about it before. It was private. My interest was to open up a new space between the reader and the poet and between the reader and the poem. I wanted to demystify both. I wanted people, in the privacy of their beds, to encounter the poem like a bedtime story (being read to having been one of the only pleasures of my childhood).

The poems I read were from drafts of my second book, Together and by Ourselves. The strangers in Night Call were the first people to hear it. It’s my favorite book I’ve written and my most personal, too. In some ways I wrote it to survive the change in an important relationship. It’s amazing the things people shared with me when I read them those poems. We usually sat across from each other on top of the bedspread, sometimes about one or two arm-lengths apart, sometimes for long stretches of time, often in silence.

For about a month, in the dead of winter, I went to the Village and Queens and Brooklyn, and almost to Staten Island once but it was too late at that point. Some people I read to ended up becoming my friends. I remember even those I haven’t seen again, which is most of them. I remember what they told me about their lives and I remember their faces. The poem is, of course, a place to remember. It keeps people’s voices and things right there, outside time. And those first hours after midnight, when Night Call would often take place, they feel outside time to me also. It’s a beautiful illusion. The imagination is the only real freedom. That’s what Night Call helped me remember. I had forgotten it too.

 

Alex Dimitrov is the author of three books of poems, including Love and Other Poems (Copper Canyon Press, 2021), as well as the chapbook American Boys (Floating Wolf Quarterly, 2012). His work has been published in the New Yorker, the New York Times, the Paris Review, and Poetry. He was previously the senior content editor at the Academy of American Poets, where he edited the Poem-a-Day series and American Poets. He has taught creative writing at Princeton University, Columbia University, and New York University, among other institutions. With Dorothea Lasky, he is the coauthor of Astro Poets: Your Guides to the Zodiac (Flatiron Books, 2019). Dimitrov lives in New York City.

Thumbnail: Guillaume Técher

Craft Capsule: What’s So Funny?

by

Kristen Arnett

4.26.21

This is no. 96 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I do not consider myself a craft expert, but I do consider myself an aficionado of the dumb stuff that makes me laugh. Television plots centered on easily solved miscommunications? Check. Dogs that look like they’re smiling? Oh yeah. Writing that asks me to unpack the joke, repackage it, and then try to resell it as a brand-new product? Oh baby, absolutely yes.

There is something compelling about the standard joke format. What is the “standard” joke, you might ask? The best way to describe it is to consider the Dad Joke. Think of puns and silly wordplay. Or the Man Walks Into a Bar format. It’s the knock-knock joke your weird uncle tells at a family barbeque, one you wind up telling your kids years later. It’s the joke that gets modified with each retelling. Its primary purpose is simply that: retelling.

How many ways can you write the joke and still get a laugh?

For example, when I was growing up, my family inherited an ancient computer from my elderly aunt. She had managed to download a virus before gifting it to us, so its main use became listening to an animated bird do an abbreviated stand-up routine. Pete the Repeat Parrot fluttered in vibrant green-pink-yellow, squawking his fool head off, desperate to tell you his one and only zinger. Here is that joke:

“Pete and Repeat sat on a fence. Pete fell off. Who was left?”

Obviously, the answer here (and the joke itself) is found in the Repeat. But the humor came from the trajectory of the experience: It was funny at first because hey, it’s an unexpected joke. After a while, it became funny because our parents got so angry every time the bird popped up and disrupted their work. Further down the line, it was funny for a different reason entirely: The joke embedded itself in the language of our family. “Stop being such a Pete the Repeat,” I’d say when my brother was being especially annoying. The joke expanded, more fascinating than the original. It became its own story and contained its own plot trajectory.

I think about this a lot in my work. How can I repackage the initial premise of a joke in more colorful wrapping and offer it up to the reader as something brand-new? Gifting them the same bit, but a different experience of it? Often this means I need to situationally experience jokes for the first time as my characters experience them. Humor is subjective; it requires background to understand how any person would receive something as funny. As I write, I understand that even if the joke isn’t funny to the characters in the scene, it retains humor for the reader.

Another example: the scene in Rebecca Dinerstein Knight’s novel Hex (Viking, 2020) in which a large mattress is unexpectedly delivered during a dinner party. It’s left awkwardly on the entryway rug and no one knows what to do with it. There’s the joke setup. Later on, a guest at the dinner party exits the entryway bathroom and trips over the mattress, which was not there when he initially entered. That is a use of the mattress in a different comedic way, yet it is still the same joke: weird mattress where it shouldn’t be. The party continues along with the mattress, which gets used as the site of further hilarity. There are drunken secrets told on it, even an impromptu karaoke dance session occurs on its quilted top. Same joke, repackaged and retold to great and hilarious effect.

When considering how humor can sit inside fiction, perhaps imagine it as the same strange and unexpected body wearing different disguises to a costume event. If you can get the joke to put on a fake mustache and successfully reenter the party they have already been kicked out of, perhaps it is worth letting them stick around a while longer. Let them spike the punch. See what other kind of mischief they can get into. I bet it is worth repeating.

 

Kristen Arnett is a queer writer based in Florida. She is the author of the novel Mostly Dead Things (Tin House, 2019), which was a New York Times best-seller, and the story collection Felt in the Jaw (Split/Lip Press, 2017). Her writing has also appeared in the New York Times, North American Review, Gulf Coast, Guernica, and McSweeney’s, among other publications. Her second novel, With Teeth, is forthcoming from Riverhead Books in June.

Thumbnail: David Waite

Craft Capsule: Self-Deprecating Humor

by

Kristen Arnett

5.3.21

This is no. 97 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

At a recent writing conference panel, a group of writers and I sat at the head of a packed room and spoke for well over an hour about women and humor. It was an interesting conversation; we all cared deeply about the topic since our writing contained different forms of comedy. Since the panel was so well attended, we wound up fielding a tremendous number of questions once the session was over. There were many good questions, but one stuck out in particular: A woman inquired why one of the writers didn’t think that self-deprecating humor was a valuable form of comedic writing.

The response was that self-deprecating humor is often lazy, that it is choosing to focus on the negative aspects of the self instead of engaging with the larger picture of the outside world. The person who asked the question responded with the fact that they were queer, and that self-deprecating humor felt important to them and their coming out process, so therefore it felt significant to their writing of queer characters.

I considered that response for the rest of the afternoon, and in fact, I am still thinking about it today. I would absolutely say that what I find funny in writing (and in life) sits inside the realm of the self-deprecating. I like joking around about my work as well as joking around about myself—throw my Word doc in the computer recycling bin, throw me in along after it, that kind of thing. Self-deprecating humor, to me, is funny. But I also understand that not everyone finds the same things humorous. Taste is subjective, right? Well, humor is too.

When I think about self-deprecating humor, I often attach it to my queerness. When I was first coming out—or perhaps even before I was all the way out, just one toe out the door—I was thinking about who I was as a person and how I wanted to be seen. I did not, in fact, want to be a lesbian. It made my life (stuffed inside an evangelical, very Southern Baptist family) extremely difficult. So upon coming out, my go-to resource was humor that was self-deprecating. It was easy to poke fun at the things that made me weird or different—the things I did not, in fact, wish to be. It is a way in which many queer people learn to process things. By making fun of ourselves, we are better able to understand the things that we can’t seem to uproot.

Not every queer person forms their sense of humor from a place of self-deprecation. But if my humor started out from this specific site, then perhaps self-deprecation has essentially formed my identity and therefore influences my writing.

When applied to queer work, self-deprecating humor becomes a touchstone not only for the author, but for the queer reader. Consider Peter Kispert’s recent short fiction collection, I Know You Know Who I Am (Penguin Books, 2020). Many of these stories contain characters hiding behind a facade. By presenting themselves packaged as a lie, they are able to deceive others for some form of gain—generally, intimacy. But if we consider that so many of these lies are built upon the fact that the characters dislike themselves, then the humor is obviously self-deprecating. To sit with a character who creates a fake friend so he can have something to talk about with his boyfriend, then paying an actor to pretend to be that fake friend? Hilarious, but also deeply self-loathing. I need to make up something better than me to present to this person in order to keep them, it tells the reader. Funny and sad all at once!

There is much to be mined from self-deprecating humor, especially if we remember that it can deeply inform characterization in fiction. After all, writers are always searching out ways to flesh the “bag of bones,” as Thomas Hardy put it. Maybe that bag of bones is rooting around in the dumpster. Maybe that bag of bones wants to fight a raccoon over the carcass of a rotisserie chicken. Maybe that bag of bones winds up with nothing to show for it but a fistful of grimy chicken fat and maybe they hate themselves for it. And hey, you know what? Maybe that’s a little bit funny.

 

Kristen Arnett is a queer writer based in Florida. She is the author of the novel Mostly Dead Things (Tin House, 2019), which was a New York Times best-seller, and the story collection Felt in the Jaw (Split/Lip Press, 2017). Her writing has also appeared in the New York Times, North American Review, Gulf Coast, Guernica, and McSweeney’s, among other publications. Her second novel, With Teeth, is forthcoming from Riverhead Books in June.

Thumbnail: Jackson Simmer

Craft Capsule: In Praise of Italics

by

Susan Stinson

3.29.21

This is no. 93 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I love italics. They make me feel as if the author is whispering tremulous secrets to me. The words need to be worth leaning closer to take them in. That’s all I ask.

An idiosyncratic, opinionated, passionate reader who is dear to me skips passages in italics. Reading next to her was the first time I learned that some people don’t read them. It breaks my heart.

Moby Dick has a famous first line, but before “Call me Ishmael,” Melville gives an italicized description of a “late consumptive usher to a grammar school” who provides an etymology of the word “whale”:

The pale Usher—threadbare in coat, heart, body, and brain; I see him now. He was ever dusting his old lexicons and grammars, with a queer handkerchief, mockingly embellished with all the gay flags of all the known nations of the world. He loved to dust his old grammars; it somehow mildly reminded him of his mortality.

Dusting books on grammar and punctuation with my own queer handkerchief embellished with gay flags, I am also reminded of the approach of death. I am also in search of dry and spectacular facts about creatures from the watery parts of the world. About people, too.

I am wearing a new T-shirt emblazoned with Fat and Queer (which is the title of a forthcoming anthology) in the font Italic Lobster Two. Some friends have confused the font with cursive. The lean of italics can suggest handwriting, language shaped through the press and flow of a hand. The queerness of italics for me is both in the way it looks—that tilt—and in how it brings attention to that which gets set aside.

The poetry of Adrienne Rich is one place I learned to linger over italics. She wowed me with sudden evidence or testimony, complete with notes in the back. Poring over those notes, I discovered that Emily Dickinson, June Jordan, or Édouard Glissant might be speaking in her work in direct quotes, not attributed in the body of a poem, but marked by italics. That tensions and influences within a piece of writing can be made explicit and acknowledged without loss of lyrical beauty and power. The voices that spoke to her might speak to me, too. I could speak back.

Italics as revelation! Slipped in so softly, briefly. Easy to miss. Rich to explore. I followed those italic breadcrumb trails.

And, oh my goodness, dedications? In the front of a book: a name, maybe a line. Those are the hottest italics of all time.

And epigraphs? The quotations at the beginning of a novel, a story, a poem, or a chapter? There, the writer gives a glimpse into or intentional misdirection about other writing that the piece is in conversation with. Those italics were some of the first things that allowed me to sense what it might be like to be a writer.

In my novel Venus of Chalk, I wrote a good deal of the prologue in italics. It involves an afternoon party and the only sex scene in the book. The sex is between fat lesbians. One is a home economist. It’s very specific. Readers often miss the erotic lives of such characters. This is one of my persistent challenges as a writer and a human being: how to effectively invite people to notice—to linger over—characters, bodies, lives, impulses that seem easily skipped.

The novelist Daniel José Older has pointed out that using italics when a multilingual and/or multicultural speaker switches languages is a falsification of how people speak, think, talk, and are.

The text of the King James Bible that friends gave me in high school is set in a font very close to italics, half-slanted. Because it was the King James Version, it invited me into all sorts of intense experiences with language. That King James Bible was the first adult book I owned that was and is an intentionally beautiful object. Everything Jesus said is printed in red.

I started writing on a manual typewriter. I used it to draft my first novel, Fat Girl Dances With Rocks. I couldn’t type italics. I had to underline words and imagine them. I dreamed of italics. I aspired to them.

I had to fight for that prologue with fat lesbian sex and italics. I wanted to offer that chance to readers who could brave those things.

Who could brave them or who longed for them.

 

Susan Stinson is a writer, editor, and teacher. She is the author of four novels, including Spider in a Tree (Small Beer Press, 2013) and Martha Moody (Spinsters Ink Books, 1995; Small Beer Press, 2020). Her writing has appeared in numerous publications, including Curve, Lambda Literary Review, Seneca Review, and Kenyon Review Online. She is also a recipient of the Outstanding Mid-Career Novelists’ Prize from Lambda Literary. Born in Texas and raised in Colorado, she lives in Northampton, Massachusetts.

Craft Capsule: In Praise of Italics

by

Susan Stinson

3.29.21

This is no. 93 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

I love italics. They make me feel as if the author is whispering tremulous secrets to me. The words need to be worth leaning closer to take them in. That’s all I ask.

An idiosyncratic, opinionated, passionate reader who is dear to me skips passages in italics. Reading next to her was the first time I learned that some people don’t read them. It breaks my heart.

Moby Dick has a famous first line, but before “Call me Ishmael,” Melville gives an italicized description of a “late consumptive usher to a grammar school” who provides an etymology of the word “whale”:

The pale Usher—threadbare in coat, heart, body, and brain; I see him now. He was ever dusting his old lexicons and grammars, with a queer handkerchief, mockingly embellished with all the gay flags of all the known nations of the world. He loved to dust his old grammars; it somehow mildly reminded him of his mortality.

Dusting books on grammar and punctuation with my own queer handkerchief embellished with gay flags, I am also reminded of the approach of death. I am also in search of dry and spectacular facts about creatures from the watery parts of the world. About people, too.

I am wearing a new T-shirt emblazoned with Fat and Queer (which is the title of a forthcoming anthology) in the font Italic Lobster Two. Some friends have confused the font with cursive. The lean of italics can suggest handwriting, language shaped through the press and flow of a hand. The queerness of italics for me is both in the way it looks—that tilt—and in how it brings attention to that which gets set aside.

The poetry of Adrienne Rich is one place I learned to linger over italics. She wowed me with sudden evidence or testimony, complete with notes in the back. Poring over those notes, I discovered that Emily Dickinson, June Jordan, or Édouard Glissant might be speaking in her work in direct quotes, not attributed in the body of a poem, but marked by italics. That tensions and influences within a piece of writing can be made explicit and acknowledged without loss of lyrical beauty and power. The voices that spoke to her might speak to me, too. I could speak back.

Italics as revelation! Slipped in so softly, briefly. Easy to miss. Rich to explore. I followed those italic breadcrumb trails.

And, oh my goodness, dedications? In the front of a book: a name, maybe a line. Those are the hottest italics of all time.

And epigraphs? The quotations at the beginning of a novel, a story, a poem, or a chapter? There, the writer gives a glimpse into or intentional misdirection about other writing that the piece is in conversation with. Those italics were some of the first things that allowed me to sense what it might be like to be a writer.

In my novel Venus of Chalk, I wrote a good deal of the prologue in italics. It involves an afternoon party and the only sex scene in the book. The sex is between fat lesbians. One is a home economist. It’s very specific. Readers often miss the erotic lives of such characters. This is one of my persistent challenges as a writer and a human being: how to effectively invite people to notice—to linger over—characters, bodies, lives, impulses that seem easily skipped.

The novelist Daniel José Older has pointed out that using italics when a multilingual and/or multicultural speaker switches languages is a falsification of how people speak, think, talk, and are.

The text of the King James Bible that friends gave me in high school is set in a font very close to italics, half-slanted. Because it was the King James Version, it invited me into all sorts of intense experiences with language. That King James Bible was the first adult book I owned that was and is an intentionally beautiful object. Everything Jesus said is printed in red.

I started writing on a manual typewriter. I used it to draft my first novel, Fat Girl Dances With Rocks. I couldn’t type italics. I had to underline words and imagine them. I dreamed of italics. I aspired to them.

I had to fight for that prologue with fat lesbian sex and italics. I wanted to offer that chance to readers who could brave those things.

Who could brave them or who longed for them.

 

Susan Stinson is a writer, editor, and teacher. She is the author of four novels, including Spider in a Tree (Small Beer Press, 2013) and Martha Moody (Spinsters Ink Books, 1995; Small Beer Press, 2020). Her writing has appeared in numerous publications, including Curve, Lambda Literary Review, Seneca Review, and Kenyon Review Online. She is also a recipient of the Outstanding Mid-Career Novelists’ Prize from Lambda Literary. Born in Texas and raised in Colorado, she lives in Northampton, Massachusetts.

Craft Capsule: Queer Characters Who Behave Badly

by

Peter Kispert

2.15.21

This is no. 88 in a series of craft essays exploring the finer points of writing. Check back each week for a new Craft Capsule.

It did not occur to me, while drafting the stories in my debut collection, I Know You Know Who I Am (Penguin Books, 2020), that they might ever become a book. I had not considered anyone would ever read or judge or enjoy or review my writing, beyond some appearances in literary magazines. After a few years of writing stale straight characters, I had finally begun to write queer stories featuring queer people, who to my great relief felt alive on the page. Late at night on my bed, a dim bulb flickering in the kitchen, screen light white on my face, I conjured it all up, and let my heart lead. In my fiction, I tried to articulate the truth.

But the “truth” felt slippery, uneasy. My queer characters, as I found them, were often a mess of wiring: self-sabotage, deception, jealousy, rage—crackling in ways that risked flame. In various ways, in different stories, I can still recall the experience of channeling these things as I wrote. Underneath the elation of finishing a story, I wondered: Why am I writing this? I sometimes feared my rendering of queer characters who behaved badly would be confused as an endorsement of that bad behavior, but nonetheless the work consumed me.

While revising I returned to the question of why my queer characters were behaving badly. I held my ear to each scene to see if I could hear a human sound inside. I didn’t want to presuppose that these characters were liars, but many shared a painful compulsion for self-betrayal. It did make me wonder: Does a writer make decisions on the goodness or badness of their characters, and why? How?

One reflex I noticed in drafting was to complicate a one-dimensional character by working away from either direction. This character is “bad” and so should have “good” characteristics. This character is “good” and so we must find a flaw. But I found this approach yielded rote shattered vases, reminiscent of my two-dimensional straight characters, and tended to render in a kind of permanent sketch. A more holistic, embodied approach—without judgment—transported me into their lives, which rang with a conditional joy I found exquisitely rich. I had to let them breathe.

Many of the stories in my book feature a protagonist or narrator whose deceptions serve a great self-betrayal. They must be masculine enough, or successful enough, or have friends because they don’t, or even merely have histories that suggest these things, in order to be or feel deserving of the love they chase. Often the lies become the stuff of these characters’ undoing. They mean the best but fail in their pursuit.

It is sometimes suggested that we write to free ourselves, but this has never interested me. The great freedom of the page was that I did not have to run from what I felt, or once had. Acknowledgment of complexity felt like a kiss. Fiction, stories, had been where I went to be honest, through queer characters who had begun to habituate, at times compulsively, their desires to betray themselves. Imposing a sense of goodness on a character flattened them, suffocating a tenderness and kindness that I found my characters do often possess too. In the middle of Indiana, in the middle of the night, I trained my gaze on only what felt true. From that feeling, eventually, the book emerged.

 

Peter Kispert is the author of the debut story collection I Know You Know Who I Am (Penguin Books, 2020), which was selected as a Best Book of the Year by Elle and a Best LGBTQ Book of the Year by O, the Oprah Magazine. His stories and essays have appeared or are forthcoming in GQ, Esquire, them, Playboy, and other publications. He is finishing work on his first novel.

Thumbnail: Evie S.

Ten Questions for Xavier Navarro Aquino

1.4.22

This week’s installment of Ten Questions features Xavier Navarro Aquino, whose debut novel, Velorio, is out today from HarperVia. The arresting first line of Velorio immediately conveys the heartbreak of Hurricane María for Puerto Rico. A young girl named Camila reflects, “It wasn’t until after I dug out her body that I learned to love my sister, Marisol.” Velorio follows Camila and several other characters as they converge on a cult-like alternative society known as Memoria, established by a man name Urayoán in the aftermath of the hurricane. Polyphonic and lyrical, the novel renders and resists the legacy of empire in Puerto Rico and the authoritarian shadow that accompanies disaster. “Velorio recognizes that neither utopia nor dystopia are finite states, that they exist alongside and even inside one another, like the hurricane and the eye, the empire and the island,” writes Justin Torres. “Xavier Navarro Aquino takes us on a riveting, harrowing journey.” Xavier Navarro Aquino was born and raised in Puerto Rico. His fiction has appeared in Tin House, McSweeney’s Quarterly Concern, and Guernica. He has received fellowships and awards from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, MacDowell, and the American Council of Learned Societies. He teaches in the MFA program at the University of Notre Dame.

1. How long did it take you to write Velorio?
I wrote the full draft in five weeks. Then worked through edits for a couple of months before the book went on submission.

2. What was the most challenging thing about writing the book?
Getting started. I resisted writing this book because the aftermath of María was so visceral. After the storm we went through a painful grieving process. The hurricane served to highlight how truly sinister neocolonialism is. The economic despair on the island had been looming since the mid-2000s, but María brought it into the national conversation. Of course now the fear is the short attention span of the media. While many stateside have moved on, María’s aftermath is still evident back home.   

Once I came around to writing, the challenge became balancing the polyphonic nature of the novel. The character Urayoán was equal parts liberating and exasperating to write. He is a Caliban figure, filled with paradox and complication. I suspect he will be misread a lot. My hope is readers will slow down and interrogate him at the sentence level. His voice is poetry, even if it’s often predisposed to rants and stream of consciousness. But I’d argue all the characters carry poetry in their unique voices, each one contributing to a chorus of proclamations, agency, and possibilities.

3. Where, when, and how often do you write?
I try to write when I’m not consumed with teaching. So it varies. I used to write very late into the night but that changed now that I adopted two dogs and started teaching at Notre Dame. I’m up early walking pups and lesson planning. By 9 PM I’m exhausted. When I write it’s often all-consuming. Summer break and writing residencies have become a tonic.

4. What are you reading right now?
I just finished Myriam J. A. Chancy’s deft What Storm, What Thunder. Next I’m planning on returning to Eugenides’s The Virgin Suicides, Li’s Where Reasons End, and Nunez’s The Friend as guiding frameworks for my next novel, Two Young Kings. As you’d expect, it’s a novel about two brothers, about trauma, mental health, and suicide.

5. Which author, in your opinion, deserves wider recognition?
To narrow it down to one would be impossible. The two that I’ll mention won’t surprise certain readers. But they should be read more widely in the United States: Dionne Brand and M. NourbeSe Philip are some of the best artists and thinkers working today.

6. What is one thing that surprised you during the writing of Velorio?
I was surprised with how insistent these characters were. As cheesy as it sounds. Marisol and Camila haunted me leading up to my MacDowell residency. In that isolation everything fell out of me in five intense sleepless weeks. When I finished the draft, I cried.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
It’s not one thing, rather many. Overall my agent, Jin Auh, kept a steady hand of reassurance and faith in the novel. She never wavered in belief even when I did. My editor, Tara Parsons, has an infectious optimism. I’m lucky to have two brilliant advocates for my work.

8. What is one thing you might change about the writing community or publishing industry?
Big Five publishers in the United States need to do a better job championing Puerto Rican voices coming out of Puerto Rico, and put money and resources behind narratives that don’t treat Puerto Rican identity, experiences, and events like a periphery experience to the United States. There are 3.4 million American citizens back home living with the complicated history of neocolonization, while also holding onto our own culture and language. It’s time we start working harder on creating access. Translate our work and publicize it widely. Some of what is labeled as “Puerto Rican” in trade publishing favors tired tropes of “Puerto Ricanness”—the same old familiar characters, plots, and themes that are palatable to a white audience. Anything that complicates a white gaze is parsed as strange and foreign. This is comical, considering how much Puerto Rico has contributed to other types of popular culture such as music. I’d love to see publishing stop using our historical events and tragedies as props for appeal. It’s damaging and limiting. There is no absence of Puerto Rican literature, just gross under-translation of work written in Spanish from the island. To that end, works in translation need to become part of the mainstream zeitgeist. Perhaps if that occurs, the United States may see itself as a much smaller part of a larger world filled with unique and imaginative ways of approaching storytelling.

9. Who is your most trusted reader of your work and why?
It starts with my spouse. I’ve apologized countless times that she must endure those terrible first drafts. Then two close friends from grad school. I trust all their judgment.

10. What’s the best piece of writing advice you’ve ever heard?
It’s not really explicit advice, but it’s certainly stayed with me. “If we don’t tell our stories, someone else will tell them for us.”

Xavier Navarro Aquino, author of Velorio

Ten Writers on Writing Advice: 2021

12.21.21

Nearly two hundred writers have been featured in our Ten Questions series since it first debuted in 2018. Each was asked to respond to roughly the same set of questions, but the resulting archive is anything but repetitive. Just as the books featured are various, so too are the voices of the authors. (An endlessly fascinating exercise: Consider how an author’s interviewing voice coincides with or deviates from the voice in their prose or poetry.) To showcase this range and to celebrate making it through another year, our editors have selected ten of their favorite responses to the final question of the interview: What’s the best piece of writing advice you’ve ever heard?

“‘Don’t do it.’ Because that just made me want to do it even more.” —Neel Patel, author of Tell Me How to Be

“Isak Dinesen said, ‘Write a little every day, without hope, without despair.’ The trick is to cultivate that Zen, to not get too high or too low. You’re neither the genius nor the failure you think you are.” —Jack Wang, author of We Two Alone

“There’s no perfect writing advice. It all depends on your particular artistic moment. But if you are in this for the long haul, it’s valuable to know that all you understand about yourself as an artist—your working habits, your interests, your needs—will shift as you grow and life changes. It’s helpful to expect that and roll with it rather than mourn a past perfect writing life or long for a future one that is never coming.” —Kaitlyn Greenidge, author of Libertie

“Hearing various versions of ‘don’t wait for the muse, don’t wait for inspiration, just do the writing’ has effectively incinerated most of the woo woo from my thoughts of how and why to write. I am grateful for that.” —Jaime Cortez, author of Gordo

“Patricia Weaver Francisco, after watching me struggle with this book for many years, said, ‘You need to just choose an island and swim to it.’” —Jana Larson, author of Reel Bay

“A long-ago student named Zac said about an essay we were workshopping: ‘I’m looking at a circle where I’d like to see a sphere.’” —Jo Ann Beard, author of Festival Days

“I learned from my colleague Charlotte Whittle to always pay attention to how sentences end. You never want them to fizzle, unless the fizzle is the point.” —Julia Sanches, translator of Migratory Birds

“Spend as much time alone as possible.” —Alex Dimitrov, author of Love and Other Poems

“One must hear the story.” —Jhumpa Lahiri, translator of Trust

“In a poem about feeling some overwhelm around her jobs to care for family, friends, and community, Pat Parker wrote, “The next person who asks / ‘Have you written anything new?’ / just might get hit.” Parker is saying a lot here. One important thing that I think she’s saying is: Don’t stress if you’re not writing all the time, because you’re probably busy helping keep the people you love alive, and for that you’re a fucking hero.” —Angela Hume, author of Interventions for Women

Clockwise from upper left: Alex Dimitrov, Jana Larson, Jack Wang, Julia Sanches, Jaime Cortez, Neel Patel, Jo Ann Beard, Angela Hume, Jhumpa Lahiri, and Kaitlyn Greenidge. (Credit: Dimitrov: Sylvie Rosokoff; Larson: Shelly Mosman; Wang: Mike Grippi; Sanches: Dagan Farancz; Cortez: Mark Smotroff; Patel: Bradford Rogne; Beard: Franco Vogt; Lahiri: Marco Delogu; Greenidge: Syreeta McFadden)

Ten Writers on Writing Advice

12.22.20

Over the course of two and a half years, nearly one hundred and fifty writers have answered Ten Questions from Poets & Writers Magazine, generating an index of almost 1,500 responses for readers to peruse. The interview has evolved since the first installment in June 2018—questions have cycled in and out—but the last question has remained: What’s the best piece of writing advice you’ve ever heard? As we approach the end of 2020, our editors have selected ten of their favorite answers to this question, responses that we hope might renew your creative spirit after this unusual and difficult year. 

“Everything you’re most afraid of is what you need to write.” —Mattilda Bernstein Sycamore, author of The Freezer Door

“It sounds a little nutty coming from someone who’s been teaching writing for more than a decade, but I’m mistrustful of writing advice in general—which relates to my irritation that writers are now expected to be sages. But I have noticed that the writers who are willing to revise their work substantially are eventually able to get their work to do what they want it to, and to find someone willing to publish it.” —Kate Zambreno, author of Drifts

“My friend, the incredible and generous poet, Willie Perdomo, once told me to work on my writing in pieces, breaking it down, and do a bit each day. I needed his wisdom. Because I can get overwhelmed. Left to my anxiety, I’ll ambush myself before I even begin because I think I have to know the entire life of a story and that it must be a single breath. But that’s not how we breathe.” —Rachel Eliza Griffiths, author of Seeing the Body

“It might not be the best I’ve ever heard, and it certainly isn’t the most appropriate for this moment in time, but the advice I most often need to hear is: You’ve got to get out. Take a walk. At the very least, these days, leave the screen and stand by a window. So much work can happen while you’re not working. I think this is instinctive for some people, but I always have to remind myself; otherwise I end up stuck and hunched and ripping everything in half.” —Natascha Bruce, translator of Lake Like a Mirror

“Alexander Chee once said something like, When you put something that actually happened to you in a story, you have to privilege the needs of the story and not merely what happened. I don’t remember the exact quote, but I think about that all the time.” —Brandon Taylor, author of Real Life

“Indigenous Canadian writer and Elder Lee Maracle once told me, ‘Don’t throw anything away. There’s a reason you wrote it in the first place, even if it doesn’t belong in the piece you’re drafting.’ I keep a folder on my laptop with snippets that have to be cut. After editing one of my novels, I ended up using the pieces in the folder to finish a volume of short stories.” —Cherie Dimaline, author of Empire of Wild

“My best piece of writing advice came from the poet-scholar Chiyuma Elliott at a Cave Canem workshop back in 2009. I was a baby poet who loved grand finales for my poems, and in her feedback, she said very gently, ‘At the end of a poem, leave the door open.’ I’ve spent every day of my writing life since learning all the ways you can leave a door open: unlocked, cracked, off the hinges. There are so many ways.” —Destiny O. Birdsong, author of Negotiations

“I’ve been terrible at everything I’ve ever wanted to be good at—dating, tying my shoelaces, athletics, writing, driving, math, drawing, fashion, parenting—the first time I tried it. But years ago, my father, who’s a musician and public school teacher, told me about how much better his music had gotten when he’d just made it a point to commit to doing it—with focus and intention—on a daily basis. Even when it’s terrible. Especially when it’s terrible. Intentional, focused practice: That’s it. Maybe some people are phenomenal enough to not need it, but for me there’s no shortcut. Not for anything.” —Kawai Strong Washburn, author of Sharks in the Time of Saviors

“‘Ah, go on. You’re living your life’—said to me by Grace Paley when I was not writing every day.” —Heid E. Erdrich, author of Little Big Bully

“My friend Richard Sala had two catchphrases/mantras: ‘I can’t win’ and ‘It never ends.’ Taken together, they seem like the perfect summation of creative struggle.” —Adrian Tomine, author of The Loneliness of the Long-Distance Cartoonist

Clockwise from upper left: Destiny O. Birdsong, Cherie Dimaline, Kawai Strong Washburn, Rachel Eliza Griffiths, Natascha Bruce, Mattilda Bernstein Sycamore, Adrian Tomine, Brandon Taylor, Kate Zambreno, and Heid E. Erdrich. (Credit: Birdsong: Hunter Armistead; Dimaline: Wenzdae Brewster; Washburn: Crystal Liepa; Sycamore: Jesse Mann; Taylor: Bill Adams; Zambreno: Heather Sten)

Ten Author Readings to Mark the End of 2020

by

Staff

12.18.20

As we near the end of a year like no other, we turn to the work of our fellow writers to mourn all that we’ve lost and to celebrate the dreams of a better future. The following is a collection of ten author readings, culled from the most recent installment of Page One: Where New and Noteworthy Books Begin, that reflect the beauty, hope, resilience, and strength of writers to confront the failures of the past and to rejoice in the promise of what lies ahead. 

 

Cheryl Boyce-Taylor reads “Hand of the Midwife” and “Stone” from her poetry collection Mama Phife Represents, published in January 2021 by Haymarket Books.

 

Peter Gizzi reads “That I Saw the Light on Nonotuck Avenue” and “The Present Is Constant Elegy” from his poetry collection Now It’s Dark, published in December 2020 by Wesleyan University Press.

 

Ed Tarkington reads from his novel The Fortunate Ones, published in January 2021 by Algonquin Books.

 

Anne Marie Macari reads “Boats Can Take You,” “Bow Down,” and “We Will All Go Home With You” from her poetry collection Heaven Beneath, published in December 2020 by Persea Books.

 

Anna North reads from her novel Outlawed, published in January 2021 by Bloomsbury.

 

Rodney Gómez reads “Warbler,” “Theories of Violence,” and “The Annunciation” from his poetry collection Arsenal With Praise Song, published in January 2021 by Orison Books.

 

Eman Quotah reads from her novel, Bride of the Sea, published in January 2021 by Tin House.

 

Jackie Wang performs “Damnation” from her poetry collection, The Sunflower Cast a Spell to Save Us From the Void, published in January 2021 by Nightboat Books. 

 

Morgan Christie reads from her story collection, These Bodies, published in December 2020 by Tolsun Books.

 

Mateo Askaripour reads from his novel, Black Buck, published in January 2021 by Houghton Mifflin Harcourt.

Five Cinematic Author Events

by

Staff

8.4.20

In search of an alternative to rewatching the same Netflix series? From London to New York City, these extended readings and conversations with Zadie Smith, Édouard Louis, Ocean Vuong, Min Jin Lee, and Joy Harjo possess a nearly cinematic quality. Videos might never replicate the magic of those bygone crowded halls—where the writer’s voice somehow managed to dispel the discomfort of the folding chair, or of standing shoulder to shoulder with strangers at the door—but they can provide some semblance of community while we continue to shelter indoors. 

Zadie Smith on Swing Time (Penguin Press, 2016) 

“I wanted to write about dance, really, and dance’s relation to Black life,” Smith says. “That was the first thought.” She appears in conversation with Rachel Kaadzi Ghansah at the 92nd Street Y in New York City. 

 

Édouard Louis on The End of Eddy (Farrar, Straus and Giroux, 2017)

“When I started to write The End of Eddy, I felt that I wanted to say something true, something real,” Louis says. He appears in conversation with Tash Aw at the London Review Bookshop. 

 

Ocean Vuong on On Earth We’re Briefly Gorgeous (Penguin Press, 2019)

“Having written poems for over ten years, I got really good at getting out of the poem. I got really successful at ducking out the side door when things got too hot,” Vuong says. “The novel was the perfect antidote because it forces you to tend to bodies, day after day.” He appears in conversation with Darin Strauss at the Lillian Vernon Creative Writers House in New York City.

 

Min Jin Lee on Pachinko (Grand Central Publishing, 2017)

“I don’t believe in writer’s block,” Lee says. “But I do believe that your time is limited which means that we have to make choices about who we see, what we do, and how we spend our time.” She appears in conversation with Ken Chen at the Tenement Museum in New York City. 

 

Joy Harjo 

“Poetry doesn’t just emerge, it emerges from the soul of a community, from a community’s history,” Harjo says. She delivers her inaugural reading as the twenty-third U.S. Poet Laureate at the Library of Congress in Washington, D.C.

Five Hot Summer Fiction Readings

8.1.20

As the long days stretch into the month of August, settle in, pour a cold beverage, and let the cool sounds of these five readings from recently published books of fiction provide some relief from the summer heat. 

F*ckface: And Other Stories (Henry Holt, July 2020) by Leah Hampton: 

 

A Burning (Knopf, June 2020) by Megha Majumdar:

 

Parakeet (FSG, June 2020) by Marie-Helene Bertino:

 

Sansei and Sensibility (Coffee House Press, May 2020) by Karen Tei Yamashita:

 

How Much of These Hills Is Gold (Riverhead Books, April 2020) by C Pam Zhang:

Be Bold: A Profile of Ocean Vuong

by

Rigoberto González

6.12.19

Ocean Vuong made his literary debut in April 2016 with Night Sky With Exit Wounds, a poetry collection that chronicles a family’s journey as refugees from Vietnam to America, where the poems’ young speaker grows up attuned to the turmoil of his family’s traumas while becoming aware of his sexual identity. Vuong’s meteoric rise in popularity was immediate, and so was the positive critical response to his lyrical voice.

In the New York Times, Michiko Kakutani raved about “his ability to capture specific moments in time with both photographic clarity and a sense of the evanescence of all earthly things.” The book’s warm reception was accompanied by a number of prizes and honors from the Whiting Foundation (Whiting Award), the Lannan Foundation (Lannan Literary Fellowship), the T. S. Eliot Foundation (T. S. Eliot Prize), Publishing Triangle (Thom Gunn Award), Forward Arts Foundation (Felix Dennis Prize for Best First Collection), and others. The New York Times went on to name it one of the top ten books of 2016. All for a first book of poems by a relative newcomer to the literary scene.

Rather than follow it up with another book of poems, however, Vuong shifted gears and turned his attention to a different genre entirely—fiction, in the form of a novel, On Earth We’re Briefly Gorgeous, out in June from Penguin Press. The book centers around the strained relationship between a mother, who struggles with PTSD induced by memories of the Vietnam War and her abusive marriage, and her son, who is contending with his sexuality as he comes of age on the drug-ravaged streets of Hartford, Connecticut. I recently sat down with Vuong to discuss his path from poet to novelist, a story that begins with—as Vuong puts it—“a little gay kid from Hartford, who read in the library with his head down so that people didn’t know he was reading.”

Born in Saigon in 1988 to a family of rice farmers, Ocean Vuong was only two when his extended family left Vietnam and traveled to Connecticut after making a brief stop in the Philippines. The seven-member household included his grandmother, “who would start to sing any time there was conflict,” Vuong says. “Since she was the elder, it cast a kind of spell over us so that we could survive our problems.” The cultural adjustment for this mostly illiterate refugee family was not easy, to say the least. Vuong’s father returned to Vietnam not long after their arrival, and his mother found a job as a manicurist, a profession she still practices. “Everything was erupting all the time,” Vuong recalls, “but it was our shared journey that kept us together.”

Though the Vuongs were the only Vietnamese family in a mostly Black and Puerto Rican neighborhood, they were embraced with generosity and kindness, which made them more comfortable with the reality that they now lived in a different country. “I didn’t know that most of America was white until I was eight or nine,” he says. The concept of white supremacy was encountered much later, when he eventually left the working-class side of Hartford to seek job opportunities as an adolescent in the more affluent and commercial areas of the city.

In the meantime, he was having to contend with two life-changing realizations: that he was gay and that he had, despite a love of reading, dyslexia. The learning disorder is a family affliction; Vuong’s mother and brother also have it. Much later he would find out that so did Octavia Butler and F. Scott Fitzgerald, which helped him reconcile with the possibility of becoming a writer. “I would insist it’s not a setback or an illness,” he says. “It’s just a different angle of looking at language that actually reveals a lot and was very advantageous for me as an artist.”

Vuong says he also sees his queerness as a source of strength in the way he thinks about the world. “For queer kids, when the world around you is dangerous, you go into your own refuge,” Vuong says. For him it was books. Coming out to his mother, however, was a different kind of challenge—one that he didn’t think would end well for him. In fact he was prepared for the worst and planned his exile from his family.

“I waited until I was seventeen,” he recalls. “I had enough for a bus ticket and $2,000 in my pocket saved up from my job at Panera Bread. I had my bag with me when I sat down with my mother. I was ready for rejection.” But that rejection never came. At this point the family had already suffered serious losses to drug overdoses, victims of the opioid epidemic that was affecting this working-class community, a harsh reality he weaves into his new novel. “Where would you go?” his mother asked. “What would we do without you?”

Relieved, Vuong set down his bag and began to imagine a future in Hartford the way his family had so many years ago. His mother suggested he try college first because her son “had a belly full of English.” And if not, she suggested, “You can always come work at the nail salon.” Vuong jokingly adds, “I thought, ‘Well, it’s not a bad job. Where else can you work and watch Oprah all day?’”

His time at Manchester Community College was brief but instrumental in changing his perceptions about who had the right to dream big. “I was fortunate to walk into my first class, a composition course, and be met by single mothers, people with two jobs, people in their forties—all walks of life—and it felt like for the first time I saw a teacher have faith in this community of outsiders, investing in our imaginations, and challenging us,” he says. “Folks that were not supposed to be having these discussions were allowed to.” By now he had started to keep a journal, feeling the magnetic pull to poetry—Rimbaud, Lorca, Vallejo, Neruda—copying poems from library books to his notebook because he couldn’t afford to buy books of his own.

Encouraged by his community-college education, Vuong decided to pursue a degree—one that could eventually lead to a job that would help his family—so in 2008 he enrolled in business school at Pace University in Manhattan. After two weeks, keenly aware that he didn’t fit in among the men in business suits and internships, he dropped out. “I still had my library card,” he says, “so I rekindled my love of reading. But I also began attending open mics to read from my scribbles in my notebook. I wasn’t ready to call it poetry.”

It was at one of these events that he heard about MFA programs, in which he could not only nurture his passion but perhaps also fund it. He was also eager to get back to college so he could stop deceiving his mother about his activities in New York City. Unbeknownst to her, he had been couch surfing since leaving Pace. But first he needed to complete his undergraduate degree. “I applied to the most affordable place I could find: City University of New York,” he says. He ended up attending Brooklyn College.

Although he credits Brooklyn College with giving him access to the literature he needed to finally feel well-read, it was the cafés, bookstores, and other venues that held poetry readings that gave Vuong the community he was looking for, forging friendships that fortified his resolve to keep going. “I met Saeed Jones,” he recalls, “who was fabulous and glorious, with a big, hearty laugh. And when he told me he was attending an MFA program at Rutgers in Newark, I knew that it was possible.” Soon after, he connected with poet Eduardo C. Corral, who at the time was living in his family’s double-wide in Casa Grande, Arizona, working at Home Depot, and running a popular blog called Lorcaloca. Corral’s blog gave Vuong a glimpse into the ways the writing profession welcomed or rejected writers of color. When Corral announced he was moving to New York City in late 2011, Vuong knew this too was a sign: “We had similar stories—both of us gay boys from working-class immigrant parents. He became a kind of mentor because his journey was like a map for me.”

Corral recalls their first meeting: “Ocean’s attentiveness is what first caught my attention. He was kind and curious, always asking questions, eager to listen, to learn. This attentiveness also extended to language.” Since then they have stayed in touch, though Corral contends that theirs is a bond not forged by literary success but by the amazing truth that they are sons of non-English speakers, who have been able to shape careers and help their families financially through a profession that, in effect, excludes their loved ones. “We now get to write about our immigrant families and claim a place for them in poetry,” he adds.

Ocean Vuong

(Credit: Jon Crispin )

In 2014, prompted by his intimate but influential writing community, Vuong applied to MFA programs, but only in the New York City area because he wanted to remain close to friends. He chose NYU because it offered him funding without teaching obligations. But on that fateful first day of class, he received a call from Michael Wiegers at Copper Canyon Press, letting him know the press had accepted his book for publication. “What people don’t understand,” Vuong says, “is that I had been working on Night Sky With Exit Wounds for eight years. And one of the reasons I sent my manuscript to that press was that they promised a personal rejection, and since I wasn’t enrolled in school yet, I was craving feedback.”

For Wiegers there was no doubt the manuscript needed to be in the world. “I was struck by his ability to risk toeing the edge of sentimentality, without crossing over it,” he says. “His poems were open and vulnerable and bold enough to take on the big topics of love and grief and war and familial legacy. These were gentle poems that were graceful and confident—and did not need to perform themselves toward the deep desire they contained.”

The prospect of publication would give Vuong something tangible to show his mother. “Since my mother could not read, I insisted that the book have my picture so that she could see it was really me and show all of her customers at the nail salon,” Vuong says. A few days later, Don Share from the Poetry Foundation called to offer him the $25,800 Ruth Lilly Prize. The timing was perfect for Vuong, who could now proceed with confidence, fine-tuning his book for the next two years without dealing with financial stress or the anxieties of an uncertain future. Two years later, Night Sky With Exit Wounds was published to considerable fanfare.

Besides giving his mother a book and, after years of financial hardship, a down payment for a house, Vuong also had the opportunity to show her a bit of the literary world he had just entered: “She has come to a few of my readings, and she sits in the room so that she can look at the audience responding to my work. She calls me a scholar, not a poet, because in Vietnam, scholars are revered.” What did he get for himself after that flurry of fellowships? “My only splurge was a coat,” he says.

Vuong, who now lives in Northampton, Massachusetts, credits his Buddhist upbringing with his ability to navigate all the attention in stride. He meditates five times a week and keeps reminding himself of the person he was when he first fell in love with writing. “I bring him to the present,” Vuong explains, “not the person who won the awards—he has nothing to teach me. So when people ask what is the secret of my success, I say Submittable.” 

He has maintained this sobering stance as he steps into the role of teacher and mentor at his new job as assistant professor of English at the University of Massachusetts in Amherst. “I tell my students that I didn’t have a social life. I had a library card,” he says. “I sit down with them and ask them to privilege intention over motivation.” But he admits it’s a challenge to keep students focused on the art of writing during the era of social media, which he believes fuels competitiveness. 

“My interactions with Saeed and Eduardo and Rickey Laurentiis were important, but afterward I went home to the page, not to Facebook or Twitter,” he says. Nevertheless, he is determined to give his students the kind of positive experience he had with his own teachers like Ben Lerner, Yusef Komunyakaa, and Sharon Olds.  

What also keeps him centered is the reality of his family’s urgencies. “They still need my support,” he says, particularly now as the current administration implements a policy to revoke residency from Vietnamese refugees deemed “violent-crime aliens.” Vuong says, “Those are my people! We come from a troubled history, and with such trauma come problems. It’s unfair to penalize a community for an affliction exacerbated by this country’s participation in the Vietnam conflict.” While he waits to find out how these policies will directly affect his family, Vuong turns to his first love, poetry, for solace. In May 2018 he partnered with the Smithsonian Asian Pacific American Center to launch the Center for Refugee Poetics at the Asian Arts Initiative, an organization and venue in Philadelphia, with a day of activities exploring poetry and the refugee experience. Its next symposium has yet to be scheduled, but the center hopes to expand the reach of the conversation, which began with the Southeast Asian refugee diaspora.

With the publication of an acclaimed debut comes the inevitable expectation of the second book. Shortly after the release of Night Sky With Exit Wounds, as the accolades came pouring in, Vuong was courted by a number of literary agents, who suggested he write prose. But Vuong hesitated moving on from his previous project when deep inside he knew, he says, that the first book, “an eighty-five-page paperback, did not answer all of my questions. How does it contain everything I have been asking all of my life, like what does it mean to be a queer American body, or poor, or a refugee?” So he decided to investigate those concerns further in a different genre, to find out if he could learn anything new. 

While on a residency in Italy, courtesy of the Civitella Ranieri Foundation, Vuong found himself browsing the castle’s extensive library, where he connected to other poets who also wrote prose, such as Anne Carson and Maggie Nelson. “I realized then that I wasn’t out in the sea by myself,” Vuong says. “Poets have been there and thrived with the sentence and the paragraph.” 

Vuong chose to explore fiction writing because he wanted “the book to be grounded in truth but realized by the imagination. That’s why the opening chapter reads like an essay.” He also credits his education as a poet with the skills necessary to move into prose. In both he could “orchestrate an entire world,” he says. Nonfiction, he notes, would have presented issues he wanted to avoid: “As a person of color, when it comes to memoir, we are seen as anthropological conduits, a vehicle of exotic information. I wanted to insist on agency as an artist, with the freedom to embellish, and then claim it as my own rendition.”

An early role model was Maxine Hong Kingston, who had set out to write the great American novel but whose book The Woman Warrior (Knopf, 1976) was presented as nonfiction. He decided not to erase that effort and succumb to the pressure to write a memoir. “I wanted to insist that these lives—yellow, brown, poor—inspired me to create art as I wanted to create it, not as others wanted me to create,” he says.

Page after page, he allowed memory to shape the fabric of the fictional narrative. He understands the impulse of readers to want to make direct connections between the writer and the writing, and he expects many will also want to draw lines between the poetry book and the novel, but that’s beyond his control. He’s more invested in his right to invent. “Writers of color are not supposed to have the musculature of an imagination,” he says. “When we use it, we’re being bold, and that’s what I want to do—be bold, make things up. I’m not here to give people the juicy bits of my community. I’m not a journalist; I’m an artist.” 

That said, he set out to write a book with a clear mission: “I wanted a voice in the conversation about what it means to be a body inhabiting this incredibly complicated, violent, and precarious country.” His inspiration was the community he hailed from: “When I moved to New York City and I’d tell people I came from Connecticut, there was this perception that I had come from a place of wealth. But I was a refugee. So I wanted to expand on working-class identity in a place where people lived rich and diverse lives. There are immigrant populations from all over the world in Connecticut. I want to shift the telescope and show that this world has always existed.”

Two years and four drafts later, a manuscript of the complete novel made its way to Frances Coady from the Aragi Agency. “I explained to Frances that I was a poet, that a poet doesn’t submit anything until it’s finished,” he says. For Coady, it was worth the wait: “When I read an early draft of On Earth We’re Briefly Gorgeous, I experienced one of those glorious privileged moments in publishing when you know that what you are holding in your hand will affect readers in the most profound ways you can imagine.” The novel was sold to Ann Godoff at Penguin Press in April 2018.

Though the book was acquired for a notable sum, Vuong doesn’t want to dwell on that. He’s got more immediate concerns, like his family’s well-being—“the distress signals arrive and I have to answer,” he says—as well as his own. Diagnosed with agoraphobia, an anxiety disorder in which one experiences fear of places and situations that might cause panic, helplessness, or embarrassment, which at times keeps him from performing the most basic functions, like going to the grocery store, he has had to rely on his partner, Peter Bienkowski, for support. A former copyright lawyer, Bienkowski quit the profession to help Vuong through the demands of travel and presentations. He drives Vuong to and from the university so that he can teach his courses and meet committee obligations, because, as Vuong admits, “I failed my driver’s test five times.” On difficult days, Vuong stays home, at the cost of canceling appearances or meetings. “People have been surprisingly understanding,” he adds.

As for his own expectations with the release of his novel, Vuong doesn’t care to fantasize about its future or the rewards that might come with further success: “I don’t see myself as a success story even though I’ve experienced success. Everything I learned along the way was a strength. If I didn’t have my communities, that many consider broken or forgotten, I wouldn’t be where I am. I don’t want to be a sob story or anybody’s project. I want to show that you can have pride no matter where you come from and joy without forsaking the pain it took to get here.” 

 

Rigoberto González is a contributing editor of Poets & Writers Magazine.

Ocean Vuong and his partner, Peter Bienkowski, along with their dog, Tofu. (Credit: Jon Crispin )

Shape-Shifter: A Profile of Marlon James

by

Kima Jones

2.13.19

Marlon James and I have met before, many times, but never in Los Angeles. A Facebook update this morning informs me that James’s favorite city in America is L.A. I’m waiting for him in the lobby of the Line hotel, Koreatown’s very hip, very industrial, very dope—to quote its enthusiasts—singular travel destination, but I’m worried about the noise. Elevator jazz is playing overhead, and the aqua-blue couches and glass dining tables are packed with folks just like us talking about business deals, and art, and literature, and vastness, and coffee roasters, and Hollywood. When he arrives we sit at the far back of the lobby, away from the bustling entrance. I ask, “Why is Los Angeles your favorite city?” and he says “ha” in the new way we’ve all come to share the sentiment: being reminded that hundreds, sometimes thousands of “friends” and “followers” are reading the minutiae of our daily lives, even if they don’t click Like or leave a comment. The practice is popularly known as lurking. I call it research. “I still think art can happen here,” he says. “New York has museums, but museums aren’t culture. Museums are a graveyard for culture. If I am this year’s Patti Smith, I cannot go to New York, but I can still go to Los Angeles. There’s a sense of possibility here. Kendrick, and Anderson. Paak, the Black Hippy movement, Kamasi Washington, all of that is Los Angeles.” He turns the question on me, and I don’t even need to think about the answer. I love the desert, the mythos of the Western frontier, the apocalypse. “I’m going to die in the desert,” I say, and we both briefly acknowledge the setting sun, pink with hints of orange, bouncing off the backs of buses moving slowly down Wilshire Boulevard, before getting down to business.

I ask him a question about the world since Donald Trump when he lets out another hearty laugh. Hearty laughter and Facebook will become a theme of our two and a half hours together. “That’s usually a question I get from the foreign press,” he says. James doesn’t take a breath between sentences. “The most powerful aspect of fascism is that nobody knows they are sitting in fascism when they’re in it. Trump is disruptive, but he’s not transformative. We’re going to see more literature coming out of this administration than coming out of 9/11. 9/11 was instantaneous. We’re not even sure how to process this yet.” I’m reminded of the tense, private conversations I’ve had with friends since the 2016 election: reviewing our savings, taking on extra work, scaling back, canceling vacations. We’re sure that the worst of the recession is on its way, and none of us are prepared to survive it. Forget talking about the bizarre, carnival-like press conferences; no comment on the sitting president’s outrageous ideas regarding climate change; I don’t bring up the migrant children in detention centers. I’m still anchored to the end of James’s last sentence. He’s right, I can’t even process the daily news. In the name of self-care, unplugging, unwinding, getting over and getting through, I close my app like everyone else. 

I’ve sat down with James many times before, so I know his cadence. We’re talking about novelists now, and apathy, and James is about to bring his point full circle. “Every book is political. Not political is politics,” he says. “I’m not on a mission, but I think a writer has to talk about what’s in front of them, even when writing about shape-shifting creatures.” 

Marlon James is the author of four highly acclaimed novels. His first, John Crow’s Devil, which was rejected seventy-eight times before it was published by Akashic Books in 2005, went on to be named a finalist for a Los Angeles Times Book Prize and the Commonwealth Writers’ Prize. His follow-up, The Book of Night Women (Riverhead Books, 2009), won the 2010 Dayton Literary Peace Prize and the Minnesota Book Award and was a finalist for the 2010 National Book Critics Circle Award in fiction and an NAACP Image Award. His magnum opus (to date), A Brief History of Seven Killings, won the 2015 Man Booker Prize, the OCM Bocas Prize for Caribbean Literature for fiction, the Anisfield-Wolf Book Award for fiction, and the Minnesota Book Award. 

His new novel, Black Leopard, Red Wolf, published by Riverhead Books in February, is the first book of an epic fantasy trilogy about Tracker, a hunter known widely for “his nose,” who is tasked with hunting down a mysterious boy who hasn’t been seen in three years. Tracker, who some have called a wolf, finds himself working with a ragtag band of hunters, some human and others supernatural, including a shape-shifting mercenary named Leopard, all searching for the boy. As Tracker and his group move closer to discovering the boy’s location and true identity, they come under attack by enemies near and far. Weighing in at 640 pages, Black Leopard, Red Wolf is in many ways the novel that James was destined to write. While much of the media hype has been focused on the fact that James wrote an epic fantasy, I am intrigued for all of its other riches: This is James’s first book that is not set in his native Jamaica, his first book about empire. I would argue that James has never been more free. Though he read African mythologies and epics for three years before writing one word, Black Leopard, Red Wolf is a testament to his own make-believe. “I really wanted to geek out and write the story I wish I read as a kid,” he says. “I am writing the stories that I want to read about Jamaica. I wrote the stories that I wanted to read about Jamaica.”

Mic drop.

The Man Booker Prize win catapulted James to international stardom. With the win, he joined the “one-name club,” composed of those writers and artists whose legend has no ceiling and no floor: Jesmyn, Edwidge, Colson, Zadie, Toni, Hilton, Jamaica, Gwendolyn, and now Marlon. With that kind of glory comes fame: Melina Matsoukas, the visionary, two-time Grammy Award–winning director of music videos, films, and television shows (most notably Issa Rae’s Insecure on HBO), is leading the adaptation of A Brief History of Seven Killings for Amazon Studios. 

After such a meteoric rise to the heights of literary fame, I am curious about whether his approach to writing this new book was different from the others. “All my books start with trial and error,” he says. “There were four or five versions that I tried. This is the one that worked. I was talking to Melina [Matsoukas]—do you know her?” he stops to ask me. It was my turn for hearty laughter. Of course I know Beyoncé and Solange’s personal director. We have brunch all the time. He returns the laughter. “Well, we were talking about Showtime’s The Affair and the changing perspective. That’s when it occurred to me that Tracker could tell this story, but if you want to believe him, that’s your business.” How perfect, I thought. The Black woman director adapting your most critically acclaimed novel is also talking shop with you about your draft-in-progress. This is some kind of psychedelic, neon-haired P-Funk dream that could only happen in a Black Los Angeles where Black people not only know the future, they are writing and directing it. 

Still, James is modest in discussing his success. “I write the kind of books where if people don’t say, ‘Read it,’ people don’t read it. God bless those people who can write best-sellers. I don’t write great white saviors; my books are pretty nihilistic; things don’t end well, and I think something like a Booker Prize got more and more people to read my work. It’s hard for literary authors, for authors writing people of color.” James is standing for his ovation, but he’s also aware that every pair of hands in the auditorium counts. 

“Yeah, but what about the bad parts?” I ask. There’s rarely a story this enchanted without a poison apple. 

James is only the second Caribbean winner to win the Booker, following Trinidad-born V. S. Naipaul, who won the award in 1971. “It also changed the kinds of scrutiny I get,” James says, “which brings us back to Facebook. Any little thing I say on Facebook ends up in the Guardian and international media, but it hasn’t made me less outspoken.”

James is referring to two particular instances here but offers no further elaboration, and I don’t prompt him to say more. In November 2015 James responded to novelist Claire Vaye Watkins’s five-thousand-word Tin House essay “On Pandering” that would rock the Internet for weeks. In it Watkins discusses motherhood, misogyny, publishing, and pandering, which she refers to as performing for the imaginary white, male audience. “I have been writing to impress old white men,” she wrote. For as much as “On Pandering” does do, there is so much that it doesn’t do: It doesn’t consider the lives and journeys of writers of color, it doesn’t consider that her readers are people of color, and it doesn’t hold white, female publishing gatekeepers accountable for continuing to popularize and publish a very particular type of literature again and again. James wrote on Facebook: “While she [Watkins] recognizes how much she was pandering to the white man, we writers of colour spend way too much time pandering to the white woman. I’ve mentioned this before, how there is such a thing as ‘the critically acclaimed story.’ You see it occasionally in certain highbrow magazines and journals. Astringent, observed, clipped, wallowing in its own middle-style prose and private ennui, porn for certain publications.” The Guardian would go on to say that James “slammed” and “blasted” the publishing world in his retort, but James did what Black people do every day: He pointed at what was standing right in front of him and called it out for exactly what it is. 

Fast-forward two years and James would find his Facebook posts in the news again. On June 16, 2017, a jury acquitted officer Jeronimo Yanez in the shooting death of thirty-two-year-old Philando Castile during a traffic stop in Falcon Heights, Minnesota, just north of Saint Paul, where James has lived for more than a decade. Castile, an employee of Saint Paul Public Schools, was shot seven times. Diamond Reynolds, Castile’s girlfriend, live-streamed the immediate aftermath of the shooting on Facebook, and one can see Officer Yanez still pointing his gun at Castile’s dead body. Reynolds’s four-year-old daughter is in the backseat. 

The Washington Post picked up the story following James’s Facebook essay-post “Smaller, and Smaller, and Smaller,” written the day after Yanez’s acquittal. Though James is one of the most famous people in Saint Paul and one of the most recognizable, he carries the burden of not appearing “too big” or “too close” (a phrase coined by comedian Dick Gregory in 1971) to white people but especially to police officers. He points out that while some Minnesotans want to “rebrand this state as North,” in reality, North is merely a romanticized concept in race relations. This is where I press James for more. We talk about living in this country, in the world as Black people, as writers, as people who travel frequently and observe everything. I bring up Garnette Cadogan’s groundbreaking essay “Walking While Black” and James nods in recognition. “Garnette’s piece made me think about how I don’t know how to stand still. Talking about Philando Castile, I don’t know if I should stand up and get shot, read my phone and get shot, blink and get shot. I don’t know what actual physical activity I can do, including standing still, that I can do and not get shot.” 

“And Tracker?” I ask, thinking of James’s protagonist roving through forests, mountains, and enemy territory with bands of people after him.

It’s obvious that James has thought a lot about his newest protagonist and state-sanctioned surveillance and violence. “It’s important for Tracker and Leopard that shape-shifting is a pleasure, and it’s a nature, a survival, but not in the same way. They’re not being monitored and watched. They don’t have a city system and a state working against them.”

At this point we take a few moments for ourselves to clear the air of the weight of Black death. Thankfully James has one of those urgent texts that happen when you land in L.A., and I need more water. 

When we return to the table, James is laughing. “It’s amazing that people think I am outspoken on Facebook, because I still feel like I have to hold back. I feel if I really, really said what I want to say, I could still be deported,” he says. We are laughing again partly because that is both a half and whole truth, and as Black people we are on the inside of it: It is true that James will always say what needs to be said, and that’s the source of his authority and mastery, and it is also true that James lives with the everyday threat of harassment, deportation, and violence, if someone in power decided to make it so.

“Are you ready to talk about this novel finally?” I ask. Beaming, he claps his hands and pumps his shoulders a few times like a beautiful, broad-shouldered athlete being interviewed after a victory. “Ready!” he says with a smile. 

James explains that break dancing, Labelle, Star Wars, and Jamaican fashion magazines of the eighties and nineties were his first experiences of futurism. I want to know what appeals to him about genre, specifically. Any close reader of James’s work will tell you that A Brief History of Seven Killings, which delves into three electrifying decades of Jamaican history around the attempted assassination of Bob Marley, is pretty genre-defying itself. It is clear that James has a fondness for crime and mystery, an admiration threaded through all four of his novels. “Most of the books I read when I was younger were fantasy, comics, crime, and children’s books, and children’s books themselves are usually all of those things. Part of it is growing up in the Caribbean.” Here, James paraphrases Gabriel García Márquez: “Living in the Caribbean is wilder than the wildest fiction.” James credits his grandparents and his favorite aunt for his love of imaginative fiction. “Stories you’re told as a kid are always fantastical. I’m growing up in Jamaica, and I’m in a Jamaican pharmacy, not even a bookstore, you’re not going to find Moby-Dick. You’re going to find a novelization of Star Trek. Even my sci-fi fantasy cinema language is not the movies; it’s the books I read. It’s very dime-store, very pop comics; quite frankly it’s whatever got dumped in the third world, and I gobbled up all of it. I mean, I read Superman III as a book.” He returns to his love of Los Angeles briefly and says, “L.A. is the place where genre fiction exploded with the two genres I like the most: sci-fi/fantasy and crime. The crime novels of L.A. have a wider campus than anywhere else.”

James wants readers to be “exhausted” by the time they finish Black Leopard, Red Wolf from putting the full story together for themselves. “I realized reading all of the African epics, the awesome complexity of these narratives and how much intelligence that they’re expecting from the reader. People are more complicated than simple story; the gods are more complicated than that. They expect you to have the intelligence to navigate the treacherous waters.” And James flings us directly into turbulent, unreliable waters in Black Leopard, Red Wolf. He forces us to second-guess Tracker, Leopard, the entire cast of characters, and ourselves. While most epic fantasies look to the hero-crusade model, James knew from the outset that his trilogy would do none of that. “Respectability politics is Black people playing Anglo. It’s tying to a value system that I have no interest in writing about. I wasn’t interested in writing a sci-fi movie in brown face. Firstly, if you’re interested in African storytelling, realize that the trickster is telling the story, so the whole sense of authenticity and authority that we attach to storytelling—throw that out of the window. I knew I was going to write a hedonistic, queer, selfish character. I’m not interested in inner nobility. That’s a European, Christian narrative from the Crusades.”

And the novel is gay. “Gay gay,” James adds. We’re both reminiscing about our time as baby queers who weren’t yet out. I tell him about my times riding the train from Poughkeepsie to basement parties in Brooklyn where money was collected at the door by a dyke elder, bottles of Heineken were for sale in the kitchen, and we were left alone to grind against each other for hours in the dark. Ladies only. James chimes in, recalling his own closetedness and coming out.  “I was in the Bronx with the Jamaicans,” he says, “and I’d take the 5 train to Barnes and Noble, to Union Square. Just to walk around. Just to be out. Our built-in desire to shape-shift is always there.” James scoffs at the notion that an African epic can’t also be queer. “The novel is super fluid and super sexual because Africa is fluid and sexual. Pansexuality, queerness, nonbinary is not new to Africa. White people like to think it is.” Being queer doesn’t mean that someone isn’t problematic, and Black Leopard, Red Wolf’s Tracker isn’t without his problems. He’s a misogynist, but unlike other authors, James takes his character to task. “It was very important to me that Tracker is called out on his sexism. I’m not having that.”

Before our time together comes to an end, I tell James that he can’t get away without talking about process and craft. James is a tenured creative writing and literature professor at Macalester College in Saint Paul. When I ask him how he managed to write another 600-plus-page book, he scoots closer to me and shows me his iPhone screen. He opens his gallery to dozens and dozens of panoramic photos of his office wallpapered in bright index cards and sticky notes, mostly pink, yellow, and green. He shows me maps of various African dynasties and the map of his own new novel that he designed himself. I can see that besides being meticulous and organized, he’s simply happy that someone asked him about craft—for once. Before closing his phone he gives me a final observation on craft: “People disregard plot because they’re not really that interested in their characters.”

We get up to hug and ask the lobby attendant to take our photo together, though we’ll see each other soon: The very next night, on the rooftop of the same hotel, Riverhead Books and Entertainment Weekly will throw a party for him. The Los Angeles Times will be there, Roxane Gay, Carolyn Kellogg, the who’s who of literary L.A. 

James will be standing in the center of the room, dashing in a traditional Arabic black thobe with a high slit on one side, his thick hair pulled back, a composed celebrity. There will be two signature cocktails, a large spread, and heaps and heaps of praise for what is sure to be this year’s blockbuster book. Every guest will be greeted at the door by James’s team with the question, “Are you a black leopard or a red wolf?” When I arrive and it is my turn to answer, I scan the room for James and lock eyes, blow him a kiss, before turning to his team and saying, “I am both.” 

 

Kima Jones is a poet and prose writer living in Los Angeles, where she owns and operates Jack Jones Literary Arts, a book publicity company.

Marlon James. 

(Credit: Sara Rubinstein)

Episode 24: Marlon James, Ilya Kaminsky, Valeria Luiselli & More

Related Reading: 

March/April 2019

Summary: 

Our annual Writers Retreats Issue features twenty-two of the most inspiring retreats in the country; a profile of Marlon James on the release of his new epic fantasy novel, Black Leopard, Red Wolf; an interview with Valeria Luiselli about her new novel, Lost Children Archive; a conversation with poet Ilya Kaminsky about his new collection, Deaf Republic; the second installment of How to Get Paid; Reviewers & Critics; the art of translation; writing prompts; and more.

Buy This Issue

In the twenty-fourth episode of Ampersand, editor in chief Kevin Larimer and senior editor Melissa Faliveno discuss new books by the three authors featured in the new issue: Black Leopard, Red Wolf by Marlon James; Lost Children Archive by Valeria Luiselli, and Deaf Republic by Ilya Kaminsky. 

The opening spread of this issue’s cover profile of Marlon James by Kima Jones. Photo by Sara Rubinstein.
 

02:40 Marlon James, the author of three previous books of fiction, including the Man Booker Prize winning novel A Brief History of Seven Killings, is back this month with Black Leopard, Red Wolf, the first installment of his Dark Star Trilogy, an epic fantasy that’s being called “The African Games of Thrones.” And this book is truly epic: It follows two shape-shifting mercenaries, Leopard and Tracker, on an odyssey through a Dark Ages version of the African continent, across ancient cities and dense forests, in search of a missing boy. Along the way they encounter all sorts of mythical creatures, including vampires, witches, wizards, trickster monkeys, and one very wise buffalo. Adventure and swashbuckling ensue, but so do deeper explorations: of truth, power, queerness, and the desire to understand one another.

04:25 Marlon James reads an excerpt from Black Leopard, Red Wolf.

The opening spread of this issue’s conversation between Ilya Kaminsky by Garth Greenwell. Photo by Bob Mahoney.
 

12:03 Ilya Kaminsky’s new book, Deaf Republic, is a kind of parable-in-poems set in an unnamed occupied territory during a time of political unrest. The poetic narrative starts with a gunshot: While breaking up a protest, a soldier shoots and kills a young deaf boy—and this horrific act renders the entire town deaf. The citizens coordinate their silent insurgency with sign language as the book follows the private lives of townspeople encircled by public violence. It’s a love story, a collection of poems about terror and carnage and witness and political dissent—and the power of puppeteering. Ilya was born in Odessa, in what was then the Soviet Union, in 1977. Substantially deaf from the age of four, he spoke no English when he immigrated to the United States with his family at sixteen. And yet he studied at the University of Rochester and Georgetown University and has a JD from the University of California, Hastings College of the Law. His honors include a Whiting Award, the American Academy of Arts and Letters Metcalf Award, a Lannan Fellowship, Poetry magazine’s Levinson Prize, and a Guggenheim Fellowship. He is the editor in chief of the literary journal Poetry International and, after several years teaching in the graduate creative writing program at San Diego State University, Ilya now holds the Bourne Poetry Chair at Georgia Tech.

15:12 Ilya Kaminsky reads three poems from Deaf Republic.

The opening spread of this issue’s interview with Valeria Luiselli by Lauren LeBlanc. Photo by Tony Gale.
 

19:44 Valeria Luiselli’s new novel, Lost Children Archive, follows a family of four—whose names and ethnicities we never learn—as they road-trip across the country, from New York to Arizona. The couple are audio archivists, and their destination on this journey is Apacheria, the place the Apaches once called home. “Why Apaches?” asks the ten-year-old son. “Because they were the last of something,” answers the father. The family, which is facing a crisis of its own, is trying to hold onto its own foundations while attempting to understand those of the country across which they travel. It’s a book that is at once a great American road trip novel and an investigation of the complexities of family, immigration, justice, and equality in the United States. Born in Mexico City in 1983, Luiselli has lived in South Korea, India, Spain, and elsewhere; she now lives in New York, where she teaches a creative writing workshop with her niece, at an immigration detention center, to mostly Guatemalan children for whom Spanish is their second language. In the fall she will begin teaching at Bard College, where he was recently appointed writer in residence. She is the author of four previous books, including Tell Me How It Ends: An Essay in Forty Questions, The Story of My Teeth, Faces in the Crowd, and Sidewalks

21:58 Valeria Luiselli reads an excerpt from Lost Children Archive.

27:48 The cohosts talk about one of their favorite subjects—made-up words!—after receiving an e-mail from Jim Armstrong, an avid listener of Ampersand who shared a project in which he came up with a new word for each letter of the alphabet, including wrught, vocabullary, and emaul. On his website, armstrongwords.com, he offers the definition and etymology of each word, then provides some useful examples. Thanks for reaching out, Jim!

This episode is brought to you in part by the Sewanee Writers’ Conference. From July 16–28, the University of the South will host the 30th annual Sewanee Writers’ Conference. Thanks to the generosity of the Walter E. Dakin Memorial Fund, supported by the estate of Tennessee Williams, the Conference will gather distinguished faculty to provide instruction and criticism through workshops and craft lectures in poetry, fiction, and playwriting. Fellowships and scholarships are available, and the application deadline is March 20. Apply online and find out more at sewaneewriters.org.

Valeria Luiselli audio excerpted courtesy Penguin Random House Audio from Lost Children Archive by Valeria Luiselli, read by the author, Kivlighan de Montebello, William DeMeritt and Maia Enrigue Luiselli.

Ampersand: The Poets & Writers Podcast is a production of Poets & Writers, Inc., and is edited and mixed by Melissa Faliveno. Music for this episode is provided by YACHT, BitBasic, Adam & Alma, and Clinic. Comments or suggestions? E-mail ampersand@pw.org.

My Past and Future Assassin: A Profile of Terrance Hayes

by

Hanif Abdurraqib

6.13.18

One can make a home wherever the body finds itself at rest. I imagine this to be true always, but especially now, while taking in the large plastic novelty fish hanging high on the wall above the head of Terrance Hayes. Even while slouching in his chair, Hayes towers above the table in front of him, so that the fish, a marlin, appears as a crown under the glow of red light humming overhead, darkening half of the marlin and half of the face of the poet. We are at Great Jones Cafe in lower Manhattan, a place Hayes told me is his “go-to spot” when we spoke earlier, trying to nail down where to meet. When I arrive, I find him alone in a corner, drink already on the table. Hayes is a Southerner at heart, having spent his childhood and early adulthood in South Carolina, so it comes as no surprise to find out why he has led me here, to this place he tells me he comes to every weekend, often alone. “I didn’t know how quiet it would or wouldn’t be in here,” he tells me as I sit down, in reference to my request that we find a low-key location for our interview. “But it’s the only place in this city where I can get good grits, so it’s one of the few places in this city I love.” I imagine this to be his way of welcoming me into a small corner of his home.

We are talking about primary colors, Hayes and I. He is describing for me his most recent project. His poems were commissioned by composer Tyshawn Sorey for Cycles of My Being, a song cycle that “explores the realities of life as a black man in America” (or so it is described in the publicity material), performed by renowned tenor Lawrence Brownlee at Carnegie Hall, Opera Philadelphia, and Lyric Opera of Chicago. So Hayes sent Sorey some work to be played in front of a mass audience. He tells me he agonized over which poems to send—“you know how I am with this shit; nobody knows what poems are except for poets,” he says—and eventually bent to the will of the composer, who had asked Hayes if he had any poems about hope, or about hate. Hayes balked at the idea. 

“They wanted [it] to be hopeful, but a hopeful poem isn’t my tendency,” he says. “And a hateful poem isn’t my tendency either.” He eventually wrote a poem specifically for the show but then set it aside. 

This story is less about the song cycle for me and more about what is happening with the interior of Terrance Hayes. “I’m not interested in primary colors,” he tells me when I ask him why he has no interest in hope or hate. “It’s not nuanced enough. I’m interested in the spaces where colors overlap. It’s like when people call someone a racist and think that’s the end of it. That ain’t the end. Racism is a symptom of fear, or greed, or some other bullshit. So even if I wrote a poem about hate, it ain’t gonna be about hate when I’m done with it. My personality likes a challenge, so I can write a poem that many would consider hopeful.”

“But aren’t you a hopeful person?” I ask. 

“Am I?” he shoots back playfully, smiling before sighing and stirring a small tornado into his drink with the tip of his straw. “I mean, the endgame is always going to be death, so how hopeful can anyone really be?”

We are talking about death, Hayes and I. Or, it seems, death is the river’s mouth our conversation is flowing into. This makes sense, in some ways. We are here to talk about his new book of poems, American Sonnets for My Past and Future Assassin, published by Penguin in June, which is overwhelming in every sense. Overwhelming in its brilliance, yes, but also overwhelming in its pacing, its style. Each poem is the exact same length—a sonnet’s requisite fourteen lines—and carries the exact same title: “American Sonnet for My Past and Future Assassin.” The book, despite its breadth and clever turns, is a confrontation. Not an unwelcome one but a confrontation nonetheless. Hayes is too crafty to force his way, unwanted, into a room, so his poems are like the slow and steady picking of a lock, until the door handle clicks. Instead of entering, the poet stands outside, satisfied with his work.

Hayes began the process of writing the sonnets with inspiration from Wanda Coleman’s American Sonnets series. Coleman’s sonnets, much like Hayes’s own, are winding, endlessly questioning, and rich with syntax and alliteration. A stunning formalist, yet inventive and often two steps ahead of her peers, Coleman, who died in 2013 at the age of sixty-seven, spent much of her life as a poet struggling to make a living from her craft. Born and raised in L.A.’s Watts neighborhood, Coleman worked several odd jobs until her poems began to take off, and even then it was hard for her to make ends meet. Her hustle manifested itself in her poems; chasing new ways of crafting a poem became a form of survival. She was a mentor to some and an inspiration to many more, but Coleman wasn’t always granted the acclaim she deserved. Her work—unlike the work of Hayes—wasn’t fully celebrated until after her death.

Hayes is gathering his roses while he is still alive to grasp them—thorns and all. One such thorn: Hayes, who now lives in New York City after several years in Pittsburgh, where he taught at the University of Pittsburgh and was codirector of the Center for African American Poetry and Poetics there, appreciated the love he was shown in the smaller city but notes that it became overwhelming. “They had my face up in the airport,” he says. “I couldn’t handle it.”

This is not to say that Hayes is entirely humble, however—nor should he be. But he is grounded, possessing a healthy blend of logic and confidence. You know the long list. The author of six poetry collections—Muscular Music (Tia Chucha Press, 1999), Hip Logic (Penguin, 2002), Wind in a Box (Penguin, 2006), Lighthead (Penguin, 2010), How to Be Drawn (Penguin, 2015), and now the new book—he has won much of what a poet can win, including the National Book Award for Lighthead; the Kate Tufts Discovery Award for Muscular Music; a Whiting Award; an NAACP Image Award; and fellowships from the National Endowment for the Arts, the Guggenheim Foundation, and the MacArthur Foundation. He is also a chancellor at the Academy of American Poets. All that and he’s still relatively young, just forty-six years old. Young enough to have decades of future success but old enough to have watched skilled but less decorated writers die, without much control over their legacies. 

As for his own legacy, Hayes tells me that he is most concerned with how he’s viewed as a teacher. He is at NYU now and finds himself at home in the classroom. He tells stories about his talented students and how there is a mutual pushing and pulling forward. None of it is about money, he tells me. 

“This is why I just want to leave my kids my poems,” he says, referring to his two children. “I want to leave them art.” He pauses and references something he recently mentioned to his ex-wife, the poet Yona Harvey. “Money is nothing to be governed by, because once you get it, it’s never enough. When I die, I want my kids to have my art. Surely that will be worth something one day.”

Confidence and logic.

We are talking about Wanda Coleman again, as the darkness falling on Great Jones Street becomes richer, nighttime beginning to flood in through the windows. “I wrote an American Sonnet to Wanda Coleman,” he tells me, picking apart the catfish on his plate. “And I sent it to her. We exchanged letters, and then suddenly she was ill. She died in 2013, and I registered that, and then,” he pauses, “and then around the election I decided to do something else.”

Hayes says he had a “reaction” to the election, and I understand instantly what he means, as I felt it too. For all of the “now more than ever” tropes about writers and poets being needed at this particular moment—particularly writers and poets of color—the election did create a sense of urgency for many, not necessarily to share all of their work at once, but to establish a legacy of work, something that might be left behind, if there would be nothing else left of us. If things got “real bad,” whatever that meant. For Hayes, though, the week of the election also had another emotional touch point: Wanda Coleman’s seventieth birthday would have been on November 13, 2016. 

“I had this obsession with writing these shorter poems, because I had been writing long poems,” he says, referring to the work in his last book, How to Be Drawn, which included a number of multiple-page poems such as “Who Are the Tribes” and “How to Draw a Perfect Circle.” He continues: “And I thought I could do this for her. I thought to myself, ‘Can I access the thing I most love about what she did, in these times?’” It became something he chased after relentlessly. “Also,” he smirks, after I ask him what other motivations existed for his use of the form, “I like a volta.”

It seems, at least to me, that a volta is defined best by the hand that crafts it, and so therefore a volta can be anything. Formalists will define it as the turn, or the rhetorical division, the shift, between the sonnet’s first eight lines and the final six. For Hayes the volta is in the project itself, tethered to his always shifting definition of the assassin in the work. “I’m trying to go in one way and come out another way. So, yeah, I’m trying to see how many turns I can fit into a poem, but also I like the sonnet as a way of addressing an idea: How can I write a traditional love poem to someone or something I don’t deem worthy of my love?” After a long pull of his drink, he adds, “I just don’t know what other form would be able to hold this particular moment.”

A love poem for an enemy or a foe is largely about restraint, I suppose. Which makes the project of the book and the restraints on the poems themselves even more fascinating. The central conceit is this: How can I reach out and gently touch that which might not be so gentle toward me? And how can I be sure that in honoring these foes with love, in my turning to face them, they won’t change?

Sometimes the foes are invented, and sometimes the foes are direct and predictable—country, or president, or racism. But the book is most interesting when the foe is Hayes himself. “I’m in a different phase of my life now,” he tells me after we talk briefly about what it is to want to love yourself when you are your own enemy. “Having been married and not being married [now] also bears on the sonnets,” he says, staring into his drink. Hayes is recently divorced from Harvey, though they remain on good terms, he insists, raising their children, a son and a daughter, shuttling between Pittsburgh and New York. “I haven’t talked…. People been asking this shit, but I don’t wanna talk too much about it. But what I will say to you is that sometimes the assassin is you, or sometimes the assassin is a beloved, and that role feels transferrable. It’s like the stuff in the book about Orpheus and Eurydice.” He pauses here, which is rare for Hayes when he gets into a stream of conversation. He is talking about a series of poems in the book that detail the ancient legend of Orpheus and Eurydice. The poems are decidedly distinct from the others, in both tone and what they are attempting to unravel. They are the poems in the book in which Hayes is hiding the least, taking himself to task, or taking the idea of love to task, or taking the idea of forever to task. 

In one of the sonnets he writes:

I tried to tell the woman

Who sent me songs, it’s departure that makes company 
Hard to master. I tried to tell her I’m a muser, a miser
With time. I love poems more than money & pussy. 
From now on I will eat brunch alone. I believe 
Eurydice is actually the poet, not Orpheus. Her muse
Has his back to her with his ear bent to his own heart.
As if what you learn making love to yourself matters 
More than what you learn when loving someone else.

 

“Most of that is me tying back to a different kind of relationship,” he says. “Who is the assassin between Eurydice and Orpheus? Who is the poet between those two? I’m thinking about…what does it mean to be married to a poet? What does it mean to be married to a motherfucker who’s gonna be playing his music no matter what? He’s a poet. It’s what he’s gonna do. But there are consequences to that. And so you might say, well, maybe she’s the poet then. I’m just…I’m wondering about the beloved as an assassin.”

This sits between us heavy on the table, the most open Hayes has been to this point in our talk. We leave it there, untouched.

I write the poems so I don’t have to talk about this shit,” Hayes tells me when I ask him which part of the response to his work he values more: his playfulness and precision with language or his sentimentality. He is not saying this to dismiss me, and we both understand this. It’s a moment in the conversation when he is talking to me as a writer, someone who he knows has likely had similar responses to questions like this. “Anything I say in a poem, I mean it,” he says. “Feeling and intuition is the only important thing to me. You can persuade someone through logic that perhaps what they’re thinking is wrong. But you can’t persuade someone that their feelings are wrong. You can’t tell a motherfucker that they ain’t hungry if they’re hungry. No words in the world can do that. So I trust feeling as a bedrock thing. Can you want to kill a motherfucker and simultaneously love them?”

To trust one’s feelings can be all-consuming, especially if those feelings are brought into a harsher light by a mess of a political moment. Hayes is invested in his obsessions, even if his obsessions are about the nation unraveling. 

There are poets who are slow and deliberate speakers, working to make sure every sentence holds weight. But Hayes is a rapid-fire conversationalist, spreading his long arms wide, or gesturing with one massive hand. Like his work, he is challenging you to keep up with him and to pick out what’s worth expanding on. And if you don’t catch it, he’ll expand on it for you anyway. And in this moment the topic worth expanding on is Donald Trump. 

“Everything I do has to be in service of poetry,” he says, with a little more excitement in his voice. “I can’t be waking up and thinking about Trump all day. And if I do, I have to do it in service of a poem, or else he’ll be a block.”

He is talking about boxes and how every box, like every poem, has multiple sides through which it can be entered. He decided to put Trump in a box and kept turning the box until his truth looked different from every angle. He found this to be more interesting than it would have been with, say, Barack Obama. 

“Obama is super interesting to me, but I already know some of the sides to that cube. He’s a six-sided truth, but I know about half of those sides. As a brother, as a dude who loves basketball, as a dude who got old. To look at something and see yourself in it is easy. I’m not moved by that. With Trump it’s about power and the way his power has a bearing on everyone else. I can meditate on that for at least six months.”

The restraints of the sonnets have been liberating, he tells me. This is only interesting because of how the book wrestles readers inside of it and gives them little room to move within it. If anything, a reader then becomes a part of the interior of the box, which Hayes is turning around in his hand. I don’t mean this to sound negative: One of the book’s strongest points is how readers have to fight their way into and then out of it. Like all of the work Hayes has offered in his career so far, it is both inviting and asking a reader to earn enjoyment of it, in this case through a means of discomfort with the repetitive nature of the poems and their aim.

Hayes tells me he has become so obsessed with the project that he can’t unravel himself from it, which makes sense. He is conflicted, because he knows he can’t do another book like this, but he also knows that he isn’t done with the fascination. “I mean, I got seventy good ones, and I don’t want to overdo it,” he says, blending his usual cool and confidence with the anxieties he holds. “It’s like [ John] Berryman, right? He put out 77 Dream Songs, and then later he put out all of them. And like, there were some all-right ones in there, but shit. I was good with seventy-seven.”

It is political, in some ways: Hayes is surviving the world by writing against it. When I ask him if the work has made him feel any better, he matter-of-factly states, “Well, the shit is still going on, you know?”

There are other ways out, Hayes says. He draws, going to a class once a week and trying to improve his hand as a visual artist. Hayes has experience in the craft, receiving a BA from Coker College in Hartsville, South Carolina, where he studied both English and painting. His drawings and paintings provide the artwork for the covers of his books. It’s easy to get lost in the visual form, but he keeps returning to the sonnets. Twisting a forkful of mashed potatoes around, and up toward his mouth, he pauses.

“There’s no law that says an obsession can’t continue beyond the production of the obsession, you know?”

It’s getting late, and the fish over the head of Terrance Hayes has begun to droop its long face lower. This is a trick of the eye, I’m sure. Perhaps Hayes is growing taller, more excitable with conversation, and the fish is shrinking in the face of that. Van Morrison’s “Into the Mystic” is playing through the café’s speakers, and small crowds of revelers have started to filter in, the way one might expect as a night stretches its palms wider. It is perhaps late only for me. Hayes insists he doesn’t sleep much. “I go to bed around two or three in the morning and wake up around seven. I’m good with four hours a night,” he tells me, as my body involuntarily trembles at the prospect of such little time in bed. He does his best work in the hours after these, when even the revelers beside us begin to lose steam (“I like a nap, though,” he insists). This disclosure makes for an interesting moment between us: me winding down, and him warming up.

Hayes and I find ourselves in the golden hour of our conversation, too. The talk about poems and craft has perhaps drawn all it can draw from the two of us, and now we’re just talking about basketball. Hayes was an Academic All-American basketball player during his time at Coker and has remained attached to the sport. Throughout the conversation Hayes insists that he is always thinking about poems, no matter what else we’re speaking on, but he seems at ease here talking NBA. The plates are cleared off the table, and he has leaned over his drink, swinging his massive palms in one direction or another as he makes a point. An athlete and sports fan and writer, Hayes has an intimate relationship with the game. Like me, he is in it for the narratives, which I do suppose means that even in our talk about basketball, we are talking about poems. 

“LeBron James shoots free throws every day,” Hayes tells me. “And you gotta think, ‘Why is this dude shooting free throws every day if he gets paid to shoot free throws?’ He’s doing that shit with no one watching, because he’s after something different.”

I nod, and Hayes continues.

“I think about that versus someone like [Philadelphia 76ers rookie] Ben Simmons, right? Ben Simmons should be a huge star right now, and he’s perplexed by that….”

I take the opportunity to interject that Simmons isn’t a huge star yet because he can’t really shoot, but Hayes is off, sprinting a mile a minute to reach the end of his thought. 

“Yeah, but Kobe Bryant struggled with that same shit too, right? Kobe had to fight through the same thing of doing the things that should make you famous and expecting fame. But it ain’t about the fame, though.”

In many ways, I know what’s coming next—Hayes the speaker is rarely separate from Hayes the poet—but I let him draw back the curtain with his own language. “It’s about the glory. There’s a difference in fame and glory. Fame is when everyone else is peeping what you’re doing, but glory is when your peers recognize the work you’re putting in. Glory has to be number one. Glory has to be number one, because no one else has to be there.”

I ask the obvious question, the one about whether or not an artist or an athlete or a parent or a construction worker can have glory without fame. Because this is the thing with Hayes, who is undoubtedly famous and has basked in his share of glory. It has created a mythology around him that he seems equal parts thrilled to revel in and sometimes uncomfortable with. Minutes before the conversation took this turn, we were speaking about pressure, and in the middle of a response, Hayes shook his head and said, “God forbid I ever start writing bad poems,” and one ear might hear I know all of my poems are good, but to another, the poet is saying I don’t know what I would be without my insistence on living up to my own standards. So I wonder out loud how you survive at the intersection of fame and glory, or if you can cut one off in service of the other. Hayes takes a moment.

“Yeah, I think so. On the days I’m writing and I’m in a good groove, I hit moments where I think, ‘Where the fuck did that come from?’ It’s the closest I can get from this,” he says, gesturing toward his head, “to getting it together on that page. And that’s glory. I’m doing that for me, with no one watching, knowing that the people I’m writing for—poets—are doing the same thing. And it only happens a few times, but when it happens it feels good. I did a 360 dunk once, and I was alone in a gym. No one saw it but the other guys on my basketball team, and those are the only people I cared to see it. A 360 dunk is fucking hard. I want the people who know how difficult the work is to bear witness to the work.”

The red light above our heads has only become more aggressive in its lapping up of the darkness, and by now we are both radiating in its shine. Hayes casually regales me with a tale of watching basketball with former NBA player and coach Phil Jackson last April, a story that few poets would have in their back pocket. “We talked about Buddhism and shit. You know, it was a good afternoon,” he says in an “Isn’t New York wild?” kind of way, to which I nod, thinking about the times I’ve been to this city and felt tiny. The gist of the story is that during their first basketball-watching excursion, Jackson insisted that Hayes not mention LeBron James, whom Jackson had found himself feuding with over a Twitter debate. When the 2017 NBA Finals came around, Jackson invited Hayes to his Manhattan apartment to watch them with him, and Hayes balked. “He invited me back to watch the NBA Finals and told me I couldn’t talk about LeBron James!” Hayes says, half-yelling and half-laughing, as energetic as he has been all night. “I can’t talk about LeBron James during the NBA Finals? I like LeBron James! So I was like, ‘Nah, I’ll pass.’ I watched the Finals alone.”

It’s the kind of casual story told by Hayes during which one realizes that he moves through multiple worlds in a singular way, something that can’t be said for many of his peers, though he is still very much among them and often in service to them. He blurbs books vigorously, he reads poems endlessly, and until recently he served as the poetry editor of the New York Times Magazine. (Rita Dove took the reins in June.) He derives great pleasure from teaching—during our conversation he is most excited when talking about the ways his students show him to and through poems. But he is also someone who pens work for operas and has his face in an airport and casually watches basketball with one of the greatest basketball coaches of all time. And it all seems simple to him, something he has been working toward since he began working. Both fame and glory.

We are talking about death and isolation again, Hayes and I. It’s a fitting end to our time together. Hayes says his true inclination is to stay inside; he likes New York because he feels like he can do that here, and not many other places. He tells me he both loves and hates the way the city folds around him—loves it for its many options and hates it for its many options, all at once. 

When we get to the topic of rap, Hayes is succinct, melancholic. “I think when it comes to rappers, Biggie Smalls is closest to my sensibilities,” he insists, spinning the last bit of ice around in his drink. “He scares me, and the consequences of his art, too…. The consequences of his art informed his life. I think of this like Sylvia Plath. The fact that Sylvia Plath would write ‘Ariel’ and then put her head in an oven, or the fact that Biggie Smalls would say he’s ready to die and then die. There’s something closer to the truth for me. Closer to my understanding of the consequences of what we do. The body’s relationship to the art’s consequences.”

I nod, and look at the time. When I look back up, Hayes is looking outside, while the street, drenched in sirens, howls. 

 

Hanif Abdurraqib is a poet and critic from Columbus, Ohio.

(Photos: Tony Gale)

Episode 20: Terrance Hayes, Lauren Groff, A. M. Homes & More

In the twentieth episode of Ampersand, editor in chief Kevin Larimer and senior editor Melissa Faliveno preview the July/August 2018 issue, featuring a look at how authors, agents, editors, booksellers and publicists work together to reach readers; the secrets to maintaining a long-term author-agent relationship; the summer’s best debut fiction; a profile of poet Terrance Hayes; author Lauren Groff on her new story collection, Florida; self-publishing advice, writing prompts; and more.

00:01 Terrance Hayes reads an excerpt of a poem from his new collection, American Sonnets for My Past and Future Assassin.

01:12 The cohosts discuss Lauren Groff’s complicated relationship with her state of residence, Florida, which serves as both backdrop and inspiration for her new collection of stories of the same name, out this month from Riverhead Books. Contributor Bethanne Patrick, otherwise known as @TheBookMaven, profiles Groff for the new issue of the magazine. Kevin and Melissa talk about some of the stranger aspects of Florida (hat tip to the website Florida Man) and share some of their own stories about the Sunshine State, which involve hair removal, Tinkerbell, sunburn, and unsupervised teenagers on the loose. 

07:22 Lauren Groff reads an excerpt from one of the stories in Florida, “Dogs Go Wolf.”

 

12:55 Terrance Hayes reads a poem from his new collection, American Sonnets for My Past and Future Assassin, out this month from Penguin. Hayes is the cover profile of the new issue, and poet, essayist, and critic Hanif Abdurraqib, author of the essay collection They Cant Kill Us Until They Kill Us (Two Dollar Radio, 2017), interviewed Hayes at the Great Jones Cafe in Manhattan for the piece. 

14:56 Hanif Abdurraqib reads the opening section of his profile on Hayes from the new issue, “My Past and Future Assassin.”

 

18:52 Terrance Hayes reads two more poems from his new collection, American Sonnets for My Past and Future Assassin.

22:18 A. M. Homes, the celebrated author of more than ten books—including novels, story collections, and a memoir—reads an excerpt from the title story in her new collection, Days of Awe, out this month from Viking.

28:31 In honor of the twentieth episode of Ampersand, Kevin and Melissa compose a celebratory haiku. (With sincere apologies to the masters of the form.) If you can do better—and we’re pretty sure you can—send us your Ampersand haiku at ampersand@pw.org

 

Ampersand: The Poets & Writers Podcast is a production of Poets & Writers, Inc., and is edited and mixed by Melissa Faliveno. Music for this episode is provided by Podington Bear, Blue Ducks, Audiobinger, and YACHT. Comments or suggestions? E-mail ampersand@pw.org.

The Poet at Work: A Profile of Kevin Young

by

Clint Smith

10.11.17

The Schomburg Center for Research in Black Culture is located at the intersection of 135th Street and Malcolm X Boulevard in Harlem. It is eight blocks from Langston Hughes’s famous brownstone, seven blocks from where James Baldwin once attended high school, and a three-minute walk from Zora Neale Hurston’s former artist-collective residence. It sits directly across from the Harlem Hospital Center and is surrounded by an array of delis, bodegas, and brownstones—quintessential emblems of Harlem that drape the neighborhood’s landscape. 

After stepping off the subway, I walk fifteen feet to the right and purchase a chicken-and-rice meal from the shawarma cart that is parked near the sidewalk in front of the center each day. I sit on one of the benches in front of the building as cars glide down Malcolm X Boulevard, their music thumping with enough bass to shake the street. 

Mid-chew I look up and see Barry Jenkins, director of the Academy Award–winning film Moonlight, surveying a table of used books. The moment is almost too prototypically Harlem to be true. Here is one of the preeminent black artists of our time—and one of the most critically acclaimed directors in Hollywood—quietly perusing used books on Malcolm X Boulevard as passersby bustle along without saying a word to him, as if he were simply a fixture of the Harlem ecosystem. The Schomburg Center is, in many ways, the central home to the culture that Jenkins embodies, and its new director, the poet Kevin Young, sits at the nexus of participant and purveyor. 

When I step inside the Schomburg, I am escorted to meet Young in a small conference room with a dozen chairs, two square tables pushed against each other, and three rectangular windows that overlook a small courtyard. Young walks into the room with a stack of papers and several books with innumerable dog-eared pages. He moves with a sense of self-assuredness that one would expect from someone with his résumé, but counterbalances it with a disarming sense of humor.

Today he is wearing a light-blue oxford shirt with its sleeves rolled up to just below his elbows. The screen of his watch flickers as he moves his hand during the conversation. The ID at the end of his black lanyard is tucked into his left shirt pocket as if he didn’t want you to know that he is the director of the leading research center for black culture in the country. His thick, black beard is flecked with subtle streaks of gray, and he often runs his fingers through it while his other hand rests on the opposite arm. His hair is closely cropped on the sides, but the top of his head abounds with tightly coiled black curls that sprout up along his scalp. His glasses are round and thick and black and slide from the bridge of his nose when he laughs, which he does often, in a way that invites you into the conversation. I’m here to talk to him not only about his position at the Schomburg Center but also about his new role as poetry editor of the New Yorker as well as his new book of nonfiction, Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News, published this month by Graywolf Press. 

I first met Young two summers ago at the Cave Canem retreat—an annual weeklong workshop for black poets that serves as a refuge from the predominantly white literary spaces we spend most of our time in. Many of the fellows came from MFA programs and workshops where, as Junot Díaz put it in his 2014 treatise in the New Yorker, “the default subject position of reading and writing—of Literature with a capital L—was white, straight, and male.” 

I was not in an MFA program myself but had taken a poetry workshop as a small weekly reprieve from the datasets and statistical analyses of my own graduate studies in the sociology of education, only to have a similarly disillusioning experience as the only black person in a room full of mostly white writers. I talked to Young, for example, about how I had written a series of poems in the voice of my barber and didn’t bring any of those poems into the class because I didn’t want to endure the stress of navigating a scenario where my workshop mates had to decide how to engage a poem laden with the N-word. He laughed in the way some people do to signal that they understand—that they really understand—and nodded. “Cave Canem exists because of that need,” he said. 

At that first meeting, the gap between us couldn’t have felt wider. I was a twenty-something-year-old poet and graduate student who had not yet finished a draft of my first manuscript. I was simply thrilled to have even been accepted to the retreat. Young was a Guggenheim fellow and the author of ten poetry collections, including Jelly Roll: A Blues (Knopf, 2003), a finalist for the National Book Award and the Los Angeles Times Book Award, and a book of nonfiction, The Grey Album: On the Blackness of Blackness (Graywolf Press, 2012), a finalist for the National Book Critics Circle Award and a winner of the PEN/Open Book Award. He was a professor of creative writing and curator of one of the most impressive literary archives in the country at Emory University. All that by the age of forty-six. And yet he was so different from what we imagine our preeminent literary figures to be. There was no bravado or pretense. There was no condescension or sense of snobbery. My first memory of Young is seeing him playing pool with poet Major Jackson in the lobby of the dormitories where we were all staying. He snacked on a bag of chips between shots, and when I walked in he looked up and asked, “You know how to play?”

That week, as Young led our workshop, it was clear that the collective project we were all embarking on was about far more than what we were putting onto the page. It served as reaffirmation that our work, our experiences, and the cultural idiosyncrasies of our voices were not something that should be compromised in order to be part of the literary community, but something that meaningfully contributed to its terrain. For many, it is often the only reminder they receive. “I think [Cave Canem] often serves as a healing place for folks,” Young says. “It helps focus the tradition that has always been there.” 

More than simply being a space of healing, Cave Canem, Young points out, has fundamentally transformed the landscape of black literature since it was founded two decades ago. He is adamant about this point. 

In the past decade alone, for example, there have been four black winners of the Pulitzer Prize in poetry—Tyehimba Jess (2017), Gregory Pardlo (2015), Tracy K. Smith (2012), and Natasha Trethewey (2007)—as compared with three winners in the previous eighty-five years of the prize combined. Smith and Trethewey would go on to serve as poets laureate of the United States. Both of their first books were published after winning the Cave Canem Poetry Prize. Young was the judge who selected Smith’s debut, The Body’s Question (Graywolf Press, 2003). 

“It’s just like this unprecedented thing,” he says, leaning back in his chair, soaking in the realization as if having it for the first time. “Obviously not all of that is because of Cave, but Cave is part of what I would call the Renaissance of Black Letters, and it’s one that I think the Schomburg can be, and should be, at the center of.”

For young writers, part of Young’s approachability stems from his recognition that not so long ago he was also a young writer attempting to find a literary community. The community he found would be both personally and artistically transformative. 

In 1987, Sharan Strange and Thomas Sayers Ellis, who would soon become friends and peers of Young’s, hopped in a car and drove from Boston to Harlem to attend James Baldwin’s funeral. The prophetic luminary had died in France, but his body had been brought back to the neighborhood of his birth. His community wanted to give him a homegoing celebration imbued with Harlem’s unique character and give so many of those who loved him most an opportunity to say goodbye for themselves. At the funeral the young writers encountered figures like Toni Morrison, Maya Angelou, and Amiri Baraka, all of whom spoke at Baldwin’s service and all of whom represented the pinnacle of African American letters. Baldwin’s death was made especially difficult for the young writers who trekked from Boston not only because they were mourning the death of a distinguished black literary figure, but also because they never had the opportunity to meet him while he was alive. As Young puts it, they “swore to themselves that they would not let another black writer die without having met that person and connected.” As a way to remedy that problem, Strange and Ellis, joined by their friend Janice Lowe, started a reading series in which they paired young emerging black writers alongside their more established counterparts. The group became known as the Dark Room Collective and held the reading series in an old Victorian at 31 Inman Street in Cambridge, Massachusetts, where several of the young artists lived. 

Writers like Derek Walcott, Alice Walker, and Yusef Komunyakaa made their way through the Cambridge residence—metal chairs unfolded across wooden floors and couches slid against the walls to make room for the guests who had come to see these literary forebears alongside their progeny. 

Young, then an undergraduate at Harvard studying under the likes of Seamus Heaney and Lucie Brock-Broido, remembers attending some events there, before he became an official member of the collective himself, and being stunned at the sight of two hundred fifty black people packed into a single room—sitting on floors, peeking around corners, holding their breath—listening to poetry. “I think it spurred a community,” he says, pausing, reflecting on the word. “It spurred the writing community in Boston, which was really interesting then but probably was whiter than it knew, to really think about itself in new ways. It was important in that way.”

He must see it in my face as he describes how the series unfolded because he smiles knowingly as I share how shocked I am that a group of relatively unknown aspiring writers could get some of the most important artists of the day to show up and read at their house—for free. Young says that they simply wrote to them and said, “Hey, we have this thing and it’s special and we get this many people and we can get you great dinner.” “And folks came out,” he adds. “It was both a different time and also it’s an eternal thing that if you provide the space and build it,” they will come. 

After Young joined the group, the collective began traveling to venues beyond the Inman Street house to read their work. They read in other places throughout Boston and then across the country. “We’d read in a bar in Miami or we’d all get in a car, and me and Major [Jackson] had the cars and we’d drive,” he says with a laugh. “We’d drive to D.C. and sleep on people’s floors. Even then I knew it was a particular moment in time.” 

There were many poets who weren’t formally in the collective but whose presence and friendships shaped the distinctive literary sensibilities of the group. Among them was Elizabeth Alexander, a two-time Pulitzer Prize finalist, a current professor at Columbia University, and someone to whom Young felt particularly close. Alexander recounts with nostalgic tenderness the moment she met Young and another young undergraduate writer at Harvard, both of whom were in the nascent stages of their literary careers. 

“I read on Harvard’s campus through the Grolier Bookstore when my first book of poems came out in 1990. There were these two adorable, alive young men listening very, very carefully and they came up to introduce themselves afterward—Kevin Young and Colson Whitehead,” she wrote to me in an e-mail. “Kevin sent me copies of the literary journal he edited and told me about younger writers who were his friends and comrades. We talked about writers and poems we admired and loved.  Later on, we sent each other manuscripts—we’ve been good book editors to each other. Now we text to make each other laugh.”

There is a photograph of the Dark Room Collective taken in 1996 that serves as an illuminating artifact of the time. Seven of the members—Natasha Trethewey, Kevin Young, Major Jackson, Nehassaiu deGannes, Thomas Sayers Ellis, Sharan Strange, and Adisa Vera Beatty—are sitting on a New England beach, some looking off in different directions, some looking directly at the camera. The photo is in black and white, and the young writers each appear to be wearing a mix of black, white, and beige clothing so their bodies blend into the sand. Young sits between Jackson and Trethewey—looking directly at the camera—his full beard then a tightly groomed goatee, the tight coils of hair on his head and a flock of thin dreadlocks falling down just past his shoulders. 

The very existence of the photo and others like it—color coordinated, posed, pensive—captures the group’s youthful ambition. Even before they achieved such high standing in American letters, they understood themselves as something worthy of being documented, archived. 

The collective would dissolve in the late nineties as its members transitioned to graduate school, new jobs, and opportunities to pursue their work full-time. 

Young’s life prior to his literary ascent was one of constant movement, expanding his conception of home beyond the limits of geographical location. His mother and father—both of whom grew up in segregated, rural Louisiana and were the first in their families to attend and graduate from college—were studying to become a chemist and an eye surgeon, respectively. As a result, they moved the family around every few years as the two of them pursued their careers. Before Young turned ten years old, he had lived in six different cities. But he always thought of Louisiana, where much of his family remained and where he frequently visited, as home. 

He attended high school in Topeka, Kansas, a place from which few might expect great writers to emerge, though Young points out that among both his heroes (Gwendolyn Brooks and Langston Hughes) and his contemporaries (Ed Skoog, Gary Jackson, Ben Lerner), Topeka has produced some of the top literary talent in American poetics. 

Young attended Harvard as an undergraduate, where he joined the Dark Room Collective, and in the years that followed, his career, like many of his collective-mates, took off. He was awarded a Stegner fellowship from Stanford before going on to receive his MFA from Brown. He had brief tenures at the University of Georgia and Indiana University before moving to Emory University, where he remained for eleven years and served as curator of the Raymond Danowski Poetry Library, a 75,000-volume collection of both contemporary and centuries-old work. He also served as curator of the library’s Literary Collections, which contains the archival work of canonical writers such as Seamus Heaney, Lucille Clifton, Alice Walker, Jack Kerouac, and Flannery O’Connor, among others. 

During this period, Young’s writing was prolific, and his work helped to shape the twenty-first-century landscape of American poetry. He won or was a finalist for some of the genre’s most prestigious awards and served as steward not only to the work of the past—through his work in the archives—but also to the work of the present, editing several anthologies, including The Hungry Ear: Poems of Food and Drink (Bloomsbury, 2012), The Art of Losing: Poems of Grief and Healing (Bloomsbury, 2010), and Jazz Poems (Everyman’s Library, 2006). Part of what served as a catalyst for Young’s prolific output was the unexpected death of his father in 2004. “I think I realized life is short,” he says. And part of Young’s mourning took place in his work. His books Dear Darkness (Knopf, 2008) and Book of Hours (Knopf, 2014) eulogize his father in a series of poems that move between gentle nostalgia and violent grief. 

Last fall Young left the temperate seasons of Atlanta for the dynamism of Harlem to become the new director of the Schomburg Center for Research in Black Culture. Upon his arrival, he wasted little time ensuring that he would continue to build on the work of his predecessor, Khalil Gibran Muhammad (who left his post after five years to become a professor at the Harvard Kennedy School). Within the first few months of Young’s tenure, the Schomburg Center was named a National Historic Landmark by the Obama administration, and the center finalized plans to acquire James Baldwin’s papers, something that was of particular import to Young both because Baldwin is a son of Harlem and because the nature of our social and political moment renewed public interest in his work. 

“It was very important to me that the papers not just be announced, but be open,” he says. “And so, the day after we announced them, they were open to research service. And the researchers have come in droves to see them.”

The connection to Baldwin is also personal for Young, who says he could not have written his debut nonfiction project, The Grey Album, without the virtuosic guidance of Baldwin’s prose. The Grey Album was a finalist for the National Book Critics Circle Award and won the PEN/Open Book Award, but, more important, it expanded Young’s reputation from that of an acclaimed poet to a distinguished and erudite cultural critic. “Even [for] this new book, in which I think a lot about America and American history and race…his spirit provided an essential guide,” he says about Baldwin. 

Young’s new book, Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News, and his new job fit together in ways that have aligned with unsettling relevance. The book traces the history of the hoax and deceit in the American cultural and political life—moving from P. T. Barnum (who founded the Barnum & Bailey Circus) in the late nineteenth century to Greg Mortenson’s infamously fabricated memoir Three Cups of Tea (Penguin, 2007) to Melania Trump’s plagiarism of Michelle Obama’s Democratic National Convention speech. Young began research for the book long before the assent of Trump into mainstream national politics and certainly long before anyone could anticipate the extent that “fake news” would become common parlance in contemporary political discourse.

But as Young outlines in Bunk, there is a long and often insidious precedent for a society in which facts become secondary. And both through his book and in his role as director of the Schomburg, he hopes to more forcefully push back against the insurgent phenomenon. “Libraries are more important than ever now, because we provide free and accurate information for people across learning levels,” he says. “That’s what we do.”

The greatest hoax of them all, Young believes, is race. No other type of insidiously conjured fraudulence has endured as long and has had effects as deleterious. “I trace the hoax [of race], as an idea and a concept, and one that emerges in the eighteenth century—it isn’t a word until then,” he says. “I came to understand that that’s not an accident. In many ways, some of the aspects of the hoax and its systematic and stereotypical qualities allowed race to become more fixed around the nineteenth century. We tend to think there’s progress and things get better, but there’s a real hardening along originally unclear racial lines—or blurry ones, or ones not fully understood as biological and unredeemable in the case of black people, brown people, Native American people—all of these qualities became more and more fixed for very different reasons but similar ends, which is to justify slavery or displacement or aspects of supremacy.”

Ideas like those in Bunk serve as the bedrock of discourse at the Schomburg, where many black writers, artists, and public intellectuals come to share their work. Part of Young’s commitment as director is to flatten the hierarchies of intellectual engagement. It’s not that he wants to reduce such writers’ standing as thought-leaders in the community—indeed, many of them are his friends and colleagues—but he wants to continue opening up the space for more people to enter it. In reflecting on an event that took place right after he became director, Young says, “The discourse at that event, which was one of my first events as director, was so impressive. Just community folk asking really smart, interesting questions. The way I think of it is it’s not just scholars. Every student is a scholar; every scholar is a student. We have a lot of folks who are doing deep reading who are really engaged.”

Inevitably, the nature of Young’s new job means that he doesn’t have the same chunks of time to write that he once did as a young professor, but he says it’s well worth it. “I get to go to a place, every day, where Langston Hughes is buried and his spirit is felt. That’s amazing.” And it isn’t as if Young feels like he has less writing time; it’s just that now he has to be more purposeful in creating it. “I feel like people have this notion of writing that it’s inspiration-based and romantic. Both little-R and big-R romantic. I don’t think that’s how it works. I think we can put it many ways—perspiration not inspiration—but I think it’s really just being there in your space. It’s physical in order to prompt a mental space, but it isn’t inspiration, exactly. It’s being there and writing.”

I share with him my own struggles of clearly demarcating how much of my time I spend reading and how much of my time I spend writing. That when I do more of one, I never feel like I am doing enough of the other. I tell him how, for different writing projects, like the piece I am writing on him, I attempt to set specific word goals each day but become overwhelmed when I don’t meet them. He balks. “No, God no. You have to just think of it [all] as work. I think that’s the thing that changed for me a long time ago,” he says in the way people do when they’re reintroduced to a habit they attempted to leave behind. “It’s working. That’s why they call it your work.”

Going forward, Young will have to be even more purposeful about making time for his personal reading and writing—this month he begins his tenure as the poetry editor of the New Yorker, the first black person to hold the position. David Remnick, editor in chief of the magazine, gushed over Young’s work as both writer and editor when I called him. The two had met briefly at a dinner party at Elizabeth Alexander’s home years ago, and Remnick continued following, and then publishing, Young’s poetry and essays. “I love his work and have read him for a long time,” he says.

While online poetry journals and literary magazines have provided more and more opportunities for poets to be published, the New Yorker, with its circulation of 1.2 million, remains the largest commercial platform for poets to have their work engage the larger world. “The opportunity to get read at that scale is not a common thing for poets,” says Remnick, who wanted someone in that position who not only understands the role that the New Yorker has played in putting poems in front of those who may not regularly read them, but who would also use the platform to publish a range of different voices. “I think Kevin will,” he adds.

When I ask Young about it, he becomes more coy than he’s been in the previous moments of our conversation. His responses become briefer, as if the opportunity were a fragile vase that the wrong words might break into pieces. “I remember reading the New Yorker book of poems when I was a kid. I’m looking forward to participating in that tradition too,” he says shyly. I try to hype him up. “This is a big deal!” I tell him, attempting to pull something from him that it becomes increasingly clear he is not willing to give. I try again: “When these things happen to you, are you able to step back and say, ‘Man, I am the director of the preeminent center on black culture in the country. I’m going to be poetry editor of one of the most historically renowned literary magazines—”

He leans back in the wooden chair and laughs. “Every night, I say those exact words.”

He then becomes more reflective. “I think you’re busy doing the work of it, but that’s why you have friends, so you can sit back and celebrate or reflect. Also, it’s an actual day-in and day-out thing. You’re trying to get that work done.”

Throughout his career his friends have indeed lifted him up in celebration, and still, they recognize that despite the success he remains the person so many of them knew as an eager undergraduate trying to emerge in the landscape of black literature. “Kevin feels like his same self to me over all these years,” Elizabeth Alexander says. “He has always been prolific, hilarious, omnivorous, meticulous, dauntless, and sure-footed, a lover of black culture in its everythingness.” 

 

Clint Smith is a writer, a doctoral candidate at Harvard University, and the author of Counting Descent (Write Bloody Publishing, 2016), which won the 2017 Literary Award for Best Poetry Book from the Black Caucus of the American Library Association and was a finalist for an NAACP Image Award. He is a 2014 National Poetry Slam champion and a 2017 recipient of the Jerome J. Shestack Prize from the American Poetry Review. His writing has been published in the New Yorker, the Atlantic, the Guardian, and the New Republic, among other publications. He was born and raised in New Orleans.

 

Photos: Tony Gale
 

Worth the Wait: A Profile of Arundhati Roy

by

Renée H. Shea

6.14.17

Arundhati Roy must be tired of hearing the same question: What took you so long? But then, it has been two decades since her debut novel, The God of Small Things, was translated into forty-two languages, sold eight million copies, and won the prestigious Man Booker Prize, and she was catapulted to international fame and remarkable financial success. Now, with the June release of The Ministry of Utmost Happiness (Knopf), she is not apologizing for the wait. Busy traveling, writing, and establishing herself as an outspoken activist, Roy explains that about ten years ago, the “mad souls,” the constellation of characters in The Ministry of Utmost Happiness, grew insistent. “Anjum, Tilo, Saddam, Musa, and the gang moved in with me and colonized my imagination,” she says. “And for me, while fiction is necessary, I prefer it to be timeless rather than timely. So when I write fiction, I am prepared to wait for it to come to me. I am never in a hurry.” 

Yet for someone who prefers not to hurry when it comes to fiction, she is certainly capable of moving with a sense of urgency, if her prolific, and often polemic, nonfiction is any measure. Roy cites a “watershed moment” when, in 1998, the newly formed Hindu Nationalist government in India conducted a series of nuclear tests, “which were greeted by the media and establishment with a nationalist fervor and talk about the return of ‘Hindu pride’ that changed the nature of what could and could not be said politically.” Roy had her say in an essay titled “The End of Imagination,” a critique of these policies. “While India was being hailed as a great new economic power,” she says in retrospect, “within India millions of poor people were being further impoverished by the new economic policies; tens of thousands of small farmers, deep in debt, were committing suicide. Young Muslim men accused of being ‘terrorists’ on very flimsy and often fabricated grounds were being thrown in prison. Kashmir was on fire.” Her essays and speeches turned into a steady stream of books, including Power Politics (South End Press, 2001), The Algebra of Infinite Justice (Viking, 2001), War Talk (South End Press, 2003), Public Power in the Age of Empire (Seven Stories Press, 2004), Field Notes on Democracy: Listening to Grasshoppers (Haymarket Books, 2009), Broken Republic (Penguin, 2011), and Capitalism: A Ghost Story (Haymarket Books, 2014). Fiction had to wait because, she says, she had no choice: “I could not watch all this happen as I continued my glittering career as a prize-winning novelist. I began to travel and write about these things because it was urgent and necessary to do so.” Her efforts did not go unnoticed. Roy was awarded the Lannan Cultural Freedom Award in 2002, the Sydney Peace Prize in 2004, and the Sahitya Akademi Award in 2006. (She rejected the most recent award, from the Indian Academy of Letters, because she opposes the government’s policies.) And she’s been giving back, contributing prize money and royalties to fund various causes and small organizations, mainly in India.

Even though the characters from The Ministry of Utmost Happiness took up residence in her imagination, she wasn’t ready to share them until about seven years ago, after a visit with her friend John Berger at his home in France. A mentor and also a Booker Prize winner, in 1972, for his novel G—in other words, someone whom she listened to before his death early this year—Berger told her to go to her computer and read to him whatever fiction she was writing, which she did. Impressed, he said she should go right home and finish the book, which she intended to do. But a few weeks later, in Delhi, she found an anonymous note pushed under her apartment door asking her to visit the Maoists in the jungles of central India—an offer she couldn’t refuse. This was followed by a period of still more waiting, though eventually, she asserts, those characters themselves brought the novel to closure: “They compelled me! Stubborn people. I had no choice.” 

“She lives in the graveyard like a tree,” reads the first sentence of The Ministry of Utmost Happiness—an opening that is enigmatic, tantalizing, and predictive. The “she” is the aging Anjum, a central character whose mother, thrilled to have given birth to a boy, discovers “nestling underneath his boy-parts, a small, unformed, but undoubtedly girl-part.” So Anjum, originally known as Aftab, begins her journey, as readers begin theirs, into the world of the Hijra. A somewhat ambiguous term, Hijra refers to a person whose gender is neither male nor female, including those born intersex, though it most frequently refers to individuals who were born male but identify as women. (In 2014, the Supreme Court of India recognized Hijra as “a third gender,” thus conveying legal status.) Roy is careful to point out, however, that she has not “used” Anjum, whom she refers to as “a Beloved,” to typify a category of people: “She is herself and distinct. Yes, she has a schism running through her, like many others in the book. Many of them have borders of caste and out-casteness, of religious conversion, of nation and geography.” 

The novel crosses other borders of both perspective and place. Set primarily in present-day New Delhi, with a political backdrop of Kashmir’s struggle for independence, The Ministry of Utmost Happiness spans more than thirty years, often through Anjum’s eyes as she establishes herself in that space where her relatives are buried. “Over time, Anjum began to enclose the graves of her relatives and build rooms around them,” Roy writes. “Each room had a grave (or two) and a bed. Or two. She built a separate bathhouse…[she] called her Guest house Jannat. Paradise.” Beginning by taking in down-and-out travelers, Jannat Guest House becomes a community center of sorts, where nearly all the characters in this intricately plotted novel find themselves—some, as Roy playfully writes, “for The Rest of Their Lives,” some to bond as family, some only for a moment of comforting connection.

It is in Jannat Guest House, a place of physical as well as spiritual union, that Anjum and others recognize as well as honor a continuum of life and death—a place where “the battered angels in the graveyard that kept watch over their battered charges held open the doors between worlds (illegally, just a crack), so that the souls of the present and the departed could mingle, like guests at the same party.” This became a guiding image for Roy, who worked with designer David Eldridge and photojournalist Mayank Austen Soofi to create the cover art for the novel: a vertical picture of a decaying white marble grave with a withered rose placed right below the title. The haunting image melds beauty and decay and suggests the compatibility of change and permanence. 

In The Ministry of Utmost Happiness Roy shifts places, time periods, and viewpoints with the grace of a master choreographer as characters take circuitous paths that are at times parallel, then intersecting or conflicting, ultimately seeming a matter of both coincidence and fate. She works at that unstructured structure. “To me, the way a story is told is almost more important than the story itself. I think I might be incapable of telling a story in chronological order,” she says. “For me, a story is like the map of a great city or, at the very least, a large building. You can’t explore it by driving down the main street or entering from the front door and exiting through the back. You have to live in it, wander through the by-lanes, take blind alleys and have a smoke with the people who live there, look into the rooms from the outside in. That’s the fun of it!” 

 

Arundhati Roy in New York City.

(Credit: Tony Gale)

The novel is teeming with indelible characters: politicians—some murderously demented—accountants, teachers, militants, and mothers in a multigenerational story. There’s the irrepressible Ustad Kulsoom Bi, guru and head of the Hijra household that Anjem joins initially; the incorrigible Saddam Hussain, a name he chose for himself; the two Miss Jebeens, one killed by a bullet that passed through her skull into her mother’s heart, the other abandoned on a Delhi street and claimed by Anjum; the shape-shifting Amrik Singh, “a cheery cold-blooded killer.” A central quartet of characters—Musa, Naga, Garson Hobart (a code name for Biplab Dasgupta), and Tilo, the one the other three love—meet as students, go their separate ways, then weave in and out of one another’s lives in a plot that moves between the poverty-stricken neighborhoods of Old Delhi, the glittering new wealth of malls and hotels, and the mountains and valleys of Kashmir.

Although it’s tempting to see some of these characters as representations of different viewpoints in Indian politics, Roy objects: “Even Dasgupta is partly the voice of the establishment and partly a lost, lovelorn wreck. Hazrat Sarmad, Hazrat of the Indeterminate, is the deity of this book.” Thus, Roy’s characters are, first and foremost, complicated human beings who remind us that “we do a great injustice to people when we ‘unsee’ their identities and the discrimination they suffer because of that identity,” she says. “Equally, we do great injustice when we see nothing of a person except to brand them with one single identity. Sometimes people do this even to themselves.”  

The dazzling array of characters, while hardly autobiographical, does suggest Roy’s own wide spectrum of experiences, lived passionately and thoughtfully. She was born Suzanna Arundhati Roy in 1961 in northeast India to Mary, a Syrian Christian, and Rajib, a Bengali Hindu from Calcutta. Her parents divorced when she was two and her brother, Lalith, three and a half. In interviews, Roy emphasizes that she did not come from a privileged background. Quite the contrary: When her mother left her alcoholic husband, she struggled to make a living, finally starting an independent school in Kerala. Roy went to boarding school and began secretarial college. At sixteen, she quit and moved to Delhi to study at the School of Planning and Architecture. For a while, she lived what has often been described as a bohemian lifestyle with architect Gerard da Cunha. After they broke up, Roy returned to Delhi to work at the National Institute of Urban Affairs, where she met and married Pradeep Kishen, a former history professor and Oxford graduate who had become an independent filmmaker. Roy wrote screenplays and acted in several films they collaborated on, but she became disillusioned with what she saw as the elitism of the film world. After they divorced, she made her living in various jobs, including leading aerobics and yoga classes, until she turned her attention to writing.

It’s no surprise then that Roy dismisses those questions about what took her so long by pointing out that we are the sum of our experiences. A couple of decades between novels was hardly time wasted. “I absolutely could not have written this book without having lived the last twenty years in the way that I have. All that I saw and understood and experienced has been infused in me and then sweated out as fiction.” 

With only two novels to her name, what accounts for Roy’s enormous international popularity as both novelist and dissident? Some argue that she reinforces the views of the Western liberal media and literary elite and affirms a tourist’s romanticized view of India’s ancient but flawed and crumbling beauty. That’s way too simplistic a perspective for many, however, including scholars such as Pranav Jani, an English professor at Ohio State University and the author of Decentering Rushdie: Cosmopolitanism and the Indian Novel in English (Ohio State University Press, 2010). He acknowledges that the West often views Indian authors through “a veneer of exoticism” because they are “deliciously Other.” Roy to some extent fulfills that expectation with her descriptions of the lush environment and her “unequivocal condemnation of caste and gender oppression,” Jani says, but she offers more. “While her sustained focus has always been on India, she has consistently contextualized Indian issues within global ones: The same systems of capitalism and militarism that produce inequality in India are the ones that create inequality here.”

Controversial as well as charismatic, Roy recently took on the icon of icons not only to India but the Western world: Mahatma Gandhi. What began initially as a brief introduction for a new edition of The Annihilation of Caste by B. R. Ambedkar turned into a book-length essay titled The Doctor and the Saint, in which Roy analyzes the political debate between Ambedkar and Gandhi, arguing that the latter’s more moderate call for the dissolution of only the “untouchable” caste sidelined the former’s fight for justice. She characterizes Ambedkar, himself born an “untouchable,” as the true champion of the poor—with predictably heated results. Writing the introduction to the 2017 edition, published by Haymarket Books, Roy defended herself: “Given the exalted, almost divine status that Gandhi occupies in the imagination of the modern world, in particular the Western world, I felt that unless his hugely influential and, to my mind, inexcusable position on caste and race was looked at carefully, Ambedkar’s rage would not be fully understood.” 

In The Ministry of Utmost Happiness, Roy strides onto similarly dangerous ground with the Maoists, or Naxalites, a revolutionary guerrilla force in central India. Believing that “there is an unreported war taking place against these populations,” she interrupted her writing to follow instructions that began with the note under her door and spent time living with Maoist insurgents and tribal villagers. Her initial article, published as a cover story for the Indian newsweekly Outlook, became the book Walking With the Comrades (Penguin, 2012). She argues that the official military campaign against the Maoists is actually a war against the poor, specifically the indigenous tribes who live on land with great mineral reserves. “Here in the forests of Dantewada,” she writes, “a battle rages for the soul of India.” Not surprisingly, response ranged from adulation to outrage.

The Ministry of Utmost Happiness takes some of the same risks. Toward the end of the novel, Roy presents a ten-page letter from Miss Jebeen the Second’s mother, Revathy, a member of the Maoist Communist Party of India. The letter explains the plight of those like her who have few choices, experience rape and torture, “live and die by [the] gun,” yet who recognize that the party “does many wrong things,” that “women join because they are revolutionaries but also because they cannot bear their sufferings at home.” Likely some will interpret this letter as an eloquent exposé of an unreported war; others are likely to interpret it as a lengthy intrusion of political polemic. 

Roy, however, does not see a conflict or controversy in this example or in other overtly political dimensions of the novel. “I am very much against the idea of a novel as a disguised vehicle to write about ‘issues.’ To me a novel is a prayer, a world, a way of seeing. But in the telling of a story, these issues are the very air we breathe. To avoid them would make me a dishonest storyteller. It has always amazed me how people manage to tell stories about India without mentioning caste. It’s like writing about South Africa in the 1960s without mentioning apartheid. Apartheid was not an ‘issue.’ It was the DNA of that society at the time. So too with the practice of caste and what is happening in Kashmir. So too with the brutal violence, both state and societal, against the poor, and so too with the people who resist it.” 

In the twenty years since the publication of The God of Small Things, speculation has run high about what Roy’s next novel might be. Satire was one guess. It’s true that irony, even cynicism, makes its way into the novel: There are soldiers who “fired their light machine guns,” the concept of “post-massacre protocol,” and sadistic officers who take a “torture break.” There is sly sarcasm in Roy’s description of India as the new superpower: “Namaste, they said in exotic accents, and smiled like the turbaned doormen with maharaja mustaches who greeted foreign guests in five-star hotels.” And there’s the Shiraz Cinema, converted to an “enclave of barracks and officers’ quarters.” She writes, “What had once been the cinema snack bar now functioned as a reception-cum-registration counter for torturers and torturees.”

But despite such dark humor and sardonic observations, Roy’s generously expansive novel lacks the brittle spirit of satire. The Ministry of Utmost Happiness is filled with utopian communities—unconventional, misguided, and temporary as they may be—the Khwagagah or Dream Palace of the Hijra, the Jannat Guest House, even the fighters in Kashmir calling for Azadi, or freedom. It’s a novel filled with the search to belong, to find “my people,” to seize love in some form, whether as romance, motherhood, or camaraderie. Roy even tucks in Anna Akhmatova’s brave optimism: “I am not yet cured of happiness.” In fact, when asked to respond to Appalachian novelist Ann Pancake’s charge that “the greatest challenge for many twenty-first century artists is to create literature that imagines a way forward,” Roy sounds downright idealistic: “The ‘way forward’ will only come about when we change our way of seeing, when we redefine what we mean by words like ‘progress,’ ‘civilization,’ and ‘happiness.’ To do that we have to take a good look at ourselves. I think good novels help us to do that. And perhaps some are, in themselves, another way of seeing the world. In a non-didactic way, I hope The Ministry is that and does that.”

She’s right. Ultimately, it’s not politics that stay with us; it’s a beautifully written, powerful story. One of the most touching scenes in The Ministry of Utmost Happiness is Musa recalling his young daughter, Miss Jebeen, demanding he tell her a story at night.

And then she would begin the story herself, shouting it out into the somber curfewed night, her raucous delight dancing out of the windows and rousing the neighborhood. Yeth manz ne kahn balai aasi! Noa aes sa kunni junglas manz roazaan! There wasn’t a witch, and she didn’t live in the jungle. Tell me a story, and can we cut the crap about the witch and the jungle? Can you tell me a real story? 

Perhaps that’s what Arundhati Roy has done with this ambitious novel that spans a continent and several decades of war and peace and people who live in palaces and on the streets as well as undercover and underground—a novel that’s worth the wait. Once again, she has told a real story. 

 

Renée H. Shea has profiled numerous authors for Poets & Writers Magazine, including Tracy K. Smith, Julie Otsuka, Chimamanda Ngozi Adichie, Edwidge Danticat, and Maxine Hong Kingston. She is currently working on a series of textbooks for Bedford, Freeman & Worth, including Advanced Language and Literature (2017) and Foundations of Language and Literature, forthcoming in 2018. 

The Emotional Realist Talks to Ghosts: A Q&A With George Saunders

by

Kevin Larimer

2.15.17

In the late spring of 2000, on my first feature assignment as a twenty-seven-year-old editorial assistant for this magazine, I took the five-and-a-half-hour train ride from New York City to Syracuse, New York, to interview the author of one of that summer’s most highly anticipated books, the story collection Pastoralia (Riverhead Books). George Saunders had not yet received the kind of popular acclaim and critical recognition that followed him in the years to come, in the form of a MacArthur Fellowship, the so-called Genius Grant; the PEN/Malamud Award for Excellence in the Short Story; an Academy Award from the American Academy of Arts and Letters; the Story Prize; and so many other honors. He had not yet appeared on The Late Show With Stephen Colbert or This Week With George Stephanopoulos, or been named by Time magazine as one of the hundred most influential people in the world. He had not yet delivered the convocation address at Syracuse University that was posted on the website of the New York Times and then, within days, shared more than a million times on social media.

Back in 2000, when the author had published just one collection, CivilWarLand in Bad Decline (Random House, 1996), and his second was just starting to gain momentum, the name George Saunders was already on every critic’s tongue, but the literary world had yet to discover the true depth of the author’s talent. Seventeen years later, we still haven’t touched bedrock, though his subsequent books—two more story collections, In Persuasion Nation (Riverhead Books, 2006) and Tenth of December (Random House, 2013); a novella, The Brief and Frightening Reign of Phil (Riverhead Books, 2005); a children’s book, The Very Persistent Gappers of Frip (Villard, 2000); and a collection of essays, The Braindead Megaphone (Riverhead Books, 2007)—have added to the already overwhelming evidence that we are in the presence of a writer whose boundless imagination, laugh-out-loud humor, moral acuity, and, though he would protest the characterization, generosity of spirit truly set him apart.

Saunders’s soaring talents are once again on display in his long-awaited debut novel, Lincoln in the Bardo, published in February by Random House. Presenting a kaleidoscopic panorama of voices (the audiobook employs a cast of 166 narrators), Lincoln in the Bardo is set in a graveyard, over the course of a single night in 1862, where President Abraham Lincoln grieves the death of his eleven-year-old son, Willie, while the boy’s ghost confronts a congregation of other spirits in a strange purgatory—called the bardo, in Tibetan tradition. It is a wonderfully bizarre and hilariously terrifying examination of the ability to live and love with the knowledge that everything we hold dear will come to an end.

Seventeen years ago, Saunders offered to spend more of his time with me than any professional obligation or friendly courtesy required of him. It was my first, and fortunately not my last, opportunity to get to know this bighearted, wholly original writer. In December we met again, at a hotel on the Upper East Side of Manhattan, where we spoke for several hours about emotional realism, humor as a form of honesty, the flexibility of form, and, because this is George Saunders, poop jokes.

In 2000, I asked you if you’d ever tried to write a novel, and you replied, “Most of those stories in Pastoralia started out as novels. I’ve tried and I just recently got to the point where I’m not going to try anymore. If it happens, it’ll happen organically.” Here you are with your debut novel—so, did it happen organically?
The idea for Lincoln in the Bardo had been around for a long time, and I found myself saying, “Well, I’ll do it, but I’m not sure it’s going to be a novel. I’m hoping it isn’t. I’m going to push against it whenever it starts to bloat.” And that principle seemed to be a good compositional principle, you know? If something tries to push its way into the book, you give it a stern look and say, “Are you just here because you think this is a novel? Because that’s next door.” So that meant, too, that all the moves I developed [writing stories] over the years were of course the ones that I used. How could it be otherwise, you know? But about halfway through, I said, “Oh, this is a novel only because it’s on a bigger stretcher-frame.” But each of the individual sections was being executed by the same principles as a story would be. So that was a relief.

You just treated it like pieces of a story.
Yes. And I don’t know if other writers do this, but there’s that moment where you go, “Oh my God, I’m writing a novel. Anything goes!” And a couple of times I got in trouble because that mind-set took over. And then I would get that back in the box and say, “No, it’s by the same principles as all these stories: efficiency, one section producing and then leading to another. That’s it.” And then I would get back on track. So it was like the more I said, “The principles don’t change, but maybe the scale changes,” then I could do it. It was really a comfort to know that, in art, form is a way of accommodating one’s natural inclinations. If your natural inclination is to make small, concise structures, then form shows up and says, “Would you like me to help you link your small, concise structures?” And then form seems organic; it doesn’t seem whimsical. It doesn’t seem arbitrary. It seems organic, because it’s what allows you to accommodate your strengths.

Actually, at one point, a long time ago, I tried to do sort of a third-person version of this. And it was just dull, you know? “Lincoln walked into the graveyard. It was a dark and stormy night.” And sometimes you get into a zone like that, and you recoil. Like, no, no, no, I’m not using that voice. I can’t do it.

How far did you go using that voice?
A page. Maybe two pages. It just felt creepy. And it was funny, because I loved that idea, but the prose was doing nothing to get me into a happy zone vis-à-vis that idea. It was just, like, typing about Lincoln. So that was no good. But I did try, over the years, to write a play. Kind of the same thing: It made me more convinced that there was definitely a story there, but that wasn’t it. The play wasn’t it, for sure.

That wasn’t the form that was going to allow you to tell the story.
No. And strangely enough, the book is kind of playlike. But it was just, you know, sometimes you think—for me, for example, when I think, “I’m going to write a poem today,” it’s a guarantee that bullshit will come out of my head, because I’ve said I’m going to be a poet, and I just don’t have that gift. So my “poems,” in quotes, sound like poems in quotes. They’re just not good. The play was like that. It had a certain kind of faux-dramatic quality that just wasn’t interesting.

And how far did you get into the play?
I finished it. I did twenty or thirty drafts. I kept thinking, “I’m going to figure out something here that makes this work.” At one point I put a big sign across it: Don’t Touch It! Just stay away.

That makes me think of something Colson Whitehead said when we talked for a recent episode of our podcast, Ampersand, about The Underground Railroad and how the idea for that was something he’d had fifteen years ago. And he just put it aside. He said he wanted to wait because he didn’t feel like he could do the idea justice. He wanted to become a better writer before he tackled that subject matter.
That’s exactly the feeling I had about this…. I feel like my whole trajectory has been as a person of quite limited talent who’s a little strange and learns to harness that strangeness to accent the talent. So then you’re walking on a pretty thin ledge for the first two or three books. I think the thing has been trying to make my work—I’ve said as “happy” as I am, but I’m not sure I’m really that happy—I’m trying to make my work more like me. And so, over the past twenty years, the process has been trying to expand my toolbox to allow access to these different emotional valences that I didn’t really have access to early on. Or, I had access to them but only through a really dark route. I don’t think those early stories are particularly not hopeful. I think they’re kind of hopeful, but you’ve got to go a long way to get there, you know?

I suppose it’s like one’s personality: When you’re young, you’re a little insecure, you’re a little stealthy, and you try to find your way in the world, so you start embracing certain approaches and eschewing other ones. Then maybe at some midlife point, you go, “Wait now, I wonder if there’s more to me than this,” and you start to try to become more expansive, or maybe just get a little more comfortable in your skin, and you go, “Okay, I’m going to reconsider.” So for me it was an artistic enactment of that, which happened when I started writing essays. Especially the travel essays. Andy Ward, whom I worked with at GQ, had a really nice way of encouraging me when I would get into a place where I wasn’t relying on humor quite so much. And that in turn led to the Tenth of December and a couple of stories where suddenly I was drawing more directly on my real life…and finding that you could actually do that and still have a good prose style. Those kinds of things were the ladder that led me to be able to try this book.

What was the initial germ of the idea for this novel?
We were in D.C. and driving by Oakhill Cemetery, and my wife’s cousin just casually pointed up and said, “That crypt up there…” I don’t know if we could actually see the crypt, or if we could just see the graveyard, but he said, “Lincoln’s son was buried up there.” And at that point, I didn’t even know Lincoln had a son. I’m not exactly a history major. And then she said, “Yeah, you know, he died while Lincoln was in office, a very low moment in the presidency, and Lincoln was so bereft that he apparently snuck out of the White House, crossed the city at night, and then newspapers at the time”—I’ve verified this since—“said that he had touched or held the body several times.” So that’s just one of those weird historical things. One, that a president at that point in history could leave the White House. This was during the Bill Clinton years, so you thought, “Bill Clinton’s not coming out at night.” And then also, as a father, just this sense of loss, and also the idea that, at that time, to touch and hold a body wouldn’t have been considered quite as morbid as we consider it. And this doesn’t happen to me, I’m not a real visual person, but there was just a pop of that image of Lincoln with the body across his lap—the Pietà,  a monument or memorial or whatever. And then your mind goes, “Oh, that’d be a good story,” and I just had a feeling like, “Yeah, not for you.” Because maybe at that point…what year did we see each other?

That was 2000.
So it would be around that time. A little earlier than that, because Clinton was president. At that point I had just gotten up on my feet a little bit with a certain voice and a certain approach to material that for me was very new. So when I just did the mental transposition of that material with what I thought was my voice at that point, it’s almost like sparks: “Nah, that isn’t right.” So I put it aside. I’m not sure I was so confident I ever would write about it. But I remember kind of thinking, “Yeah, there are people who could do that, but in this life, maybe it’s just not me.” And there are lots of stories in the world; I just happened to hear that one. No problem. But it definitely persisted. And the way I knew it was, I have a range of, like anybody, happiness and not-happiness, and whenever I’d be happy, that idea would almost come stand behind me and go, “Would you please?”

But every time I thought of it, I got that uncomfortable feeling like it was more than I could do. I’m not sure I was quite as confident as Colson that I would get there, but I just wasn’t able to get over it. So that’s interesting: an idea that just refuses to be boxed. That’s kind of weird. And I hadn’t actually ever had that feeling before. I normally don’t even think in ideas. So I felt a trap was being set, because when I was a younger writer, I would have those kinds of ideas: A novel in which…

The grand elevator pitch.
Right. And then nothing would happen. So I was really resisting it. But when I have an idea like that, it’s trying to summon me into some new artistic ground. I was permitting parts of myself into the book that I had been keeping out all these years—genuine parts, and parts that I wanted to have in there. And somehow the idea went, “Come here, come here, come here. Trust me, trust me.” And I’m like, “I don’t know, I think it’s a trap.” And the idea said, “It is! It’s a good trap!”

And suddenly, you find yourself in really interesting, dramatic situations where the only way out is to summon up those previously suppressed or denied parts of your psyche that can finish it. And for me, those tended to be the more hopeful parts, actually. Or, hopeful and narratively straight, being comfortable with drama, no need to turn around and make jokes, just stay in that zone a little longer than I would normally be comfortable with. And then turn around and make the joke. It was a great experience.

I listened to an interview you gave around the time Tenth of December came out. And you were talking about how you were a little nervous about the reception of it, because you felt like it had more realism in it than your earlier work. Do you see this as a kind of trajectory, that you’re kind of pushing toward more realism?
It’s funny, in talking about writing, I think people tend to make binaries. I don’t know why, but a student will come in and say, “I don’t know if I want to be funny or serious.” Or sometimes they’ll link it to people: “I either want to be Kerouac or Flannery O’Connor.” I don’t know why these writing problems present as binaries, but they seem to be neurological. So then of course one of the things you can do is, you can destabilize the binary. If you like O’Connor and Kerouac, put them on one side of the binary, and who’s on the other side? In this new novel, it’s a kind of realism, but when I think about writing a truly realistic book, I don’t have any interest in it. So I would say it’s emotional realism. And the goal has always been—that’s actually what it is, that’s the first time I’ve realized that: It’s just to have the fiction somehow simpatico with my actual emotional life, or let’s say with our actual emotional lives. I think that was always the goal. In CivilWarLand, that’s what I was trying to do. I was in a pretty rough patch. But I think the idea would be to say, “Okay, I’m going to try to remember every emotional state I’ve ever been in, and then assume that there are a bunch I haven’t been in, and that out in the world, all the ones I’ve ever experienced are still going on. It’s not like being a depressed eighteen-year-old went away because I turned nineteen.” So then you try to experiment, to imagine all those coexisting [states]; develop a style that would allow you to talk about that. I don’t really care much about realism, except in that sense. What does the human mind actually produce for us? What experiences and prejudices and impulses and desires? How do those desires actually play out in the real world? To get to the point where you could actually accommodate that would be the goal. And that makes sense for my work, because this novel isn’t—there are only three living people in the book, so I don’t know if we could really call it realism, but I think it certainly felt like I had more room to be emotionally realistic. In other words, to be able to write about grief not glancingly but rather directly. There’s some of that in the early books, but it’s always just a quick hit and move on, almost like a marker of grief. To be able to turn directly to it for three hundred pages feels to me like a step in the direction of emotional capaciousness, let’s say. So the goal would be, when I’m three hundred years old and I’m finishing my last book, that to anybody who walked in I’d be able to say, “Oh yeah, I get that. I love you, I understand you. Let’s have a book about you.” Whereas even now, there are some areas of human experience where I’m just like, “Yeah, I don’t know enough.” Or maybe I don’t have enough generosity of spirit.

In the interview you did with Random House—the one that appears in the back of the ARC—you talking about this book being a sort of chorus of voices. And you say, “These are people who did not in life manage to bring forth what was within them.” Where did that come from? It’s a psalm, I think.
It’s the Gnostic Gospels, yeah. In some ways it’s just traditional ghost theory, which is, “Why are you here?” “I want my liver back!”

Unfinished business.
That kind of thing. And that kind of melded with the Tibetan bardo idea, which is to me the more interesting and scarier idea: whatever way that your mind works in real time, right this minute, right this second. The body’s going to drop away, and that’s going to continue, but exaggerated. So with Heaven and Hell, it becomes a little complicated. It’s not: “Turn left, you’re in Heaven; turn right, you’re in Hell.” It’s: “Where are you right now?”

There’s that binary you were talking about again.
Exactly. There’s something that’s Heaven-esque maybe. So if a person had gotten into a relationship with their thoughts in this life in a way that made them mostly pretty loving and happy, then I guess the idea would be that when you kicked off, that would continue. Or if you were an intensely self-flagellating, suspicious, greedy person whose every thought was sort of infused with that, then when you die, that could continue. That’s the theory. But the fun thing about this book was, your temptation was to say, “Well, let’s figure out what the afterlife is, and I’ll put it in a novel.” Well, I’m pretty sure that whatever it is, it’s not what you think it is. So part of it was fun. To make the afterlife surprising was a pretty natural thing for a comic writer to do. You know how to make things weird and surprising, so to take the afterlife and just make it a little bit strange. I didn’t want it to look like the Christian Heaven, I didn’t want it to look like the Buddhist Heaven. I wanted it to look like nothing you’d seen before, to simulate the idea that if you went there, you’d be like, “Oh my God, what is this?”

You’re referencing Heaven a lot.
They’re not in Heaven.

I read this novel as much darker. It inhabits a much darker space.
Yes, that’s true.

Back when we first talked sixteen years ago, you said that you could only write comic fiction. You said, “Humor, I don’t know, but comic.” So, is this a comic novel?
Yes. I think so. But…I got to certain places where, in early rounds, the material was so straight. Sort of slavishly straight. It just had a History Channel vibe in the early drafts. And that panicked me a little bit, because that’s where it looked like it wasn’t emotionally honest. It was something else. So I kind of panicked and dropped in a couple funny things. And they just didn’t belong in that book. They were kind of funny, but they also were…it’s like somebody in the middle of a marriage proposal who senses he’s going to get a “no,” so he does a fart joke. You know? You think, “Well, that’s a desperate move.” So then I had a few days of just saying, “Okay, wait a minute now.” Again, in the binaries: I was saying funny versus not-funny. Then I thought to myself, “Is there a way to turn that? And whatever it is that I have always thought of in my work as funny, or people have thought of as funny, can we rename that a little bit?” Just to give myself a little bit of room. And I thought, “Well, all right: How does a joke work in fiction?” I think the way it works is, you and I are walking through the story together, reader and writer, writer and reader, and there’s something I’ve said behind us, and I suddenly remember it. As we’re going into the apartment building, I eat a banana, I drop the peel. And then we’re coming out of the building, and I remember that, you know? And you have just said something really arrogant to me, and then you step on the peel and you fall. That’s comedy. But really, at its essence, it’s the writer remembering what he said. In other words, it’s a form of narrative alertness. So then I thought, “Okay, since this draft is a little straight, is there a way that I’m not being narratively alert enough?” And I could show you, there’s one particular moment where I had the three ghosts arriving, and I’d forgotten that they all had these crazy features, these physical manifestations. Just by the act of putting those descriptions in, the text came alive, and the text coming alive made me hear them better. And I gave them a couple funny lines. So the whole thing came alive, but with, I would say, narrative alertness. So then suddenly it gives you a little more freedom to do things that don’t break the tone of the scene. From then on, I’m like, “Oh yeah, you don’t have to be funny.” People like it when narrative alertness becomes funny, but there’s a lot of forms of narrative alertness. Cormac McCarthy is the most narratively alert person you could ever ask for. Not particularly funny, but when he’s moving through a landscape, he doesn’t forget anything that he’s made. It all comes home in that beautiful language.

The Orchard Keeper.
Unbelievable. And he sometimes can be very funny actually. But you can see that he’s not addicted to or looking for that. He’s just 100 percent alive in his fictive reality. Actually, Toni Morrison—I taught Sula this year: same. She can be very funny. But the main thing I feel with her is that the fictional world is just crackling with life, and the author is just generously looking around, blessing it all, and asking, “What do I need?” And that question means: What will make the most beautiful sentence I can put in front of you to make you feel as alive in the fictive reality as I am? So whether it’s humor or not is maybe a low-level understanding of that kind of interaction between reader and writer.

Well, I’ll tell you, when I started reading this I wasn’t sure what to do. Because I know you, and I’ve read all your books, and then here’s this novel. And it’s had such big fanfare. “George Saunders has a new novel, and I have all the feels,” that sort of thing. And I was reading along, and pretty early on you write, “When we are newly arrived in this hospital yard, young sir, and feel like weeping, what happens is, we tense up ever so slightly, and there is a mild toxic feeling in the joints, and little things inside us burst.” And so I stopped for a second, because so much of it, too, is that when a reader enters your work, so much depends on where the reader is as well. You don’t have complete control over the reader.
Not at all, no.

So at that phrase—“little things inside us burst”—I guess I was feeling emotional, and I knew I was about to read a novel about a father losing his son. And I have young kids. You know, it’s all those little things that are happening in the reader. So I read that sentence, and it’s like, “Oh, the dead are weeping.” And there are very real emotions in here that I’m thinking through as I’m reading. But then the very next sentence is, “Sometimes, we might poop a bit if we are fresh.” And right there we realize we’re in George Saunders’s world.
It’s so funny you should pick that out, because in the manuscript, that’s said on page two. In the galley, it’s deeper, but in what I worked on for many years, it was two. And I remember thinking, “I just hope my readers will make it to the poop joke.” And that’s my weakness, but I was just thinking, “That’s where I’m signaling that I’m all here.” I didn’t turn into a super-straight realist guy, which is a fear of mine, because humor came into my writing as a form of emotional honesty. We’re talking about when I was really young. I kept it out when I was trying to be Hemingway, which is a form of emotional dishonesty. My wife and I got married, we had our kids, we were having a great time, but we were pretty poor, all working really hard. The humor came back in at that point as “Holy shit, what’s going on here? This is really hard.” So that was honest. My fear is always that as you get old and august, the world actually stops being so difficult, and it’s not that funny anymore. Please note that I’m saying this in a British accent. [Laughter.] So in that case, again, that would be a form of emotional dishonesty. Just because it’s not happening to you doesn’t mean it’s not happening. In that first long section I hope my readers don’t think I’m that guy now, that I’m just indulging in a straight historical narrative with capital-R Romantic tendencies. For me, that joke was a place to sort of breathe a little. You with me? I didn’t leave anything behind. I’m still doing it.

You did it.
But it sounds like you could have used a few more beats of the emotional stuff before the poop stuff.

You get a great mix of both in this novel. In all of your work.
You know what it reminds me of? If you were a Led Zeppelin fan, and then, what’s the album, the one with “Over the Hills and Far Away” on it?

Houses of the Holy.
There are parts of that album where you think, “Oh my God, where’s Jimmy Page? Where’s the guitar?” And they know that, and they’re kind of setting you up a little bit with those swelling strings, and then all of a sudden it starts. So to me, it was a little bit like, let’s make sure we don’t leave anything behind.

Let’s go back to something you said earlier about the essays that you were writing. You had mentioned that those gave you an opportunity to do a little bit of work on writing about your own emotional responses to things, which is in your fiction, but it’s not you, George Saunders, saying, “I feel this way.” There’s a part in the “Buddha Boy” essay, which a lot of people talk about because it’s a terrific essay….
Oh, thanks.

Do you mind if I read it?
Yeah, no, I love it.

“You know that feeling at the end of the day when the anxiety of that-which-I-must-do falls away, and for maybe the first time that day, you see with some clarity people you love and the ways you have during that day slightly ignored them, turned away from them to get back to what you were doing, blurted some mildly hurtful thing, projected instead of the deep love you really feel, a surge of defensiveness or self-protection or suspicion. That moment when you think, Oh God, what have I done with this day? And what am I doing with my life? And how must I change to avoid catastrophic end-of-life regrets? I feel like that now, tired of the me I’ve always been, tired of making the same mistakes, repetitively stumbling after the same small ego-strokes, being caught in the same loops of anxiety and defensiveness.” I love that you had the presence and the courage to write that. I really connect with that notion. I think anybody who is sentimental, as you said that you are…
I am.

Perhaps nostalgic…
Yes.

And is very busy and maybe has kids, as we do, you can’t help but feel that way. Some of us feel that way a lot more often than others.
Those would be the good people.

But to push that idea a little further, I have those feelings, exactly what you’re talking about there. And it’s this tremendous feeling of guilt, because I have those moments, and then I even think of myself having those moments, like, “Oh, okay, at least I’m aware enough to be feeling this.”
Yeah, I think that’s true, actually.

But then an hour later, I’m checking my phone and looking at tweets. Yet it’s a wonder I ever leave the house and let my kids and my wife out of my sight. You know what I mean?
I do. I do. I think that you’re right, first of all, that the awareness that one is less loving or less present than one would wish is actually pretty good awareness, you know? Because there were times in my life when I didn’t even have that awareness. I just was…right. I think that’s where, for me, a person’s desire to get better on that score is what leads them to something. For some people, it’s a spiritual push, meditation or prayer. But I think just to be aware of that is huge. But as you say, it doesn’t change.

It doesn’t solve anything.
I know I can’t run a marathon, and I still can’t.

I could go out and train.
I could do that. But I’m aware I don’t want to. And I think that’s part of art. Part of fiction writing is a small training in assessing how good your awareness is. You come back to the page you’ve written, and you’re reacting to it by reading it. And the critical thing is: How fine-tuned and honest are your reactions to your own work? So a part gets slow; do you notice it? Do you honor the fact that you noticed it? Are you willing to try to fix it? And then the second level is: You’re aware of your reaction to the work, then outside of that you’re also aware that that reaction is also temporary and may change. So how then do you revise? You go ahead and make the change. But then the next day you come back and do it again. And at some point, you reach a steady state where your reaction to the piece is pretty consistent. Then you’re good. But for me, that mimics the process of being in the world. How are you feeling right now? How reliable is your feeling about how you’re feeling right now?

I want to say one thing parenthetically about the GQ pieces, because you are right that I was able to turn to my own emotional state to write about them. The other thing that I learned is just the simple mechanics of…describing the setting, which I don’t usually do in my fiction. I feel like I can’t get anything going with that. Well, when you have to do it, you find that you can get something going. So there was a part of me that got more comfortable with the power of just describing physical stuff. That was something I had been suppressing. So the idea that I would spend a couple lines describing someone’s looks or something, I usually wouldn’t do it, except if I could get a little joke in there. But now I have more confidence that if I am given the task of describing your face or this street outside, I’ll be able to come up with some language that is interesting in its own right. That is something I learned from magazine writing. You’re driving through South Texas for three hours, and it’s gorgeous. You think, “Do I have something I can say about this?” Once I gave myself permission to do that, I found that, sure, your years of writing have made your language skills good enough to describe a mountain.

I want to refer to something in an essay you wrote, “My Writing Education: A Time Line,” about your experience earning a master’s degree in creative writing at Syracuse University in the 1980s. You wrote about a meeting you had with one of your teachers, Doug Unger, and basically that he didn’t pull any punches in telling you that your thesis was essentially not…it was “crap,” I think, is the word he used.
He didn’t say it was crap; he just didn’t say it wasn’t.

Right. [Laughter.] And your response was that it was difficult to hear, of course, but that he had the respect to do such a thing for you, to not just feed you a line about how brilliant you are. That’s one of the things an MFA program can offer: respect. Because for a creative writer, where else can you go in today’s society where everyone around you respects what you’re doing—maybe they don’t necessarily like your work, but the act of writing is respected. That sort of validation for writers is something we try to provide at Poets & Writers, too: What you’re doing is important. I’m wondering if you could talk a bit about your experience teaching at Syracuse. When we talked in 2000, you had been teaching there for maybe three or four years. Did you have a sense then that you were going to be there for twenty years or more?
I hoped so. Yeah, those early years were really rich, and they still are. There’s something to be gained by staying in the same place for a long time. But I like this idea of respect. That’s correct. And I think, also, what Doug gave me in that moment and what I got from my whole time there was just that standards don’t move, you know? This thing that we are doing is actually really hard, and there are no guarantees that anybody will be able to accomplish anything. So when you get to an MFA program and you realize that there actually are standards that aren’t being imposed by your teachers; they’re being imposed by the world, by culture, and the rabbit hole you have to go down is very, very deep. There are levels of exertion and understanding that you haven’t even touched yet. And the whole purpose for that journey is so you can be most uniquely yourself. That’s what it should do. It should be neither a teardown nor a feel-good factory. But just to say, this thing that you’re doing is really, really difficult, really, really essential. You don’t even know yet. “Know you do not yet” [in Yoda voice]. You’ve got to say, “Actually, this is even harder than you think, and also, we don’t know how it’s going to be hard for you in particular.” To set that up I think is really useful. In some ways, it’s maybe like going to medical school—except for the money—but in the sense that someone teaching young doctors doesn’t say, “It’s all right. You don’t have to worry about tonsillectomies, because you probably will get only about six in your career, so don’t bother.” You know? That’s not a thing. The way you’d know a culture was going down the shitter would be if someone was doing that. I think it’s the same with the arts. But it’s complicated, because part of that process is to nurture, but part of the process is to not over-nurture, which I think can be a problem in MFA programs. You come to love these people so much, and the delivery of bad news is not fun. But respect is the key thing, because if you really loved a young writer and you saw that she was doing something contrary to achieving her full potential, it would definitely be an act of love to put up a sign to stop her from doing that, in whatever way worked. Basically, my prayer is: “Let me positively inflect this person once or twice while she’s here.” More, if possible, but once or twice would be great. If I could just have one interaction so that five years down the line, she goes, “Ah! I now know what he was talking about.” Or the best is when students have walled off certain material that they don’t want to do, they don’t want to do it, but it’s essential to them, and you somehow help them take the wall down. That’s really wonderful. Or when they have been hurt or maybe diminished by some life situation, and you can make them see that that actually is their material, and it’s all right.

Have you noticed any changes in how writers are approaching the MFA?
There are two observations. One is that the relation of the young writer to the MFA program has changed certainly since I was a student. At that time, the idea was kind of like, “Oh, that’s freaky. Let’s be outlaws and do this thing that isn’t actually going to make us richer or whatever.” And there weren’t very many programs. I’d never heard of one until the week before I applied. I didn’t know they existed. And then there’s the false and damaging assumption that if one wants to be a writer, you must go to an MFA program. And the related one, which is, if you go to an MFA program, you’ll definitely be a published writer. That whole suite of assumptions makes a lot of pressure for students. It’s what we call “professionalization,” and I think that’s not so good, and I predict there’ll be some kind of backlash against it. I predict there will be—there probably already is—a group of people who say, “I’m not going to an MFA program; I’m going to do it on my own.” And then we’ll have a series of successes from those writers, and the pendulum will swing. There’s nothing wrong with it, but the most damaging thing is when a student doesn’t get in and thinks, “Therefore I’m not a writer.” That is not true. And it’s a function, at least in our program, of the numbers. We get 650 applications for six spots. We have six spots because those are all that we can afford to fully fund, which we feel is kind of ethically or artistically important. So if you’re number seven, you’re great. It doesn’t matter that you didn’t get in.

Another thing you mentioned in that essay is that when you first got to Syracuse and were studying with Tobias Wolff, who is just an amazing writer, a master—
He’s a genius.

But you had the realization that he’s also a real person. He creates this amazing art for four hours in the morning, and then he goes grocery shopping or picks up the laundry or whatever. And that leads into something I want to talk about, which is how to respond to success. Because here you are, and if people see you picking up your laundry, it’s like, “Wow, George Saunders has this normal life.”
Not as often as you’d think. Mostly they’re just like, “Hmm, who’s that bald dude?”

You’ve been the cover story in the New York Times Magazine and appeared on talk shows; you sang a song with Stephen Colbert. You’ve achieved a very high level of success in this field. And literary journalists and bloggers and everyone on social media will pump that up, rightly so, but we don’t often talk about how, as a writer, you are supposed to respond to that sort of thing.
That’s a great question. I think one thing you can do is watch it. I’ve said before, if you eat a bunch of beans, you’re going to fart. That’s it. It wouldn’t be a disgrace, but you might notice it. So I think anybody, at any level, who has gotten any attention knows this syndrome, which is the birthday syndrome. You get something published, you tell your friends, they get excited, and you get elated, which, as a word, has positive connotations. But I actually see it as kind of a negative. You get elated: You can’t think about anything else and you want more. It’s like a sugar buzz. And then the next day, it’s not your birthday anymore, and you’re like, “What the fuck is wrong with all these idiots?” You know? That’s just the human mind responding to stimuli. So I think part of it is to ask yourself, “Where am I on that scale right now? How full of shit am I based on this attention that I’m getting?” And by the way, that would also go the other way; if you were being criticized, you would have anti-elation.

Deflation.
It’s the same thing, though, because you’re still thinking about only you and your hurt feelings. I think part of my deal is to sort of take everything in my life and subjugate it into the goal of using my talent wisely. So if success starts to occur, go on full alert to the ways in which your natural biologic reactions to success might screw up your work. One way is, you get into the rarefied-air syndrome, where you’re only in cool places being praised. That’s death. You can’t do that. The other thing would be believing that it’s objectively true that you did well. That’s anathema to an artist. Even after a work is done, you have to be going, “I should have done better; I know I could have.” That’s how you get to the next thing. I think most of it is just not believing in it too much, and maybe if you still have a little skill left you say, “Let me also not enjoy it too little, because it doesn’t happen all the time; it doesn’t happen to everybody.”

If we think about talent, talent is like a flower. I wasn’t doing publishable work until about thirty-three. Well, the odds are, it’s going to wilt. It may very well wilt before I die. So you have to treat it as something that you were gifted with briefly, and it may or may not be around. But I also think of it as kind of a fun adventure; especially in this time, I feel like it’s not a bad thing for a writer to work herself into a more public role, to kind of push herself into the public mind a little more so as to push back against some of the stuff that’s going on. But it’s like everything else. Anything that happens to you is going to have some effect on your artistic abilities, so I think part of it is to manage. Even when we met the last time, I had just come out of that period when I’d written a book at work, and the way I understood that was, okay, this is part of it. This is part of the artistic journey. I don’t have enough money, and my hours are getting burned up doing this work. All right, I accept. And then it becomes ennobled. And I found myself empowered by that. If I thought, “Ah, I’m getting cheated by the world,” then that’s disempowering. But to say, “This is part of my writer’s journey,” then suddenly you can take more of it.  

We have a little more time, and there are two topics that I want to touch on: One is the election and the other is death.
Wait, there was an election? Oh, you saved the good one for last.

It was very interesting to go back and reread, “Who Are All These Trump Supporters?” which was published in the New Yorker last July. I’ll confess that when I first read it—and this is maybe part of the problem—but my reaction was one of curiosity, almost like being at the zoo or something. Who are these creatures? What’s happening? It was almost a morbid curiosity. Now, rereading it, I think, “Why didn’t we see this coming?” I personally thought good would prevail. And it didn’t.
It did numerically.

It did numerically, but the system did not.
Well, that piece was really hard for me to finish, and I think it was exactly for the reason you’re naming. I went there thinking it was kind of a fringe—at the time, I think 40 percent of people who were going to vote said they would vote for Trump. But I thought it was kind of a fringe thing that would burn out. In other words, I found myself in the position of somebody who takes on the story, “Some People Like Football Better Than Baseball: Who Are They?” Well, they’re everybody. Or it’s a mix of all kinds of people. So I went in with this idea that I was going to try to pinpoint or diagnose this slender, fading movement, but in fact it’s half the people who voted. I’m still puzzling over it, actually. The one thing I’m sure of is this: The people who supported trump were either willing to ignore or could not see the humiliation and fear that he was causing in good people: Muslims, Mexicans, Mexican Americans, gay people, black people, any people of color. You’d have to be sort of willfully blind to not see the anxiety his rhetoric was causing in those people. So the thing that I think a lot of progressives are struggling with is, how could you discount that? Now, that’s an interesting question. Because the first-level answer is, they’re racist. I think it’s responsible to take that and try to break it apart a little bit, and one Gallup poll recently suggested an interesting answer, which was that most of the Trump supporters had a relatively low level of interaction with the other. They didn’t live near the border; they didn’t live near undocumented communities; they didn’t have a lot of friends of color. So it’s sort of a projection. When they have a fear about an undocumented person, it’s almost all projection.

And how were they getting their perspective on these matters? Fox News?
Well, this is the interesting thing, because that’s what my assumption was, so I would do these little fishing questions like, “So, where do you get your news?” And they’d say, “I get my news from all over.” And it’s funny, at the time, last spring, I took that to mean they also watched CNN or something. But now, in retrospect, I think they meant Fox and Breitbart and alt-right sites. They were seeing Fox as a little bit left of center. In the reporting, I would get these weird refusals of data sets to intersect. We’d be talking about something, and their facts were coming from somewhere I didn’t know about. And at the time, I don’t think that network of right-wing sites was as widely known. That explains a lot of the data in that piece. So I’m still puzzling over it.

But I think for writers, it’s a time…I feel kind of excited about writing. I don’t think I’ve ever felt in my life that it was a more essential task. When there’s leadership in place that is purposefully encouraging anti-factuality, that got elected on repeatedly being as nonspecific as possible, constantly invoking linguistic tropes, meaningless linguistic tropes, using these rhetorical stances to alienate and terrify groups of people, that’s when language shows up and goes, “I did matter all along! You writers knew about it.” So, right is still right, virtue is still virtue, and I feel a little bit energized about it. Now, the one thing I noticed during this thing that scares me is that this left-right divide is getting fatal. I went with these Trump supporters, and I got along with everybody and had a really nice time. They were very friendly; we chatted; I insulted them and they insulted me. But one thing that was funny—if I was feeling insecure, I’d drop the fact that I’m a New Yorker writer, in general. And I don’t think there was a single Trump supporter—there might have been one guy in Wisconsin—who knew what that was.

I expected, “Oh, that liberal rag.” Not even that. “Is that some liberal thing?” sometimes. But they didn’t know what it was. So that means then I went home and worked five months on a ten-thousand-word piece trying to be very measured but not a pushover and all this stuff. Who read it? We read it. Now, I’m a fan of preaching to the choir; the choir needs to huddle around the most profound version of our ethos. But it was weird to think, “If I wanted to bust out and really speak directly to Trump supporters, how would I do it?”

That’s the question.
It’s a big question.

You mentioned that you feel  hopeful and energized now. That’s a very good message, this idea that language does matter now. Maybe now more than ever. But the hard thing is trying to reconcile the fact that no one really gave a shit about the language Trump was using during the campaign.
I would break that down, because many of us, including you, care deeply about it.

Of course. It didn’t have an effect, though. When I was hearing him say some of these things—“Grab them by the whatever”—I was like, “Oh, well, it’s over now,” because there’s no way someone’s going to vote for that.
It’s disqualifying, right, right.

But they did.
Yeah. And that’s a deep well. One thing I’m trying to tell myself in order to stay hopeful is that heartbreak is the difference between what you thought the world was and what the world actually turned out to be. So you thought this person loved you; they didn’t. Aww. Well, actually, that’s on you, in a sense. So those of us who are feeling crestfallen or heartbroken at this time, I’m trying to say to myself, “That’s your problem! You were out there in the rallies, why didn’t you know?” So then isn’t it literary to say, “I’m going to adjust my view because it was too small. I misunderstood America. I misunderstood the country.” That’s okay. You’re allowed to misunderstand. Also, America is allowed to be as fucked up as it wants to be. My perceptions just can’t be out of sync with that. That’s one thing.

Now, we talk about specificity. With this thing, a fifth of the country voted for Trump. That’s a pretty small number. To elect someone else would take a sliver of about 15 percent. Say 15 percent of the population would have to flip over into an anti-Trump stance. That’s really easy.

Or just vote at all.
Right. But part of me is wanting to say because of our election procedure, this looks like the country has totally changed, but the truth is—and this is something I left out of the piece because it didn’t come into focus—so many of those people I talked to were as much anti-Hillary as for Trump. To me, that’s mystifying, but that was their position. So I would imagine if you just plunk in Joe Biden next time, it all shifts. So I’m not hopeless. It’s still depressing, mostly because it makes me sad to think of all the people I met on this trip down in Phoenix, and so many wonderful Mexican Americans and also Mexican immigrants who were so humiliated by this. You know, they work so hard, and now the country is sort of turning them into enemies. And that’s heartbreaking. That’s disgusting, actually, and it makes me sad. But the other thing it does is it backlights our whole history a little differently. You talk to any African American and you say, “America’s racist!” they’ll go, “That’s not news.” So I think part of the sadness but also maybe the invigorating thing for me as an older person is to go, you know what? I maybe never saw this country correctly. And as you get older, a little bit of an Aaron Copland vibe gets in your head, like, “Oh, this lovely country that’s been so good to me.” It’s a time for me to maybe reconsider, for everyone to reconsider, and say, “Yeah, this is not new, this kind of oppressive rhetoric and this kind of knee-jerk, reactionary demagogue thing. We’ve been fighting it a long time.” I think heartbreak comes from the fact that many of us felt that that was in its death throes and that this next administration would be the end of it, or at least a good movement towards the end of it, and now we have to wait.

It’s also perhaps naive for some of us to have thought that we understood this country. It’s a huge country. There are so many people, so many different kinds of people, and to think that we know who we are as one united…
Right. And so much of that comes from our mind, what we want to see. But to turn it back to writers: What an incredible moment to say, “Okay, we don’t know.” And let’s just generalize: “We don’t know the Midwest.” Well, that’s a good project, because it’s full of human beings and therefore full of literature. I remember coming the other direction; I was in Amarillo before I came to the Syracuse program, and I’d been working in a slaughterhouse, and we’d been having a lot of drama in our circle of friends and family—real deaths and drugs and all kinds of dark stuff. And I came out here very hopeful that that would give me a badge of authenticity, kind of like when Kerouac met Neal Cassidy. I came out, and I found that a lot of the people I met in the artistic community hadn’t had much experience there, and so therefore it didn’t hold much interest. It was sometimes just a one-line joke, you know? “Oh, Amarillo, I drove through there. Bunch of currency exchanges.” And I remember, it was maybe one of the most heartbreaking moments of my life to see that I wasn’t going to get in there with that. There was no understanding that there was an entire human community there that I loved, and they were suffering. So now, it’s a tremendous literary mission to say, “Can we reimagine our country?” It’s going to take some legwork, and it’s going to take some curiosity, which is in short supply these days, in both directions. 

Well, shifting gears here—
Let’s move on to death!

Let’s move on to death. It seems like the perfect place to end our conversation. You’ve mentioned that you find death such an interesting and terrifying thing to write about. It’s in all of your work, but this book in particular, because all but three people are dead. And a horse.
Thank you for noting the horse. [Laughter.] I think it’s because I have a reasonable level of belief that it’ll actually happen to me. I remember, as a kid, being in my grandparents’ house in Texas, and it was a smallish house, and I could hear their sleep-noises, and it hit me really hard—and they were in their sixties, so they were old to me at that time—and I couldn’t sleep, and I thought, “They’re going to die, my God.” And that just-woke-up sort of confusion: “What if they die right now? They could. Well, they could. They’re going to, and they could.” I don’t think I’m fascinated with it, but I kind of feel like, you know, if you’re on the tracks and you distantly hear a train, come on! I’m not fascinated with the train, but—

It’s a fact, coming.
Yes.

I guess another way to phrase the question here is that, similar to how taking the election as this sort of negative and looking at it as a positive, which you so beautiful did, it’s a similar thing with death. I think that the kind of general feeling about death is that it’s a negative. And yet it’s going to happen to every one of us. And you seem to have taken the positive view, which is that it makes life, life.
Yes. Let me put it another way: As with the election, it’s not that you think the thing itself is positive, but being willing to accept the reality of the thing is positive. Then you accommodate it. It’s kind of like—actually, it’s sort of anti-denial. Denial is something I’m very prone to, and it’s always gotten me in trouble. Okay, look, death seems to be, as far as I can tell, it’s going to come for me. So is there any way I can accommodate that knowledge? No matter what, whether it enriches your life or fucks it up, it’s still healthy to acknowledge. So if you go to a party, and you know everyone is leaving at midnight, it should affect the way you pace yourself, or the way you are there.

I think what happened with me is, again, because of that thin ledge of talent I have, I’m not a writer who could write a story about something that has no urgency for me. There are really talented writers who say, “Oh, I’m going to imagine that I live in that apartment.” I can’t even do it, something so casual. I flounder in that mode. So I have to make sure that my stories get on something that really matters to me. Death would be one. I always quote Flannery O’Connor: “A writer can choose what he writes, but he can’t choose what he makes live.” So coming at that idea from the other direction, if your prose is flat, that means you’re not writing about—well, it means your prose is flat. And it means you better stop that. So for me, what that means is, when I get off into something where the prose starts jangling, then full-speed ahead, don’t worry about what it’s about. But that tends to be about mortality. And it might just be a lack of subtlety. I’m not too good at making a story in which nothing big happens. I mean, the masters do. Chekhov, he always can do that. I think I’m maybe just not that subtle. So for me, peril, death, has to be there for me to get the necessary energy.

This whole novel is predicated on death. Did anything about writing it surprise you?
Oh, yeah. So much. But mostly it’s—this is Poets & Writers, so we can talk about it—but mostly it was the internal dynamics. If you’re writing a story as over-the-top as this one, it’s all in the doing. It’s all in the line-to-line and section-to-section transfers. And my thought was, if ever once I got too cheesy or on the nose, all the air goes out of the balloon. So much of the editing work was: If I juxtapose this speech with this speech, what does it feel like? If I cut this speech and move this one up? I just finished section nine; which way am I going? And the constant enemy was kind of—I was going to say “banality,” but it’s not really that. I think a lot of the energy is, as a reader, going, “What the fuck’s going on here? Who are these people?” And then, just about the time they figure out who they are, then I have to keep moving it. The idea was to keep the reader always a little bit behind me but interested. So sometimes if you make a too-obvious structural move, the reader passes you. “Oh, it’s a ghost story.” That’s really hard to talk about, but it’s all the micromanaging of text and transitions and the way the speech is made, which I really like, because if my attention’s on that stuff, the big questions come in anyway, and they come in naturally. So the surprises—there were thousands of things that surprised me.

I have to ask you about one of the voices in the book: the hunter.
Yeah.

Where did that come from?
I don’t know.

You pause on that character it seemed to me in a slightly different way. It was more detailed in terms of what he had to do in the afterlife. All the thousands of animals he killed during his lifetime were gathered around him, and he had to hold them all, one by one, “for a period ranging from several hours to several months, depending on…the state of fear the beast happened to have been in at the time of its passing.”
I mean, I could make something up, but the truth is, this is what I love about writing. Basically, they’re going from Point A to Point B; they need to pass some people. What I love is to suspend the part of your mind that says, “Well, who should they pass?” and just go, “No, who do they pass.” And that guy just showed up. I don’t know why. I honestly…the only true answer is: I don’t know. He just showed up. And in that space…it’s funny: You’re walking through the woods, and you go, “Okay, I need somebody to show up on the left,” your mind turns there, and it supplies. That’s the difference between someone writing well and someone not. And I don’t think you can say much more than that. But you do train yourself, I think. I’ve noticed the training is mostly been to repress the side of me that wants to figure it out. Who should I have show up? No. Maybe just a vague turning in that direction that’s informed by everything that’s behind you, and then a trust that whatever the little intuitive leap is, is actually coming from the subconscious in a deeper way. But it’s literally like training yourself in putting up a little roadblock to your conscious mind and saying, just stay back a little bit. You don’t have to go away, but just stay back. And then veering over here and seeing what you’ve got. I mean, how do you talk about that?

You don’t want to look behind the curtain.
No, you don’t. But it’s also years of being in that exact space and being somewhat confident. And I would even say, in that moment when you turn away from the conscious, there are several different strands of other things. There are several candidates going, “I’m over here! I’m over here!” And there’s a micro-moment where you can go, “No, no, no, no, yeah.” So it’s really freaky.

Well, this book is full of those moments. As you say, it’s a comic novel, but when I was reading it, moments like that are haunting.
Oh, thanks.

Your work is full of those moments where it’s comic, laugh-out-loud moments, and then this little twist.
Part of that, again, is that alert[ness]. I’m trying to imagine where you are. Now, again, you can’t exactly, but it’s surprising how you sort of can. So if, on a micro-level, you feel like you just landed a very nice, profound, serious moment, and I’m watching Kevin—what if I do the poop joke? So it’s interesting, you know? You’re enjoying the pleasure of that deep, literary, serious moment. Now, you know, if we just left it alone, does that trail off? And if we follow it with another one, do you now feel like it’s becoming predictable? It’s a challenge of teaching in an MFA program, or teaching writing in general: Those little skills are so small and subrational, in a certain way. You can’t teach those moments, and yet everything abides in them. So that’s why I do a lot of close line-editing with my students, because in that way you can sort of communicate, if you have a sentence that’s this way, and you can edit it and make it this way, and that way’s better, you’ve kind of engaged that moment a little bit. That’s very interesting. And the danger is, in school, we’re always analyzing the effect after the fact, in analytical language. Which may or may not have anything to do with how Tolstoy did it in the first place. That’s the thing. I try to remind myself of that, that we’re talking about literature often from the wrong end of the telescope. That’s the conundrum of a writing education.

I was saying earlier how you can never know the mess of neuroses and emotions and everything that a reader is bringing to it, but on the other hand, just in my case, I’m not feeling anything new. I’m not going through anything so special that hasn’t been gone through by other people, you know?
Think of it this way: If we’re walking down the street, you’re having your thoughts, I’m having mine, somebody gets hit by a car; suddenly, we’re both in exactly the same space. So I think in art and writing, you can do the same thing, sometimes just with a simple sentence, you know? “They crossed the river.” You might be having a bad day, but suddenly, you’re crossing a river.

 

Kevin Larimer is the editor in chief of Poets & Writers, Inc.

The Very Persistent Mapper of Happenstance: A Q&A With George Saunders

by

Kevin Larimer

7.1.00

Don’t tell George Saunders you can’t get there from here. En route to an enviable writing career, he traveled from a working-class childhood in south Chicago to the oil fields of Indonesia, a slaughterhouse in Amarillo, Texas, and the stuffy office of an environmental company in Rochester, New York. Along the way he collected an MA in creative writing from Syracuse University, where he studied with Tobias Wolff, and a degree in geophysical engineering from the Colorado School of Mines.

Saunders readily admits he didn’t chart his course, and he approaches the writing of fiction the same way—with no particular destination in mind. As a result his stories end up in some unexpected places: a prehistoric theme park; a future world where citizens belong to two classes: “Normal” or “Flawed;” and a self-help seminar where participants learn to identify who has been “crapping in your oatmeal.” Ask him why his stories, at once hilarious and macabre, are littered with severed hands, dead aunts, see-through cows, and Civil War ghosts and he’ll share your curiosity. “Where does this shit come from? I don’t have an answer.”

Today Saunders teaches creative writing in the graduate program at Syracuse University. He lives with his wife of 13 years and his two daughters, ages 9 and 12. His first collection of short stories, CivilWarLand in Bad Decline, was published in 1996 by Riverhead Books. In May, Riverhead published his second collection, Pastoralia. Villard will publish his modern fairy tale “for adults and future adults,” The Very Persistent Gappers of Frip, illustrated by Lane Smith, in August.

Recently I visited Saunders in Syracuse. During lunch at Erawan Restaurant and over coffee in his sunny Victorian home, he revealed two qualities that make him so popular among his students—a friendliness and a generosity one wouldn’t necessarily expect to find in someone at this stage of a successful writing career. He also displayed a quality one would expect to find in the author of such stories as “The 400-Pound CEO” and “Downtrodden Mary’s Failed Campaign of Terror”—the uncanny ability to find humor in unlikely places.

One of the things that’s immediately intriguing about you as a writer is your sort of non-traditional background
That’s a nice way to put it …

Well, it doesn’t seem like you’ve been stagnating in some university setting.
No, that started up here. It was kind of an inadvertent path. When I look back I’m always a little bit embarrassed because it’s not like I had any sense. I had such a malformed sense of the world at each point that I ended up making some stupid decisions without really realizing what the options were. I grew up in Chicago in a pretty working-class neighborhood so writing wasn’t something…well, I didn’t really know who did it. It never occurred to me that I might do it. But I never even read a whole lot. I remember reading Johnny Tremain—that was a big watershed. I got a degree in geophysical engineering from the Colorado School of Mines. This was at the height of the oil boom, so I went over to Sumatra and worked for a couple years in the oil fields. After that was a period of just bombing around with no real sense of what was going on. I worked in a slaughterhouse for a while in Amarillo, Texas. I was probably twenty-four or twenty-five. In that town if you wanted to get some money quick that’s where you went, and they would hire anybody and you could stay for as short as you wanted.

What did you do at the slaughterhouse?
I was a knuckle-puller. It’s a leg thing. It would come in on a hook. It would look like a big chicken leg. There was this complicated series of cuts. You had a hook in one hand and a knife in the other. The cuts were very surgical, some of them. When that was done you just sort of heaved it across onto this conveyor belt. It was like this big Rube Goldberg thing and it would go somewhere else. At one point I got demoted because I was too slow and I went to this place where all the stuff that was left over at the end came by on this big belt and you had to separate it. There was one box that was for bone and one was for fat and one for miscellaneous. The story was that the bone went to make pizza toppings, and fat was for marshmallows. It wasn’t too good.

So you were de-knuckling the leg. Of what animals? Cows?
Oh, cows, yeah. It was hard to tell. It could’ve been brontosaurus for all I know.

You’re a vegetarian now.
Yeah, but that’s pretty recent. One wasn’t a result of the other.

How did these kinds of experiences inform your work?
I always wanted to write but had never read anything contemporary. When I was in Asia there were all these great things to write about during the oil boom, but I didn’t have the vocabulary. I found myself drifting and not knowing how to put the stuff that was happening into the work because I had never seen it done before. But then I read that story “Hot Ice” by Stuart Dybek and that was basically my neighborhood where I grew up. To see that in prose… I couldn’t pretend that only Hemingway mattered after that. Dybek was a big breakthrough because I could for the first time see what you had to do to reality to make it literature, because I knew the neighborhood and I knew the people and I could see what he’d done to it.

You played guitar in a bar band in Texas.
A really bad bar band. We were called—it’s really embarrassing—we were called Rick Active and the Good Times Band. It was along Route 66 in Amarillo, where they had these drunk palaces where you’d go to drink and they’d pay us each $50 a night and we’d play the same set six times over and over again, never practice, no original songs. This was 1986. I should’ve known better then. In a way it’s like half of your mind is saying, “It’s okay, I’m just slumming, I’ll write about this some day,” and the other half is just that there weren’t a whole lot of other options.

Were there any other early influences?
Monty Python was a huge influence—the way that they would get at something archetypal through a side door was always really interesting. We just turned our kids on to that recently. The argument sketch. Do you remember that one? “I’m here for an argument.” “No you’re not.”

I remember watching Monty Python with my father. He was really busy and we didn’t do a lot together, but every Sunday night we’d watch that. In our neighborhood, a very working-class neighborhood, jokes were really a currency. If you could tell a joke or even if you could imitate somebody it was a really big deal. Junot Díaz, who teaches here at Syracuse, has this great theory that writers come out of any kind of situation where language equals power. So in his case, in the Dominican Republic, English was clearly a meal ticket. And I think that’s true. So that combined with just sitting there with my father roaring at Monty Python…somehow humor became validated. But for years, like a lot of working-class people, writing was that thing which I could not do. It had to be just beyond my grasp or it didn’t count, right? So it was only when that sort of dropped that I could really have fun with it. But that was relatively recently.

Humor is obviously a very big part of your writing. Humor combined with sentiment. I’m thinking of the ending of the short story “Isabelle” in CivilWarLand in Bad Decline. It’s heartbreaking.
I’m increasingly happy to be a funny writer. What I find really funny is the straight faces that people keep in spite of the fact that life is so full of suffering. I think of the poses people strike, and the hatred that they develop in spite of the fact that in fifty years we are all going to be dust. We have to occupy those places so that’s really funny to me. Whenever I try to write hard and earnestly it always comes out like that. I have to sort of trust it. I can’t write anything that isn’t comic—I don’t know about funny—but comic. Earnestness is my enemy.

You’ve written short stories and a novella. Have you ever tried to write a novel?
Most of those stories started out as novels. I’ve tried and I just recently got to the point where I’m not going to try anymore. If it happens it’ll happen organically. I’m not going to sweat it because in the past when I tried to write a novel I thought, “I’ll have to do something fundamentally different, I’ll have to stretch things out.” But if I have any gift it’s for compression. At forty-one I’m like, “Well it’s nice that I can do something. I don’t have to do everything.” We’ll see what happens.

When I was working as an engineer at the environmental company there was just no way that a novel was going to happen. When I was in that job I was desperately trying to figure out another way because not only was it not a lot of money, but not a lot of time with the kids. There’s that great quote by Terry Eagleton: “Capitalism plunders the sensuality of the body.” That was such a beautiful lesson because you come home half despising yourself because you’ve done such stupid things with your day. You’ve groveled and you’ve not even groveled efficiently. Then you come home and you’re exhausted and you’re not capable of generosity and I find it really sad.

A lot of your stories, like “Pastoralia” and “CivilWarLand in Bad Decline” take place in this beaurocratic, artificial universe. Disneyland gone wrong.
I think it’s mostly that job I worked at the environmental company. It was a provincial office of a medium-sized company that was based in Texas so it had all the rigidity with none of the brilliance. There were probably thirty people there and they were all pretty anxious and by the time I got there they were shrinking the place down. It wasn’t huge enough that it was faceless. We all knew each other. There was quite a bit of inside space where there was no natural light. My own ego, my youthful arrogance, and my own high expectations of myself were put suddenly in conflict with this because, you know, by then I had two kids. I was maybe thirty-three or thirty-four and nothing was going as planned. I hadn’t won the Nobel Prize yet and Hollywood wasn’t calling because I hadn’t published anything, so there was something about that that made it seem absurd. It was a pretty petty place and there were a lot of rules. I mean at one point I was sending stories out and I got a nice rejection from the New Yorker and I was so excited because an actual person had responded and in a fit of madness I mentioned this to my supervisor at the end of the day. And he got this stricken look on his face and he said, “Well actually, George, it’s come to our attention that you are using corporate resources to produce your ‘writing’ so we’d like you to discontinue that.” And this was a guy who knew me and he knew my kids. So that wasn’t too good.

How are you able to negotiate some of the awful things that happen in your stories—death, dismemberment—with humor?
That’s a South Side of Chicago thing because our whole world—communicating anything emotional—was to be sarcastic. If you wanted to say you loved somebody you’d punch him in the crotch. My impulses are always very sentimental, I mean mawkishly, sit-comishly so. So in some ways I think it’s a cloaking mechanism. If you have in one scene a kid getting his hand cut off, I think in some funny way you’re more willing to accept a sentimental scene. I don’t know if you’re more willing to accept it, but maybe the juxtaposition of those two things is more interesting. As a writer I’m really aware of my defects and how much I have to find other things to substitute, so humor helps. It’s got its own inherent energy so if you can sustain funniness you almost always have to sustain something else. Pure funny you see sometimes in humor columnists who are just funny, but in fiction to keep funny going you almost always dredge something else up. I think.

For some reason I think of Charlie Chaplin.
Yeah, The Great Dictator. I think partly it’s ritualized humility. If you think of the great evils: When China invades Tibet they’re not funny, they’re not self-doubting. There’s no trace of humor in what they’re doing. And Hitler: not a guy who’s at all prone to see funniness in himself. One of the great things about fiction is that if I write an asshole into a story it has to be me. I can’t generate him. And it’s always funny in the reviews they say my stories are full of losers. I know where I got all those things. I didn’t just make them up. I think it’s ritualized humility.

In your stories, one thing that continually strikes me is guilt. I’m thinking of “Winky” in Pastoralia, and just about every story in CivilWarLand in Bad Decline.
Well, I think it’s the Catholic background. The binary that got set up was that you were either doing good or you were doing evil, and you were never doing good. If you actually appeared to be doing good there was probably something wrong with your intentions. I think if you have any moral tension, guilt is part of it. If a person can feel guilt they are at least cognizant of a moral interplay. It’s a powerful emotion—one, because it implies you’ve done wrong, and two, that you know you’ve done wrong.

When I was a kid in Chicago, the big thing was to go to a Bears game because it was expensive and people didn’t really do it. But this family that lived two doors down from us—they were maybe ten years off the boat from Poland and they didn’t have much money and they lived in a house that was completely bare, no furniture. It always smelled like noodles and they were always kind of barking at each other. One day the kid came over and said “I got Bears tickets.” It was like someone in the poorest neighborhood saying they had a house in the Hamptons. So I said, “Great, we’re going to go.” It was his father, his uncle, Greg, and me. It was a big journey with trains and buses, and we stopped at other Polish relatives and there was a lot of cheek-pinching. But I was going to endure it all to see Gale Sayers and Dick Butkus. So we finally got to Wrigley Field and just before we go in the father says, “All right, boys, we’ve got a little problem which is that we only got two tickets, but don’t worry about it we got it figured out. The Andy Frain guys they never look up when they take your ticket.” So they picked each one of us up—we were maybe ten or eleven—picked us up and put us on their shoulders. And in those days they were still wearing those big overcoats, and they had us put our feet down their overcoat and they buttoned it up. And so the plan was that they were going to walk in and they would take our tickets and not look up. Now I was the all-time Goody Two-shoes, straight A, never had an evil thought. And I was just appalled to be cheating, and cheating publicly. Then the father says, “Now if they do look up, all you got to do is look retarded.” And he was serious. The idea was that if they thought you were retarded they would let you in for free. So he says, “Now let’s see how you’re gonna do it.” So we had to practice. And we started in. What I was really deeply ashamed of afterward is how willing I was. I was not going to get caught. If they busted us, I was going to go into the retarded thing, I was going to do what he said.

Something of that is in my writing too. When I’m getting ready to send something out, I get really intensely self-critical. To my credit I get really fanatical about revising, but sometimes that can bleed over to just lock-up.

I think sometimes you can find yourself frightened of what you’re going to find if you look at it too closely too soon. I finish something and I think it’s good and I don’t want to go back to it too early. How many times do you wake up the next morning and say, “That’s trash,” you know?
I think you’re right. Part of being a writer is to know when to trust yourself. I know I’m going to have a cycle. I’m going to love it more than it should be loved at first, hate it more than it should be hated later. You let your ecstatic side have it for a while, then you let your neurotic, self-doubting side. For me it was a breakthrough to realize that that wasn’t abnormal, that you weren’t right or wrong in either of those two, that you were right in both and wrong in both, and you just had to let it have a long shelf life and then it would start to make sense. Part of it, too, is knowing when to quit.

When I start to write a story I always have a simple design that would make it sort of classic and beautiful, but I can’t do it. I have some kind of weird thing that twists it, but the twist isn’t meaningless. Somehow the distortion that always happens if I work hard is useful. It’s like having this dog and going out in the field and saying, “Bring me back a pheasant.” That dog is your talent, and it runs out and and it comes back with the lower half of a Barbie doll. But if every time it brings back the lower half of a Barbie doll, you put those things together and you think, “That’s kinda good.” I don’t fight it anymore.

You write on a computer. You also said you revise a lot. How do you trust your ecstatic instinct electronically?
The kind of writing I do I wouldn’t be able to do without a computer. Until I get to the end part of a story I work on the screen almost exclusively. Any time something strikes me I just put it in or cut it or whatever. If there is anything significant that happens I’ll save it. But the main thing I do is to try to keep it really free. Nothing is ever lost. I can always go back to it. It’s like those fast motion pictures of trees growing. I don’t know if it’s true with trees or not but let’s pretend it is. You sort of see this thing accreting and parts disappear and come back in but in the long run it’s working in a general direction. I couldn’t do that on hard copy.

For me, writing has become—it sounds a little pretentious but sort of true—a spiritual practice. If you’re open to whatever the story presents with no attachments to what you did yesterday or any attachments to what you want the thing to be or how you want to be perceived, but just open to the needs of the story, that’s kind of ecstatic. It’s really beautiful to say, “What I did yesterday or for the last twenty years might be shit but that’s okay.” It’s interesting to see how the artistic form teaches you. It instructs you on your own shortcomings as a person. I love that writing can really help me turn back the spiraling neurosis. It can help me be a little bit less stupid, less judgmental and unkind.

You said it is important to be there when you’re writing, not thinking about yesterday or tomorrow. Is that harder for you now that you have a couple books?
It was really hard after the first book because I just thought I had squeaked through a door. “The Falls” was the first story of the new book that I wrote and it was a real lucky sort of breakthrough because it was so different from the other book. And I remember writing it and thinking, ‘No I shouldn’t send it out because it’s not like the other ones.’ But when the New Yorker took it I thought maybe whatever it is I have to offer is not totally manifest in that book, it’s something different, and that was a nice feeling to think it’s not really about style but something else you have to offer.

And maybe you don’t even know what it is yet, and maybe you never will. Maybe you’ll be eighty and you just keep cranking stuff out and you’re good enough and then you die. When you’re young you think, “I want my work to last,” and then you see that nothing lasts. Shakespeare doesn’t last, nothing does. The moment of doing it is really all there is. Everything else is all delusion. It’s hard to remember, especially now when books are coming out.

Tell me a little about The Very Persistent Gappers of Frip.
I have two daughters, and I would tell them these made-up stories about this little girl and they were funny and in some ways they were funnier than anything else. They were freer and not so programmatic. And I wrote it. It’s basically a short story really. And I liked it. There was something Monty Pythonesque about it. I didn’t have to worry about any realism and I had a really good time working on it and I sent it to Daniel Menaker at Random House and he bought it. As kind of an extra bonus he sent it to Lane Smith and Lane had read CivilWarLand in Bad Decline and said, “Yeah, I’ll do it.” So that instantly became more of an important book than it was. That was really a thrill. I’d go down to his studio in New York and there would be a whole wall of sketches. Not only were they true to my work, they were twice as good as I could’ve ever dreamed of. One, he understood that the book is an exaggeration, but two, he understood the flavor of the exaggeration. It was really a thrill for someone who is not a bit visual. It was a good lesson for me because he is the least neurotic person I’ve ever met. He goes into the studio every day habitually and gets it done. I’m sort of a Catholic, “I think it’s good but it probably isn’t.” The Eeyore School of Literature.

Are you currently working on more stories?
I’ve got one that Lane Smith and I might do if I can get it to be good enough. It used to be a novella. It seems to be pretty funny. It started to be a kid’s story and then it extended to be about genocide. So unless there’s a big need for a child’s guide to genocide it won’t be that. I’m sure this summer I’ll be working. I don’t really make too many plans. I just sort of see what develops.

Kevin Larimer is the assistant editor of Poets & Writers Magazine.

Fiction writer George Saunders in Syracuse, New York, in the spring of 2000.

(Credit: Jayne Wexler)

Turning Time Around: A Profile of Donald Hall

by

John Freeman

11.1.14

Old age sits in a chair,” Donald Hall writes in his new book, Essays After Eighty, “writing a little and diminishing.” And so it’s not a surprise on a late August afternoon to find the former U.S. poet laureate and author of more than fifty books, including twenty-two poetry collections, perched by a window of his New Hampshire home like a rare bird, resplendent with beard feathers, pecking at a manuscript. It’s a hot, still day, and the poet who once barnstormed the country stumping for poetry, speaking out against the Vietnam War, is a few weeks shy of eighty-six—his once-notable height a rumor. Hall responds to a knock slowly, rising deliberately and moving to the door with a walker, like a man who has learned the hard way just how unreliable feet can be as they approach ninety.

Photo by David Mendelsohn
 

He waves me through an immaculate New England kitchen into the living room, where it is easily ten degrees cooler. “It’s the wonder of a porch,” Hall says, and begins telling a story about his great-grandparents, who bought the house in 1865, and his grandparents, who ran its farm when he was a child. Those days have long passed, though, along with so much else. The chair Hall once burrowed into later burned when he dropped a cigarette. He sits down in its replacement. There’s no car outside either; driving is something he’s had to give up too. These forfeitures, and the fact that we are in a town without a store, lends the room a hermetic, plush silence. Andy Warhol prints surround us. There is a portrait with President Obama, who awarded Hall the 2010 National Medal of Arts. I wonder if I should have taken Hall’s response to my interview request at face value—that he was “old as hell,” that he would get tired.

But over the next few hours something remarkable happens. Hall turns time around. His face brightens, his voice deepens—he expands. Arms waving, eyes flashing with a performer’s glee, he unleashes energetic and startlingly pitch-perfect impressions—of his longtime friend Robert Bly, of the sonorous-voiced Geoffrey Hill. Tale by tale the room peoples with ghosts. Robert Frost, T. S. Eliot, and Adrienne Rich parade through his stories and recede. A different era of poetry, when anthologies could lead to fistfights, is briefly resurrected, a time when one could live by one’s wits rather than on an adjunct’s crumbs.

In many ways we have Robert Graves to thank for these hours of narrative fireworks. Half a century ago, Graves visited the University of Michigan in Ann Arbor, where Hall was then teaching, and encouraged the young poet to make a go of freelance writing. All it took, Graves instructed, was a twenty-minute nap and a bit of mercenary energy. All that was required, Graves said, was for the poet to use everything he had. Almost immediately after Graves departed Michigan, Hall began his first prose book—String Too Short to Be Saved: Recollections of Summers on a New England Farm (David R. Godine, 1961), about the very house and farm where we now sit—setting up his eventual move to New Hampshire in 1975, with his second wife, the poet Jane Kenyon. This farm was to be their retirement.

Next year will mark the fortieth anniversary of that flight, and twenty years have passed since Kenyon died of leukemia at the terribly young age of forty-seven. A three-time survivor of cancer, Hall did not expect to be here either, certainly not alone. “I was given a 30 percent chance of living five years in 1992,” the poet says. “I think, like a lot of people, I always thought I would die young,” he adds. “Instead, Jane died.” Hall’s father, who worked in the family dairy business, died at fifty-two. His mother, however, lived to be ninety and met all of her great-grandchildren, something Hall hopes to do as well. (He has two children from his first marriage and five grandchildren.)

In the interim, he has followed Graves’s advice and used everything. So now he brings forth his view on the territory before him in Essays After Eighty, forthcoming from Houghton Mifflin Harcourt in December, in which he ruminates playfully and hilariously on the subtractions of old age: driving, drinking, sex, smoking, and physical vanity. It is a shockingly funny book, sometimes an irreverent one. He thumbs his nose at death, the very thing that in many ways made him a poet. “When I was nine or ten, a whole bunch of aunts and uncles died right in a row,” Hall remembers. “I sat in bed, at ten years old, saying to myself, ‘Death has become a reality.’ That was my language at ten.” He laughs.

His first love as a writer was Poe. As Hall wrote in Unpacking the Boxes: A Memoir of a Life in Poetry (Houghton Mifflin Harcourt, 2008), he composed his first poem, “The End of It All,” in the writer’s shadow. “Have you ever thought / Of the nearness of death to you?” the poem goes. He wonders at this precocious portentousness now, and then grows serious again. “I used to dread it. I don’t think about it much now, at eighty-five.”

Then, as now, he looked forward. He was in a hurry to grow up and leave Hamden, Connecticut, befriending students at nearby Yale in his teens, leaving home for his final two years of high school at Phillips Exeter. Hall’s mother and father met at Bates College, but the elder Hall always felt he had missed out on a life of the mind. He was determined the same would not happen to his only child. Donald was going to go to Harvard, and he did, arriving in the late 1940s amid a swell of enrollments from the GI Bill, and joining one of the greatest concentrations of poetic talent ever to be seen in one place. John Ashbery, Adrienne Rich, Kenneth Koch, Frank O’Hara, John Hollander, and Robert Bly were all students there at the time. Richard Wilbur was a fellow.

“It was that American century,” Hall says now, “which lasted from 1944 to 1963. There was a great sense of looseness and power, that anything could happen.” Entering Harvard Yard, Hall recalls, one would be hawked a copy of the Daily Worker, the 1920s Communist newspaper, by a Brahmin student; same-sex couples held hands. “Frank O’Hara threw the best parties,” Hall remembers. “I knew him then as a fiction writer, but he was already writing all those poems on the side.” What Hall didn’t learn on campus he gleaned by lurking around the famous Grolier Poetry Book Shop. “I met Bob Creeley, who was a chicken farmer in New Hampshire. I met him in Grolier’s—that’s where you met everybody. We talked, I thought he was terrific, he was smart, and so I looked up his poems and they were terrible. Later I loved his poems; it took a while.”

Hall’s most important friendship, however, was with Bly, who had entered college after service in the army, but had seen no action. He’d had rheumatic fever. “He was like a dean and never smiled and didn’t open his mouth much. He wore a three-piece suit,” Hall remembers. “He’d come from western Minnesota to Harvard. For a while he was looking like a Harvard man, but a year later it was lumberjack shirts. We started talking about Robert Lowell—this was two years after Lord Weary’s Castle—and Richard Wilbur’s The Beautiful Changes. We were courting each other and so on; I thought he was a bright guy and he obviously [thought I was], too.”

Their friendship has lasted sixty-five years. Every poem Hall has published has been shown to Bly, and, Hall says, probably vice versa. They began writing to each other as soon as Hall left for England after graduation, and now their correspondence stretches to more than twenty thousand letters, most of which are archived at the University of New Hampshire. “I just got a letter from him the other day,” Hall says, “but it was handwritten, not typed, just six lines.” Bly is now eighty-seven years old but remains, Hall says, his optimistic self. “He always says he looks forward to seeing me soon again.”

Every single member of the generation with whom Hall entered Harvard, except for Ashbery, has now died, along with so many of his friends and contemporaries—Louis Simpson, James Wright, Maxine Kumin, Allen Ginsberg—and Hall takes seriously the task of remembering them and their time. The manuscript he was working on when I interrupted him will be a kind of update to his classic 1978 book, Remembering Poets: Reminiscences and Opinions (Harper & Row), which spun a series of keen-eyed portraits of the great poets Hall had met, from Robert Frost, whom Hall first encountered at age sixteen as a young enrollee at Bread Loaf, to T. S. Eliot and Ezra Pound, whom Hall interviewed for the Paris Review when he was serving as its first poetry editor, from 1953 to 1961.

Many of the new portraits will involve people Hall befriended when he moved to England to study literature at Oxford University in the early 1950s: Thom Gunn and Geoffrey Hill, both of whom he published at the very beginning of their careers, along with Ted Hughes and others. Sixty years after his first arrival in England, Hall remembers the time well and fondly, in spite of its deprivations. “Rationing ended during my first year at Oxford. Clothing was utility. You could not get Stilton cheese. It was all for export. You got Danish Blue, which was horrible. I had my ration card to hand in at the college. But I loved it.”

Hall met Hill for the first time in 1952, when the English poet was just twenty. “The poetry society had its final cocktail party, which meant South African sherry,” Hall remembers. “I invited him to it because I had read his poem in [the Oxford University student magazine] the Isis. I remember meeting Geoffrey and talking to him in the corner, and he talked to me in this most astonishing way, as if he were tipping his cap. I thought he was making fun of me; I thought he was making fun of me for being working class. No way. His father was a constable in a village in Worcestershire. That was the end of my first year. In the second year I saw Geoffrey almost every day. We went to pubs, talked poetry.”

Hall returned to the United States in 1954 with a manuscript in his back pocket that eventually became Exiles and Marriages (Viking), his debut volume, a finalist for the 1956 National Book Award alongside books by William Carlos Williams, Elizabeth Bishop, and his old teacher from Harvard, John Ciardi. W. H. Auden would win that year for The Shield of Achilles (Random House). Hall had received his acceptance letter from Viking on the day that he learned his father would die of cancer. He read reviews of the book to his father on his deathbed. “My cup…runneth over,” Hall remembers him saying.

Like so many poets of his time, from W. S. Merwin to Rich to Galway Kinnell, Hall began his career as a formalist, only to immediately feel the inadequacy of the forms in conveying, as he has written, the “crucial area of feeling.” He sorted out this anxiety by editing, with Louis Simpson and Robert Pack, an anthology called New Poets of England and America (Meridian Books, 1957), which formed a kind of footbridge between Britain and the United States. With an introduction by Robert Frost, it was as notable for whom it included at the beginnings of their careers—Gunn, Hill, Rich, and Merwin—as for whom it left out: Creeley, Robert Duncan, Denise Levertov, Charles Olson, Gary Snyder, and others. It was not meant as an exclusionary gesture, Hall says now. “When Simpson and Pack and I made that anthology, we weren’t trying to champion one kind of poetry over another. We were just publishing what we thought were the best poems.” Poet Ron Padgett echoes the sense that perhaps the ensuing brouhaha over the anthology—and Donald Allen’s The New American Poetry: 1945–1960 (Grove Press, 1960)—was overrated. “Anthologies don’t create divisions or reinforce them,” he wrote in an e-mail, “except in the minds of people who want to think about such things instead of about specific poems.”

From the anthologies and into the university, Hall’s movement in the first four decades of his career charts the creation of the poetry establishment as we know it today. In the early 1960s he accepted a post at the University of Michigan, teaching poetry when creative writing programs were an unusual thing. The novelist and biographer Edmund White, who was a student of his in 1962, remembers Hall as “sort of round-faced, slightly chubby, like a very healthy chubby man. And he would sit on the edge of the desk, and in those days you could smoke in the classroom. He would sit and smoke a cigar. He introduced us to high-class gossip. He had just interviewed T. S. Eliot for the Paris Review, and Ezra Pound. So he was full of anecdotes about that. I suppose the kind of intensity and awe that he brought to his discussions of those people made us all feel that being a poet would be exciting.”

White was writing poetry at the time, and Hall eventually came to discourage him by pointing out that “Everything I was doing could have been done better in the nineteenth century,” White recalls. White saw Hall ten years ago at Princeton and reminded him of this fact, to which Hall said, “I think that turned out all right.” However, Hall did encourage Lawrence Joseph. “He was an absolutely fantastic teacher,” Joseph wrote in an e-mail. “I know of no one who knows about and loves poetry more than he does, and his generosity knew no bounds. It’s been a great, lifelong gift having had one of our finest poets and prose writers as a teacher.”

Today Hall remains glad that he taught, but relieved that he left when he did, after thirteen years. “I was beginning to play the tape. You know what I mean. When I began, kids would ask a question and I’d never thought of the subject, so when I answered I learned something. But at the end they weren’t asking anything I didn’t know about. It was very good to get out of teaching at that point.”

While he was at Michigan, Hall’s first marriage imploded, and he went through a difficult period of heavy drinking and self-pity. He eventually met Jane Kenyon, one of his students, and married her in 1972. They decided to spend a sabbatical year at Hall’s grandparents’ New Hampshire farm, where Hall had cleared brush and milked cows as a child, in 1975. Once there, Jane didn’t want to leave. “She said in October of that year she would chain herself in the root cellar before going back,” Hall remembers. “In December I resigned from the English department.”

Turning his back on tenure and health care at the age of forty-seven worried Hall so much he took out a subscription to Money magazine. Very quickly, however, the freedom from teaching relieved his anxiety. “The burst of energy, to be in this house, and to be writing all day!” Hall exclaims now. “I was working ten hours a day! I always managed to work on Christmas Day, just so I could say so. Jane, unless she was in the depths of depression, would be up in her study working.” It was in this house that he wrote most of his breakthrough book, Kicking the Leaves (Harper & Row, 1978), which finally smashed the shackles of the old formalism and breathed a Whitmanesque breadth into his lines. Here, too, he wrote his Caldecott Medal–winning children’s book, Ox-Cart Man (Viking, 1979), which began as a story told to him by a friendly uncle, who talked about a man who used to load up a cart with goods to take to the market in Portland, Maine, and then sold everything but the cart before returning home.

Hall has always been an active correspondent, but in New Hampshire his correspondence expanded exponentially. If you wrote to him, he responded. Novelist and poet Alice Mattison, who was Jane Kenyon’s best friend, remembers striking up a correspondence with her friend’s husband in 1986, the year Hall’s The Happy Man was published by Random House. “It did not get a lot of attention,” Mattison says now. “His editor left; it was orphaned. Not a lot of people knew about it. I loved the book, so I wrote him a letter, and he answered the letter in detail, and we were just launched.” In over twenty-five years, their correspondence hasn’t stopped. “There have been times when letters overlapped and we began two correspondences,” she says.

Mattison, like many of Kenyon’s friends, was devastated when Kenyon got sick and died. “There was nothing like going out for coffee and cake with Jane,” Mattison says. “I used to hike with her sometimes; she would carry along a backpack with everything you could think of, and we’d stop every ten minutes to have snacks and water, talk. She came at life with incredible intensity, and was kind.” Hall’s grieving for her was intense—and public. And it was followed, as he has written, by a period of manic promiscuity. Mattison has not considered any of it out of bounds. “I was grieving too; I was also quite beside myself. I thought he made sense. I didn’t think he was crazy. The losses—one’s own personal losses—are the only losses in the world when they happen to you. Nothing would have seemed excessive.”

Throughout our afternoon together Hall mentions Kenyon frequently, always in the present tense. Her grave is not far away, and if the pain of her loss is not so near as to draw tears, Hall seems to remember it in small ways and big—reflexively, fondly, without shame. She reappears throughout Essays After Eighty, and the memory of surviving her loss remains acute. “I wrote poems on her death or out of her death for about two hours a day,” he remembers. “I couldn’t keep on after that. And then I had another twenty-two hours of misery. But when I wrote about her, I was almost happy, and writing about her death and all that misery was something that kept me going.”

Now, another half dozen volumes of poetry later, there will be no more poems. “Poetry is sex,” Hall says, alighting with mischief and melancholy, when I ask if he really has given up writing new poems. “No testosterone,” he adds. Prose remains, however, even if it requires more work than ever. “I used to write a book review in three drafts,” he says, hardly bragging. Talking about one of the pieces in his new book, he idly mentions it went through eighty drafts. How is that possible? “I will write down a word, and I know I’m not going to use it eventually, it’s a blank word I will fill in later, and probably in eighty drafts I’ve had ten or eleven words in one place, and each time it’s replaced by something more particular, or that fits the tone better, or with a better sense of opposites, you know, putting together words that don’t belong together.”

This work, and personal correspondence, keeps him busy. As he writes in Essays After Eighty, each day begins in the same way: “In the morning, I turn on the coffee, glue in my teeth, take four pills, swallow Metamucil and wipe it off my beard, fasten a brace over my buckling knee…then read the newspaper and drink black coffee.” Kendel Currier, his aptly named assistant and cousin, comes by to drop off manuscripts for further revision, and he dictates several letters to her. “His messages are lengthy, friendly, chatty, modest, full of reminiscences, and sometimes funny,” Padgett says. “He’s what—eighty-five?—and I can barely keep up with him.” Mattison wonders if Hall is helped here by his disclosures. “He is totally honest, he has no sense of privacy, doesn’t have a lot of secrets, and so he just says whatever needs to be said.”

Mattison is on the receiving end of one of Hall’s latest obsessions: his poems. He may have stopped writing them, but he has begun revising poems—again—to create a new (and much smaller) selected volume, to be released in 2015. She is one of his self-designated “hard-assed friends” to whom he has sent revised versions of his poems. “I can’t help myself,” Hall pleads when I ask why he does it, this continuous revising. “You do fifty drafts, publish it in a magazine, see it in the magazine, then start rewriting it. You put it in a book, and then the book would come,” he continues, then switches into the first person, as if to own up to the mania. “I’d put it here,” he says, pointing to a shelf crowded with photos of Geoffrey Hill and other friends. “I’d hate to open it up, because I know the first thing I’d look at, I would want to change something.” And so he does. 

 

John Freeman’s most recent book is Tales of Two Cities: The Best and Worst of Times in Today’s New York (OR Books, 2014), an anthology of poetry and prose about New York in the age of income gaps. He is writing a book about American poetry for Farrar, Straus and Giroux.

Far From Ordinary: A Profile of Tracy K. Smith

by

Renée H. Shea

2.10.15

Tracy K. Smith was twenty-two when her mother died in 1994. Nearly a decade later, she published The Body’s Question, her first book of poetry, in which she reflected on that loss. In “Joy,” which carried the epigraph “In Memoriam KMS 1936–1994,” Smith writes to her mother, longing to “pick up the phone / And catch your voice on the other end / Telling me how to bake a salmon / Or get the stains out of my white clothes.” Another decade later, she returns to that wrenching loss in the memoir Ordinary Light, published this month by Knopf. Smith’s first book of prose, it is a book of excavation and navigation: The poet revisits her mother’s passing in light of her father’s death in 2008, the year her daughter, Naomi, was born, and in light of the birth in 2013 of her twin sons, Atticus and Sterling. 

Smith, who characterizes herself as having been “still an adolescent” when she lost her mother, believes “it took losing my father to help me come to better grips with that first loss and think about what I needed to believe my mother’s life and her death had imparted.” And now, with three children of her own, Smith wishes her mother were nearby to consult about practical parenting concerns, but of course that wish goes deeper: “I want to think actively about the continuum to which I belong—the one that includes my mother and her mother and sisters and their ancestors—and also my children. In my mother’s absence, I want to cement that connection, and words are the best glue I know.” 

But why prose? She’s already written poems about her mother, and her Pulitzer Prize–winning Life on Mars is, in many respects, an elegy for her father. A memoir in verse offered an intriguing form, one that is familiar territory—Rita Dove’s Thomas and Beulah (1986) and, more recently, Jacqueline Woodson’s Brown Girl Dreaming, which won the 2014 National Book Award, are exemplary—but Smith credits the influence and encouragement of the German writer Hans Magnus Enzensberger, her mentor in the Rolex Mentor and Protégé Arts Initiative, for emboldening her to venture into prose. Smith had never heard of the mentorship program, which pairs older masters with younger artists under forty, until 2008, when she was nominated and flown to Munich along with two other finalists. Each had an interview with Enzensberger and then all four went to dinner, an experience that Smith insists turned into more camaraderie than competition. 

She and Enzensberger have become great friends after what sounds like a jet-setting year of being flown to many of the places where he had speaking engagements: “We rendezvoused in Tenerife and Paris, and gave a reading together at the public library in London. We spent much of a summer in Munich, where he lives, working on the book and getting to know each other.” In addition to face-to-face meetings, the two e-mailed back and forth, with Smith sending him parts of her work for comment. The idea she began with was, by her own description, “a big, ambitious mess” about a whole range of experiences, but Enzensberger urged her to focus discrete memories toward “a narrative with characters that moved beyond the private realm to take in and consider the relevant public history.” 

From the beginning, Smith says, she knew she wanted to write “genuine prose,” possibly because some of what she wanted to explore had already been unearthed in her poetry. “But I also wanted to embrace a fuller sense of myself as a writer,” she says. And she wanted to work within “sentences, clauses, paragraphs, the whole to-do,” since, as she writes in Ordinary Light, “Being able to tell a good story was currency in my family.” Prose gave her a certain amount of freedom to explain and elaborate. She realized how much she relies on metaphor in her poetry to evoke “a strange, powerful sameness between two otherwise disparate things.” In prose, she initially felt reluctant to elaborate on an image or interrogate statements she made, but soon discovered her expansive abilities. “I learned that prose can bear the weight of much more explication,” she says. “I can think and rethink, even second-guess or analyze something on the page in prose without going overboard. The sentence, in prose, can be as tireless as an ox.”

Enzensberger recognized, perhaps before Smith herself, that her story was about her family, with her mother as the central character. Smith opens Ordinary Light with her mother’s deathbed scene, the family’s vigil during the final hours of her mother’s life, remembered twenty years later:

Then we heard a sound that seemed to carve a tunnel between our world and some other. It was an otherworldly breath, a vivid presence that blew past us without stopping, leaving us, the living, clamped in place by the silence that followed. I would come back to the sound and the presence of that breath again and again, thinking how miraculous it was that she had ridden off on that last exhalation, her life instantly whisked away, carried over into a place none of us will ever understand until perhaps we are there ourselves.

From that solemn moment, Smith circles back to her childhood as the adored and indulged baby in a family of five children and, further back, to her parents’ coming of age in Alabama at the dawn of the civil rights movement. Dedicated to her daughter, Naomi, Ordinary Light began as a way for Smith to bring her parents back to life, “to reconstruct them,” as characters for Naomi. “At least that was my intention,” Smith says, “though in the execution it has become a book about me—about excavating my own experiences, anxieties, and evolving beliefs.” 

When asked about the title, she hesitates, musing that “maybe it’s the feeling of wholeness and safety and ongoing-ness that we slip into sometimes in our lives.” But after Smith settled on Ordinary Light as her title, she added an opening quote from James Baldwin’s “Sonny’s Blues,” one of her favorite short stories. As Baldwin’s narrator recalls the perfect family Sunday afternoons of his childhood when all’s right with the world, he cautions: “But something deep and watchful in the child knows that this is bound to end, is already ending. In a moment someone will get up and turn on the light.” In her new memoir, it is this moment that Smith explores for herself and her own children—the moment when we hear the tiger at the door.

***

In many ways, Smith seems to have lived a charmed life. Her father retired from the Air Force at forty-five because he did not want to uproot the family once again by accepting an overseas post. Trained as an electronics engineer, he found a job in Silicon Valley, eventually working on the Hubble Space Telescope. Her mother, while active in her church and community, did not work outside the home except for a short stint as an adult-education teacher. Tracy, eight years younger than her closest sibling, recalls a childhood when “all of my siblings doted on me, then left for college. So I had this abundance of attention for a time, and then a period of abundant solitude.” A participant in gifted programs throughout her public school education, she graduated from Harvard College in 1994 with a BA in English and American Literature and Afro-American Studies. After an extended return home following her mother’s death, Smith attended Columbia University, earning an MFA in 1997; she went on to a two-year stint as a Stegner fellow at Stanford University. She taught at Medgar Evers College in Brooklyn, New York, and at the University of Pittsburgh before joining the faculty at Princeton University in 2005, where she is currently a professor of creative writing. 

Smith has published three collections of poetry—The Body’s Question (2003), Duende (2007), and Life on Mars (2011), all with Graywolf Press—each receiving critical acclaim and significant literary prizes. In the introduction to her first book, which won the Cave Canem Poetry Prize, poet Kevin Young, the contest judge, heralded an exceptional new voice:  “Smith is a maker, a wordsmith of the first order.” In 2012, Life on Mars won the Pulitzer Prize for poetry. Two years later Smith received an Academy of American Poets Fellowship. Among her other awards and fellowships are the James Laughlin Award from the Academy of American Poets, the Rona Jaffe Foundation Writer’s Award, an Artist’s Residence at the Fundación Valparaíso in Spain, and an Essence Literary Award. 

Smith had a series of mentors even before her time with Hans Magnus Enzensberger, as she developed her identity as a poet. A reader from the outset (one of the chapters in Ordinary Light is titled “My Book House”), she experienced a sort of epiphanic moment in college when she read Seamus Heaney’s poem “Digging.” She describes how everything in that poem—the male speaker, the Irish setting—should have been completely foreign to her, yet, she says, “I felt so much a part of the landscape and the family he was describing that I realized this was what I wanted to do with language.” Ultimately, she got to know Heaney as one of her teachers. At Columbia, Mark Doty became, and remains, an important influence and mentor to her, someone who she says is “so generous and present” to his students. 

Yet the seemingly idyllic life of Smith’s nuclear family—“us as an invincible unit,” is how she describes them in Ordinary Light—can prepare, though never entirely protect, its members from the loss of certainty and security and, especially, the realities of racial politics. Smith is known for sharpening a political edge in her poetry, whether she’s writing about science fiction, pop culture, or current events, and this memoir is no exception. “In writing this book, I was forced to speak about and into many of the silences that ran through my life: silence about race, silence about the painful features of African American history, silence about my own choice to turn away from or reenvision the religious faith I was raised in,” she says.

One of the side effects of the memoir, Smith discovered, is that her adult perspective remained active even when she was writing about childhood: “So Tracy the citizen was allowed to engage with these private stories, just as Tracy the mother was allowed in at times,” she says. What she calls “shifting subjectivities” becomes especially clear when she writes about returning as a child to Alabama, where her parents grew up, to visit her large extended family (her mother was one of thirteen siblings): 

I was ten years old, living with a vague knowledge that pain was part of my birthright, part of what was meant by a word like Home. It was not the kind of beautified self-inflicted angst that can transform a girl into a swan or a doll or an ice princess in the ballet…. No, what I felt, what I feared and discerned, even from my rather far remove, was the very particular pain that was tied up in blood, in race, in laws and war. The pain we hate most because we know it has been borne by the people we love. The slurs and slights I knew were part and parcel of my parents’ and grandparents’ and all my aunts’ and uncles’ lives in the South. The laws that had sought to make people like them—like us, like me—subordinate. 

“Growing up black in America is inherently political,” Smith says, and her own experience proved that collision with that reality is not limited to the South. In Ordinary Light, she remembers the sting she felt when one of her high school teachers in Northern California offered faint praise as encouragement by pointing out, “You’re an African American woman. You should take advantage of the opportunities that will bring you.” Even as she received one acceptance after another to impressive schools, including Harvard, Smith writes that this man’s “voice whispered in the back of my mind whenever the word diversity was printed among the catalogue copy.” 

Through writing Ordinary Light Smith has also come to some peaceful terms with the fierce religious faith that guided her mother’s life. Even as a child, she struggled to understand her mother’s devotion, especially regarding the concept of salvation, “when the world of my family was the only heaven I needed to believe in.” As an adolescent and young college student, Smith felt the growing distance from her mother in her sense of religion as something imposed, even oppressive. Writing Ordinary Light has helped her appreciate the key role of the African American church of her parents’ era in fostering a sense of family, community, and discipline “in a world full of disparities.” Even her father, with his systematic, orderly mind, Smith says, prayed with and read the Bible to his children. He was a man grounded in both the worlds of science and faith. In Ordinary Light, we meet the meticulously ordered world that her parents, especially her mother, created for their children, inspired, in many ways, by their religious beliefs: “a life that would tell us, and the world, if it cared to notice, that we bothered with ourselves, that we understood dignity, that we were worthy of everything that mattered.” 

Smith believes that the process of writing the memoir helped her codify some of her own beliefs and anxieties about religion and to speak “honestly” about how she sees God—something she needed to do for herself but that has also helped her decide what elements of her religious inheritance she wants to offer her children. “I hope they will bring their own ideas and feelings to the conversation,” she says. “I don’t want to subject them to the hard-and-fast, top-down approach to belief that repelled me.” Would her mother, who grew more religious after her cancer diagnosis, approve? Smith’s not sure, though her siblings have responded positively to the book, and she believes that “much of what the writing has urged me to discover along the way would make perfect, familiar sense to my mother.”

***

Coming at a difficult time in her life, when her first marriage had ended, the offer of a position at Princeton was, Smith says, “a benediction that my life would go on, that everything would be okay.” So far, it’s been more than okay. She relishes teaching: “Let’s just be honest and say that we academics have the best, most humane work schedule in the world, and I get to spend my workdays talking to smart young people who are devoted to the very same thing I love.” Admitting that Princeton’s faculty roster of luminaries is “pretty daunting,” she characterizes her colleagues as “happy and fulfilled and therefore very generous” and feels part of the family: “I feel that I’ve grown up at Princeton. I came here with one book. I was a child. That’s a paradigm I’m comfortable with, being the youngest of five kids, and so the eminence of my colleagues felt right, familiar. I’ve always been in the position of admiring the people around me and striving to play catch-up.” Her colleagues apparently agree. Poet and New Yorker poetry editor Paul Muldoon, who invited Smith to do her first public reading of Ordinary Light last December at the Irish Arts Center in New York City, describes her as “a truly exceptional poet, with an eye for the arresting image that puts most of us to shame,” noting also her commitment to teaching: “My office is right beside hers, so I have a sense of her being a teacher who is at once diligent and delighting in her work.”

Last summer Smith became a full-fledged member of that community in a more rooted way when she and her family moved from Brooklyn, New York, where she had lived for fifteen years, to Princeton. She doesn’t really miss the city, and she’s a bit surprised. Apart from the practical reality that she and her husband, Raphael Allison, a literary scholar and poet, were driving to New Jersey to teach every day while their children were in Brooklyn, she says she was emotionally ready to leave: “I have so much more mental space and more patience, now that we’re living in a house and surrounded by so many trees. I used to pity New Yorkers who moved to the suburbs: I had the smug idea that they were ‘giving up,’ but now I think how much of an inherent struggle it assumes, and I chuckle.” Tina Chang, one of Smith’s best friends and poet laureate of Brooklyn, understands, though she says she went through her own “mourning” process when her friend moved. “As always, we write letters and allow our writing to lead us through our friendship,” Chang says. “What has always been interesting to me is that Tracy can occupy any physical space, and her mental space follows. Whether her body occupies India, Mexico, Brooklyn, or Princeton, her poetry fills up that geography, illuminates it, and makes it more alive.” 

So, with most of the boxes unpacked, full-time teaching under way, and three young children in tow, Smith is already contemplating another prose work, and she’s on to more poetry projects. New poems are included in a folio that accompanies a Smithsonian exhibition of Civil War photos called Lines in Long Array: A Civil War Commemoration, Poems and Photographs, Past and Present and in an anthology about Thomas Jefferson’s Monticello that is forthcoming from the University of Virginia Press. She is also working on a translation of poetry by contemporary Chinese author Yi Lei and has signed on as librettist for an opera about the legendary 1960s battle between the disparate visions for New York City of urban planner Robert Moses and journalist and activist Jane Jacobs. Although most would be content to accomplish in a lifetime what Smith has already achieved, she considers herself at the end of the first part of her career, and she’s thinking ahead. She’s always been drawn to questions of what we leave behind, what it means to survive, to endure. In her poem “Letter to a Photojournalist Going-In,” from Duende, the speaker wonders if all we do is “kid ourselves into thinking we might last.” But Smith seems more like the tiny creature in “Flores Woman,” who defies the inevitability of her own extinction: “Like a dark star. I want to last.” 

Renée H. Shea is the coauthor of a series of textbooks for Advanced Placement English, most recently Conversations in American Literature: Language, Rhetoric, Culture (Bedford St. Martin’s, 2014). She has profiled many authors for Poets & Writers Magazine, including Julie Otsuka, Chimamanda Ngozi Adichie, Edwidge Danticat, and Maxine Hong Kingston.

Tracy K. Smith

(Credit: Christy Whitney)

Tracy K. Smith Named U.S. Poet Laureate

by

Dana Isokawa

6.14.17

Librarian of Congress Carla Hayden has named Tracy K. Smith the next poet laureate of the United States. Smith, who will take on the role in the fall, will succeed Juan Felipe Herrera, who has served as poet laureate since 2015. “It gives me great pleasure to appoint Tracy K. Smith, a poet of searching,” said Hayden in a press release. “Her work travels the world and takes on its voices; brings history and memory to life; calls on the power of literature as well as science, religion, and pop culture. With directness and deftness, she contends with the heavens or plumbs our inner depths—all to better understand what makes us human.”

Smith, forty-five, is a professor at Princeton University, where she directs the creative writing program. She has written three poetry collections, including the Pulitzer Prize–winning Life on Mars (Graywolf, 2011), and a memoir, Ordinary Light (Knopf, 2015). “As someone who has been sustained by poems and poets, I understand the powerful and necessary role poetry can play in sustaining a rich inner life and fostering a mindful, empathic and resourceful culture,” said Smith in the announcement. “I am eager to share the good news of poetry with readers and future-readers across this marvelously diverse country.”

Smith is the first poet Hayden has appointed to the position, which was established in 1936 as the “Consultant in Poetry to the Library of Congress” and later renamed the “Poet Laureate Consultant in Poetry” in 1985. Each poet laureate serves for at least one year and is responsible for raising national awareness and appreciation of poetry. Charles Wright, Natasha Trethewey, Philip Levine, W. S. Merwin, Kay Ryan, and Charles Simic have all served as the poet laureate in recent years.

Each poet approaches the role, which comes with a $35,000 stipend and minimal specific duties, with a different focus. Robert Pinsky, who served as poet laureate from 1997 to 2000, launched the Favorite Poem Project, through which more than eighteen thousand Americans shared their favorite poems. Several laureates have focused more on bringing poetry into the classroom: Billy Collins curated 180 poems for high school teachers to share with their students every day in the school year as part of the Poetry 180 project, while Kay Ryan strengthened poetry’s presence in community colleges through a national contest and videoconference. Other laureates have opted to raise awareness poetry by collaborating with the media, such as Natasha Trethewey with her Where Poetry Lives video series with PBS NewsHour, and Ted Kooser with his weekly newspaper column, American Life in Poetry.

Smith will have plenty of inspiration to draw on when she starts her term in the fall. She is the first poet laureate appointed under the Trump administration, a time that has highlighted the political divisions in the country. If there’s anyone who can remind the American public of the power of poetry to give people a more nuanced way of thinking and understanding one another, though, it’s Smith. “It makes sense to me that the world of commerce and the world of politics would be invested in convincing us that we can each be one thing only: loyal to one brand, one party, one candidate,” she said in an interview with Yale Literary Magazine in 2015. “Too often we forget that we can say no to such false thinking, that nobody is single-sided, two-dimensional…. Poems activate and affirm our sense of being individuals, of having feelings, of having been affected powerfully by the events and people that touch us.”

Read more about Tracy K. Smith in “Far From Ordinary: A Profile of Tracy K. Smith,” written by Renée H. Shea and published in the March/April 2015 issue of Poets & Writers Magazine

Dana Isokawa is the associate editor of Poets & Writers Magazine.

Tracy K. Smith

(Credit: Christy Whitney)

Q&A: Hayden Leads America’s Library

by

Dana Isokawa

12.14.16

Nominated by President Obama this past February, Carla Hayden took office in September as the nation’s fourteenth Librarian of Congress. She is the first woman, and the first African American, to hold the position, which involves overseeing the library (a collection composed of more than 162 million books and other items) and its three thousand employees, as well as the nation’s law library, the office of the poet laureate, and the U.S. Copyright Office. Just a little over a month into her term, Dr. Hayden spoke about her plans for making the library more accessible, and a typical day in the life of the Librarian of Congress.

How are you hoping to make the library more accessible to the public?
We’re working on a digital strategy to make the collections available to everyone online. The collections range from comic books to the papers and memorabilia of Rosa Parks to the manuscript collections of twenty-three presidents. We just launched our new home page. It’s more active—you can really get a sense of what the collections are. We’ve also been tweeting every day, one or two things I find in the collections. The response has already been pretty wonderful because I’m tying it to what’s going on in the world. During the World Series we tweeted the baseball-card collections we have. On Halloween we posted the collection of Harry Houdini’s memorabilia—his personal scrapbooks and his funeral program—because he died on Halloween, in 1926. So we’re using social media and technology to touch as many people as possible in interesting ways.

How else do you envision people engaging with the library?
We’re really excited about the possibility of traveling exhibits that can go to local communities, including an eighteen-wheeler that can pull up in a rural area or on a reservation. We want people to be able to get on that truck and have an experience they might not have had if they can’t visit Washington, D.C. We’re hiring a new exhibit designer who has museum experience, and we’re hitting the road and drawing people in. And raising general awareness of the fact that it’s the nation’s library, it’s America’s library.

What do you see as the role of the poet laureate?
Our current laureate, Juan Felipe Herrera, shows how to bring poetry into people’s lives in an active and everyday way. He’s demystifying it, and working with teachers, librarians, and people who work with young people to get them excited about poetry and to recognize it around them and in themselves. He wants poetry to be more spontaneous. As he has said, it shouldn’t be something you labor over—you should feel it and write it. He has this activity where he has the kids line up, like a soul-train line—the kids go down the line and write down words they’re hearing. They come out with a poem at the end.

What happens during a day in the life of the Librarian of Congress?
One month in, it is a period of discovery and getting to know not only the collections and the resources, but also the people who care for those collections. That’s been one of the greatest joys and discoveries—the curators are so knowledgeable at the library. So I go from budget meetings to visiting a collection to having the head of the British Library visit to participating in the National Book Festival and things like the poetry slam at the Split This Rock Poetry Festival.

What are you reading now?
Mysteries. I also just picked up The Gershwins and Me by Michael Feinstein; I got a chance to meet him, and got him to sign it, which was really cool. I have so many books stacked in my home—I have baskets of books waiting, just waiting. I try to think of them as pieces of candy, that they’re treats. If you walked into my apartment, you’d probably think, “This person likes to read,” and be able to find a few things to pick up.

Dana Isokawa is the associate editor of Poets & Writers Magazine.

Such Great Heights: A Profile of Annie Dillard

by

John Freeman

3.1.16

Annie Dillard wasn’t sure she was going to like me, she says, not long after I arrive at her cabin near Cripple Creek, Virginia, in the dark vastness of a November evening. Night had dropped abruptly as a curtain, just as she had warned it would, and were it not for the nearly topographic directions she’d e-mailed beforehand, and a few tips by telephone from her husband, Bob—that is, Robert D. Richardson, biographer of Thoreau and Emerson and William James—I probably would have been skulking about in the dark, kicking into one of the old iron forges Confederates used to make cannonballs a hundred fifty years ago. “I wasn’t sure if you were one of those guys who doesn’t like taking directions from a woman,” she says.

Instead, thanks to Dillard’s directions and a good bit of luck, my friend Garnette Cadogan—who came along as my copilot—and I are sitting at her dining table, cupped in the mountain cove’s silence that fills the room like a held breath, we men sipping whiskey and trying to play it cool as one of the most sensitive, listening intelligences ever to breathe American air perches before us like a falcon, unsure whether we’re for the eating or for the protecting. Dillard inquires if we mind smoke, lights an American Spirit and inhales deeply. As Bob lays out a simple supper of sweet potatoes and salmon, she steps into the silence, quizzing us on some of the books we’ve read recently.

Not surprisingly—for a writer who casually dropped into one of her books, as an aside, “I have been reading comparative cosmology”—the path into this conversation gets steep very quickly. Her references fan out, leaping from one outcropping of literary news to the next until my bad planning or Garnette’s driving or what is being read in New York seem a long way down. What do we think of Karl Ove Knausgaard? Is it possible he might not be as interesting as he thinks he is? Have we heard of Belomor by Nicolas Rothwell, the Australian writer? Now that is a masterpiece. Pico Iyer’s book on Graham Greene? He’s very good at Ping-Pong, Dillard adds, improbably. What about women, Garnette asks, after Dillard lists a string of books by men. Are there any women writers she likes? “I don’t read as many women as I’m told I should be reading,” Dillard replies. “I don’t like doing what I am expected to do.”

We start talking about humor, and as if tuned by sonar to Dillard’s needs, Bob returns holding a book on stand-up comedy by Phil Berger.

You can almost hear the pops and fizzes of combustion as the flue clears and Dillard’s mind gulps down the oxygen it has been feeding on for years—books. It’s something to behold. Here is the sensibility that emerged from a white-glove Pittsburgh background because she read a novel about Rimbaud and wanted her mind to be on fire too. Here is the writer who pulled it off, chiseling out Pilgrim at Tinker Creek (Harper’s Magazine Press, 1974), the Walden of our time, in nine months because she read a book on nature and felt she could do better. And thus Dillard wrote that great, elegant prayer to the seasons, largely at night, in the Hollins College library in Roanoke, Virginia, powered by chocolate milk, Vantage cigarettes, and Hasidic theology. Here is the woman who, upon winning a Pulitzer Prize for that book at age twenty-nine, turned her back on fame and stepped even deeper into the void—this time all the way out to Lummi Island, Washington, in Puget Sound, to write a sixty-six-page narrative on pain and eternity and God, Holy the Firm (Harper & Row, 1977).

In person, the effect of all this is like meeting a mountaineer whose work lay behind her but whose stories of having done it still get passed around as legend. If Holy the Firm pointed to the peak Dillard was trying to climb, and her next book, Living by Fiction (Harper & Row, 1982), was a nod to the people who had gone before her and failed, then the ones that followed, Teaching a Stone to Talk: Expeditions and Encounters (Harper & Row, 1982) and The Writing Life (HarperCollins, 1989), told the story of actually doing it. The false starts, the caffeine yo-yos, the encounters in the Amazon or the Arctic—or at church—that kept pushing the horizon further out; the tapping at supporting rock walls and the bolts she’d drilled into them to see if they’d hold; the occasional plummets. All the hard work of staying awake, and the descent. One of the reasons Dillard is so beloved is that she tried just as hard to make the case that we could all do it, live this way, that all you need to do is work with a demented singularity of purpose.

But most of all, through everything, she has never stopped reading. “I have written down every book I’ve read since 1964,” Dillard explains as I turn the Berger book over now, wondering in what obscure corner of her mind she will sock this information away. These diaries now get packed off to Yale’s Beinecke Library as fast as she fills them, just the name of the book and occasionally a checkmark, if it was really loved. I remark there’s something almost monkish about this notational labor, surely she must be the best-read person for hundreds, if not thousands of miles—an assertion she refutes before I can finish the comment by telling me about Bob’s physician, who had read one of her books in German and English, just for the comparison. 

As for her, what is she after, inhaling those hundred or more books a year since age five? That library in the sky of her mind she has built. What is she seeking? “It’s what I’m for,” Dillard says simply, putting out her cigarette. “Somebody has to read all these books.”

For the past ten years, that—and painting, and walking—is what Annie Dillard has been up to. “I had a good forty years of writing,” she explains to me later, but she stopped writing after her novel The Maytrees was published by Harper in 2007. “There’s no shame to stopping. My last two books were as high as I could go,” she adds, referring to the novel and For the Time Being (Knopf, 1999), her book about belief in landscape and time. The smoke has barely cleared from these books, though, and it is only now, as her oeuvre has settled into the culture—or perhaps, most important, the loam of its writers—that its radical illumination has begun to reveal its long neon half-life.

It is through the doorways Dillard torched open that writers as diverse as Jonathan Lethem and Maggie Nelson have stepped, the latter of whom was one of Dillard’s students at Wesleyan and is now a friend. “Her books are wild,” Nelson writes to me. “They do what they please; they do what they need to do; they keep their eye trained on the things that matter most.” Geoff Dyer was also enabled by Dillard’s permission and contributes an introduction to The Abundance: Narrative Essays Old and New, which is being published this month by Ecco with selections from all of Dillard’s work, including the lamenting and powerful uncollected essay she published after the attacks of September 11, 2001.

I tell Dillard the story of a writer I know, Phil Klay—a future marine, no less—who didn’t learn of the attacks until days later because he was walking the Appalachian Trail. “I was on the beach in Cape Cod,” she replies, nodding. “I came out of this shack I was writing in and figured now might be a good time to disappear.” She then taped a twenty-dollar bill to the gate at the top of the dunes, on the hope a passing stranger with honor and time to spare would pick up some provisions, some batteries. Someone did. Meanwhile, rather than wait, Dillard went back to doing what she has dedicated an enormous portion of her life to doing: contemplating the infinite.

Even in the dark near Cripple Creek, bedtime approaching, it’s clear the apparatus for this life remains in place. Dillard lives in a cabin separate from her husband’s, and has a third where she paints. All of this will be shown to us in the morning. “Bob,” Dillard says, just before turning in, eyes over my shoulder, “those are headlights.” For a brief second Richardson’s face flashes with alarm, and then indeed two beams begin to snake up Dillard’s long gravel driveway. As Bob walks out onto the porch to greet the surprise guest, Dillard explains to us that this is most likely Gary LaVallee, a friend from the area who helped Dillard clear the land on which she built the two additional buildings.

Gary’s methods are as extreme as Dillard’s observational register is austere. He doesn’t work with a crew, just his car, which he repeatedly drove into tree trunks on the nearby hillside to fell the evergreens, then hacked up what was left with an ax. His arms are as muscled as those of a professional rugby player. His eyes twinkle benevolently. Somewhere in the hills nearby he is building an enormous, five-thousand-square-foot cabin, alone, by hand, with eighty-foot logs he raises by himself with a pulley system. Gary talks genially and then excitedly when he finds out Garnette is working on a book about Bob Marley: “I heard him open for Springsteen.” He offers to pick up milk or anything else for Bob and Annie, and when told they’re okay, gently leaves.

Until recently, Bob and Annie inform us as Gary departs, he was driving around the hills of Cripple Creek in an antique dump truck with no brakes and a pile of boulders in the back. Now Gary gets around mostly by pickup or car, and occasionally he parks in their drive to use their Wi-Fi and get on Facebook.

“I’m not sure I believe in God,” Dillard says, packing up her books and supplies for a night of reading, “but I believe God watches out for Gary LaVallee.”

Annie Dillard in Key West. 

(Credit: Brian Smith)

In the morning the cabin is clobbered by light. Deer stand in groups chewing on dewy grass so far away, yet still visible, the eye needs a moment to adjust its lens before one can count the animals. Hunters cannot shoot on this land and the animals seem to know it. Dillard owns most of what the eye can see, but is loose with her ownership. Appalachian land is cheap. Some of it she has bequeathed already to her friend, the activist physician Paul Farmer. It’s quite a spread; her great-grandfather founded the company that became American Standard. Bob boils rich Cuban coffee strong enough to compete with the view. As he begins frying up eggs, he raises Annie on a walkie-talkie to let her know breakfast will be ready soon. By the time she arrives at the table, Bob has pointed out cardinals and owls in the brush.

As we eat, details of Dillard’s biography—the known things—slip out in asides and in peripheral conversation, echoing some of what Bob told us the night before over a nightcap. How they met because she wrote him a fan letter for Henry Thoreau: A Life of the Mind (University of California Press, 1986); how he was already teaching her book to students when she wrote; how they met for lunch—both of them married; and how they didn’t look back when it was clear they were falling in love. He is Dillard’s third husband. “She is the smartest person I’ve ever met,” Bob tells us when she is not present, “and I’ve known some smart ones.”

“I got my name from my first husband,” she explains to me later in an e-mail. “I had no intention of getting married, let alone young. Richard Dillard, my poetry-writing professor, talked me into it. It was fine. That was a ten-year marriage, after which I headed west and met Gary Clevidence. We were together twelve years. With Bob it’s been twenty-eight years and counting.”

The novelist Lee Smith met Dillard as a freshman at Hollins, and has known her ever since. “The class was filled with talent,” she wrote to me, “but Annie’s was always extraordinary.

The group of us became a gang, a cohort, a karass—and we had fun, too. Inspired by Richard Dillard and his friend George Garrett, often on campus, an antic spirit prevailed. We wrote and put on plays, took over the newspaper, published our own literary magazine, Beanstalks, when the upperclassmen running the real literary magazine turned us down. We satirized everything and everybody. We loved to party, and we especially loved to dance.

This was true of Hollins girls in general. When several mostly-English majors formed a (really good, by the way) rock band named the Virginia Wolves, several of us became go-go dancers and performed with them at Hollins, UVA, and other literary festivals. We all had go-go names (I was Candy Love), white boots, glittery outfits, and cowboy hats—I don’t think Annie was an actual traveling go-go girl (no outfit) but she always loved to dance, and still does, to this day, as does my entire class, which always shows up for reunions (even the 45th, our last) with music like “Barbara Ann,” “Stop in the Name of Love,” “You Can’t Hurry Love,” “Help Me Rhonda,” “My Girl,” etc. (I know, I know…you’d have to see this to believe it. Husbands flee.)

Watching Annie and Bob over breakfast, editing each other’s stories and officiating over the presentation of flatware, coffee, second and third helpings, it’s clear that whatever came before, this is the show. It is the big love, and they move with the grace and irascibility and tender watchfulness of a couple well into what Richard Ford called in his third Bascombe novel “the permanent period.” Virginia is one of three places they call home, boxes shipped ahead every six weeks like provisions sent further up a slope, the two of them following by plane with backpacks, like students. Spring and summer they spend on Cape Cod; in fall they are here in Virginia, and in winter they wind up in Key West, where over the decades they’ve come to know some remarkable writers—Joy Williams, Ann Beattie (who nursed Dillard during a recent hip surgery, coming by with movie rentals and hot meals), and the biographer and essayist Phyllis Rose. “These are some powerful, remarkable women,” Bob says, his eyebrows adding commentary.

“She was also one of the most generous teachers I’ve ever seen,” Rose writes when I ask her later about her friend. Dillard went to Wesleyan in 1979 at Rose’s request, after deciding her years in the Pacific Northwest were over and she was looking for someplace new—a general theme in Dillard’s life. “She was generous with her time, her hospitality, her advice, and even sometimes her money. She usually had classes meet at her house, and outside of class time students were welcome too, for Ping-Pong or potluck.” A Ping-Pong table sits on the cabin’s porch behind us.

Maggie Nelson says the games were part of the whole instruction method. “Annie made a writing workshop an ‘experience,’ involving an Act One, sitting in a classroom; then an intermission of sorts, which consisted of taking a brief walk through the Connecticut woods to her house; then an Act Two, with refreshments and reading aloud in her living room. On the way to her house there was a hole in a chain-link fence, which she taught us to crawl through, likely in celebration of both trespassing and accessing liminal spaces. She encouraged us to get out into the world, which explains at least one afternoon I spent playing video games with the owner of a local baseball-card store, in order to write a profile of him.”

I realize, when Dillard beckons us from breakfast for our tour of her own liminal spaces, that her demeanor is not that of a famous person reduced to interior scale—or even of a genius judging the brain capacity of two citified visitors—but that of a teacher who never truly left the classroom. She taught for four years at Western Washington University in Bellingham, followed by twenty-two years at Wesleyan, after all. “Studying with her was a top-to-bottom education on being a working artist,” novelist Alexander Chee tells me.

“I knew I liked you guys when I realized you read fiction; you’re fiction people,” Dillard says as we get ready to check out her cabin and her study. It’s a short walk over to the buildings, maybe a hundred paces, but in that space the energy changes. It feels wilder, more animal; a skull and pieces of wood sit on a table. The cabin itself is plastered with photographs of her friends and family; her daughter, a poet and Iowa MFA graduate who lives in Arkansas and whose privacy Annie asks me to respect; Gary LaVallee; Bob. There’s a photograph on her refrigerator door of a place in Turkey. Serious travel—for health reasons—is something Annie and Bob have had to give up recently, but, she says, “If I went again I’d go into the Hula Valley, the wilderness. Just to see it.”

A small shelf of books sits next to her laptop—an old hardback copy of Barry Lopez’s Arctic Dreams, among some beat-up paperbacks. Some volumes of her own books. Her books are no longer coming out at the alarming rate at which they appeared in the 1980s and early 1990s, but this is where she still does the work she doesn’t consider work, firing off letters of encouragement and interest to writers all over the world.

Pico Iyer struck up a fast and ongoing long-distance friendship with Dillard, stoked by her correspondence. “Her e-mails to me, long and incandescent, veered between fervent literary recommendations (of Hardy, Joyce Cary, Robert Stone) and exuberant reminiscences of her cavorting on the beach and love of the [Pittsburgh] Pirates and delight in miniature golf.” If he was expecting a symposium in person, he was mistaken. “When we met, all she wanted to do was play Ping-Pong, in her backyard, each returned slam threatening to send a stack of books on esoteric theology or meteorology skidding off the dining table a few feet away. At some point, I realized that I was meeting the closest I could get to my longtime hero, D. H. Lawrence: someone furiously alive, attentive to everything and impossible to anticipate.”

As it did for Lawrence, painting has become Dillard’s primary mode of expression in later years. (She turned seventy this past year.) “I switched to painting,” she tells me. “Not really my art, but it lets me make something new. I paint people, mostly faces, in oils, on black-gessoed paper.” She invites Garnette and me to investigate the studio, which is as compact and crammed with information as a human skull.

The austerity of the studios she describes in Teaching a Stone to Talk, The Writing Life, and Holy the Firm come zooming back like déjà-vu. Tacked-up pieces of paper describe radial-axis instructions for depth and perspective. Another piece of paper lists the radio stations on satellite radio. An orphaned pack of American Spirits gleams. The view out the window unfurls the cove and the mountain across.

Bob radios back that it’s getting on toward noon, so we leave the studio and cabin and pile into his Toyota and head off in search of Gary LaVallee’s Valhalla, as locals have dubbed his massive log cabin in progress. We bounce treacherously up a muddy boulder-strewn drive out onto a high bluff only to discover this isn’t Gary’s yard at all. Whoever lives here has managed to transport, intact, an unmuddied, vintage 1940s low-rider with exposed piston, up the mountain, where it sits near a farmhouse, as improbable and somewhat sinister as a puma in a library. We circle around and down and off the hill and backtrack into town, Annie and Bob pointing things out along the way: the Confederate-era forge, the remnant of the railroad the army built into the mountains to haul the iron out, the hotel that was opened but never really took off.

Our destination is the Cripple Creek Mall, an ironically named general store where you can buy anything from MoonPies and soda made with real Carolina sugar to extension cords, hats, toilet drain snaking equipment, packaged ham, dried kale, bullets, and several strains of honey. Dillard talks to Eddie Younce, the proprietor, asking after his and his family’s health while he comments on how good she looks, after which Eddie delivers a detailed forty-five-minute dissertation to Garnette on the best places to gather and make honey in Appalachia. “I could sit and listen to my father and his friends talk about honey for two, three hours,” he tells us.

At some point during Eddie’s monologue, Annie and Bob back silently out of the store. We find them later down the lane, standing, holding hands, as if this is all there is to do in the world. It’s past noon and the sky is showing it and already I know we’re going to have to hurry to get out of Cripple Creek before dark. We hustle back to the house and through a lunch of chicken and potatoes before they send us packing. The light chases out of the hollows and falls again quickly as the little roads turn to interstate and Garnette and I race so I can make a train back to New York City. The next day, after I’ve woken in New York and the deep, soft pocket of earth we visited feels a million miles away, Dillard writes to me, the first of many e-mails about the late E. L. Doctorow, Key West, the Pacific Northwest, landscape and family, and generosity, as if she hadn’t been demonstrating it all along.

“Working in a soup kitchen is great for a writer or any artist,” she writes in one. “There are many unproductive days when you might hate yourself otherwise. You are eating the food, using the water, breathing the air—and NOT HELPING. But if you feed the hungry, you can’t deny you’re doing something worth doing.” She may have stopped writing, but Annie Dillard continues to feed the minds of generations of writers. As she might say, that’s what she’s for.

 

John Freeman is the founder of Freeman’s, a biannual anthology of new writing.

Telling Stories in the Sunlight: A Profile of Judy Blume

by

Kevin Nance

7.1.15

At the 2009 Key West Literary Seminar, Rachel Kushner was onstage discussing her first novel, Telex From Cuba (Scribner, 2008), which was inspired by stories from her mother, who had grown up on the Caribbean island ninety miles to the south in the 1950s. In the audience that day was best-selling author Judy Blume, a longtime resident of Key West, Florida, and a member of the Literary Seminar board of directors. When she heard Kushner utter the phrase “the fifties,” an epiphany hit Blume with the force of a thunderclap. She had a story to tell, she realized—a big, important story rooted in the fifties but about which, curiously, she had spoken to no one for more than half a century.

Photographs by Kevin Nance
 

Over the course of fifty-eight days in late 1951 and early ’52, when the then Judy Sussman was in the eighth grade in her hometown of Elizabeth, New Jersey, three airplanes crashed there, all in or near residential neighborhoods and all with significant loss of life. When the first plane plummeted from the sky, it was believed to be a freak accident in an era when commercial air travel was relatively new and glamorous. When another disaster followed, the adults in Elizabeth began to wonder whether something was awry at nearby Newark Airport, while the kids—including Judy and many of her classmates at Alexander Hamilton Junior High—spoke of sabotage, aliens from outer space, perhaps even zombies. And when the third plane went down, it seemed to many that the town was under siege, or the victim of some modern version of a biblical plague. The airport was shut down for nine months pending a safety review, which ultimately failed to explain the crashes. 

And for decades afterward, the future writer, who had watched her town endure unthinkable horror—her own father, a dentist, was called in to help identify burned bodies from dental records—kept those dangerous memories in some vault in her mind, locked away.

“I must have really buried this someplace so deep inside of me that for more than forty years it never occurred to me, ever, that I had this story to tell,” Blume says in a tone of wonder at the elegant Key West home she shares with her husband, nonfiction writer George Cooper. “How is that possible? It was really deep, I guess. My husband says I never told him this story. My daughter, who became a commercial airline pilot, said, ‘Mother, I cannot believe you never told me this story.’”

Better late than never. In her latest novel, In the Unlikely Event, published by Knopf in June, Blume unpacks the events of those two months when the sky kept raining down catastrophe on Elizabeth. The product of months of research and years of writing and editing, In the Unlikely Event hews closely to the actual details of the crashes and then, with the imaginative sympathy that has been a hallmark of Blume’s novels for young people and adults over the decades, describes the toxic fallout that afflicted the lives of the townspeople. The result is a portrait of a community in crisis, in which grief, fear, and outrage are balanced, to some extent, by the characters’ capacity for heroism and a faith that, even in the shadow of tragic events, life goes on.

“Because that’s what you do when something terrible happens,” the author explains. “You keep going, doing what you do.”

Along the way, Blume weaves a tasseled shawl of historical detail of New Jersey in the early fifties—the era of Frank Sinatra, Martin and Lewis, Nat King Cole, cocktails at the Riviera, Jewish gangsters, Liz Taylor haircuts, Joe McCarthy’s Red Scare, and sci-fi movies dressing up A-bomb paranoia in Halloween costumes—in which the comfortingly mundane reality of the characters provides a vivid contrast to the disruption of the airplane crashes. The novel’s heroine, Miri Ammerman, and her uncle, the young reporter Henry Ammerman, who breathlessly covers the crashes in the purple prose of small-town newspapers of the day (the word inferno comes up with alarming frequency), struggle to maintain their sense of normal life in the midst of extremely abnormal circumstances.

“I have a fabulous memory for my early life, but I remember very few things about the crashes—which is why I had to do so much research,” Blume reflects, still puzzled, one typically perfect afternoon in Key West. “I do have a very vivid memory of where I was the afternoon of the first plane crash. I was in a car with my parents on a Sunday afternoon, and it came over the radio: ‘We interrupt this program to tell you…’ The crash was a block from our junior high school—one block!” She thinks back, shakes her head. “I knew that the crashes happened, but I don’t remember my feelings about them. Was I scared? Was I not? I don’t know.” Another thoughtful pause. “But all the mundane stuff, how people lived back then, was right at the tips of my fingers. I am, after all, a kid of the fifties.”

It was in that seemingly carefree yet oddly stifling decade that Judy Sussman began to develop as a storyteller—not a writer yet, as she kept her tales in her head—which served as a way to explore questions that often couldn’t be asked out loud, even of her parents, as beloved as they were. “Full of secrets,” Blume, still peeved, says of that decade. “Nobody told you anything.”

 

The 1970s were hardly better. When the author’s narratives began to be recorded and published in her late twenties and early thirties, she was immediately celebrated—and in some circles deplored and censored—for her frank fictions that touched on, among other things, the physical and sexual development of girls and young women. Are You There God? It’s Me, Margaret (Bradbury Press, 1970), still perhaps Blume’s best-known novel for teenagers, was primarily about its sixth-grade heroine’s struggles in a mixed-faith family, but caught the disapproving eye of cultural conservatives who objected to its candor about brassieres, menstruation, sanitary napkins, and the like. In Deenie (Bradbury, 1973), Blume broached the topic of masturbation, and in Forever… (Bradbury, 1975), she graduated to teen sex. Her books’ directness on these and other “adult” themes made them simultaneously among the most banned and most popular books of their era. (To date, according to her publisher, Blume’s books in all genres have sold more than eighty-five million copies, making her one of the world’s most commercially successful writers.)

“I was very interested in writing about real life, about growing up,” Blume says. “Nobody talked about those things back then, so the books were a way to satisfy my curiosity.”

Kristen-Paige Madonia, author of the young-adult novel Fingerprints of You (Simon & Schuster, 2012), grew up feeling similarly about Blume’s novels for teens. “My sister and I took turns reading Margaret, which was incredibly important to us,” says Madonia, who got to know Blume personally years later. “Judy took subjects that were masked and muddy and made them okay and understandable. She was very clear about things that were happening to us as young girls—boobs and periods, all that—and you felt you were in dialogue with her. She was with us, speaking to us, which was far more comfortable than having that conversation with your mother or a teacher. Her voice is so accessible, so warm and down-to-earth, and I think that’s why she’s connected to so many readers over the years.”

In later years Blume turned to adult fiction, producing a pair of best-sellers, Wifey (1978) and Smart Women (1983), both published by Putnam. Although writing had always been a joy—“I felt as if I were reborn every morning,” she says—Blume suffered an existential funk in the early 1980s after reading Dad (Knopf, 1981) by William Wharton, whose prose struck her as so superior to her own that she felt paralyzed. “I was so caught up in the book that it totally took away all my confidence,” she says. “I just felt, ‘Why am I doing this? I can’t write this well. I will never write as well as this.’ And I couldn’t write at all for three months.”

Eventually, Blume got her groove back, in part by making peace with what she sees as her own limitations as a prose stylist. “It was never about putting the words on paper,” she says now, over a dinner of grilled snapper and Key lime pie at an open-air beachfront restaurant. “I’m not that kind of writer, as many people would tell you. It’s about getting the story out, the story and the characters. It’s not about the language. I do what I have to do to tell the story.”

With that pragmatic approach, Blume has written several new books in recent years, including a third blockbuster for adult readers, Summer Sisters (Delacorte, 1998). But her editor at Knopf, Carole Baron, says that Blume’s way of describing her writing process doesn’t do it justice. “She’s a great writer, whether she believes it or not,” says Baron, who also edited Summer Sisters. “Her dialogue in particular is perfection. And I do believe that’s one of the reasons—whether in adult books or books for the young—that Blume has always connected with her readers. She knows how to speak to them through the words of her characters. Her writing is deceptively simple, but it delivers a blow. To say that it’s not about the language, she’s selling herself hugely short.”

As for the popular (and vaguely dismissive) characterization of Blume by some as a “YA writer” who occasionally writes books for adults, the author shrugs. “Children’s books, YA books, adult books—it’s all the same process,” she says. “Lots of times, I don’t know which it is. I’m just telling a story.” With a knife, she slices through a thick layer of meringue on the pie, as if hacking away at the fluff of the argument. “I hate categories,” she says with a rare frown. “You have to be published by a certain department, and there are children’s book buyers, YA book buyers, adult book buyers. But that’s about the marketplace, not the book.”

Last year, as the deadline for the delivery of the manuscript of In the Unlikely Event began to loom, two issues—both related to language and storytelling, as it happened—presented themselves as potential roadblocks in the publication schedule.
 

One was that after having written the first of the novel’s four parts, Blume took two years off from the project to work on the film adaptation of her novel Tiger Eyes (Bradbury, 1981), directed by her son, Lawrence Blume. (As a published author, she chose to retain the surname of her first husband, John M. Blume, an attorney. They divorced in 1976, after which she married a physicist, Thomas Kitchens. They divorced after two years, and she married Cooper in 1987. “I’ve been with George for thirty-five happy years,” she says with a smile, “to make up for everything else.”) When Blume returned to work on In the Unlikely Event, she came to see Part One as too slowly paced and too crowded with characters. “I kept telling Carole, ‘I want to speed it up!’ You know you’re in danger of damaging your book when you want to take out big chunks of it and throw them away. And Carole would say, ‘Put that back!’”

As Baron recalls, “My feeling was that when we experienced the horror of the first airplane crash, we should know who the people were.” She got her way.

The second issue was that the newspaper articles about the airplane crashes, attributed in the book to Henry Ammerman, were largely based on actual accounts that originally appeared in two local newspapers, the Elizabeth Daily Journal and the Newark Evening News, both now defunct. It didn’t feel right to publish the real-life newspaper stories verbatim under Henry Ammerman’s fictional byline, but with her deadline approaching, Blume despaired of finding enough time to rewrite the stories.

At that point, Cooper entered the fray. “I’ll be your Henry Ammerman,” he said. Under Blume’s supervision in the role of a tough “city editor,” as he put it, Cooper got to work, recrafting the newspaper articles, retaining and sometimes putting his own spin on their hyperventilating prose style. “I took all the stories and added some flourishes of my own,” he says now. “I tried to tailor them to the fictional narrative, building on the story that was building in the fiction.”

“I would have said the exact opposite,” Blume says. “The news stories gave me the structure for my narrative.”

During the writing of Summer Sisters, Blume, who then lived in New York City, frequently talked about her love of summer, so Cooper said to her, “You could have more summer in your life if we went someplace in winter.” “Great,” she said, “let’s try to rent a place somewhere for a month.” They rented a place in Key West, fell in love with the island, and returned again and again, eventually making it their home in 1997.

 

“You live a regular life here,” the author says during a contented walk on the beach at sunset, “and you forget how lucky you are until someone reminds you.”

The self-styled Conch Republic has been good to Blume, and not only because of its nearly endless summer. For decades the island has nurtured a community of poets and writers, including Ernest Hemingway, Tennessee Williams, Robert Frost, Elizabeth Bishop, John Hersey, James Merrill, and Shel Silverstein, a context in which Blume fits like bougainvillea on a breezy Old Town veranda. And from her twin perches as a best-selling author and a board member of the Literary Seminar, she has been well positioned to mentor many young writers whose work she admires, providing advice and much-needed advocacy at some of the most crucial stages of their careers.

“I wanted to be a writer because of Judy Blume and her books,” says Carolyn Mackler, who first met the author while interviewing her in Key West for an article in Ms. Magazine. “She was my hero, and she was very welcoming and generous and kind to me on that visit. I was twenty-four, and during the interview, I mentioned that I wanted to write novels like hers. She said, ‘When you get a draft that you feel comfortable with, call me and we’ll talk.’ She really ended up guiding me through writing and publishing my first novel, Love and Other Four-Letter Words [Delacorte, 2000]. She read an advance copy and gave it a wonderful book-jacket quote. She’s been a mentor to me for seventeen years.”

Something similar happened to Madonia, whose short story, “Cheap Red Meat,” won the first Key West Literary Seminar Fiction Contest, in 2008—largely because, unbeknownst to the young writer, Blume had come across the story in the contest slush pile and fallen in love with it.

“I got down there and was waiting in line to have my book signed by Judy Blume,” Madonia recalls. “She saw my name tag and said, ‘It’s you!’ She loved what she saw in that short story, and really fostered my career from that moment. Half an hour later we were exchanging numbers and making plans to have breakfast. You know, you meet her and forget that you’re talking to someone unbelievably famous. And whenever I’ve hesitated in my career or had doubts, she’s always been the one I reach out to. She always says, ‘Go write another book. That’s who you are.’”

After decades of feeling reborn every morning at her writing desk, Blume herself has reached a point in her life when she’s not sure whether she’ll write another book. And if she does do so, she insists that it won’t be another lengthy, scrupulously researched tome like In the Unlikely Event, which arrives in bookstores at a muscular 416 pages.

 

“I’m seventy-seven years old and I don’t want to write another long novel,” she says. “I don’t want to spend three to five years doing that. I’m not saying that I’m never going to do anything, because I have a lot of creative energy.”

Baron isn’t buying it, at least not entirely. “I think the thing about this new book that’s different from her other novels is that there’s a basis of fact in dealing with these airplane crashes,” she says. “Judy is so thorough about her research, so adamant about getting every single fact right, that it added a layer to her editorial process that I don’t think she’s ever experienced before. So, sure, I believe she’s not going to undertake another book that has such a basis in nonfiction. But Judy is a storyteller, and storytellers are always telling stories. She said the same thing to me about this maybe being her last novel, and I said to her, ‘When you’re ready, I have an idea.’”

Who knows? Thanks in part to the comfortable climate and her long walks around Key West every morning with Cooper, the author appears significantly younger and more energetic than her actual age might suggest. But as always, Judy Blume is a pragmatist who understands her limitations. After many happy years in their gorgeously landscaped, high-modernist home in Old Town, Blume and Cooper are making plans to sell the house and downsize to a much smaller condo on the nearby beach. The heavy spadework of In the Unlikely Event—the digging up of what had been buried for so long—has been done. An assignment has been completed, a burden lifted.

Standing on a Key West pier taking in yet another gorgeous sunset, Blume heaves an unmistakable sigh of relief. “If this is my last book, then I’m really happy about it,” she says. “I feel I was meant to tell this story, and now I’ve told it.”

 

Kevin Nance is a contributing editor of Poets & Writers Magazine. Follow him on Twitter, @KevinNance1.

Far From Ordinary: A Profile of Tracy K. Smith

by

Renée H. Shea

2.10.15

Tracy K. Smith was twenty-two when her mother died in 1994. Nearly a decade later, she published The Body’s Question, her first book of poetry, in which she reflected on that loss. In “Joy,” which carried the epigraph “In Memoriam KMS 1936–1994,” Smith writes to her mother, longing to “pick up the phone / And catch your voice on the other end / Telling me how to bake a salmon / Or get the stains out of my white clothes.” Another decade later, she returns to that wrenching loss in the memoir Ordinary Light, published this month by Knopf. Smith’s first book of prose, it is a book of excavation and navigation: The poet revisits her mother’s passing in light of her father’s death in 2008, the year her daughter, Naomi, was born, and in light of the birth in 2013 of her twin sons, Atticus and Sterling. 

Smith, who characterizes herself as having been “still an adolescent” when she lost her mother, believes “it took losing my father to help me come to better grips with that first loss and think about what I needed to believe my mother’s life and her death had imparted.” And now, with three children of her own, Smith wishes her mother were nearby to consult about practical parenting concerns, but of course that wish goes deeper: “I want to think actively about the continuum to which I belong—the one that includes my mother and her mother and sisters and their ancestors—and also my children. In my mother’s absence, I want to cement that connection, and words are the best glue I know.” 

But why prose? She’s already written poems about her mother, and her Pulitzer Prize–winning Life on Mars is, in many respects, an elegy for her father. A memoir in verse offered an intriguing form, one that is familiar territory—Rita Dove’s Thomas and Beulah (1986) and, more recently, Jacqueline Woodson’s Brown Girl Dreaming, which won the 2014 National Book Award, are exemplary—but Smith credits the influence and encouragement of the German writer Hans Magnus Enzensberger, her mentor in the Rolex Mentor and Protégé Arts Initiative, for emboldening her to venture into prose. Smith had never heard of the mentorship program, which pairs older masters with younger artists under forty, until 2008, when she was nominated and flown to Munich along with two other finalists. Each had an interview with Enzensberger and then all four went to dinner, an experience that Smith insists turned into more camaraderie than competition. 

She and Enzensberger have become great friends after what sounds like a jet-setting year of being flown to many of the places where he had speaking engagements: “We rendezvoused in Tenerife and Paris, and gave a reading together at the public library in London. We spent much of a summer in Munich, where he lives, working on the book and getting to know each other.” In addition to face-to-face meetings, the two e-mailed back and forth, with Smith sending him parts of her work for comment. The idea she began with was, by her own description, “a big, ambitious mess” about a whole range of experiences, but Enzensberger urged her to focus discrete memories toward “a narrative with characters that moved beyond the private realm to take in and consider the relevant public history.” 

From the beginning, Smith says, she knew she wanted to write “genuine prose,” possibly because some of what she wanted to explore had already been unearthed in her poetry. “But I also wanted to embrace a fuller sense of myself as a writer,” she says. And she wanted to work within “sentences, clauses, paragraphs, the whole to-do,” since, as she writes in Ordinary Light, “Being able to tell a good story was currency in my family.” Prose gave her a certain amount of freedom to explain and elaborate. She realized how much she relies on metaphor in her poetry to evoke “a strange, powerful sameness between two otherwise disparate things.” In prose, she initially felt reluctant to elaborate on an image or interrogate statements she made, but soon discovered her expansive abilities. “I learned that prose can bear the weight of much more explication,” she says. “I can think and rethink, even second-guess or analyze something on the page in prose without going overboard. The sentence, in prose, can be as tireless as an ox.”

Enzensberger recognized, perhaps before Smith herself, that her story was about her family, with her mother as the central character. Smith opens Ordinary Light with her mother’s deathbed scene, the family’s vigil during the final hours of her mother’s life, remembered twenty years later:

Then we heard a sound that seemed to carve a tunnel between our world and some other. It was an otherworldly breath, a vivid presence that blew past us without stopping, leaving us, the living, clamped in place by the silence that followed. I would come back to the sound and the presence of that breath again and again, thinking how miraculous it was that she had ridden off on that last exhalation, her life instantly whisked away, carried over into a place none of us will ever understand until perhaps we are there ourselves.

From that solemn moment, Smith circles back to her childhood as the adored and indulged baby in a family of five children and, further back, to her parents’ coming of age in Alabama at the dawn of the civil rights movement. Dedicated to her daughter, Naomi, Ordinary Light began as a way for Smith to bring her parents back to life, “to reconstruct them,” as characters for Naomi. “At least that was my intention,” Smith says, “though in the execution it has become a book about me—about excavating my own experiences, anxieties, and evolving beliefs.” 

When asked about the title, she hesitates, musing that “maybe it’s the feeling of wholeness and safety and ongoing-ness that we slip into sometimes in our lives.” But after Smith settled on Ordinary Light as her title, she added an opening quote from James Baldwin’s “Sonny’s Blues,” one of her favorite short stories. As Baldwin’s narrator recalls the perfect family Sunday afternoons of his childhood when all’s right with the world, he cautions: “But something deep and watchful in the child knows that this is bound to end, is already ending. In a moment someone will get up and turn on the light.” In her new memoir, it is this moment that Smith explores for herself and her own children—the moment when we hear the tiger at the door.

***

In many ways, Smith seems to have lived a charmed life. Her father retired from the Air Force at forty-five because he did not want to uproot the family once again by accepting an overseas post. Trained as an electronics engineer, he found a job in Silicon Valley, eventually working on the Hubble Space Telescope. Her mother, while active in her church and community, did not work outside the home except for a short stint as an adult-education teacher. Tracy, eight years younger than her closest sibling, recalls a childhood when “all of my siblings doted on me, then left for college. So I had this abundance of attention for a time, and then a period of abundant solitude.” A participant in gifted programs throughout her public school education, she graduated from Harvard College in 1994 with a BA in English and American Literature and Afro-American Studies. After an extended return home following her mother’s death, Smith attended Columbia University, earning an MFA in 1997; she went on to a two-year stint as a Stegner fellow at Stanford University. She taught at Medgar Evers College in Brooklyn, New York, and at the University of Pittsburgh before joining the faculty at Princeton University in 2005, where she is currently a professor of creative writing. 

Smith has published three collections of poetry—The Body’s Question (2003), Duende (2007), and Life on Mars (2011), all with Graywolf Press—each receiving critical acclaim and significant literary prizes. In the introduction to her first book, which won the Cave Canem Poetry Prize, poet Kevin Young, the contest judge, heralded an exceptional new voice:  “Smith is a maker, a wordsmith of the first order.” In 2012, Life on Mars won the Pulitzer Prize for poetry. Two years later Smith received an Academy of American Poets Fellowship. Among her other awards and fellowships are the James Laughlin Award from the Academy of American Poets, the Rona Jaffe Foundation Writer’s Award, an Artist’s Residence at the Fundación Valparaíso in Spain, and an Essence Literary Award. 

Smith had a series of mentors even before her time with Hans Magnus Enzensberger, as she developed her identity as a poet. A reader from the outset (one of the chapters in Ordinary Light is titled “My Book House”), she experienced a sort of epiphanic moment in college when she read Seamus Heaney’s poem “Digging.” She describes how everything in that poem—the male speaker, the Irish setting—should have been completely foreign to her, yet, she says, “I felt so much a part of the landscape and the family he was describing that I realized this was what I wanted to do with language.” Ultimately, she got to know Heaney as one of her teachers. At Columbia, Mark Doty became, and remains, an important influence and mentor to her, someone who she says is “so generous and present” to his students. 

Yet the seemingly idyllic life of Smith’s nuclear family—“us as an invincible unit,” is how she describes them in Ordinary Light—can prepare, though never entirely protect, its members from the loss of certainty and security and, especially, the realities of racial politics. Smith is known for sharpening a political edge in her poetry, whether she’s writing about science fiction, pop culture, or current events, and this memoir is no exception. “In writing this book, I was forced to speak about and into many of the silences that ran through my life: silence about race, silence about the painful features of African American history, silence about my own choice to turn away from or reenvision the religious faith I was raised in,” she says.

One of the side effects of the memoir, Smith discovered, is that her adult perspective remained active even when she was writing about childhood: “So Tracy the citizen was allowed to engage with these private stories, just as Tracy the mother was allowed in at times,” she says. What she calls “shifting subjectivities” becomes especially clear when she writes about returning as a child to Alabama, where her parents grew up, to visit her large extended family (her mother was one of thirteen siblings): 

I was ten years old, living with a vague knowledge that pain was part of my birthright, part of what was meant by a word like Home. It was not the kind of beautified self-inflicted angst that can transform a girl into a swan or a doll or an ice princess in the ballet…. No, what I felt, what I feared and discerned, even from my rather far remove, was the very particular pain that was tied up in blood, in race, in laws and war. The pain we hate most because we know it has been borne by the people we love. The slurs and slights I knew were part and parcel of my parents’ and grandparents’ and all my aunts’ and uncles’ lives in the South. The laws that had sought to make people like them—like us, like me—subordinate. 

“Growing up black in America is inherently political,” Smith says, and her own experience proved that collision with that reality is not limited to the South. In Ordinary Light, she remembers the sting she felt when one of her high school teachers in Northern California offered faint praise as encouragement by pointing out, “You’re an African American woman. You should take advantage of the opportunities that will bring you.” Even as she received one acceptance after another to impressive schools, including Harvard, Smith writes that this man’s “voice whispered in the back of my mind whenever the word diversity was printed among the catalogue copy.” 

Through writing Ordinary Light Smith has also come to some peaceful terms with the fierce religious faith that guided her mother’s life. Even as a child, she struggled to understand her mother’s devotion, especially regarding the concept of salvation, “when the world of my family was the only heaven I needed to believe in.” As an adolescent and young college student, Smith felt the growing distance from her mother in her sense of religion as something imposed, even oppressive. Writing Ordinary Light has helped her appreciate the key role of the African American church of her parents’ era in fostering a sense of family, community, and discipline “in a world full of disparities.” Even her father, with his systematic, orderly mind, Smith says, prayed with and read the Bible to his children. He was a man grounded in both the worlds of science and faith. In Ordinary Light, we meet the meticulously ordered world that her parents, especially her mother, created for their children, inspired, in many ways, by their religious beliefs: “a life that would tell us, and the world, if it cared to notice, that we bothered with ourselves, that we understood dignity, that we were worthy of everything that mattered.” 

Smith believes that the process of writing the memoir helped her codify some of her own beliefs and anxieties about religion and to speak “honestly” about how she sees God—something she needed to do for herself but that has also helped her decide what elements of her religious inheritance she wants to offer her children. “I hope they will bring their own ideas and feelings to the conversation,” she says. “I don’t want to subject them to the hard-and-fast, top-down approach to belief that repelled me.” Would her mother, who grew more religious after her cancer diagnosis, approve? Smith’s not sure, though her siblings have responded positively to the book, and she believes that “much of what the writing has urged me to discover along the way would make perfect, familiar sense to my mother.”

***

Coming at a difficult time in her life, when her first marriage had ended, the offer of a position at Princeton was, Smith says, “a benediction that my life would go on, that everything would be okay.” So far, it’s been more than okay. She relishes teaching: “Let’s just be honest and say that we academics have the best, most humane work schedule in the world, and I get to spend my workdays talking to smart young people who are devoted to the very same thing I love.” Admitting that Princeton’s faculty roster of luminaries is “pretty daunting,” she characterizes her colleagues as “happy and fulfilled and therefore very generous” and feels part of the family: “I feel that I’ve grown up at Princeton. I came here with one book. I was a child. That’s a paradigm I’m comfortable with, being the youngest of five kids, and so the eminence of my colleagues felt right, familiar. I’ve always been in the position of admiring the people around me and striving to play catch-up.” Her colleagues apparently agree. Poet and New Yorker poetry editor Paul Muldoon, who invited Smith to do her first public reading of Ordinary Light last December at the Irish Arts Center in New York City, describes her as “a truly exceptional poet, with an eye for the arresting image that puts most of us to shame,” noting also her commitment to teaching: “My office is right beside hers, so I have a sense of her being a teacher who is at once diligent and delighting in her work.”

Last summer Smith became a full-fledged member of that community in a more rooted way when she and her family moved from Brooklyn, New York, where she had lived for fifteen years, to Princeton. She doesn’t really miss the city, and she’s a bit surprised. Apart from the practical reality that she and her husband, Raphael Allison, a literary scholar and poet, were driving to New Jersey to teach every day while their children were in Brooklyn, she says she was emotionally ready to leave: “I have so much more mental space and more patience, now that we’re living in a house and surrounded by so many trees. I used to pity New Yorkers who moved to the suburbs: I had the smug idea that they were ‘giving up,’ but now I think how much of an inherent struggle it assumes, and I chuckle.” Tina Chang, one of Smith’s best friends and poet laureate of Brooklyn, understands, though she says she went through her own “mourning” process when her friend moved. “As always, we write letters and allow our writing to lead us through our friendship,” Chang says. “What has always been interesting to me is that Tracy can occupy any physical space, and her mental space follows. Whether her body occupies India, Mexico, Brooklyn, or Princeton, her poetry fills up that geography, illuminates it, and makes it more alive.” 

So, with most of the boxes unpacked, full-time teaching under way, and three young children in tow, Smith is already contemplating another prose work, and she’s on to more poetry projects. New poems are included in a folio that accompanies a Smithsonian exhibition of Civil War photos called Lines in Long Array: A Civil War Commemoration, Poems and Photographs, Past and Present and in an anthology about Thomas Jefferson’s Monticello that is forthcoming from the University of Virginia Press. She is also working on a translation of poetry by contemporary Chinese author Yi Lei and has signed on as librettist for an opera about the legendary 1960s battle between the disparate visions for New York City of urban planner Robert Moses and journalist and activist Jane Jacobs. Although most would be content to accomplish in a lifetime what Smith has already achieved, she considers herself at the end of the first part of her career, and she’s thinking ahead. She’s always been drawn to questions of what we leave behind, what it means to survive, to endure. In her poem “Letter to a Photojournalist Going-In,” from Duende, the speaker wonders if all we do is “kid ourselves into thinking we might last.” But Smith seems more like the tiny creature in “Flores Woman,” who defies the inevitability of her own extinction: “Like a dark star. I want to last.” 

Renée H. Shea is the coauthor of a series of textbooks for Advanced Placement English, most recently Conversations in American Literature: Language, Rhetoric, Culture (Bedford St. Martin’s, 2014). She has profiled many authors for Poets & Writers Magazine, including Julie Otsuka, Chimamanda Ngozi Adichie, Edwidge Danticat, and Maxine Hong Kingston.

Tracy K. Smith

(Credit: Christy Whitney)

Internal Tapestries: A Q&A With Louise Glück

by

William Giraldi

11.20.14

In his essay “Meditations of a Sitter,” Louise Glück’s onetime teacher Stanley Kunitz penned a line of such searing veracity it seems a condemnation of entire quadrants of the human tribe: “The empty ones are those who do not suffer their selfhood.” To suffer a selfhood means to embody the soul of self, to know yourself en route to becoming yourself. Glück studied with Kunitz at Columbia University in the mid-sixties, and for nearly five decades she has been the American poet most willing to communicate the flammable vicissitudes of selfhood, to detect the temblors beneath the self’s consistent adaptations to the facts of living. The facts of any life are impotent and ineffectual until literature intercedes, until it takes hold of those facts and twists them into the light, casting a refraction that allows us to glimpse them anew.

Glück’s refractions reveal the counterpoint between fable and fact, between mythos and mundanity, between the paralysis of silence and the necessity of assertion. Her new book of poems, Faithful and Virtuous Night, published in September by Farrar, Straus and Giroux, betrays an intimate surrealism, a congress of parable and dream—it’s more a stranger to normality than anything she’s ever written and ceaselessly thrilling in its tonal effects. Thoreau believed that “truth strikes us from behind, and in the dark,” but in Glück truth seems to strike always from below, from beneath the half-lit undulations of desire and dread.

Glück shares a birthday with Immanuel Kant and is the author of thirteen books of poems and a fierce collection of essays. She is the Rosenkranz Writer-in-Residence at Yale University, and for eight years served as judge for the Yale Series of Younger Poets, a service of which she remains immensely proud. As a poet she’s so decorated that if she were a general you’d have to squint into the glare of her: the Bollingen Prize for Vita Nova (Ecco, 1999), the Pulitzer Prize for The Wild Iris (Ecco, 1992), the National Book Critics Circle Award for The Triumph of Achilles (Ecco, 1985), the Wallace Stevens Award, the Lannan Literary Award—on and on. We spoke for several hours one July afternoon at her home in Cambridge, Massachusetts. Her immaculate apartment is adorned with artwork by the poet Mark Strand, and out back breathes her beloved garden, transplanted here from Vermont thirteen years ago.

What’s remarkable about the architecture of Faithful and Virtuous Night is that one can land anywhere inside this book and find a poem that is both self-fulfilled, unconcerned with what precedes or follows, and also a component in the larger whole that informs the unfurling narrative. You’ve erected similar scaffolding in the past—in all of your books since the 2007 collection, Ararat, the poems coalesce and function as a single movement—but in its intricacy and dynamism the architecture of this new book seems to me entirely different.
It seems to me different too. There were years when I thought I’d never resolve the issue of this structure, never be able to give a shape to these poems, which usually means there’s a piece missing, as was true here. I had first thought that the long monologue—which is now divided, interspersed with these surreal, fragmented narratives and prose poems—I had thought that the long poem would be a whole that moved roughly chronologically from section to section, but it seemed lifeless when I put it together that way. I tried rearranging the sequence but that wasn’t the answer. At some point, fiddling with order, I put the title poem next to “An Adventure.” That juxtaposition suggested the shape this book wanted. But that shape didn’t really find itself until the end—when I wrote prose poems, which I’d never done before—they were written in a tide of exhilaration at the thought that maybe I could finally finish this book.

Those prose poems are ligatures that allow the whole to cohere with such startling poise. They recall the way Hemingway’s vignettes function in his story collections, the narrative tendons connecting muscle to bone. I cannot conceive of this book without them.
I can’t either. It was my friend Kathryn Davis who prompted me toward them. She’d read every poem as it was written, and during one of my many stages of hopelessness she said, “I think you should be reading Kafka’s short fiction.” I’d read Kafka’s short fiction before but thought I’d try again, and although I didn’t love it this time around, that was useful to me, because I didn’t feel daunted by him. I read the short-shorts—“The Wish to Be a Red Indian” and others—in bed, where all my mental activity now occurs. My bed usually looks like Proust’s bed; my whole life is lived there. I got my notebook—which I keep around usually for other purposes, because if I let myself think that I might write something I become so paralyzed with longing and despair I can hardly bear it—and I wrote a little prose poem. It was, I thought, terrible, not even worth typing. But I was having dinner with Frank Bidart that night—I’m willing to be humiliated in the presence of my friends—and so before I threw away the prose poem, I thought I’d see what Frank thought. And Frank, as you know, can be a tough critic. He told me I mustn’t throw it out, and after that I wrote a little squadron of them. The book was then very easy to put together. I’d been trying for two years, but I didn’t have that last mode. It didn’t need another large thing, another tone, but it needed another mode, another facet to the prism, another method by which to examine these same materials.

What a bolt of insight for Kathryn Davis to recommend that you go back to Kafka. The frequent playfulness and stabs of comedy in your work are too little noticed, and the same is true for Kafka: Many readers don’t notice how funny he can be. I’m delighted by your dedication to great prose writers. The poetic persona in “A Summer Garden” is reading Mann’s Death in Venice. Do you see a novelist’s sense of narrative as different from your own?
Yes, I think prose writers work with narrative very differently. When I’m trying to put a poem or a book together, I feel like a tracker in the forest following a scent, tracking only step to step. It’s not as though I have plot elements grafted onto the walls elaborating themselves. Of course, I have no idea what I’m tracking, only the conviction that I’ll know it when I see it.

The novelist enjoys a clear advantage over the poet who employs narrative: The novelist has characters who need something, and they have either to achieve their needs or not achieve them. The plot is the pursuit of those needs. The poet doesn’t necessarily have that. I like your image of stalking through the wood, unsure where it ends. The novelist had better see to the end of that wood. Not that there can’t be surprises in what is found there, but better at least to glimpse it in advance.
I depend on that ignorance, on not seeing to the end of the book, because if I have an idea, initially it’s likely to be the wrong idea. I mean my ideas come later, after the fact. Ideas are not a part of how I conceive of a book.

Reading you, and especially these new poems, I’m often in mind of a quip by the English critic Desmond MacCarthy: “It is the business of literature to turn facts into ideas.”
It’s pretty, but I don’t know if that’s what I think. I don’t like that trinity of words: business, facts, ideas. I don’t think literature exactly has a business, and the minute someone says to me what the business is, I immediately want to prove that that’s too limited a notion. For instance, I want to substitute tone for fact. If you can get right the tone, it will be dense with ideas; you don’t initially know fully what they are, but you want by the end to know fully what they are or you won’t have made an exciting work. For me it’s tone—the way the mind moves as it performs its acts of meditation. That’s what you’re following. It guides you but it also mystifies you because you can’t turn it into conscious principles or say precisely what its attributes are. The minute you turn tone into conscious principle it goes dead. It has to remain mysterious to you. You have to be surprised by what it is capable of unveiling. As you work on a book of poems you begin to understand what is at issue, but I don’t have any attitude toward the facts. And if MacCarthy’s terms are correct, I would prefer the notion that a poet turns ideas and abstractions into facts, rather than the other way around.

All through your work, certainly from Ararat on, much of that rhythm happens by the repetition of simple terms. In this new book the same terms appear again and again: silence, winter, mother, father, night. The overlap of personae works the same way, when the poet’s perspective repeatedly intrudes upon and augments the perspective of the larger narrative.
Yes, there’s that overlap, as you say, because over and over there are the same materials, though to my ear they’re passing through a very different lens. More interesting to me than the repeating words (which seem fairly ordinary) are the repeated images. When I put the book together, I was astounded by the internal tapestries. I hadn’t consciously built in those recurrences or echoing gestures and vignettes, but there they were—there was the train, and the train again, and the train was a character. Averno I thought of the same way, actually. It’s not a shaped narrative arc the way some of the others are, but it’s a meditation on a set of conditions and dilemmas, so all the poems revolve around certain repeating images, such as the burned field, which is right out of Henning Mankell. Averno was my homage to Mankell. I tried to use something from one of his books in every one of the poems. Nobody noticed it, which is good, but it was there for me.

In her book Why I Read: The Serious Pleasure of Books, your friend Wendy Lesser speaks about your abiding love of murder mysteries and of Mankell in particular.
Mankell makes me happy. Murder mysteries are a way of releasing the unconscious mind to speculative, shapeless, dreamy seeking by absorbing the conscious mind in a compelling quest. One of the advantages of aging is that you know you’ve read a book, or believe you’ve read a book, but you don’t really remember it. You remember only that you love it. And somewhere near the middle you realize that you actually do remember all of the details of the plot. It’s immensely pleasing to read something you have confidence in, something that won’t disappoint you. The only disappointment might be that you’re missing the thrill of uncovering the killer, but it’s a small disappointment if you love the world that’s being constructed.

In that regard Wilkie Collins is unmatched—one can read his best novels every few years with identical pleasure. He’s better than Dickens in the construction of a thrilling, alternate world that dictates its own stipulations. Do you remember The Woman in White?
And The Moonstone, yes. I read those books first in my adolescence and a few times since then. I bought The Moonstone again when I felt I had exhausted all available murder fiction, and I had trouble getting into it. Maybe I’ll try again. I certainly need something to give competition to the iPad. I seem to be in an iPad period. I don’t read on it. I just watch things that move.

Your legion of devotees might be startled to hear about your iPad.
I was startled myself. I never had the Internet until last year. This is all brand-new for me. The iPad was given to me at a reading. I told the person: “Don’t give this to me. I will never turn it on.” But the person shoved it at me, so then I had it, and I felt sort of responsible to it. So I sat with it for about six months. And then one day I began poking at it. I knew people poked at it. But nothing happened, and I thought: “Well, I just don’t have the gift.” Then I realized I needed some sort of hookup. That took another six months. By this time my niece was in a television show, Orange Is the New Black, which was available only through streaming. It turned out, on this little device, you just press something and there they all were. And it became my bed buddy. It’s really the freakiest thing because I became an addict very fast. At the moment it has usurped the place of reading in my life. Part of me thinks this is dangerous; my own vocation will dissolve. Another part of me thinks this is exploratory, that if my vocation is so fragile or precarious it isn’t a vocation. After all, there were two years when I read nothing but garden catalogues, and that turned out okay—it became a book.

You mean The Wild Iris. I’m certain you’re the only American poet who’s won the Pulitzer after two years of reading nothing but garden catalogues.
Well, there’s something my brain needs in such indulging, so I indulge it. This iPad addiction seems to me endlessly curious. Something may come of it. I’m an opportunist—I always hope I’ll get material out of any activity. I never know where writing is going to come from; it isn’t as though I have something in mind and this iPad is the source. This is just dream time, the way detective fiction is. It stills a certain kind of anxiety and at the same time engages the mind. As the mind is engaged and anxiety suppressed, some imaginative work in some recessed portion of the being is getting done. Not to say that every moment is contributing to a book or a poem, but you can’t know in advance what will. Don’t prejudge your stimuli. Just trust where your attention goes.

You once said to me on the phone, “Follow your enthusiasms.”
I believe that. I used to be approached in classes by women who felt they shouldn’t have children because children were too distracting, or would eat up the vital energies from which art comes. But you have to live your life if you’re going to do original work. Your work will come out of an authentic life, and if you suppress all of your most passionate impulses in the service of an art that has not yet declared itself, you’re making a terrible mistake. When I was young I led the life I thought writers were supposed to lead, in which you repudiate the world, ostentatiously consecrating all of your energies to the task of making art. I just sat in Provincetown at a desk and it was ghastly—the more I sat there not writing the more I thought that I just hadn’t given up the world enough. After two years of that, I came to the conclusion that I wasn’t going to be a writer. So I took a teaching job in Vermont, though I had spent my life till that point thinking that real poets don’t teach. But I took this job, and the minute I started teaching—the minute I had obligations in the world—I started to write again.

The catalyst for Faithful and Virtuous Night was your agon with not writing, with wordlessness.
Yes, I was moaning to my sister about losing words, about the deterioration of my vocabulary. I said to her, “How am I ever going to write when I’m losing words?” and she said, “You’ll write about losing words.” And I thought, “Wow, good, I’ll write about having no speech, about deterioration.” Then it was the most exciting thing, a wealth of material—everything I had been bemoaning was actually unexplored territory. That was the catalyst, as you say, for the whole endeavor—a liberating, a permission. The idea of writing about not writing seemed promising because I knew a lot about those not-writing states, but they were not something I’d ever written about. One of the experiences of putting together my large book of extant poems was an astonishment because my sense of my life, now fairly long, is that almost all the time I’m not writing. I was flabbergasted putting together that large book, nearly seven hundred pages. And I thought: “How can that have happened? When did I write all that?” My feeling concerning my life is that always I was not working. Well, apparently I was.

The gestures of silence lurk everywhere in Faithful and Virtuous Night, as they do in your work as a whole, but is your conception of your own silence a kind of illusion? A seven-hundred-page collection of poems is not silence.
No, it’s real, not an illusion at all. I go through two, three years writing nothing. Zero. Not a sentence. Not bad poems I discard, not notes toward poems. Nothing. And you don’t know in those periods that the silence will end, that you will ever recover speech. It’s pretty much hell, and the fact that it’s always ended before doesn’t mean that any current silence isn’t the terminal silence beyond which you will not move, though you will live many years in your incapacity. Each time it feels that way. When I’m not writing, all the old work becomes a reprimand: Look what you could do once, you pathetic slug.

I recall those lines from “Approach of the Horizon”: “It is the gift of expression / that has so often failed me. / Failed me, tormented me, virtually all my life.”
Do you know Iris Murdoch?

She’s superb. I love the humor in Under the Net.
I’d been rereading all of Murdoch before I began this new book. I often reread a writer—read one book and then want to enter that world more fully. In any case, I can hear Murdoch in those lines you just recited. I love The Black Prince, A Severed Head, The Green Knight, even strange things such as A Word Child. There’s something in her archness, not a tone I’d normally think to emulate, but there’s something delicious in it. Her people might be murdering and raping but really they’re thinking about what goodness is in the world, bizarre juxtapositions of that kind. Something of her got transferred to this new book. It’s a matter of tone. The interest of the poems is in the tone in which large pronouncements are made, not necessarily the pronouncements themselves. The pronouncements are constantly being scrutinized by the tone, which is taking objection to some of the things being said. It’s not a book in which large bannerlike truths are being unfolded.

There’s a disciplined seething detectable just beneath the surface of these new poems, a fervency of feeling we know is there just as we know distant planets are there—not because we can see them but because they cause a bending, a wobble in the light of their stars. In these new poems, the tone, the pitch is bent to reveal the seething beneath it. The book has such a patient turbulence.
That’s nice, a patient turbulence. It’s there as a background but the whole book seems to me to be about moving beyond that turbulence, or that seething, as you say, and into this uncommon zone where you’re on a horse flying through the air. How did that happen? What’s distinctive in this book is that sense of dreaminess. But there are two parallel issues regarding silence: one is the silence that is the faltering of a gift or a need for expression, and there’s also silence that is the result of deterioration, a faltering in the being that is a product of age. Although I’ve been writing about death my whole life, deterioration or the weakening of the powers is brand-new to me. The subject is gloomy, I suppose, but new material is exhilarating. The quality I feel most intensely in this book is a quality of euphoria, a floating, a whimsy. It’s an undertaking of a large adventure, which is the adventure of decline. It seems an oxymoron, I know, and will come to seem a gloomy fate, but now—as long as it produces something of which you’re proud, you’re grateful for it, delighted by it. 

You said once that the life of a poet oscillates between ecstasy and agony, and what mitigates those extremes is the necessary daily business of living.
Yes. Friends, conversation, gardens. Daily life. It’s what we have. I believe in the world. I trust it to provide me.

William Giraldi is the author of the novels Hold the Dark, published in September 2014 by Norton, and Busy Monsters (Norton, 2011). He is the fiction editor for the journal AGNI at Boston University.

 

Far From Ordinary: A Profile of Tracy K. Smith

by

Renée H. Shea

2.10.15

Tracy K. Smith was twenty-two when her mother died in 1994. Nearly a decade later, she published The Body’s Question, her first book of poetry, in which she reflected on that loss. In “Joy,” which carried the epigraph “In Memoriam KMS 1936–1994,” Smith writes to her mother, longing to “pick up the phone / And catch your voice on the other end / Telling me how to bake a salmon / Or get the stains out of my white clothes.” Another decade later, she returns to that wrenching loss in the memoir Ordinary Light, published this month by Knopf. Smith’s first book of prose, it is a book of excavation and navigation: The poet revisits her mother’s passing in light of her father’s death in 2008, the year her daughter, Naomi, was born, and in light of the birth in 2013 of her twin sons, Atticus and Sterling. 

Smith, who characterizes herself as having been “still an adolescent” when she lost her mother, believes “it took losing my father to help me come to better grips with that first loss and think about what I needed to believe my mother’s life and her death had imparted.” And now, with three children of her own, Smith wishes her mother were nearby to consult about practical parenting concerns, but of course that wish goes deeper: “I want to think actively about the continuum to which I belong—the one that includes my mother and her mother and sisters and their ancestors—and also my children. In my mother’s absence, I want to cement that connection, and words are the best glue I know.” 

But why prose? She’s already written poems about her mother, and her Pulitzer Prize–winning Life on Mars is, in many respects, an elegy for her father. A memoir in verse offered an intriguing form, one that is familiar territory—Rita Dove’s Thomas and Beulah (1986) and, more recently, Jacqueline Woodson’s Brown Girl Dreaming, which won the 2014 National Book Award, are exemplary—but Smith credits the influence and encouragement of the German writer Hans Magnus Enzensberger, her mentor in the Rolex Mentor and Protégé Arts Initiative, for emboldening her to venture into prose. Smith had never heard of the mentorship program, which pairs older masters with younger artists under forty, until 2008, when she was nominated and flown to Munich along with two other finalists. Each had an interview with Enzensberger and then all four went to dinner, an experience that Smith insists turned into more camaraderie than competition. 

She and Enzensberger have become great friends after what sounds like a jet-setting year of being flown to many of the places where he had speaking engagements: “We rendezvoused in Tenerife and Paris, and gave a reading together at the public library in London. We spent much of a summer in Munich, where he lives, working on the book and getting to know each other.” In addition to face-to-face meetings, the two e-mailed back and forth, with Smith sending him parts of her work for comment. The idea she began with was, by her own description, “a big, ambitious mess” about a whole range of experiences, but Enzensberger urged her to focus discrete memories toward “a narrative with characters that moved beyond the private realm to take in and consider the relevant public history.” 

From the beginning, Smith says, she knew she wanted to write “genuine prose,” possibly because some of what she wanted to explore had already been unearthed in her poetry. “But I also wanted to embrace a fuller sense of myself as a writer,” she says. And she wanted to work within “sentences, clauses, paragraphs, the whole to-do,” since, as she writes in Ordinary Light, “Being able to tell a good story was currency in my family.” Prose gave her a certain amount of freedom to explain and elaborate. She realized how much she relies on metaphor in her poetry to evoke “a strange, powerful sameness between two otherwise disparate things.” In prose, she initially felt reluctant to elaborate on an image or interrogate statements she made, but soon discovered her expansive abilities. “I learned that prose can bear the weight of much more explication,” she says. “I can think and rethink, even second-guess or analyze something on the page in prose without going overboard. The sentence, in prose, can be as tireless as an ox.”

Enzensberger recognized, perhaps before Smith herself, that her story was about her family, with her mother as the central character. Smith opens Ordinary Light with her mother’s deathbed scene, the family’s vigil during the final hours of her mother’s life, remembered twenty years later:

Then we heard a sound that seemed to carve a tunnel between our world and some other. It was an otherworldly breath, a vivid presence that blew past us without stopping, leaving us, the living, clamped in place by the silence that followed. I would come back to the sound and the presence of that breath again and again, thinking how miraculous it was that she had ridden off on that last exhalation, her life instantly whisked away, carried over into a place none of us will ever understand until perhaps we are there ourselves.

From that solemn moment, Smith circles back to her childhood as the adored and indulged baby in a family of five children and, further back, to her parents’ coming of age in Alabama at the dawn of the civil rights movement. Dedicated to her daughter, Naomi, Ordinary Light began as a way for Smith to bring her parents back to life, “to reconstruct them,” as characters for Naomi. “At least that was my intention,” Smith says, “though in the execution it has become a book about me—about excavating my own experiences, anxieties, and evolving beliefs.” 

When asked about the title, she hesitates, musing that “maybe it’s the feeling of wholeness and safety and ongoing-ness that we slip into sometimes in our lives.” But after Smith settled on Ordinary Light as her title, she added an opening quote from James Baldwin’s “Sonny’s Blues,” one of her favorite short stories. As Baldwin’s narrator recalls the perfect family Sunday afternoons of his childhood when all’s right with the world, he cautions: “But something deep and watchful in the child knows that this is bound to end, is already ending. In a moment someone will get up and turn on the light.” In her new memoir, it is this moment that Smith explores for herself and her own children—the moment when we hear the tiger at the door.

***

In many ways, Smith seems to have lived a charmed life. Her father retired from the Air Force at forty-five because he did not want to uproot the family once again by accepting an overseas post. Trained as an electronics engineer, he found a job in Silicon Valley, eventually working on the Hubble Space Telescope. Her mother, while active in her church and community, did not work outside the home except for a short stint as an adult-education teacher. Tracy, eight years younger than her closest sibling, recalls a childhood when “all of my siblings doted on me, then left for college. So I had this abundance of attention for a time, and then a period of abundant solitude.” A participant in gifted programs throughout her public school education, she graduated from Harvard College in 1994 with a BA in English and American Literature and Afro-American Studies. After an extended return home following her mother’s death, Smith attended Columbia University, earning an MFA in 1997; she went on to a two-year stint as a Stegner fellow at Stanford University. She taught at Medgar Evers College in Brooklyn, New York, and at the University of Pittsburgh before joining the faculty at Princeton University in 2005, where she is currently a professor of creative writing. 

Smith has published three collections of poetry—The Body’s Question (2003), Duende (2007), and Life on Mars (2011), all with Graywolf Press—each receiving critical acclaim and significant literary prizes. In the introduction to her first book, which won the Cave Canem Poetry Prize, poet Kevin Young, the contest judge, heralded an exceptional new voice:  “Smith is a maker, a wordsmith of the first order.” In 2012, Life on Mars won the Pulitzer Prize for poetry. Two years later Smith received an Academy of American Poets Fellowship. Among her other awards and fellowships are the James Laughlin Award from the Academy of American Poets, the Rona Jaffe Foundation Writer’s Award, an Artist’s Residence at the Fundación Valparaíso in Spain, and an Essence Literary Award. 

Smith had a series of mentors even before her time with Hans Magnus Enzensberger, as she developed her identity as a poet. A reader from the outset (one of the chapters in Ordinary Light is titled “My Book House”), she experienced a sort of epiphanic moment in college when she read Seamus Heaney’s poem “Digging.” She describes how everything in that poem—the male speaker, the Irish setting—should have been completely foreign to her, yet, she says, “I felt so much a part of the landscape and the family he was describing that I realized this was what I wanted to do with language.” Ultimately, she got to know Heaney as one of her teachers. At Columbia, Mark Doty became, and remains, an important influence and mentor to her, someone who she says is “so generous and present” to his students. 

Yet the seemingly idyllic life of Smith’s nuclear family—“us as an invincible unit,” is how she describes them in Ordinary Light—can prepare, though never entirely protect, its members from the loss of certainty and security and, especially, the realities of racial politics. Smith is known for sharpening a political edge in her poetry, whether she’s writing about science fiction, pop culture, or current events, and this memoir is no exception. “In writing this book, I was forced to speak about and into many of the silences that ran through my life: silence about race, silence about the painful features of African American history, silence about my own choice to turn away from or reenvision the religious faith I was raised in,” she says.

One of the side effects of the memoir, Smith discovered, is that her adult perspective remained active even when she was writing about childhood: “So Tracy the citizen was allowed to engage with these private stories, just as Tracy the mother was allowed in at times,” she says. What she calls “shifting subjectivities” becomes especially clear when she writes about returning as a child to Alabama, where her parents grew up, to visit her large extended family (her mother was one of thirteen siblings): 

I was ten years old, living with a vague knowledge that pain was part of my birthright, part of what was meant by a word like Home. It was not the kind of beautified self-inflicted angst that can transform a girl into a swan or a doll or an ice princess in the ballet…. No, what I felt, what I feared and discerned, even from my rather far remove, was the very particular pain that was tied up in blood, in race, in laws and war. The pain we hate most because we know it has been borne by the people we love. The slurs and slights I knew were part and parcel of my parents’ and grandparents’ and all my aunts’ and uncles’ lives in the South. The laws that had sought to make people like them—like us, like me—subordinate. 

“Growing up black in America is inherently political,” Smith says, and her own experience proved that collision with that reality is not limited to the South. In Ordinary Light, she remembers the sting she felt when one of her high school teachers in Northern California offered faint praise as encouragement by pointing out, “You’re an African American woman. You should take advantage of the opportunities that will bring you.” Even as she received one acceptance after another to impressive schools, including Harvard, Smith writes that this man’s “voice whispered in the back of my mind whenever the word diversity was printed among the catalogue copy.” 

Through writing Ordinary Light Smith has also come to some peaceful terms with the fierce religious faith that guided her mother’s life. Even as a child, she struggled to understand her mother’s devotion, especially regarding the concept of salvation, “when the world of my family was the only heaven I needed to believe in.” As an adolescent and young college student, Smith felt the growing distance from her mother in her sense of religion as something imposed, even oppressive. Writing Ordinary Light has helped her appreciate the key role of the African American church of her parents’ era in fostering a sense of family, community, and discipline “in a world full of disparities.” Even her father, with his systematic, orderly mind, Smith says, prayed with and read the Bible to his children. He was a man grounded in both the worlds of science and faith. In Ordinary Light, we meet the meticulously ordered world that her parents, especially her mother, created for their children, inspired, in many ways, by their religious beliefs: “a life that would tell us, and the world, if it cared to notice, that we bothered with ourselves, that we understood dignity, that we were worthy of everything that mattered.” 

Smith believes that the process of writing the memoir helped her codify some of her own beliefs and anxieties about religion and to speak “honestly” about how she sees God—something she needed to do for herself but that has also helped her decide what elements of her religious inheritance she wants to offer her children. “I hope they will bring their own ideas and feelings to the conversation,” she says. “I don’t want to subject them to the hard-and-fast, top-down approach to belief that repelled me.” Would her mother, who grew more religious after her cancer diagnosis, approve? Smith’s not sure, though her siblings have responded positively to the book, and she believes that “much of what the writing has urged me to discover along the way would make perfect, familiar sense to my mother.”

***

Coming at a difficult time in her life, when her first marriage had ended, the offer of a position at Princeton was, Smith says, “a benediction that my life would go on, that everything would be okay.” So far, it’s been more than okay. She relishes teaching: “Let’s just be honest and say that we academics have the best, most humane work schedule in the world, and I get to spend my workdays talking to smart young people who are devoted to the very same thing I love.” Admitting that Princeton’s faculty roster of luminaries is “pretty daunting,” she characterizes her colleagues as “happy and fulfilled and therefore very generous” and feels part of the family: “I feel that I’ve grown up at Princeton. I came here with one book. I was a child. That’s a paradigm I’m comfortable with, being the youngest of five kids, and so the eminence of my colleagues felt right, familiar. I’ve always been in the position of admiring the people around me and striving to play catch-up.” Her colleagues apparently agree. Poet and New Yorker poetry editor Paul Muldoon, who invited Smith to do her first public reading of Ordinary Light last December at the Irish Arts Center in New York City, describes her as “a truly exceptional poet, with an eye for the arresting image that puts most of us to shame,” noting also her commitment to teaching: “My office is right beside hers, so I have a sense of her being a teacher who is at once diligent and delighting in her work.”

Last summer Smith became a full-fledged member of that community in a more rooted way when she and her family moved from Brooklyn, New York, where she had lived for fifteen years, to Princeton. She doesn’t really miss the city, and she’s a bit surprised. Apart from the practical reality that she and her husband, Raphael Allison, a literary scholar and poet, were driving to New Jersey to teach every day while their children were in Brooklyn, she says she was emotionally ready to leave: “I have so much more mental space and more patience, now that we’re living in a house and surrounded by so many trees. I used to pity New Yorkers who moved to the suburbs: I had the smug idea that they were ‘giving up,’ but now I think how much of an inherent struggle it assumes, and I chuckle.” Tina Chang, one of Smith’s best friends and poet laureate of Brooklyn, understands, though she says she went through her own “mourning” process when her friend moved. “As always, we write letters and allow our writing to lead us through our friendship,” Chang says. “What has always been interesting to me is that Tracy can occupy any physical space, and her mental space follows. Whether her body occupies India, Mexico, Brooklyn, or Princeton, her poetry fills up that geography, illuminates it, and makes it more alive.” 

So, with most of the boxes unpacked, full-time teaching under way, and three young children in tow, Smith is already contemplating another prose work, and she’s on to more poetry projects. New poems are included in a folio that accompanies a Smithsonian exhibition of Civil War photos called Lines in Long Array: A Civil War Commemoration, Poems and Photographs, Past and Present and in an anthology about Thomas Jefferson’s Monticello that is forthcoming from the University of Virginia Press. She is also working on a translation of poetry by contemporary Chinese author Yi Lei and has signed on as librettist for an opera about the legendary 1960s battle between the disparate visions for New York City of urban planner Robert Moses and journalist and activist Jane Jacobs. Although most would be content to accomplish in a lifetime what Smith has already achieved, she considers herself at the end of the first part of her career, and she’s thinking ahead. She’s always been drawn to questions of what we leave behind, what it means to survive, to endure. In her poem “Letter to a Photojournalist Going-In,” from Duende, the speaker wonders if all we do is “kid ourselves into thinking we might last.” But Smith seems more like the tiny creature in “Flores Woman,” who defies the inevitability of her own extinction: “Like a dark star. I want to last.” 

Renée H. Shea is the coauthor of a series of textbooks for Advanced Placement English, most recently Conversations in American Literature: Language, Rhetoric, Culture (Bedford St. Martin’s, 2014). She has profiled many authors for Poets & Writers Magazine, including Julie Otsuka, Chimamanda Ngozi Adichie, Edwidge Danticat, and Maxine Hong Kingston.

Tracy K. Smith

(Credit: Christy Whitney)

A Slender Hope: A Profile of Chimamanda Ngozi Adichie

by

Renée H. Shea

7.1.09

Chimamanda Ngozi Adichie received the call on her thirty-first birthday, last September. She was taking a bath at her sister’s house in Lagos, preparing to go to dinner, when her brother told her she had an important call from Chicago. Wrapped in a towel, she grabbed the phone through a barely open door and heard from the MacArthur Foundation that she’d received one of its five-hundred-thousand-dollar fellowships, known as genius grants. With that call, Adichie joined a diverse group of scientists, artists, humanists, teachers, and entrepreneurs, as well as writers—company that still amazes her: “Half the time I think I shouldn’t be there. When I was in Lagos, anytime something happened, like the TV wouldn’t work, my friends would ask, ‘Well, what does the genius think?’”

Photos by Doug Barber.
 

Although she was shocked at receiving a MacArthur, Adichie should have been used to hearing such news. Her debut novel, Purple Hibiscus (Algonquin Books, 2003), a coming-of-age story about a Nigerian girl who must endure the cruelty of her evangelist father, was long-listed for the Booker Prize, short-listed for the Orange Prize, and won both the Hurston/Wright Legacy Award and the Commonwealth Writers’ Prize. Three years later, her follow-up novel, Half of a Yellow Sun (Knopf, 2006), a story set in Nigeria during the Biafran War in the late 1960s, won the Orange Broadband Prize and was a finalist for the National Book Critics Circle Award. More than that, its publication marked her arrival as one of Nigeria’s most important voices.

Recently she returned to the United States, where she lives part time, to promote her June release, The Thing Around Your Neck (Knopf), a collection of short stories, some originally published in magazines such as the New Yorker, Granta, the Virginia Quarterly Review, and Zoetrope. She had been on tour in England, Scandinavia, New Zealand, Australia, and Canada for the book’s overseas publication earlier this year. Accustomed to being in transit, she divides her time between Nigeria and Maryland, where she lives with her partner, a family physician, who practices there. “I’m so emotionally invested in Nigeria as a country and society, which I feel has so much potential it hasn’t lived up to, that sometimes it gets exhausting. There’s so much to do, and I want to be involved. But then I find I need to leave to have some space. I quite like America, my home of convenience, where I don’t have to deal with things like electricity shortages.”

Adichie grew up piecing together “tiny stories,” as she describes them, about the Biafran War, which raged from 1967 to 1970 and ended almost a decade before she was born. The conflict resulted from ethnic tensions among the Christian Igbo population in eastern Nigeria, which seceded to form the Republic of Biafra, and the largely Muslim Fulani-Hausa in the north. At least a million people, mostly Igbo, died from massacres and starvation during this brutally violent period, though some estimates put that figure as high as three million. Both of Adichie’s Igbo grandfathers died as refugees who had to flee their hometowns. Her grandmothers survived and, as she says, “somehow kept children and relatives together. My parents, part of the postindependent [Nigeria gained independence from the United Kingdom in 1960], hopeful middle class when the war started, lost most of their property”—in addition to family and friends.

Her parents rebuilt their lives and raised a family of six children. Her father was professor of statistics at the University of Nigeria, Nsukka, where he was appointed vice-chancellor in 1982, and her mother became the first woman registrar. The fifth of the six children, Adichie grew up speaking both Igbo and English. She recalls the thrill of reading Chinua Achebe’s Things Fall Apart, the groundbreaking novel about the clash between Igbo tradition and British colonialism, when she was ten years old. “I realized that people who looked like me could live in books.” But her parents encouraged her to pursue a practical career, so writing had to wait.

She began studying to be a doctor in Nigeria but, urged by her sister Ijeoma, came to the United States on a scholarship to Drexel University, in Philadelphia. She transferred to Eastern Connecticut State University, in Willimantic, where she lived with her sister and her sister’s husband, and took care of their son while they started a medical practice. During that time, she wrote Purple Hibiscus, reworking it during her tenure as an MFA student at Johns Hopkins University, in Baltimore.

Set around the mid-1990s, when Nigeria was under the control of a junta led by General Sani Abacha, Purple Hibiscus is narrated by fifteen-year-old Kambili Achike, whose father, Eugene, is both a courageous champion of human rights and a religious zealot who terrorizes his wife and children. Kambili, though desperate for her father’s approval, cannot measure up to his impossibly high standards: “I needed him to hug me close and say that to whom much is given, much is also expected. I needed him to smile at me, in that way that lit up his face, that warmed something inside me. But I had come second. I was stained by failure.” After a military coup, Eugene sends his children to stay with their Aunty Ifeoma, an outspoken university teacher, who introduces Kambili to “a different kind of freedom,” including traditional religious beliefs and more humane and expansive relationships. Even in this debut novel, Adichie depicts characters whose personal lives are played out on the larger canvas of a society beset by corruption and violence.

Moving back in time, Half of a Yellow Sun takes its title from the flag of the doomed Republic of Biafra and tells the story of the civil war from three interconnected perspectives. The main characters move back and forth between the earlier more peaceful part of the decade and the bloodshed that ended the 1960s. Adichie, who spent four years researching and writing the novel, tells the political saga through the lives of well-to-do twin sisters Kainene and Olanna, the urbane, intellectual Odenigbo, and the white British journalist Richard as their comfortable lives unravel into a struggle for survival. At the center of the novel is Ugwu, a thirteen-year-old who comes from a poor rural village to work as Odenigbo’s houseboy and is eventually conscripted into the Biafran army. Reviewers praised the novel for its epic scope. Rob Nixon, writing in the New York Times, lauded Adichie for positioning “her characters at crossroads where public and private allegiances threaten to collide.”

Adichie says she always knew she would write a novel about Biafra. At sixteen, she wrote what she describes as “an awfully melodramatic play” called “For Love of Biafra,” and earlier in her career, she wrote short stories that dealt with the war. In “Ghosts,” one of the stories in The Thing Around Your Neck, she revisits this time period with a meeting between a seventy-one-year-old mathematics professor retired from the University of Nigeria and a colleague, who was assumed to have died as a result of the 1967 violence but had, in fact, been living in exile. Adichie says this story is “in some ways a love letter to my father,” and the tenderness of that tribute comes through in the professor’s reflections on his past:

 

We hardly talked about the war. When we did, it was with an implacable vagueness, as if what mattered were not that we had crouched in muddy bunkers during air raids after which we buried corpses with bits of pink on their charred skin, not that we had eaten cassava peels and watched our children’s bellies swell from malnutrition, but that we had survived. It was a tacit agreement among all of us, the survivors of Biafra.

 

That period has remained a powerful political issue in Nigerian society, but Adichie felt that the conversation about it retained “an implacable vagueness” and was largely uninformed, particularly for her generation. Half of a Yellow Sun, which was well received in Nigeria, changed that to some extent. “I often get feedback from friends, from friends of friends, about how the novel has become a starting point for talking about the war. My Nigerian publisher told me about a family in Lagos—the man is a newspaper publisher. Their daughter read the book and asked her mother about the war. To the husband’s surprise, she began to tell their daughter stories of what her family went through—yet he had never heard these in all the years of their marriage.”

In a 2007 article, Vanity Fair featured Adichie—along with Doreen Baingana, Uzodinma Iweala, and Helon Habila—as part of the new generation of young writers leading an African literary renaissance. The piece described Adichie at a literary festival in Nairobi, looking “radiant, fresh off her rock-star-style tour of Nigeria and splashy New Yorker debut…part[ing] the crowds, Cleopatra-style” and hailed her as the heir to her countryman Achebe, whose Things Fall Apart celebrated in 2008 fifty years of continued popularity and influence.

Adichie says Achebe is her hero and guiding literary spirit. While there is remarkable variety in the work being written by the Nigerian authors in her generation, Adichie believes they all share a certain freedom that was forged by Achebe’s writing. “When Achebe published Things Fall Apart in 1958, it was a novelty,” she says. “There may have been five other African writers writing in English. I can’t imagine what it must have been like for people like him, feeling they had this burden of responsibility, of being a pioneer, thinking, ‘the dignity of my people rests on my shoulders.’ I don’t have that burden. I’m not representing anyone—and I owe this freedom to that generation.”

Most of the twelve stories in The Thing Around Your Neck focus on contemporary situations, whether the setting is Nigeria or the United States. They explore the subjects of immigration and exile, shifting values, and cross-cultural communication among families and communities. In “A Private Experience,” two Nigerian women—one a privileged Igbo student who is visiting her aunt while on holiday from her medical studies, the other a poor Hausa trader from the marketplace—find themselves hiding together during a violent riot provoked by a man who drives over a copy of the Koran that had dropped on the street. Based on an actual incident in northern Nigeria, the story explores the brief intersection of these women’s lives during a dramatic moment that links them regardless of their tribal, religious, economic, and educational differences. “Sometimes we like to say we’re really not different,” says Adichie. “I think we are, yet what interests me is that we still can make connections.”

“Cell One,” one of two stories previously published in the New Yorker, depicts a well-off family whose son, Nnamabia, is a member of a gang whose members “had mastered the swagger of American rap videos [and] were undergoing secret and strange initiations that sometimes left one or two of them dead.” Nnamabia, the spoiled brother of the female narrator, is arrested after a gang shooting. Although it is unclear whether he is guilty, in prison he experiences the corruption of the prison guards and finally confronts his own selfish and irresponsible behavior when he speaks up for another inmate who is being brutalized by them. At the story’s end, he seems deeply changed, but can he sustain this transformation? “I believe in redemption,” Adichie says quietly, then adds, “I’m very suspicious of excessive happiness. The way the world works is a struggle, but I believe in hope—in slender hope.”

In many of these stories, hope seems in scarce supply when it comes to marriage. The wife in “Imitation” tries to take in, via long distance, the news that her husband’s mistress has moved into their home in Lagos while she waits for him in their affluent home on Cherrywood Lane in suburban Pennsylvania. In “The Arrangers of Marriage,” a new wife resists changing her name
from Chinaza to the Americanized Agatha, only one demand made by her husband in an effort to speed up her assimilation—and acceptability. Patriarchal attitudes seem to dominate, regardless of the Nigerian or American setting, as an expression of the imbalance of power, particularly when sex is part of the bargain.

“I’ve always had a problem with marriage as an institution,” says Adichie. “The way it’s set up, women automatically make more compromises than men.” Despite the inspiring model of her parents’ forty-five-year marriage, she gets angry at the way our society makes a fetish of marriage. “Undue privilege is awarded to married people in so many ways. I’m all for partnerships as long as they’re mutually beneficial, satisfying, respectful. I’m part of a couple and I’m quite happy, but I also think I could be quite happy if I were not part of a couple. In Nigeria, sometimes women act as if their lives are complete because they’re married—and it’s just not true. Maybe it’s the feminist in me, but I see the lies that people tell themselves about marriage and think how unwilling we are to admit that it’s not always a perfect thing.”

Although the subject is different, a similar fierceness fuels the story “Jumping Monkey Hill,” whose title refers to the name of a resort, where an aging British intellectual and his wife lead an African writers workshop. As two narratives unfold—the third-person narrative that describes the workshop and the story that the Nigerian participant Ujunwa Ogundu is writing—so does a brutal indictment of postcolonial paternalism. In the final scene, the pompous academic dismisses Ogundu’s story, saying, “This is agenda writing, it isn’t a story of real people.”

“That is the one story propelled by rage,” Adichie says. “I’m not interested in writing about myself, but that one is personally based on what really did happen to me. I felt diminished.” In fact, she had to change her thinly disguised portrayal of the workshop leader before Granta would publish it because of fear of a lawsuit. She still makes no apology for the unflattering depiction: “For me it’s about who is policing the production of literature, who is saying what is acceptable, especially for Africans. If someone tries to tell you what your own story should be, that’s ridiculous.”

Adichie takes her commitment to authentic storytelling well beyond her own writing. Along with her efforts to promote literacy in Nigeria, for the past two years she has led workshops in Lagos for aspiring writers. In 2007, when Fidelity Bank invited her to give a reading, she agreed but said she wanted to do more for the community. She proposed a series of workshops “to help writers polish their craft, to give them a chance to be with other writers, to demystify the publishing process—and hopefully to get them comfortable with the idea of being read by others.” The first workshop was advertised with no requirement other than a brief writing sample—and over two hundred applied. Adichie chose twenty-five participants and had enough success that the bank agreed to expand the project. In 2008, applicants exceeded seven hundred, mostly from Nigeria but a few from Cameroon and Zimbabwe. Dave Eggers from the United States, Binyavanga Wainaina from Kenya, and Marie-Elena John from Antigua joined her as guest faculty serving a group ranging in age from eighteen to fifty. “Friendships formed. People exchanged books and stories. One person from the first summer ended up at the Iowa Writers’ Workshop, another just published his first novel in Nigeria,” Adichie says. “Some participants formed Web groups where they continue to read and support one another. So I like to think that their writing lives are better, in general, because of the workshop.”

Nigerian Breweries has signed on as sponsor for the next three years, and this September Eggers will return along with other international writers. The workshops received wide media notice, and the accompanying literary events during the evenings drew substantial crowds. Adichie says the attention has been both “moving and humbling” but also useful. “Being known has given me a platform to talk about the things I care about, which is an incredible luxury.” For Adichie, success has meant more than making a name for herself as an author. It has given her the ability to see her slender hope realized in the lives of her fellow Nigerians—and to see the rest of us inspired by her work.

 

Renée H. Shea, professor of English and modern languages at Bowie State University in Maryland, has written profiles of Andrea Levy, Rita Dove, and Sandra Cisneros, among others, for Poets & Writers Magazine. She is coauthor of the book The Language of Composition: Reading, Writing, Rhetoric (Bedford/St. Martin’s Press, 2007).

A Great Good: An Interview With Jacqueline Woodson

by

Rigoberto González

8.17.16

Jacqueline Woodson is the author of more than two dozen acclaimed books for young adults, middle graders, and children—a body of work that places African American characters at the center of richly drawn narratives that have helped young readers engage with real-life situations such as interracial relationships, child abuse, poverty, and homosexuality.

Her own childhood story—she was a precocious daughter of parents in a troubled marriage, who found solace in the imaginative world of books, and eventually in writing—forms the basis of her New York Times best-selling memoir Brown Girl Dreaming (Nancy Paulsen Books, 2014), which won a National Book Award, the Coretta Scott King Award, the Newbery Honor Award, an NAACP Image Award, and the Sibert Honor Award. Brown Girl Dreaming also traces Woodson’s journey from Ohio to South Carolina to Brooklyn, an eye-opening childhood in which she learns, among other things, about the regional differences of the black experience during the 1970s.

With the release of Another Brooklyn (Amistad), her first adult novel in twenty years, Woodson revisits that important period of dramatic social changes. August, a young black girl who moves with her father and brother from Tennessee to the culturally rich Brooklyn neighborhood of Bushwick, comes of age during a time when her empowerment as a black woman offers new freedoms as well as familiar demons: classism, racism, and sexism. Another Brooklyn follows August as she learns the hard lessons of adolescence, uplifted by the strength of her girlhood friendships and guided by her family’s religious conversion. All the while, the terrible truth of her mother’s fate back in Tennessee weighs heavily on her emotional well-being.  

I sat down with Jacqueline Woodson at her home in the Park Slope neighborhood of Brooklyn for a conversation about her new book, New York City’s literary legacy, gentrification, Islamophobia, and happiness.

The dedication of Another Brooklyn reads “For Bushwick (1970–1990) In Memory,” which covers the span of August’s coming-of-age in the novel. The reader also gets to observe Brooklyn come of age, as it negotiates the changes and challenges of those eras, through the perspective of a young black woman—a point of view that’s relatively absent from the portrayals of Brooklyn in literature. What drew you to tell this story at this stage of your career? Why this book now?
The Bushwick that’s on the page is a true place, as it exists in the book. I wanted to put that on the page in its true existence because when a neighborhood becomes gentrified, its new inhabitants think they’ve discovered someplace new, but that place had a story before them. Bushwick is its own character, and this book is one of its biographies. I wanted to pay homage to the Bushwick I grew up in, so my dedication also suggests this book is an elegy to a place and time that is no longer with us. Overlaid on that biography is the narrative of the four girls, which is fiction. After having written Brown Girl Dreaming, which is a memoir, I really wanted to move away, just for a moment, from children’s literature and explore something I felt was invisible, which is the story of the black girl in Brooklyn. 

In the novel, we meet August as an adult looking back at the place where she grew up. But what does Jacqueline Woodson have to say about the Bushwick of today?
August in the book is looking back with a kind of melancholy or longing for this intensity of that period she lived through. Jacqueline Woodson looking at the place now—I look at it in wonder because I still go to my old neighborhood a lot and I’m just surprised by the fact that I grew up with white flight. Most of New York City was on the edge of white flight at the time, but now I’m watching the reverse of white flight, with white folks coming back into the neighborhoods their ancestors fled from. It makes me marvel at how cyclical everything is.

I’m trying to place Another Brooklyn as part of the borough’s writer-of-color lineage. I see Paule Marshall’s Brown Girl, Brownstones, published in 1959, and there are a few contemporary works, such as Daniel José Older’s Shadowshaper, but one has to really dig hard to find those narratives that are not centered on white characters. What areas need that literary attention in order to expand what is celebrated as Brooklyn’s—and New York’s—cultural heritage?
There is so much territory left to explore in New York City in general. I feel like Brownsville is not on the page, East New York is not on the page; there are stories from the Bronx and Harlem, but since Down These Mean Streets by Piri Thomas not enough books about the black NYC experience are getting talked about. DJ does a great job in Shadowshaper, writing the black Latino perspective on the page, but we need more. Even in the Bushwick I grew up in there was a larger Dominican, Puerto Rican, and Ecuadorean population—I would love to see those stories, that Brooklyn.

And I’m even remotely interested in the vision of the kids of the hipsters who are growing up in those neighborhoods now. I know their stories are not going to be my story because of our differences in class and race, but I feel they too are part of all of these deep pockets that are not represented. I’m waiting for more stories from Queens—from Jackson Heights and the Hindu population. There’s so much that still needs to be told in order to shape this city in a way that’s nuanced. We still have a pretty flat narrative.

There are a few parallels between Jackie’s story in Brown Girl Dreaming and August’s in Another Brooklyn: Both young black women have roots in the South and eventually journey north with one parent. One gives shape to her memories through her affinity for language, the other comes to terms with her losses through her knowledge as an anthropologist of the rituals of death and dying. Agency is an important fire in your work. So is memory. How do you see these as critical components of a young black woman’s experience?
Starting with memory, when you look at who we are as a people and how we got here and what we were allowed to hold on to: We were allowed to hold on to our spirit—a certain amount—and we held on to our memory. No one could take that away unless they beat us unconscious. I believe in genetic memory, that our ancestors are pretty much with us. And I believe in asking questions about the past to make historical connections because that’s what gives us strength. And in terms of agency, I grew up in the 1970s, which was so much about black power—taking your power, owning your power, making yourself visible in the world even if the world wasn’t reflecting you back. So as a writer I feel that every time I sit down to tell a story it is to create that mirror for myself and for other readers who have historically not seen themselves in the pages of literature, and to talk about how badass we are, because there’s so much strength in being a person of color and having survived.

Another Brooklyn is being marketed as an adult novel. But with contemporary YA novels being edgier, taking risks that keep their stories ahead of their time, could you imagine your younger fans reaching for the latest Jacqueline Woodson title? Is the YA designation fast becoming a fuzzy category?
Oh, I think I see my audience reaching for this book the way I once reached for Judy Blume’s Forever—“Wait, she has an adult book? There might be some sex in it!” So I definitely see that happening. Also, having been publishing for twenty years, my population has grown up now, they’re adults. So I definitely see them reading it. But I do think that distinction between YA and adult is fast becoming a fuzzy line in terms of subject matter. There are still differences in the approaches to writing the two narratives, but today’s YA author is claiming more permission to take risks in order to keep up with a changing world, which is why our books continue to be banned. 

Is Another Brooklyn an adult novel because of the treatment of sexuality? Not only August’s own sexual desires but also all of the lessons August learns about women and their bodies: from Muslim women, from prostitutes, from her own friends who are experimenting and pushing boundaries. Why is this still important work to do on the page?
For too long we were given the wrong messages about our bodies, especially as women of color, and I wanted to show that a girl’s sense of her body is really shaped by the outside gaze, by the mirrors in her community. But I also wanted to show her agency and the way women can come together more powerfully. At one point in the book I have August with her girlfriends, and she’s thinking about how boys don’t understand why girls cover themselves even when they’re alone. It’s important work to do on the page because we are sexual beings and we have a right to be so and to walk through the world with these bodies. Living in the age of Beyoncé is really exciting for me—she’s not only celebrating the black body, but also the big body. I grew up with Twiggy as an idea of what is a beautiful body, but thankfully I also had Angela Davis and Diahann Carroll. I was informed differently, but when I’m coming to the page—because the narrative is so much bigger than real life—I have a responsibility to write what I believe in, in terms of representing more fully who we are as women.

There are so many rich layers to the life of August—her girlfriends, her brother, her love interest, the father’s love interests. She’s at the center of a complex support network, but one character who really stands out is Sister Loretta, who guides the family through their conversion to Islam. August says, “My Muslim beliefs lived just left of my heart,” meaning she understood everything that religion was providing for her and her brother, including structure and a mother figure. Was this a decision that came about given this country’s escalating Islamophobia? What do you hope readers take away from this encounter with a black Muslim family?  
It’s really a scary time to be living in. And Islamophobia happens when people are thinking, “Muslims are those people over there and have nothing to do with us.” Putting their humanity on the page was really important to me. We exist in all kinds of religions and this is the religion of this family, and the book deals with how this girl is taking in this religion because she’s negotiating it against this space and time of friendships and sexuality and puberty and adolescence. And faith. That’s all part of August’s journey.

I was talking to a friend about the shooting in Orlando, and during these times of crisis it’s so hard to remember the kind of work we do as artists. It’s nonstop. Much of it is economic, but so much of it is also emotional and at the core of who we are. Like Audre Lorde said, “We must wake up knowing we have work to do and go to bed knowing we’ve done it.” And writers, especially, every time we sit down to work we are working to impact a great good. And even though I am not always conscious about what is happening, when I sit down to create the narrative I know that all the information coming in from the world is informing that narrative.

The four young women at the center of Another Brooklyn—August, Sylvia, Angela, and Gigi—create such a special bond that it’s difficult to see those friendships begin to crumble. You once said that one question you wanted to explore through writing was “what is the happily ever after?” After completing this novel, dozens of books into your career, and as times change, what have you come to understand about happiness?
That it ebbs and flows like every other emotion we have. I think that if I were happy all the time I’d be the most boring person in the world. The nuance comes from working towards happiness and not always getting there, or some days getting there surprisingly so. That I can wake up in the morning and get to write is amazing to me, so the mere fact that I’m here and that I’m able to tell my story is the happily ever after for me.

 

Rigoberto González is a contributing editor of Poets & Writers Magazine.

Joy Harjo: An Interview

by

Stephanie Izarek Smith

7.1.93

Joy Harjo is a poet unafraid of self-discovery. She explored painting, dancing and medicine before focusing on a writing career. Born in Tulsa in 1951 to the Muscogee tribe (of the Creek Nation), Harjo is both Muscogee and white, and her acceptance of both heritages plays a crucial role in her work: Her poetry preserves her Native American background, while integrating aspects of the mainstream American culture in which she was also raised, to create a unique, poignant voice. 

Harjo attended high school at the Institute of American Indian Arts in Santa Fe, New Mexico, and went on the study at the University of New Mexico, where in 1976 she was in the first graduating class of its creative writing program. She received her MFA from the Iowa Writers’ Workshop at the University of Iowa in 1978. She has taught creative writing at the University of Arizona and is currently a professor of creative writing at the University of New Mexico. 

Harjo has published four books of poetry and several short stories, and has written several screenplays. She is a winner of several awards, including an Academy of American Poets Award in 1978, two National Endowment for the Arts (NEA) Fellowships (in 1978 and 1992), the Josephine Miles Award for Poetry from PEN Oakland in 1991, and the Poetry Society of America’s William Carlos Williams Award in 1991. Harjo has also served on a policy panel for the NEA. 

Now living in Albuquerque, New Mexico, Harjo has a 23-year-old son, Phil Dayn, and a 19-year-old daughter, Rainy Dawn, who is the subject of the poem “Rainy Dawn” that appears in Harjo’s most recent collection of poetry, In Mad Love and War (Wesleyan University Press, 1990). 

From a hotel room in Lincoln, Nebraska, Harjo reminisces about her childhood creative stirrings. “I went outside very early in the mornings to draw in the dirt while everyone was still sleeping. I’d sit there and imagine what I could paint. And what always came to me out of the imaginative sphere were images—not particularly words, but images. Maybe that’s how I think, because sometimes I feel that I write as a painter. It’s almost as if I paint the poems.” 

Harjo came from a family of painters. Her grandmother Naomi, a full-blooded Creek Indian, and her Aunt Lois, who was the family member closest to Harjo, were painters. Both women received their BFAs in fine art in the early 1900s and painted in the classical European style, but their subjects were often Native American. In her living room, Harjo has a painting by her grandmother of Osceola, the Seminole warrior who would never surrender to the U.S. government. Harjo uses a different medium, but the same collaboration of classical and Native American influences is the marrow of her poetry. 

Reading was a large part of her childhood. She loved poems and memorized them, first because she was forced to in school, and then because she enjoyed doing it. For her birthdays, she requested poetry books, but she was on her own in the quest for quality poetry because she did not have any outstanding educational figures to guide her. 

In high school, Harjo trained as a dancer under Rosalie Jones, a dancer of the Blackfeet tribe, and toured as a dancer and an actress with one of the first all-Indian dance troupes in this country. The show was called “Deep Roots, Tall Cedar” and gained recognition from many professional dance companies because it combined elements of classical European drama with traditional tribal drama. 

After the tour ended in 1968, Harjo, who was 17 years old, returned to Oklahoma, where her son, Phil, was born. She next moved to New Mexico, leaving Phil’s father behind and enrolled at the University of New Mexico as a premed student. Within one semester she returned to art. The university setting introduced Harjo to a world of poets from backgrounds similar to her own and among the group of Native American writers at UNM she found a poetry that spoke of familiar places in a language she understood, something she had never encountered before. “Most of the poetry available to my generation was set in New England or in the Northeast and was written by men, or women emulating the male experience. I always had to change myself to conform to the poem. But I loved the melodic tones, the rhythm, and the music—those are the things that pulled me into a poem, as much or more than the idea. 

One of the first poetry readings Harjo attended was given by Galway Kinnell, who became a source of great inspiration to her. She views him as a musician as well as a poet in the way he writes and reads his poetry. Harjo recounts with verve another significant event that was the turning point in her “unconscious decision” to take up the art of writing poetry: “I was watching a documentary one Sunday afternoon about a tribe in New Guinea. There was a storyteller, but he was also a poet—you could tell by the way he spoke his words. The story was about a hunt for a wild pig, and as he spoke he became—through his inflections and physical movements—the poem, the animal itself, while remaining human. It touched me as nothing else had.” 

When asked about other important influences on her poetry, she says, “There are people who were very important to me. They were poets who I felt were human beings with integrity—integrity to the word and integrity to their country (the land), and to their human beingness. I think of people like Pablo Neruda. One of my favorite poets from Uganda, Africa, who influenced me very much is Okot p’Bitek. I love his piece ‘The Song of Lawino.’ I also like the work of other African writers—West African writers especially. In this country, I became excited by the African American writers: Ishmael Reed’s fiction, the work of Audre Lorde, Gwendolyn Brooks, Leslie Silko, and Scott Momaday’s House Made of Dawn, a novel that was pretty much a poem. All were important to my writing.” Harjo had also read the Bible twice by the time she was 12 years old. 

Harjo became disenchanted with the academic view of poetry, because it distorted poetry’s sheer beauty. “I think that what’s happened within the past centry, and it probably came with T. S. Eliot—although you can’t blame everything on T. S. Eliot—is that poetry became the property of the academic. It was taken away from the people in a sense, and I don’t believe that’s where poetry belongs—it belongs to the people. Yes, you can take apart literature, separate it, and see how it works, but as with taking apart the human body, you can’t see the spirit, which is at the root of it. It is the same with a poem—you can’t touch the spirit.” 

Harjo sought a more creative approach to teaching and adopted a method that was directly influenced by one of her students. “I was teaching a class that involved African music and its connection to the spoken word. There was a young Ghanian man who told an incredible story about how he studied to be a master drummer. At seven years old, he was the apprentice to the master drummer, who would send him out into the bush every morning. He had to listen to all of the sounds going on around him, including the sound of the sun coming up, the insects buzzing, the people going for water, and the sound of the hunters as they went out into the bush. He would take it all in, and his ongoing lesson was to repeat those sounds on the drum and perfect them. Of course, it was the same lesson that went on for years, but it was the first teaching method I felt made sense. The workshop method is useful for technique and craft, but the approach seems more like business rather than the sacred art that poetry is.”

As a poet, Harjo viewed a changing society as an opportunity to explore the new attitudes toward her culture and humanity through writing. “I have felt the explosion of the civil rights movement in this country and have been challenged by the shock waves of human rights struggles all over the world. I’ve been especially involved in the struggles of my Indian peoples to maintain a place and culture in this precarious age. My poetry has everything to do with this. I came into writing at a poignant historical moment. I was lucky to be a part of a major multicultural movement with other writers.”

The beginning of her writing career also coincided with the rise of the women’s movement. Harjo noticed a great many poems being written straight from “the kitchen table,” and her poetry fit into this niche as well. “This poetry spoke very openly and honestly of women’s experiences. I considered it to be an incredible revolution in which we gave ourselves back to ourselves. Women had been stripped away by the language, by expectations of the language, and by expectations of the poets and the fathers of the poets. And we are not out of it yet.

“I am seen as a feminist poet. The way I interpret feminism in my own work is the power of a woman to be a warrior—to recognize the warrior characteristics within herself, which include self-love, vulnerability, honesty, integrity, a sense of morals, and so on.” But in a broader sense, Harjo’s poetry reflects the truths of being human, our relationship to one another, and our relationship to the physical world we inhabit. 

Harjo views herself as a woman who has had to learn—or who is learning—to honor the female within herself. “I think it’s easier to honor the male in our culture because it’s much more accepted. There are almost no truly powerful and sustained images of female power. None. Look at Marilyn Monroe? The Virgin Mary? And what images exist for Indian women? The big question is, How do we describe ourselves as women in this culture? It’s unclear. 

“I’ve had to nurture and accept all the elements of myself—both the creator and the destroyer; accept both my white and my native relatives, and accept the female and the male. It’s an ongoing internal war. I almost destroyed myself by the time I was twenty, because I felt like I had to be one or the other. Finally, at one point I made a stand, and here I am.” If there is any one poem that exemplifies her reconciliation of self, Harjo says it is “I Give You Back” in She Had Some Horses (Thunder’s Mouth Press, 1983), her second collection of poems. 

Harjo’s subject matter is drawn mainly from the Native American tradition of exalting the land and the spirit, the realities of American culture, and the concept of feminine individuality. Her characters may be actual people like Billie Holiday, John Coltrane, and Russell Moore, or they may be imaginary entities. “I imagine like a fiction writer sometimes. Most readers assume that the events in a poem actually happened to the poet. Not everything I write is autobiographical. In my work, I add to or change the truth. It is still the truth, just presented in a different form.” 

There is an inherent spiritual quality to Harjo’s poetry, but she doesn’t feel that she is any more spiritual than the next person. “Part of the way I am comes from being around Native American people, but I wouldn’t really use the world ‘spiritual.’ It is natural for human beings to be in awe of the sacred and to realize that the sacred is everywhere. But humans seem to have lost their way, although every once in a while someone may find it, and I think that’s the artist. The artists and the poets are the ones who search for the sacred place.” 

Her first collection of poetry, a chapbook, What Moon Drove Me to This? (I. Reed Books, 1979) is now out of print. “It should stay out of print,” says Harjo. “It was a very young book. There are probably only two good poems in it—poems that showed promise. It was a painful book, written during a difficult period in my life. You could see the beginnings of something, but it wasn’t quite cooked.” 

Harjo’s second book, She Had Some Horses, sold over 11,000 copies and is now in its eighth printing by the same publisher. Horses are a recurring image in many of her poems, but when asked about their meaning, she laughs and replies, “I don’t really want to say, and I get asked that question often. I just leave the horses to themselves.” 

Secrets From the Center of the World (University of Arizona Press, 1989) was a new kind of book for Harjo, combining photography with poetic language. The photographer/astronomer Stephen Strom was looking for a Native American writer to collaborate with him on his book of photographs of a Navajo reservation. “My friend Rain Perish, a Navajo artist and writer, couldn’t do it and referred him to me. We met, and I loved his photographs. Whichever way you turned the pictures, the perspectives made sense, and I think his being an astronomer and spending so much time looking at the universe affected his vision. He sees the world with immense detail. I wrote some text to go along with the photos, made the rounds to all of those places, and then rewrote the text.” Harjo and Strom worked on the arrangement of the photographs together. 

Harjo had already visited most of the places featured in the photographs. “I spent a lot of time going out as a student activist to work with the Navajo people. Many of my friends were Navajo, so I learned the language. I learned the language to the point where I could speak it pretty well, joke in it, and I actually started to dream in it. For me, Secrets From the Center of the World is, in a way a tribute to that time of my life, to those people, to the land, and to the language, which I think influenced my writing very much.” 

In Mad Love and War, Harjo’s most recent book of poems, departs from her original chant-oriented writing style. “In Mad Love, the story started to take precedent. Even though the lyric is important for me, the narrative had more of an edge. Maybe I’m getting farther away from the poetics. My next book will be very different. Harjo’s next collection—The Field of Miracles—is a prose narrative, which she hopes to finish within the next year. A recent short story appears in a Norton anthology called Best of the West, a collection of works by writers west of the Missouri, and another story appears in an anthology of short stories by Native American writers called Talking Leaves (Harper, 1991). 

Harjo’s work has grown in density and in scope, and her increasing love of music has become a major element in her poetry. She plays tenor and soprano saxophone and is now learning to play the flute. She is excited by the literary possibilities that arise out of writing and playing music. “I started playing the saxophone about halfway into writing Mad Love and could already see the effect of jazz. Even though I’m just learning the elements of jazz, I listen to it a lot.” She doesn’t think that her poetry is “jazz poetry,” although it is very much influenced by the music. “I’m close to my tribal music and ceremony, and there is a relationship to jazz. There is a history of connections among the Muscogee, African American, and Seminole people. What I hear in jazz is my people, and I feel related to the music.” 

Harjo’s relationship to jazz runs parallel with her relationship to American poetry. “I am an American, but it took me a while to reconcile my feelings toward American poetry. James Wright praised the American condition, as did Richard Hugo, who truly came out of the American experience. Adrienne Rich, too, is very important—more important to America than America wants to know or realize. I think academics felt betrayed by her when she refused to wear the clothes of her fathers. She refused the forms of her fathers, and left the house of her fathers. When she left the house of the fathers and embraced the mothers, academia felt betrayed. But I look to her honesty as much as her incredible gift of language and intellect.” 

Harjo has recently formed a band called Poetic Justice, with a drummer and a bass player, and would like to record a mixture of poetry and music. She has already completed one projected called “Furious Light” (distributed by Watershed Foundation in Washington, D.C.), taped a reading of poetry from She Had Some Horses and In Mad Love recorded over music. The music was taped separately in this instance, but Harjo is eager to produce a tape that integrates poetry and music even more dramatically. 

In addition to working on her new book and pursuing her musical career, Harjo is teaching and writing several screenplays for a television series called “Tales From the Center of the Earth.” The acknowledgement and integration of all creative energy—art, history, emotion, music—are highly important to Harjo’s work and daily life. The personal growth Harjo sees through the evolution of her writing is key. “If my style didn’t change and evolve, I would quit writing. Poetry is reciprocal. As poetry feeds you, you have to nurture the art and give it time and attention. It does give back to you, I suppose like anything else.” 

 

Stephanie Izarek Smith is a writer an editor based in New York City. She is currently writing a collection of short prose and poetry.

The opening spread of “An Interview With Joy Harjo” as it appeared in the July/August 1993 issue. 

Vote of Confidence: The Life-Changing Support of an NEA Fellowship

by

Kevin Larimer

4.12.17

For more than fifty years the National Endowment for the Arts (NEA) has been a vital part of this country’s creative ecosystem, providing funding and support to writers, translators, and organizations, as well as partnering with arts groups and non-arts sectors to create programs, such as Poetry Out Loud and the Big Read, that celebrate America’s rich cultural heritage and promote access to the arts in every community. For readers of this magazine, of course, the most visible—and sought-after—support offered by the NEA comes in the form of creative writing fellowships: $25,000 grants given in alternating years to poets and prose writers, enabling them “to set aside time for writing, research, travel, and general career advancement.” In short, they allow writers to be writers—even if that means simply giving them the ability to pay the rent or the student loan or the babysitter or the credit card bill—in a world that rarely acknowledges their work in financial terms.

But this isn’t all about the money. This is about being part of a tradition, built over the past half century, that honors artistic excellence in its many forms. This is about writers who are also nurses and farmers and teachers and librarians receiving support and validation from experts in the field—a measure of reassurance that the work they do before or after the day job or the night shift is valuable. And, yes, this is about patriotism: the federal government sending a message that the work of poets and writers is integral to an open society in which free expression is not only protected, but also encouraged. 

This and much more is at stake as we move through the congressional budget process following President Trump’s ill-advised proposal to eliminate federal support for the NEA. And while these kinds of decisions often come down to numbers on a spreadsheet, it is important to highlight the real people—with lives and loved ones and dreams and challenges—at the other end of those fellowship checks. I spoke with nine fellowship winners, from 1977 grant recipient Joy Harjo to 2017 fellows Kathryn Nuernberger and Monica Sok, about what receiving the NEA’s creative writing fellowship meant to them, both in terms of practical financial assistance and as a vote of confidence from the federal government at that particular time in their personal and professional lives.

Joy Harjo | Kimiko HahnJulia AlvarezPeter Ho DaviesAnthony Doerr  
Benjamin Percyfrancine j. harrisKathryn Nuernberger | Monica Sok

“To be an artist in my family was somewhat expected. My grandmother and great aunt were painters. With Indian oil money, they obtained arts training—but more than that, they were afforded the time to create. Two of my most valued possessions are paintings by them. My grandmother Naomi Harjo even played saxophone. But to be a poet, especially as a single mother, with no additional income, made for a different story. My family was proud of me, but their constant concern was: How are you going to make a living? We already had one poet in our family tree, Alexander Posey, a Muscogee Creek poet who founded the first native daily newspaper, but he made a living as a journalist, not as a poet. I knew that I would write no matter what, and I wrote my way through jobs, classes, and childrearing. The Pueblo novelist and poet Leslie Silko was the first writer I knew to be awarded an NEA fellowship, and she urged me to apply. I was about to graduate with my MFA and didn’t have anything lined up except a return home to New Mexico and an application for teaching creative writing at the Institute of American Indian Arts, then a Bureau of Indian Affairs school. I remember that late spring afternoon of 1977 opening the letter from the NEA announcing my fellowship. It was the gift I needed. It was enough money to assist me with writing what would be my breakout/breakthrough book of poetry, She Had Some Horses. I used the money for rent, utilities, supplies, and childcare. The fellowship bought me time. And it bought more than that; it brought affirmation. It put my family and community on notice that what I was doing as a poet—a strange occupation for a young native mother who needed to make a living—was considered worthy of support. My next fellowship came in 1992. It gave me the time I needed to get over that hump period that happens in the lives of all of us who create art. She Had Some Horses had set a mark. The second fellowship helped me leap the fence and make a collection that envisioned a book of poetry as an oral event.” —Joy Harjo, NEA fellow, 1977, 1992; author of ten poetry collections and a memoir, Crazy Brave (Norton, 2012)

 

 

“In the early 1980s I was studying Japanese at Columbia University and working in one of the college’s secretarial pools. When I wasn’t retyping a professor’s paper, I took advantage of the best typewriter in the world, the IBM Selectric, and put it to use for my own purposes. I was the busiest-looking secretary on campus, writing poems that would become my first two books, Air Pocket then Earshot. I was also a thirty-one-year-old new mother without an MFA—which is to say, without mentors or connections—and I felt alone, isolated. All my poet friends had books, but the support for presses was rapidly drying up. For me, mailing out a manuscript with the enclosed SASE was expensive. And waiting for snail mail was crushing. This was the backdrop to a parcel I received in our small mailbox: a thin envelope from the National Endowment for the Arts. I read it in the crack-infested vestibule of my apartment building in New York City and wept. It was 1986, the year I knew I’d be okay—more than okay. The NEA fellowship in poetry gave me validation that cannot be measured. Validation, for me, was a license to trespass: to continue writing fragments about the female body from an Asian American woman’s point of view. It may be difficult now to believe how radical this was: to hold a legal pad and pen in a coffee shop and write with confidence. The fellowship marked a turning point in my life, as it does for so many writers who receive the same gift of validation from the NEA.” —Kimiko Hahn, NEA fellow, 1986, 1992; author of nine poetry collections, including Brain Fever (Norton, 2014)

 

 

“My first job out of graduate school was as a poet in the schools in Kentucky, a two-year residency funded by the Kentucky Arts Council and the NEA in 1975. I traveled around the state giving writing workshops and exposing people of all ages and backgrounds to poetry—students in elementary schools and colleges, farmers in communities in Appalachia, and reform-school teens in Louisville. After the Kentucky residency, I went on to teach across America in poetry programs funded by the NEA. I taught migrant workers in California’s San Joaquin Valley; bilingual elementary school students in Baltimore; senior citizens in nursing homes, church basements, and Sunshine Centers, as they were called, centers where a free meal was provided, in Fayetteville, North Carolina. This last residency culminated in a book of their writings, Old Age Ain’t for Sissies, as well as a series of public readings in the community funded by the NEA. African American eighty-year-olds recited their poems before enthusiastic audiences, feeling for the first time in their lives that they had a voice and were being heard. The program helped create a strong, compassionate, connected community. The NEA is a cultural resource we can’t afford to lose. No other programs are so widespread, addressing so many different age populations and areas of the country. We must not think of the NEA and its programs as something ‘just for artists.’ It is a vital educational resource, which doesn’t quit after our school years are over. We are educating our citizenry in the rich literary resources of this great country and helping them evolve and develop their own expressive tools. An informed citizenry means a stronger, more united, compassionate, and educated America. The individual grant I received from the NEA in 1987 allowed me to take time from full-time teaching and work on the stories that would eventually become my first published novel, How the García Girls Lost Their Accents, based on my family’s immigrant experience after escaping the Trujillo dictatorship in the Dominican Republic in 1960. The novel now forms part of the curriculum in many schools and universities—the NEA at work again, enabling the creation of a diverse culture that enriches us all. Finally, in 2015, it was the NEA that nominated me for a National Medal in the Arts. For a little immigrant girl to end up receiving an award from the president of the United States was the American Dream come true. But none of us get where we want to go by ourselves. Along the way we encounter helpers, fairy godmothers. The NEA has served that role for me and so many others. I don’t have a magic wand to wave, but I do have a pen to write down this plea: Keep this incredible national treasure endowed and vital for the next generations of students, artists, writers, and readers, so that they can continue creating the country we all dream this can be.” —Julia Alvarez, NEA fellow, 1987; author of twenty-two books, including the children’s book Where Do They Go? (Triangle Square, 2016)

 

 

“I was lucky enough to receive NEA fellowships in 1998 and 2016. Both enabled me to write for a year. Both provided a considerable morale boost. Both made possible the books I was working on. That much is likely true for most recipients, of course. In my case, though, as an immigrant to this country, both also felt like an embrace from my adopted home. The emotional significance of the $25,000 grants, in other words, far exceeded their already handsome monetary value. The NEA also cemented my bond to the U.S. in another way. In between my two awards I had the privilege of serving on the panel that selects NEA fellows, which is how I found myself in a federal building on Pennsylvania Avenue at 9 AM on September 11, 2001. We saw smoke rising from the Pentagon through the windows of our conference room. Shortly thereafter, we were evacuated. That afternoon, back at the hotel, we decided, in spite of shock and sorrow, to continue our work. A small gesture, of course, but it felt like something worthwhile, a modest assertion of life and hope, of creativity, in the face of destruction, and one only made possible by dedicated NEA staffers. That night I walked down to the White House, which was floodlit like a beacon, and stood with the hushed crowd gathered before it. There’s been much talk of patriotism in the years between then and now, much talk about what the country stands for. The NEA, representing as it does a nation’s faith in the arts, seemed to me that day and ever since, an institution any country could and should be proud of. The federal building where the NEA was based on 9/11, incidentally, was the Old Post Office Pavilion, now the Trump International Hotel. The cost for a night in its largest suite on September 11, 2017: $25,000.” —Peter Ho Davies, NEA fellow, 1998, 2016; author of four books, including the novel The Fortunes (Houghton Mifflin Harcourt, 2016)

 

 

“My wife and I were married in 2000, but we couldn’t figure out how to live in the same town. She was working for Hewlett-Packard in Boise, Idaho, and I was hopscotching around the Midwest chasing teaching gigs and fellowships. We were paying two rents, spending all our money on airfare and telephone bills, and multiple times a year I cajoled my Subaru across Wyoming and Nebraska with our goldfish in a gallon water jug beside me. Every night I asked myself, ‘How important is it to me to be a writer? Important enough to spend anniversaries and Valentine’s Day and random Tuesdays apart? Just because I want to chase a silly dream?’ Then I won an NEA fellowship. I promptly sold the kitchen table, gave away most everything else, drove two thousand miles west, and moved in with my wife. For the first time since we were married, we got to wake up together every morning on a consistent basis. And after she went to work, I got to turn on my computer and face down the dragon of my next book. Years later, serving as a judge on a panel to award those same fellowships, I discovered that all over the country, writers and their loved ones were weighing similar choices: Make a car payment, or write an essay? Take a second job so a partner can finish her novel? The National Endowment for the Arts allows artists and their families to prioritize creativity, even if only for a few months, and sometimes those months are all an artist needs to give back to the country a piece of work that will outlast us all.” —Anthony Doerr, NEA fellow, 2002; author of five books, including the novel All the Light We Cannot See (Scribner, 2014)

Benjamin Percyfrancine j. harrisKathryn Nuernberger | Monica Sok

“If I could have any superpower, it would be to stop or stretch time. And whenever someone asks me what I want for my birthday or Christmas, I say, ‘Time.’ There is never enough of it. Here is the math of 2011: Two young kids, one still in diapers; two teaching gigs—at a traditional and a low-res MFA program—which translates to maybe a thousand manuscript pages in need of editing; one leaky roof; one totaled car; one novel under way; twelve speaking gigs; ten book reviews; six short stories; $40,000 in student loans; a five-hour flight to one set of grandparents; a five-hour drive to the other. There’s nothing startling or appalling about these numbers; I was responsible for many of them, and I was building the life I wanted. But working sixty hours a week and chasing bills and scrambling from one speaking engagement to the next and trying to be there for my family sometimes added up to a schedule that made me feel stretched so thin you could see through me. I remember saying to my wife, ‘I’m not sure I can keep up this pace,’ and she said, ‘I don’t want you to.’ The NEA fellowship allowed me to slow down and carve out time so that I could properly research and pour all of my creative energy into a book that I couldn’t have written in such a harried, exhausted state. Time. That’s what these grants give their recipients. The gift of time, which is in such short supply for all of us. And, of course, money: to hire a babysitter. To fly out a grandparent for help. To teach fewer classes or take on fewer freelance assignments—or escape whatever other obligations are keeping us away from the page, the canvas, the studio, the darkroom. And here is the lovely, complicated calculus of the NEA: Those dollars become hours, and those hours become novels, memoirs, sonnets, sonatas, landscapes, photo essays, documentaries that have an incalculable effect on enriching and expanding the lives of their audience.” —Benjamin Percy, NEA fellow, 2012; author of seven books, including the novel The Dark Net (Houghton Mifflin Harcourt, 2017)

 

 

“Being awarded the NEA Fellowship changed the direction of my life. At the time it was awarded, I was teaching at Interlochen Center for the Arts, a secondary school in northern Michigan. I enjoyed the job but wasn’t writing enough. While a brilliant few are able to meet the time demands of high school teaching loads and still write, I didn’t have that stamina. Additionally, northern Michigan, though beautiful, was culturally isolating. Short on money and time, I worried I might get stuck in a career that would have meant limits on my writing. Winning this fellowship allowed me to accept my current residency at Washington University in St. Louis. It also gave credibility to my work. For poets, that’s a big deal. While, as artists, we all want to make work that is satisfying on its own merit, most poets do not survive on their work alone. As important as the work is to our audiences, I believe part of the reason harsh critics of the genre can get away with claiming poetry has no social poignancy is because we stand to make so little money in our field. Book contracts offer smaller advances than in other genres, so publishing does not always equal income. People who love poetry often depend on this community of reading and performance, and those events are generally free to the public. With our short form, we have a vibrant and accessible presence online. But it means the power of this art is not in its capital. We do what we love, and fellowships, such as the NEA’s, are monetarily crucial. The National Endowment for the Arts fellowship has, quite simply, allowed me to continue my work.” —francine j. harris, NEA fellow, 2015; author of two poetry collections, including Play Dead (Alice James Books, 2016)

 

 

“The recipient of an NEA grant sits precariously at the nexus of contradictory forces: art, government, and money. Great art ought to have nothing to do with money or power, and so paradoxically it comes to have a great deal to do with both. The philosophers Theodor Adorno and Max Horkheimer suggested the distinction between entertainment and art is that entertainment has purpose (to inspire people to pay for it), while art has ‘purposiveness.’ Purposiveness is the feeling that a work of art is accomplishing something beyond its own ends. By providing financial support and putting a spotlight on my recently released collection, The End of Pink, the NEA grant encourages me to focus more on purposive writing and less on a purposeful hustle to find readers, royalties, and otherwise ‘succeed’ in the literary marketplace. I’m able to use this year of grant funding to finalize a third book of poems, Rue, which considers eighteenth- and nineteenth-century botanical expeditions and folklore surrounding plants historically used for birth control through a lens of intersectional feminism. The grant has also allowed me to plan poetry readings in Missouri, Kansas, Oklahoma, and Colorado, often in rural areas that are disconnected from more urban literary hubs. How bold and brilliant a democracy is to invite paradox and dissent into its agencies, its budget, its apparatuses of power and control. Governmental support for the arts, which by their nature challenge the government that funds them, is a mechanism that inculcates within itself a relentless seeking after deeper understandings of what a democratic government should do and be for its people. Though not everyone who deserves these grants receives one, the presence of the NEA reminds all of us that our creative work is essential to the advancement of a great nation with even greater as-yet-unfulfilled ideals.” —Kathryn Nuernberger, NEA fellow, 2017; author of two poetry collections, including The End of Pink (BOA Editions, 2016)

 

 

“My manuscript needs work. It’s full of myth-making and family narratives in the context of the Khmer Rouge regime. Lately, I’ve been allowing myself to dwell in my dream space longer, to take more risks in my poetry. With the support of an NEA fellowship, I feel more confident about the imaginary world I’ve been trying to create over the last three years. Every week I continue my process of world-building. I spread out all my drafts and swim in the poems I’ve started. At this time in my personal life, I want to create new structures within my craft, to be wildly imaginative, to survive better in my search for love and healing. Without the financial burdens of rent and utilities, monthly student loans, credit card bills, and medical expenses, I can rest and practice more self-care while dealing with the difficult subject of genocide and intergenerational trauma. The award will also help me travel to Cambodia over the course of writing my first book. When I learned that the NEA might be defunded and then eliminated, I thought about the Khmer Rouge and its horrific transition into power, one where hundreds of thousands of artists and intellectuals were targeted in the early days of the regime. I’ve always been aware of myself as a poet in this country. The urgency to write remains the same for me, but I renew my desire to hone the subversiveness that my craft relies on so heavily. In 1990, the NEA also supported my grandmother Em Bun, a weaver, through a National Heritage Fellowship. My grandmother was a refugee. Over the course of three generations, the NEA has helped two women artists in my family. I strongly believe that it must continue to do the necessary work of preserving the arts.” —Monica Sok, NEA fellow, 2017; author of the poetry chapbook Year Zero (Poetry Society of America, 2015) 

 

Kevin Larimer is the editor in chief of Poets & Writers, Inc.

Photo credits: Joy Harjo: Karen Kuehn; Kimiko Hahn: Beowulf Sheehan; Julia Alvarez: Bill Eichner; Peter Ho Davies: Dane Hillard; Anthony Doerr: Todd Meier; Benjamin Percy: Arnab Chakladar; francine j. harris: Cybele Knowles; Monica Sok: Sy J. Abudu

NEA at Risk: The Future of Arts Funding Under Trump

by

Kevin Nance

4.12.17
Update: May 23, 2017. The Trump administration today released its first full budget proposal for Fiscal Year 2018 (running from October 1, 2017, through September 30, 2018). The $4.1 trillion budget is notable for its cuts to domestic programs focused on social welfare programs, science and research, and the arts, including the elimination of the National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH), and the Institute of Museum and Library Services, as well as the defunding of the Corporation for Public Broadcasting. Each of the proposed cuts must pass through Congress before becoming law. 
 
Update: May 1, 2017. The House Appropriations Committee released the FY 2017 Omnibus Appropriations bill, the legislation that will provide discretionary funding for the federal government for the current fiscal year, which ends on September 30, 2017. The bill includes $150 million each for the National Endowment for the Arts (NEA) and the National Endowment for the Humanities (NEH), $2 million above the fiscal year 2016 level. Congress is expected to vote early this week on the full spending package.
 

During the 2016 presidential campaign, a word commonly used to describe the Republican Party’s nominee, Donald J. Trump, was nonideological. Running from outside—and to some extent against—the Republican establishment, Trump appeared ready to offer a policy agenda that would depart from his party’s traditional platforms in ways large and small. 

Following his Electoral College victory over Democrat Hillary Clinton, however, President-elect Trump launched a transition during which he announced one rock-ribbed conservative appointment after another, including that of Stephen Bannon, the former executive chairman of far-right media company Breitbart News, who is committed to what he has called “the deconstruction of the administrative state,” as his chief strategist. And in the first six weeks of his administration, President Trump took a series of hard-line Republican positions: cracking down on immigrants, rolling back a slew of Obama-era regulations protecting the environment, nominating a Supreme Court justice said to be “an heir to Antonin Scalia,” reversing federal guidelines on restroom rights for transgender students, and, more recently, announcing a massive military buildup. This last increase is to be funded by deep budget cuts in other programs—including the National Endowment for the Arts (NEA), an independent agency of the federal government that offers support and funding for individuals and organizations through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector.

On March 16, Trump became the first American president to propose not just cutting funds for the NEA but abolishing it outright. The White House unveiled a proposed budget that includes eliminating the NEA and its sister agency, the National Endowment for the Humanities (NEH), as well as the Corporation for Public Broadcasting, or CPB, which helps fund PBS, National Public Radio, and local public radio stations across the country.

“We are disappointed,” NEA chairman Jane Chu said in a statement, “because we see our funding actively making a difference with individuals of all ages in thousands of communities, large, small, urban and rural, and in every congressional district in the nation.”

Why kill the NEA? If the $3.9 trillion federal budget is envisioned as a pie, the Endowment’s most recent slice under President Barack Obama ($147.9 million, or .004 percent of the total) would hardly register as a crumb, much less a sliver. And yet the NEA quickly surfaces in nearly any discussion of budget cuts in the Trump era—not because gutting or killing it would contribute meaningfully to any fiscal imperative, but because many Republicans object to it on the ideological grounds that taxpayer funds shouldn’t be spent on the arts, which they consider inessential (or even “waste,” as Brian Darling, a former staffer of the Heritage Foundation, a right-wing think tank and longtime NEA opponent, put it in a recent article in the Hill, a newspaper covering politics).

“I am deeply troubled by the Trump administration’s proposed FY 2018 budget calling for the elimination of the National Endowment for the Arts,” Robert L. Lynch, president and CEO of the lobbying group Americans for the Arts, said in a statement. “Our nation’s parents, teachers, community leaders, arts advocates, government officials, and even economists will not accept this proposal.”

Although Trump has now gone further than any of his predecessors in the Oval Office, the NEA has been the target of Republican budget hawks since early in Ronald Reagan’s presidency, when David Stockman, director of the Office of Management and Budget and an architect of what became known as “supply-side” economics, planned to abolish the NEA and NEH over three years. Those plans—later confirmed in a book by Livingston Biddle, NEA chairman from 1977 to 1981—were shelved when a special task force (which included Reagan’s former Hollywood colleague Charlton Heston) concluded that the two agencies performed a valuable service to the nation. Still, and simply put, conservatives have been critical of the NEA for more than three decades because they consider it a frill.

That philosophy was carried to its logical conclusion at the state level in 2011 in Kansas, where Republican governor Sam Brownback gutted the Kansas Arts Commission by line-item-vetoing the $689,000 in state funding that would have qualified it for matching grants from the NEA and a second group. “In difficult fiscal times such as these, the state must prioritize how to spend its limited resources and focus its attention on providing core services,” Brownback said in a statement at the time. In an interview for Poets & Writers Magazine, Kansas Arts Commission chairman Henry Schwaller called it “a devastating loss.” “This has happened because of the governor’s ideological belief that public funds should not be used to fund the arts,” he said. “But it’s also related to his clear misunderstanding of the role of the arts in society and in Kansas in particular. Children and seniors, especially in rural communities, will lose access to the arts because of this.”

Cultural conservatives also still harbor an animus against the NEA that has its roots in the controversies that erupted in 1989 over photographer and NEA grantee Andres Serrano—whose “Piss Christ,” part of the artist’s Immersions series, showed a plastic crucifix submerged in what was said to be his own urine—and Robert Mapplethorpe, whose photographs depicting the gay S&M subculture were shown in an NEA-supported exhibition in Cincinnati. The Serrano and Mapplethorpe firestorms, stoked by subsequent flare-ups involving the so-called “NEA Four” (performance artists Karen Finley, John Fleck, Holly Hughes, and Tim Miller, whose grant proposals were approved by the NEA’s peer review panels but vetoed by then chairman John Frohnmayer in 1990), turned the NEA into a national lightning rod. Led by Republican senators Alfonse D’Amato of New York and Jesse Helms of North Carolina, conservatives in and out of government repeatedly called for the arts agency to be dismantled as an affront to traditional American values. “Do not dishonor our Lord,” Helms railed on the Senate floor in reference to Serrano. “I resent it, and I think the vast majority of the American people do. And I also resent the National Endowment for the Arts spending the taxpayers’ money to honor this guy.”

In recent years, controversies involving NEA-supported art have become exceedingly rare, in part because most grants to individual artists were discontinued, by congressional mandate, in 1995. The exceptions were literature fellowships and two lifetime honor programs, the NEA Jazz Masters and the NEA National Heritage Fellowships. At the same time the NEA’s advocates have successfully made the case for the arts as an economic engine, contributing $704.2 billion to the U.S. economy in 2013 alone, according to a study conducted by the NEA and the U.S. Bureau of Economic Analysis. (That includes for-profit arts activity such as filmmaking.) The NEA has also staked a claim as the nation’s most effective instigator of contributions to the arts by others. For every dollar it awards in grants, the NEA says, up to nine dollars is generated in matching support from private and public sources, leading to an additional $500 million in arts funding in 2016. Still, that onetime shibboleth of the religious right—that the NEA supports degenerate art—still bubbles up now and again on alt-right Internet forums.

Weeks before President Trump unveiled his budget plan, two powerful conservative groups—the Heritage Foundation and the Republican Study Committee, a caucus of 173 conservative Republicans in the House of Representatives—called upon him to abolish the NEA and the NEH. And the NEA remains a perennial target of right-wing media outlets such as Breitbart News, once edited by Bannon and known to be on Trump’s daily reading list. Breitbart has been publishing articles critical of the NEA at least since 2009, when it claimed the agency was encouraging artists to support President Obama’s agenda on education, health care, the environment, and other topics. “The National Endowment of the Arts is under attack—again,” poet Dana Gioia, who led the NEA from 2003 to 2009, wrote recently in an op-ed for the Los Angeles Times. “The foes are the same tired cast of characters who have assaulted the agency for the last thirty years. Their arguments are the same threadbare notions that have been repeatedly rejected. They are mounting a partisan battle that will do the nation no good. But for the sake of the arts, it needs to be fought again and won.”

Gioia continued: “Both the Heritage Foundation and the Republican Study Committee have long been obsessed with ending federal support for the arts. During my six years as the chairman of the NEA under president George W. Bush, these groups launched one unsuccessful volley after another. Their stated rationale was that the federal government had no business funding the arts. Beneath that small-government ideal, however, was another openly acknowledged motive not related to the public good but to political advantage. By eliminating the NEA, they could deliver a symbolic victory against leftist urban constituencies.”

For all these reasons, the NEA finds itself once again in potentially mortal danger. With Republicans now firmly in control of the executive branch and both houses of Congress, the agency’s prospects for continued survival may be dimmer than at any point in its history.

***

The NEA was established by Congress in 1965, during the Johnson administration, to “support the survival of the best of all forms that reflect the American heritage in its full range of cultural and ethnic diversity and to provide national leadership on behalf of the arts.” Over the years, the Endowment has dispensed more than $5 billion to artists and arts organizations in the fields of dance, design, folk and traditional arts, literature, media arts, music, opera, multidisciplinary works, performance art, theater, and the visual arts. (Poets & Writers, Inc., the nonprofit organization that publishes this magazine, receives an annual grant that supports the magazine and the website pw.org. Poets & Writers is also a cofounder of the Literary Network, or LitNet, a coalition of sixty-eight nonprofit literary organizations that was established in 1992 as an extension of the now-defunct Coalition of Writers Organizations and in response to the freedom of expression controversies surrounding the NEA.)

In the 2016 fiscal year, more than 80 percent of the NEA’s $147.9 million appropriation was distributed as grants and awards to organizations and individuals across the country. About 40 percent of that money was awarded directly to the states through their arts agencies. The other 60 percent was distributed to artists and arts organizations applying through the NEA funding categories.

In a clear response to past criticism of its grant-making process as “elitist,” the NEA now earmarks a portion of its grants for underserved communities. Forty percent of NEA-supported activities happen in neighborhoods with high poverty rates, and 36 percent of NEA grants go to organizations that reach people with disabilities, people in institutions (including prisons), and veterans. One-third of NEA grants serve audiences with low incomes. 

And while some have charged that the NEA favors large cultural institutions that would more appropriately be funded by their presumably wealthy patrons, the majority of NEA grants—65 percent—go to small and medium-sized organizations in every congressional district in the nation.

All grant applications to the NEA are reviewed on the basis of “artistic excellence and artistic merit,” according to “Art Works for America,” the NEA’s 2014–2018 strategic plan. Applications are first evaluated by independent panels consisting of experts in the various disciplines and “at least one knowledgeable layperson.” The panels’ recommendations are forwarded to the NEA’s advisory body, the National Council on the Arts, whose members are artists, scholars, and arts patrons appointed by the president. The council’s recommendations are sent to the NEA chairman (currently Jane Chu, a holdover from the Obama administration), who makes the final decision.

But will there be any grant decisions to be made in the new fiscal year? Will there be a National Endowment for the Arts at all? As of this writing, it’s unclear how Trump’s budget will fare in Congress, where the NEA still enjoys the support of most Democrats and some Republicans, including moderates and even some conservatives. In his statement, Lynch quotes North Carolina Republican representative Mark Walker, chairman of the Republican Study Committee, as saying he opposes Trump’s plans for the arts: “I appreciate the education that is found in the arts, so at this point I have no path to making any kind of hard cuts right now.” In her statement, Chu implied that anything could still happen. “We understand that the president’s budget request is a first step in a very long budget process,” she said. “As part of that process we are working with the Office of Management and Budget (OMB) to prepare information they have requested.”

A message posted to the grant application page of the NEA’s website on the same day the president’s proposal was unveiled reads, “We continue to make FY 2017 grant awards and will continue to honor all obligated grant funds made to date. In addition, we will continue to accept grant applications for FY 2018 at our usual deadlines…. The agency continues to operate as usual and will do so until a new budget is enacted by Congress.”

In the coming months the House and Senate budget committees will each write and vote on budget resolutions, at which point the subcommittee’s “markup” appropriation bills determine the level of spending for all discretionary programs. Then the full House and Senate debate and vote on those bills; only after each bill passes Congress can the president sign them and the budget becomes law. 

Whatever happens during this process, it won’t occur under the radar. It will be done in the full glare of the public eye, and under the careful scrutiny of those who benefit from NEA’s support, including members of the literary community who stand ready to protect the future of arts funding.

 

Kevin Nance is a contributing editor of Poets & Writers Magazine

Five Hot Summer Fiction Readings

8.1.20

As the long days stretch into the month of August, settle in, pour a cold beverage, and let the cool sounds of these five readings from recently published books of fiction provide some relief from the summer heat. 

F*ckface: And Other Stories (Henry Holt, July 2020) by Leah Hampton: 

 

A Burning (Knopf, June 2020) by Megha Majumdar:

 

Parakeet (FSG, June 2020) by Marie-Helene Bertino:

 

Sansei and Sensibility (Coffee House Press, May 2020) by Karen Tei Yamashita:

 

How Much of These Hills Is Gold (Riverhead Books, April 2020) by C Pam Zhang:

Agent Advice: The Complete Series

by

Staff

4.13.22

The industry’s best and brightest agents respond directly to readers’ questions in this regular column dating back to 2010. To submit a question for the next featured agent, e-mail editor@pw.org.

Howard Yoon of the Ross Yoon Agency
4.13.2022
The agent answers questions about mentioning positive feedback in a query letter, how much plot to include in a query, and agents for teen writers.

Monica Odom of Odom Media Management
12.15.2021
The agent answers questions about attracting agents using self-published books and whether to use a summary or a writing sample to pitch a memoir.
 

Larissa Melo Pienkowski of Jill Grinberg Literary Management
10.13.21
The agent who represents writers TJ Alexander and K. Tempest Bradford, among others, answers questions about being ghosted by agents and how to query for nonfiction books.

Jade Wong-Baxter of Frances Goldin Literary Agency
8.18.21
The agent representing Chris Belcher, Kate Broad, Delia Cai, Duy Doan, and others offers advice about working with a coauthor, changing a memoir to fiction, why agents don’t consider previously published work, and how to become an agent.

Amy Elizabeth Bishop of Dystel, Goderich & Bourret
 6.16.21
The literary agent answers questions about how to seek representation as a self-published author, break into the agenting business, and more. 

 Iwalani Kim of Sanford J. Greenberger Associates
 4.14.21
The literary agent answers questions about submitting story collections, getting an agent’s attention, and querying two agents at the same agency.
 

Jody Kahn of Brandt and Hochman
4.10.19
A literary agent answers questions from writers about genre, age, costs, and client lists.

Priya Doraswamy of Lotus Lane Literary
10.10.18
An agent answers questions on obtaining the copyright of a self-published novel and seeking a U.S. publisher from abroad.
 

Regina Brooks of Serendipity Literary Agency
8.15.18
An agent answers questions on referrals, pitching a self-published book, and what to do if you’re dropped by an agency.
 

Annie Hwang of Folio Literary Management
12.13.17
A literary agent answers readers’ questions—from how seriously agents consider a writer’s previous sales to how to responsibly seek new representation.

Kirby Kim of Janklow & Nesbit Associates
4.12.17
A seasoned literary agent offers valuable counsel on when to query, how to keep revising, and whether horror fiction is a genre worth pursuing.

Anna Ghosh of Ghosh Literary
12.14.16
Anna Ghosh answers readers’ questions—from why poetry agents are seemingly nonexistent to whether or not it is possible to be “too young to write.”

Betsy Amster of Betsy Amster Literary Enterprises
10.14.15
The agent of authors such as María Amparo Escandón and Joy Nicholson offers advice on query letters, editing, and what not to do when submitting a manuscript.

Danielle Svetcov of Levine Greenberg Rostan
4.15.15
Should you pay to have a manuscript edited beforehand? Are there benefits to querying via snail mail versus e-mail? Danielle Svetcov of Levine Greenberg Rostan answers readers’ questions about what (and what not) to do when trying to find an agent.

Meredith Kaffel Simonoff of DeFiore and Company
8.20.14
An agent representing authors such as CJ Hauser and Cecily Wong answers questions about writing in multiple genres, agents’ fees, and publishing work in online journals.

Amy Rennert of the Amy Rennert Agency
3.01.14
The agent of authors such as Diana Nyad and Herman Wouk answers questions about self-publishing, age restrictions, and working with an agent remotely.

Chris Parris-Lamb of the Gernert Company
10.06.13
Chris Parris-Lamb of the Gernert Company offers advice on submitting query letters and manuscripts, and when to embrace or eschew self-promotion.

Lucy Carson of the Friedrich Agency
9.01.13
Lucy Carson of the Friedrich Agency discusses e-book publishing, when to send a sample to an agent, and more.

Matt McGowan of Frances Goldin Literary Agency
5.01.13
Literary agent Matt McGowan, who represents Eula Biss, John D’Agata, Brian Evenson, and many others, answers writers’ most commonly asked questions.

Rebecca Gradinger of Fletcher & Company
10.17.12
Literary agent Rebecca Gradinger explains why writers need agents and offers tips about best practices for finding one.

Douglas Stewart of Sterling Lord Literistic
4.12.12
The agent of Jami Attenberg, David Mitchell, Carolyn Parkhurst, Matthew Quick, and others offers guidance about publishing credits, MFA programs, and unagented submissions.

Jenni Ferrari-Adler of Brick House Literary Agents
3.01.11
Does your book need to be finished before you seek representation? Do agents really read synopses? Agent Jenni Ferrari-Adler, whose clients include Lauren Shockey and Emma Straub, answers these questions and more.

Terra Chalberg of the Susan Golomb Literary Agency
10.15.10
When is the best time in your career to look for representation, and when should you call off an author-agent relationship? Terra Chalberg, whose clients include Lori Ostlund and Glenn Taylor, tackles these questions and more.

Jennifer Carlson of Dunow, Carlson & Lerner
8.11.10
The agent of authors such as Kevin Brockmeier and Marisa de los Santos offers her thoughts on self-publishing and what she looks for in the first five pages of a writing sample.

PJ Mark of Janklow & Nesbit Associates
5.01.10
The agent of authors such as Samantha Hunt, Dinaw Mengestu, and Josh Weil offers advice on shaping a query letter and when to follow up after pitching your book.

Katherine Fausset of Curtis Brown, Ltd.
3.01.10
Agent Katherine Fausset answers questions from readers about the agent’s role in submitting work to literary magazines and how writers can choose agents based on their client lists.
 

Agents & Editors: The Complete Series

by

Jofie Ferrari-Adler, Michael Szczerban, and M. Allen Cunningham

2.10.21

Launched in 2008, this series of in-depth interviews with book editors, publishers, and agents offers a unique look at the past, present, and future of the book industry and what writers can do to thrive in today’s publishing world.  

 

Agents

 

The Book Group
by Michael Szczerban
6.14.16
Four veteran agents—Julie Barer, Faye Bender, Brettne Bloom, and Elisabeth Weed—talk about the business of books, the secret to a good pitch, and what authors should do in the lead-up to publication.

Claudia Ballard, Seth Fishman, Melissa Flashman, and Alia Hanna Habib
by Michael Szczerban
6.17.15
Four young literary agents meet for an evening of food, drink, and conversation about how they find new authors, what they need to see in a query letter, and the common mistakes writers should avoid.

Jennifer Joel
by Michael Szczerban
2.10.15
Jennifer Joel, whose clients include Chris Cleave, Joe McGinniss Jr., Evan Osnos, and Shonda Rhimes, talks about the difference between selling fiction and nonfiction, what inspires her to go the extra mile for her authors, and what writers should really want out of publishing.

PJ Mark
by Michael Szczerban
6.18.14
PJ Mark, whose clients include Samantha Hunt, Wayne Koestenbaum, Dinaw Mengestu, Maggie Nelson, Ed Park, and Josh Weil, talks about what writers can do to improve their chances of success, why fiction is harder to sell than nonfiction, and the importance of trusting your heart.

Susan Golomb
by Michael Szczerban
5.1.14
Susan Golomb, whose clients include Jonathan Franzen, Rachel Kushner, and William T. Vollmann, talks about the ebb and flow of submission season, the art of the preemptive offer, and the gems she finds in her slush pile.

David Gernert
by Michael Szczerban
1.1.14
Literary agent David Gernert discusses the bookstore as a key to our culture, what it’s like to work with John Grisham, and how big changes in the industry are affecting authors’ incomes.

Eric Simonoff
by Michael Szczerban
7.1.13
A heavy-hitting agent who for twenty-two years has represented some of the biggest literary writers in the country, Eric Simonoff discusses recent changes in the publishing industry, the pitfalls of self-publishing, and what he’s learned about staying creative.

Georges Borchardt
by Jofie Ferrari-Adler
9.1.09
Georges Borchardt has been an agent for more than fifty years. He’s seen authors, editors, and other agents come and go, but two things have never changed: his belief that good writing is a gift and his ability to get it published.

Maria Massie, Jim Rutman, Anna Stein, and Peter Steinberg
by Jofie Ferrari-Adler
5.1.09
Four agents discuss how the economy is affecting their jobs, where they’re finding new writers, and what totally freaks them out about MFA students.

Julie Barer, Jeff Kleinman, Daniel Lazar, and Renee Zuckerbrot
by Jofie Ferrari-Adler
1.1.09
Four young literary agents meet for an evening of food, wine, and conversation about the writing they’re looking for, how they’re finding it, what they love, what they hate, and ten things writers should never ever do.

Molly Friedrich
by Jofie Ferrari-Adler
9.1.08
Known as a heavy-hitting agent willing to go to bat for her clients, Molly Friedrich discusses how an author should choose an agent, what she looks for in a manuscript, and what separates great agents from merely good ones.

Nat Sobel
by Jofie Ferrari-Adler
5.1.08
Agent Nat Sobel, one of the most forward-thinking and outspoken agents in the business, voices his opinions on what authors should do for themselves, the dangers of MFA programs, and what he finds in literary magazines.

Lynn Nesbit
by Jofie Ferrari-Adler
1.1.08
With more than forty years of experience in the business, agent Lynn Nesbit discusses how she signed some of her biggest clients, how a writer can get an agent’s attention, and what’s wrong with the publishing industry.

 

Editors

 

Sarah McGrath
by M. Allen Cunningham
2.10.21
The editor in chief of Riverhead Books, an imprint of Penguin Random House, talks about her start in publishing, acquiring books, editing as a creative process, and more.

Ben George
by M. Allen Cunningham
8.14.19
Ben George, a senior editor at Little, Brown who works with some of the biggest names in literary fiction and nonfiction, talks about the author-editor relationship, the plight of the midlist writer, and the art of revision. 

Rob Spillman
by Michael Szczerban
10.12.16
Editor Rob Spillman talks Tin House—the magazine, the books, the summer workshop—and the pleasures, perils, and surprises of independent publishing.

Michael Wiegers
by Michael Szczerban
10.14.15
Michael Wiegers, the editor in chief of Copper Canyon Press, talks about how he decides which books to publish (from the two thousand manuscripts the press receives each year) and what it’s like to edit the likes of Pablo Neruda, W. S. Merwin, and C. D. Wright.

Dawn Davis
by Michael Szczerban
8.19.15
Dawn Davis—vice president and publisher of 37 INK, an imprint of Simon & Schuster’s Atria Publishing Group—talks about editing Edward P. Jones, the lack of diversity in publishing, and what some of the most successful authors have in common.

Jeff Shotts
by Michael Szczerban
10.15.14
Graywolf Press executive editor Jeff Shotts discusses the power of patience in publishing, editing as an act of empathy, and why it’s an exciting time to be a poet.

Amy Einhorn
by Michael Szczerban
2.12.14
The publisher of her eponymous imprint at Penguin Random House, Amy Einhorn discusses her early days as an assistant at FSG, the importance of titles, and how she pushes her authors to make their books the best they can be.

Jordan Pavlin
by Michael Szczerban
9.1.13
A vice president and executive editor at Knopf, Jordan Pavlin discusses her terror of launch meetings, the particular genius of Sonny Mehta, and her job as a writer’s ideal reader.

Jonathan Karp
by Jofie Ferrari-Adler
11.1.09
As the editor in chief of Twelve, Jonathan Karp is always looking for good writing. Considering that half of all the books he’s published there have become best-sellers, that should make a lot of writers very, very excited.

Jonathan Galassi
by Jofie Ferrari-Adler
7.1.09
Some publishers may have lost sight of what’s important, but the head of FSG shows his allegiance as he discusses the fallacy of the blockbuster mentality, what writers should look for in agents, and his close bond with authors.

Lee Boudreaux, Eric Chinski, Alexis Gargagliano, and Richard Nash
by Jofie Ferrari-Adler
3.1.09
Four young editors, from big houses and small, take some time off to discuss what makes a good manuscript, what they’ve come to expect from their authors, and how much of their work needs to be done at night and on weekends.

Chuck Adams
by Jofie Ferrari-Adler
11.1.08
A veteran editor who has worked at publishing houses both large and small, Chuck Adams of Algonquin Books talks about what beginning writers tend to forget, the secret to selling two million copies, and the problem with MFA writing.

Janet Silver
by Jofie Ferrari-Adler
7.1.08
Having settled into her new role at Nan Talese’s imprint following her ouster from Houghton Mifflin, editor Janet Silver discusses what she looks for in a new writer and what every author should know about agents.

Pat Strachan
by Jofie Ferrari-Adler
3.1.08
With nearly four decades of editing experience, publishing veteran Pat Strachan reveals the qualities she looks for in fiction, her approach to editing, and how writers can help themselves navigate the industry.

We Mean Business: Twelve Agents Who Want to Read Your Work

by

Kevin Larimer

6.14.17

To say there are a lot of literary agents out there is an understatement—almost like saying there are a lot of writers looking for an agent (but not quite). The Association of Authors’ Representatives (AAR), a nonprofit membership organization founded in 1991, currently lists more than four hundred agents as members, all of whom meet certain experience requirements and abide by an established code of ethics. Another, more general, online database claims to offer details for nearly a thousand agents of varying levels of expertise and areas of emphasis. The carefully curated and focused database of literary agents at pw.org lists more than a hundred, including contact information, submission guidelines, and client lists.

No, the challenge for writers is not a dearth of agents, but rather picking the right one out of the crowd. (Of course, the same could be said about the challenge for agents.) To help narrow the field, I contacted some hungry agents who I know are eager to receive an e-mail from an as-yet-unknown writer and asked each of them for some basic information about what kind of work they want to read and how to reach them, as well as some not-so-basic information that will help you get to know them a little better. Remember, publishing is a business of relationships. You don’t want to simply fire off an e-mail to any agent you happen to come across. Read carefully. In the following profiles, a dozen agents are dropping some subtle (and not so subtle) hints for you. Have you written a piece of narrative nonfiction that gets to the heart of what it means to live in a specific geographical region? Duvall Osteen might be a great fit. Do you have a novel set in North Carolina? Adam Eaglin could be your man. Are you from Detroit and love music? You may need to look no further than Carrie Howland. Are you a writer of smart horror fiction and just can’t get enough of the work of Joe Hill and Nathan Ballingrud? You should take the time to get to know Renée Zuckerbrot.

These twelve agents all have distinct personalities, aesthetics, work habits, backgrounds, proclivities, and peeves—and so do you. So take your time, do the research, read books by their clients, and listen to what these professionals are saying. One of them might be speaking directly to you.

 

Danielle Svetcov, Levine Greenberg Rostan Literary Agency

Who she represents: Bridget Quinn (Broad Strokes), Bonnie Tsui (Why We Swim), Nicole Perlroth (This Is How They Tell Me the World Ends), Stephanie Wilbur Ash (The Annie Year), Meg Elison (The Book of the Unnamed Midwife), James Nestor (Deep), Shalane Flanagan and Elyse Kopecky (Run Fast Eat Slow), Eben Weiss (The Ultimate Bicycle Owner’s Manual)

What she wants to read: Biographies and histories in which I can smell the breath and walk in the footsteps of the characters profiled; memoirs and reported narratives braced by vivid scenes and a sense of urgency; humor that can revive a marriage when read before bed; fiction that reads easy but isn’t.

When you should contact her: If your manuscript is the only piece of writing you’ve got to share (you’re not a working journalist, say, or a published author), then your manuscript (if it’s fiction) should be complete before you query. If you are a professional writer with clips galore to share, I still recommend you query when you’ve got a finished manuscript (if fiction), because it leaves no mystery (but it’s up to you). If you’re submitting nonfiction—all writers—then you should have a full proposal to share when you query. Coda: An agent should not be the first person (besides you) to read your manuscript or proposal.

Where she can be reached: e-mail dsvetcov@lgrliterary.com

Why you should want her as your agent: To quote my clients: “relentless,” “wolfish,” “and she always calls you back.”

How she wants to be contacted: Send query letter with attached proposal or sample of fiction (say, twenty-five pages).

 

Renée Zuckerbrot, Massie & McQuilkin Literary Agents

Who she represents: Dan Chaon (Ill Will), Shannon Leone Fowler (Traveling With Ghosts), Kelly Link (Get in Trouble), Deborah Lutz (The Bronte Cabinet: Three Lives in Nine Objects), Andrew Malan Milward (I Was a Revolutionary), Keith Lee Morris (Travelers Rest), Shawn Vestal (Godforsaken Idaho), M. O. Walsh (My Sunshine Away), Daniel Wallace (Extraordinary Adventures)

What she wants to read: I tend to be seduced by voice, so voice-driven fiction and nonfiction are high on my wish list. I love getting lost in a world that is strikingly different from mine. I have a deep appreciation for storytelling that allows me to see the world anew, or introduces me to a culture or worldview outside my own. I read to be entertained and educated. Writers who approach current events and historical topics with original, provocative ideas will always find readers. I’m also looking for smart horror writers along the lines of Joe Hill and my client Nathan Ballingrud (North American Lake Monsters). There will always be room on my list for popular science—Eric Sanderson’s Mannahatta: A Natural History of New York City is a good example—and pop-culture books like my client Theron Humphrey’s Maddie on Things.

When you should contact her: Please query me when you have a complete manuscript or proposal with a sample chapter. I am also willing to look at a complete short story collection and partial novel, or a complete novel and a partial story collection. For memoirs, I will consider a proposal with a sample chapter or the complete manuscript.

Where she can be reached: e-mail renee@mmqlit.com

Why you should want her as your agent: I am a careful reader who reads on both a micro and macro level. My first job was in editorial—I’m a former Doubleday editor—so it’s all about the writing. I work with my clients on getting their work in the best shape possible before submitting it. That said, my job is not to edit a manuscript so that it conforms to my idea of perfection; rather, it is to edit a work so that editors reading it will be able to envision the book as the writer intends. I need to leave enough room for editors to work with my clients to shape their manuscripts to their shared vision and the publisher’s vision. I’m proud of the fact that the manuscripts I sell never require major editorial overhauls. Also, I value fostering long-term relationships with my writers. Last but not least, I’m enthusiastic about collaborating with my writers and their publishers during the publication of their work. I love helping to generate buzz for my clients by talking up their work to anyone who will listen.

How she wants to be contacted: Please include a description of your work, your writing credentials, a brief bio in the body of an e-mail, along with the first three chapters/stories from your manuscript as a Word document. For nonfiction, you can also send a proposal and sample chapter.

 

Duvall Osteen, Aragi Inc.

Who she represents: Bethany Ball (What to Do About the Solomons), Elizabeth Poliner (As Close to Us as Breathing), Marjorie Liu (Monstress), Lauren Holmes (Barbara the Slut and Other People), Brooke Barker (Sad Animal Facts), Brad Watson (Miss Jane), Bryce Andrews (Badluck Way: A Year on the Ragged Edge of the West), Wil S. Hylton (Vanished: The Sixty-Year Search for the Missing Men of World War II), Pablo Medina (The Island Kingdom)

What she wants to read: Fiction and narrative nonfiction with a big voice and/or a strong sense of place.

When you should contact her: For fiction I request completed novels or story collections. For narrative nonfiction I’m happy to read a proposal, which should include an overview and at least two finished chapters.

Where she can be reached: e-mail queries@aragi.net; attn: Duvall Osteen

Why you should want her as your agent: We’re a small, selective agency. We keep it that way for a reason. Our authors are never going to be handed off; they can always reach us, no matter how big or small the question, no matter what stage of their career. Every single author at Aragi is of equal importance.

How she wants to be contacted: Please send your query via e-mail, which should include a synopsis of the book and your bio.

 

Jeff Kleinman, Folio Literary Management

Who he represents: Garth Stein (The Art of Racing in the Rain), Elizabeth Letts (The Eighty-Dollar Champion), Eowyn Ivey (The Snow Child), Jacquelyn Mitchard (Two If by Sea), Charles J.  Shields (Mockingbird), Karen Dionne (The Marsh King’s Daughter), Benjamin Ludwig (Ginny Moon), Val Emmich (The Reminders), Kathy McKeon (Jackie’s Girl)

What he wants to read: I focus on book-club/literary fiction and narrative nonfiction—especially those projects that I feel can make a difference either to me personally or to the world. I love unique voices, magnificently strong characters, unusual premises, and books that offer some new perspective on something I thought I already knew something about or never even dreamed existed. I’m always interested in learning and love when someone can teach me something organically so it doesn’t feel like I’m even learning. I’m particularly looking for voice-driven fiction as well as very well-written thrillers and psychological suspense novels; or novels with a great, quirky, fun voice. I love narrative nonfiction and memoir and have sold projects in a wide variety of subjects, including art, history, animals, military, and many other genres.

When you should contact him: Fiction writers, when you’ve finished your entire novel, had it read by several readers, edited and reedited it, and feel like it’s now absolutely as strong as you can possibly make it, write me a letter and tell me about it. Nonfiction writers, when you’ve written a book proposal, paying particular attention to the sample chapter(s)/excerpts and marketing materials, write me a letter.

Where he can be reached: E-mail jeff@foliolit.com, but please consult the Folio website (foliolit.com) before you fire off an e-mail. No phone calls or hard copies, please.

Why you should want him as your agent: I’m very hands-on and love the editing-collaborating process—brainstorming plots, rejiggering motivations, tweaking backstory. It’s really satisfying and invigorating to be part of the creative process. I also love being part of the publication process, too—coming up with marketing ideas, discussing PR strategies, revising flap copy, reading/editing short promotional materials, and so forth. I do best working with authors who see their agent as a partner in the book publishing process: I’m not a guy who rubber-stamps a manuscript and just forwards it to the editor; and I don’t just disappear once the book has been sold. As one author told me recently, “I was just saying that what you do for me is not normal. I don’t know of a single other agent who works so hard to make sure his clients look good—and I know a lot of agents!”

How he wants to be contacted: For fiction, a query letter plus the first page of your manuscript; for nonfiction, a query letter plus a proposal overview and/or first page of a sample excerpt.

 

Eleanor Jackson, Dunow, Carlson & Lerner

Who she represents: David Wroblewski (The Story of Edgar Sawtelle), Susie Steiner (Missing, Presumed), T. Geronimo Johnson (Welcome to Braggsville), Aline Ohanesian (Orhan’s Inheritance), Susan Straight (Between Heaven and Here), Michael Lemonick (The Perpetual Now)

What she wants to read: I believe a good book should wake you up by taking you out of your life and immersing you in someone else’s. So I want to read books with deeply imagined worlds, by writers who are not afraid to take risks with their work.

When you should contact her: Fiction writers, I want you to contact me when you have a full draft of your novel. I sell a lot of nonfiction on proposal, so I’m happy to look at those projects a bit earlier. If I’m considering nonfiction on proposal, I’d like to see one or two sample chapters. In general, I think the best moment for writers to contact an agent is when they have done everything they possibly can on their own.

Where she can be reached: Dunow, Carlson & Lerner Literary Agency; 27 West 20th Street, Suite 1107; New York, NY 10011; e-mail eleanor@dclagency.com

Why you should want her as your agent: I consider my clients my friends. They all have my cell-phone number and are free to use it. My list is intentionally small, so I can give every project the attention it deserves. I also like to think long-term, about how to build a career as well as sell individual books.

How she wants to be contacted: Please send me a one- to two-page query letter with a summary of your work and an author bio. If you have a proposal, please attach it to your query. If you are working on a novel, please attach the first ten to twenty pages to give me a sense of your writing.

 

Allison Hunter, Janklow & Nesbit Associates

Who she represents: Katie Heaney (Never Have I Ever), Arianna Rebolini (Public Relations), Swan Huntley (We Could Be Beautiful), Anna Pitoniak (The Futures), Anne Helen Petersen (Too Fat, Too Slutty, Too Loud), Christina Kelly (Good Karma), Victoria James (Drink Pink), Kelsey Miller (Big Girl), Jen Chaney (As If!), Emilie Wapnick (How to Be Everything), Dvora Meyers (The End of the Perfect 10), Eliot Nelson (The Beltway Bible), Megan Mulry (A Royal Pain)

What she wants to read: Literary and commercial fiction, especially upmarket and women’s fiction, as well as select memoir, narrative nonfiction, cultural studies, and pop culture. I’m especially looking for funny female writers, great love stories, campus novels, beach reads, family epics, and nonfiction projects that speak to the current cultural climate.

When you should contact her: Fiction writers, please wait until you have a complete, polished manuscript. Nonfiction writers, you should have a fully fleshed out idea and ideally a full book proposal.

Where she can be reached: e-mail ahunter@janklow.com

Why you should want her as your agent: I like to think that I offer my authors the best of both worlds—the resources of a large, world-class agency but with a great deal of personal attention. I am a fast and voracious reader and feel that it is my duty to read widely in the genres I’m representing, to fully understand the market. I pride myself on my close working and personal relationships with editors at every publishing house, as well as my connections with the greater literary community in New York City.

How she wants to be contacted: Please send me a query and approximately ten to fifteen pages of your manuscript or proposal.

 

Carrie Howland, Empire Literary

Who she represents: Kaitlyn Greenidge (We Love You, Charlie Freeman), Carmiel Banasky (The Suicide of Claire Bishop), Melissa Gorzelanczyk (Arrows), Sarah Prager (Queer, There, and Everywhere), Jason Tougaw (The One You Get)

What she wants to read: I’m actively seeking adult-fiction writers, both literary and upmarket. My background is in poetry and literary fiction, so beautiful language is one of the first things I look for in any project. Equally important are a strong voice and great story, which I’m looking for across genres. I would love to see a literary thriller, whether adult or young adult, come across my desk. For children’s books, I love voice-driven, contemporary fiction that isn’t afraid to tackle tough issues. I adore a middle-grade adventure story but am also taken by one that might deal with the loss of a sibling, for example, or a serious issue at school or with a friend. For nonfiction, I’m a music fanatic, and as such I’m always looking for great books on movements, culture, musicians themselves, or simply how we as a society respond to, and are affected by, the music around us. I’m a Detroit-area native, so I’d also love submissions for books that deal with the city itself, or cities like it, the politics surrounding them, and stories of people who live there. In addition to poetry, I have a strong background in public policy, so I’m incredibly interested in books that deal with politics, education, or other societal issues. Finally, I love all things pop culture, so I will never say no to a proposal about anything from “why we’re a Bachelor-obsessed nation” to “why we can’t ever seem to get enough of Gilmore Girls.”

When you should contact her: For fiction, a project should truly be finished before I see it. I recommend you have a not only complete but also well-edited manuscript before sending to me, or any agent. For nonfiction, a proposal is perfect.

Where she can be reached: e-mail carrie@empireliterary.com

Why you should want her as your agent: After nearly twelve years as an agent, representing award-winning authors, I’ve developed a hands-on approach to launching the careers of debut novelists. I’m a very editorial agent and love collaborating with my clients. Whether that’s idea development, manuscript feedback, assisting with publicity, social media, or marketing, I really do consider myself a full-service partner for my authors. I absolutely love what I do; I live and breathe for my clients and work tirelessly to promote their work and careers. Beyond that, while I’ve been a New Yorker for over a decade, I’m a Midwestern girl at heart, so you’ll find not only an advocate, but a friend in me as your agent. This can be a tough business, and I like to remind my clients why we all chose this profession in the first place: because we’re passionate about the written word.

How she wants to be contacted: Please send your query letter and first twenty pages (for fiction) or proposal (for nonfiction) as a Word document to carrie@empireliterary.com.

 

Ross Harris, Stuart Krichevsky Literary Agency

Who he represents: Isaac Oliver (Intimacy Idiot), Charlyne Yi (Oh the Moon: Stories From the Tortured Mind of Charlyne Yi), Rachel Lindsay, Manoush Zomorodi (Bored and Brilliant: How Spacing Out Can Unlock Your Most Productive and Creative Self), A. Brad Schwartz (Broadcast Hysteria: Orson Welles’s War of the Worlds and the Art of Fake News), Rebekah Frumkin (The Comedown), Ruth Joffre (Night Beast and Other Stories)

What he wants to read: My taste tends to lean toward the literary, but as long as the plot surprises and entertains, I’ll be won over. I love to find new, unpredictable stories—I think every agent will tell you that—but I particularly enjoy the feeling, the unease, the excitement that creeps in when I honestly don’t know what’ll happen next. When I finish a book (or proposal), the lasting feeling of wonderment is what I’m after.

When you should contact him: You should write to me (and, yes, please do!) when you feel comfortable sharing your work. I tell writers that the right time to share your work with an agent is when you feel confident that it’ll speak for itself—without you having to be in the room. If you’re going to want to be over my shoulder saying, “Well, this part will be fixed…” or “I intend to make this part a little clearer…,” you aren’t ready to share the work, which is completely fine. Many writers make the mistake of looking for an agent too soon. An agent’s primary job is to sell your work, so if you don’t have anything yet to sell…wait until you do. You get one first impression. Make it count.

Where he can be reached: My inbox is always open to new and prospective clients: rh@skagency.com.

Why you should want him as your agent: I’m fun, I mean business, I care deeply about seeing each and every client succeed in her or his own way. When I work with any writer, regardless of genre or style, it’s a very personalized relationship.

How he wants to be contacted: A partial manuscript, a proposal, or full manuscript. The work doesn’t have to be 100 percent polished, but remember that I’m going to be considering its salability, not potential salability. Just make sure you’re ready (and feel confident) to send. If you’re excited to share your work with me, I’ll be excited to read it.

 

Caroline Eisenmann, Frances Goldin Literary Agency

Who she represents: Meghan Flaherty (Tango Lessons), Brandon Hobson (Where the Dead Sit Talking)

What she wants to read: In almost any genre, I’m attracted to great prose and a strong sense of emotional intelligence on the page. For upmarket and literary fiction, I tend to be particularly drawn to relationship-driven novels, stories about obsession, and work that grapples with intimacy and its discontents. With nonfiction, I’m very interested in deeply reported narratives and stories that take the reader into the heart of a subculture as well as idea books with a surprising or unusual central argument.

When you should contact her: I’d like to see your work when you feel you’ve taken it as far as you can by yourself. With a novel, this will almost always mean an edited full manuscript; in nonfiction, I’d generally want to read at least the fundamental elements of a proposal (outline, sample pages, etc.).

Where she can be reached: It’s best to get in touch by e-mail at ce@goldinlit.com

Why you should want her as your agent: I do a lot of editorial work with my clients, generally from the ground level of a project. That can mean brainstorming about the concept behind nonfiction or coming up with plot solutions in fiction, but my goal is always to help authors reach the best possible version of their book before submission. I’m also a clear communicator who’s constantly thinking about what my clients want and need, and I will do everything possible to make those goals happen. I worked in marketing and digital publishing before coming to agenting, which gives me extra insight into how to position my clients in an evolving landscape.

How she wants to be contacted: Please send a query. If the work is fiction or completed nonfiction, include the first ten pages in the body of the e-mail.

 

Adam Eaglin, Cheney Associates, LLC

Who he represents: Lawrence Osborne (Hunters in the Dark), Jennine Capó Crucet (Make Your Home Among Strangers), Ron Rash (The Risen), Lisa Servon (The Unbanking of America: How the Middle Class Survives), David Treuer (Prudence), Devin Leonard (Neither Snow nor Rain: A History of the United States Postal Service), Leah Vincent (Cut Me Loose: Sin and Salvation After My Ultra-Orthodox Girlhood), Diksha Basu (The Windfall)

What he wants to read: Debut literary and upmarket fiction; narrative nonfiction and memoir; journalists and academics writing new takes on culture, politics, and current events. Regardless of genre, I’m always interested in diverse voices and underrepresented perspectives, and as a native North Carolinian I am partial to great fiction set in the South.

When you should contact him: For fiction, it’s usually best to be in touch when you have a finished manuscript to share. For nonfiction, a draft of a proposal.

Where he can be reached: e-mail adam@cheneyliterary.com

Why you should want him as your agent: I try to keep a small, selective list and only take on projects I really believe in, which enables me to be a hands-on and passionate advocate for each of my writers. This includes in-depth editorial work, working strategically to find the best publishing deals, and shepherding an author through all aspects of the publication process, including publicity and marketing. My goal is always to help each of my author’s books make as big an impact as possible and to build careers over time.

How he wants to be contacted: A query by e-mail with a full manuscript (for fiction) or a proposal (nonfiction).

 

Amelia Atlas, ICM Partners

Who she represents: Caite Dolan-Leach (Dead Letters), Mark O’Connell (To Be a Machine), Matt Gallagher (Youngblood), Joy Williams (Ninety-Nine Stories of God)

What she wants to read: I’m looking for books—whether fiction or nonfiction—that feel engaged with the larger world. That can mean having a big new idea, taking me to a place or a part of history that I haven’t seen, or simply having a kind of inquisitive spirit. I’m looking for writing that comes from a place of urgency.

When you should contact her: Ideally I’d like to hear from writers who have a finished manuscript or proposal ready for review. At the very least it should feel like you’ve really pushed the project as far as you can without outside eyes and feedback.

Where she can be reached: e-mail aatlas@icmpartners.com

Why you should want her as your agent: The projects I look for are the kind of things I know I’m going to want to be in the trenches fighting for in the years to come (publishing is a slow business), and I think that shows in how I work with my clients—whether it’s reading multiple drafts, batting ideas around, or shepherding them through the publishing process. I like to be pretty hands-on, especially in the early, developmental stages: It’s exciting to watch something become the book we know it should be.

How she wants to be contacted: A query letter plus the first ten pages pasted into the body of an e-mail.

 

Julie Barer, The Book Group

Who she represents: Joshua Ferris (To Rise Again at a Decent Hour), Bret Anthony Johnston (Remember Me Like This), Lily King (Euphoria), Celeste Ng (Everything I Never Told You), Cristina Henriquez (The Book of Unknown Americans), Helen Simonson (Major Pettigrew’s Last Stand), Mia Alvar (In the Country), Madeline Miller (The Song of Achilles), Alice Sebold (Lucky), Kathleen Kent (The Heretic’s Daughter), Nicole Dennis-Benn (Here Comes the Sun), Megan Mayhew Bergman (Almost Famous Women), Paula McLain (The Paris Wife), Kevin Wilson (The Family Fang), Charles Yu (How to Live Safely in a Science Fictional Universe)

What she wants to read: My list is predominantly fiction, and I am particularly interested in representing diverse voices and perspectives from around the world. I’m always looking to learn something new from the fiction I read and to be taken somewhere I’ve never been before. I’m drawn to original voices, or retellings of stories we’ve heard before in new and innovative ways. I need to feel emotionally connected to the characters, and as obvious as it sounds, I need a real plot. More than anything, though, I just want to fall in love. I want to miss my subway stop because I can’t stop reading. I want to completely disappear into the world of the novel. I want to turn the last page and immediately feel the need to tell everyone I know about it.  

When you should contact her: In general I think it’s best, when writing fiction, if you have a complete and polished manuscript. That means you’ve taken the time to self-edit and even stepped away from the project for some time so you know that you’ve really put everything into it that you can. If it’s nonfiction, then a proposal with forty to fifty pages of material is usually enough. 

Where she can be reached: The Book Group, c/o Julie Barer; 20 West 20th Street, Suite 601; New York, NY 10011; thebookgroup.com; e-mail submissions@thebookgroup.com

Why you should want her as your agent: At the Book Group we believe in a very hands-on approach at every stage of the publication process. I love to edit, and I bring a strong editorial eye and passionate commitment to each project, making sure I’ve done all I can do to help authors realize their vision and address any issues before we submit to publishers. I’m extremely selective in taking on new projects, which ensures that I’m able to give my clients the time and attention they need. I’m also committed to helping my clients establish and navigate their careers across many years and many books, so I like to be involved in everything from helping write jacket copy to developing a social media presence, pitching magazine ideas, and submitting short stories to brainstorming for the book’s marketing campaign and beyond. We are right there with you every step of the way, and in addition to the U.S. market, we’re thinking about international sales, film, television and audio, and also what your next project should be. This long-term, big-picture perspective and involvement is one of the most interesting parts of my job. 

How she wants to be contacted: Please submit a query letter along with ten sample pages with “Julie Barer” in the subject line to submissions@thebookgroup.com. Please do not include any attachments.

Kevin Larimer is the editor in chief of Poets & Writers, Inc. 

Seventy-Eight Agents to Follow on Twitter

by

Staff

6.14.17

We did the work for you and found the most active and insightful agents to add to your Twitter feed. The seventy-eight listed below share with their followers upcoming pub dates, news, reading recommendations, and more. For more agents, visit our Literary Agents Database.

Noah Ballard                             @NoahBallard

Monika Woods                      @booksijustread

Ginger Clark                            @Ginger_Clark

Julie Barer                                        @juliebarer

Amelia Atlas                                 @ameliaatlas

Adam Eaglin                                        @aeaglin

Caroline Eisenmann           @CarolineMEisen 

Ross Harris                                    @rossharris1

Carrie Howland                 @ECarrieHowland 

Allison Hunter                      @AllisonSHunter 

Jeff Kleinman                             @FolioLiterary

Duvall Osteen                           @AragiAuthors

Renée Zuckerbrot                             @RZAgent

Danielle Svetcov                                @dsvetcov

Ayesha Pande                             @agent_ayesha

Alia Hanna Habib                         @AliaHanna

Alice Tasman                              @AliceTasman

Andrew Lownie                      @andrewlownie

Betsy Lerner                                @BetsyLerner

Brettne Bloom                                     @Brettne

Carly Watters                              @carlywatters

Carol Mann                       @carolmannagency

Chris Parris-Lamb                    @thegernertco 

Claudia Ballard                                         @wme

Curtis Russell                               @CurtisPSLA

Daniel Lazar                         @DanLazarAgent

David Haviland                       @davidhaviland

Deborah Schneider              @deborschneider

Brian DeFiore                                     @DeFiore

Dorian Karchmar              @DorianKarchmar

Elisabeth Weed                        @elisabethweed

Elyse Cheney                              @ElyseCheney

Emily Forland                           @EmilyForland

Emma Sweeney               @EmmaSweeneyESA

Emma Patterson                              @EmPat222

Farley Chase                                   @farleychase

Ryan Fischer-Harbage            @fischerharbage

Christy Fletcher                     @FletcherChristy

Gary Morris                               @garymmorris

Katie Grimm                                     @grimmlit

Jenni Ferrari-Adler               @JenFerrariAdler

Jessica Papin                                         @jkpapin

Joanne Wyckoff                      @JoanneWyckoff

Joy Harris                             @JoyHarrisAgency

Kate Garrick                                   @kategarrick

Katherine Fausset                                   @Kfauss

Kimberly Witherspoon                      @kwspoon

Laura Biagi                                     @LauraJBiagi

Laurie Abkemeier                @LaurieAbkemeier

Laura Dail                                                @LCDail

Liza Dawson                        @LizaDawsonAssoc

Lucy Carson                                 @LucyACarson

Mary Evans                                 @MaryEvansInc

Melissa Flashman                         @melflashman

Meredith Kaffel                                     @mere215

Miriam Altshuler                   @MiriamAltshuler

Peter Steinberg                         @PeterSteinberg1

Rayhané Sanders                      @rayhanesanders

Rena Rossner                                  @renarossner

Sarah Burnes                                  @sarahburnes

Samantha Shea                                       @sb_shea

Seth Fishman                              @sethasfishman

Stuart Krichevsky                                @skagency

Sarah Levitt                                    @slevittslevitt

Sarah Yake                                               @slyyake

Soumeya Bendimerad Roberts     @soumeya_b

Rachel Sussman                       @SussmanRachel

Sarah Bowlin                                        @svbowlin

Michelle Tessler                            @tessleragency

Bill Clegg                                 @TheCleggAgency

Tina Wexler                                    @Tina_Wexler

Uwe Stender                             @UweStenderPhD

Vicky Bijur                                                  @VBLA

Joseph Veltre                                                @veltre

Rachel Vogel                                  @Vogelrachelm

William Clark                                @wmclarkassoc

Zoë Pagnamenta                        @zoepagnamenta

 

 

Ten Questions for Obed Silva

12.14.21

This week’s installment of Ten Questions features Obed Silva, whose debut memoir, The Death of My Father the Pope, was published on December 7 by MCD. Silva’s memoir begins in the immediate aftermath of his father’s death. In the early hours of the morning in California, he receives a call from his distraught brother in Mexico, who informs him their father has succumbed to his lifelong alcoholism. Scarred by the violence of his father’s addiction, Silva briefly wavers about even attending the funeral, but quickly commits to looking closely at his father, at times even addressing him directly in the text: “When I see you again, will you receive me with open arms after I have written all of these terrible words about you, after I have told the truth?” Written with both great anger and tenderness, The Death of My Father the Pope is a uniquely rigorous study of grief and inheritance. “Obed Silva’s memoir is a magnificent and poignant achievement,” writes Greg Boyle. “Like the great literary giants he weaves throughout this narrative, we are brought to a rich and luminous excavation of the father wound, of the contours of death and the sure triumph of love.” Obed Silva was born in Chihuahua, Mexico, and immigrated to the United States as a toddler. A former gang member—he is paralyzed from the waist down, the result of a gunshot wound—he earned a master’s degree in medieval literature and is now an English professor at East Los Angeles College.

1. How long did it take you to write The Death of My Father the Pope?
I started to write the book on July 14, 2009, the day after receiving the news that my father had passed away. I was on a plane to Chihuahua, Mexico, when I opened my journal and started to put pen to paper. Approximately ten years later, sometime in December 2019, after many, many exhausting revisions, the book was completed and sent off to Daniel Vazquez, who at the time worked with the editor of my great friend Héctor Tobar. A couple of weeks later, before the year was up—I don’t recall if it was before or after Christmas, but it was a nice present either way—I received an e-mail from Daniel telling me that they wanted to publish not only The Death of My Father the Pope but also the sequel, In the Hands of My Mother, which I am currently working on. Of course I said yes, signed the contract, and here we are now.

2. What was the most challenging thing about writing the book?
The most challenging part about writing the book was having to relive all of the painful memories that I describe in it. I cried often over my handwritten words on the pages of my journals. The second most challenging thing was finding time, hence the ten years it took to complete.

3. Where, when, and how often do you write?
When writing The Death of My Father the Pope I would often write late at night, when it was the most quiet for me. I now try to write during the day in my office at East Los Angeles College, hours before my first class begins. I’m trying to make it routine, and so far it has been working out. Because of COVID, the campus is pretty empty and the buildings are quiet, so I arrive early, close my door, and start typing. Other times I just try to squeeze it in when I can. Sometimes I’ll be at a bar or restaurant or coffee shop, and I’ll just take out my journal and begin writing.

4. What are you reading right now?
I am reading a number of books right now. I tend to do that. I’ll have one book at home, one in my office on campus, one in my car, and others in other places that I read depending on where I am at the moment. Here they are: A Prayer for Owen Meany by John Irving, The Last Great Road Bum by Héctor Tobar, I Know Why the Caged Bird Sings by Maya Angelou, and I most recently started The Saints of Santa Ana by Jonathan E. Calvillo, which I picked up at a small bookstore called LibroMobile in Santa Ana, California. Lastly, on Audible I’m currently listening to Wild Life by Richard Ford. Oh and I can’t forget the book I keep on my nightstand next to my bed: The Adolescent by Dostoevsky. I’m always reading something by Dostoevsky—I want to read all of his works before my days are up.

5. Which author, in your opinion, deserves wider recognition?
I may be biased in my answer for this question because he’s a close friend of mine, but I believe that Héctor Tobar deserves wider recognition. I mean here’s a writer that writes as a journalist, novelist, sociologist, biographer, you name it. And as a Latino, he writes about people and communities that are often overlooked and marginalized. He sheds light on the immigrant experience and on the communities that they create once settled in this country. In his novel The Barbarian Nurseries, for example, the hero of the story is the Latina nanny. To me, that is important. Stories of Latina/os are not being told like those of other groups, and if they are, often they are stereotypical and written by non-Latino/a folk.

6. What is the biggest impediment to your writing life?
The greatest impediment to my writing life now is grading student essays. Any English professor out there will tell you that grading essays is time-consuming. I love my students, but I could live without having to grade their essays. Now if any of them read this, they’re going to say, “Just give me an A.” Can’t do that.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
I can’t think of something that my editor told me during the publishing process that has especially stuck with me. But I can tell you that my editor and the entire FSG team have been completely accessible to me from the start. They have made the entire process stress-free and even enjoyable. I thought that I was going to have to do all kinds of restructuring and rewriting, but that was not the case. I didn’t have to change much from the manuscript. And what I did change or remove, they kindly asked me if I was willing to change or remove it. Suffice it to say, it’s been smooth sailing from the start.

8. What is one thing you might change about the writing community or publishing industry?
There is some Spanish sprinkled in my book, and my publisher didn’t have someone in-house who could edit Spanish. And I don’t really know how to write in Spanish. I can spell and create sentences, but I don’t know where the accents go, so I really needed someone to make sure all the accents were in the correct places. Eventually, one of my colleagues edited the Spanish for me, and she was paid by my publisher for her work. But that’s what I would change: the behind-the-scenes demographics. I’d make the publishing industry more accessible to Latino/a writers and editors.

9. Who is your most trusted reader of your work and why?
My most trusted reader is my friend Héctor Tobar. He mentored me throughout the writing of The Death of My Father the Pope. He was also the first person to read the book when it was a manuscript still in its early stages. His honest criticism was crucial to the completion of it.

10. What’s the best piece of writing advice you’ve ever heard?
The best piece of writing advice I’ve ever heard is to be patient and disciplined, to take as much time as a story needs to be completed. If you feel that the story is good and that it needs to be read, then keep at it until you’re happy with it. Although I don’t know that a writer is ever happy with the end result.

Obed Silva, author of The Death of My Father the Pope. (Credit: Dario Debora)

Ten Questions for Neel Patel

12.7.21

This week’s installment of Ten Questions features Neel Patel, whose first novel, Tell Me How to Be, is out today from Flatiron Books. From its very first sentences, Tell Me How to Be signals the strained dynamic between its main characters: “My mother always told me to be a good boy. I suspect she knew that I wasn’t.” Akash, who at twenty-eight is still closeted to his family, travels from L.A. to Illinois for the puja one year after his father’s death and to help his mother, Renu, pack up the house in preparation for her move to London. Alternating between Akash and Renu’s perspectives, Patel renders how both mother and son are weighed down by secrets and memories. Captivating and heartrending, Tell Me How to Be is a moving portrait of the difficulty of learning how to live with the past and truly face the present. “A soulful and seductive love song of a book, Tell Me How to Be is a keen and sharply hilarious celebration of the universal messiness of desire and the necessity of coming clean first with ourselves,” writes Nancy Jooyoun Kim. Neel Patel is a first-generation Indian American who grew up in Champaign, Illinois. His debut story collection, If You See Me, Don’t Say Hi (Flatiron Books, 2018), was a New York Times Book Review Editor’s Choice and was longlisted for the Story Prize and the Aspen Words Literary Prize. He lives in Los Angeles. 

1. How long did it take you to write Tell Me How to Be?
In reality it took me a little less than a year to write it, but in many ways, this was the book I was meant to write my whole life.

2. What was the most challenging thing about writing the book?
The most challenging thing was encompassing two characters’ past and present experiences, spanning continents and generations, while making the book feel light and propulsive. The real work was in layering the story, figuring out what went where.

3. Where, when, and how often do you write?
I usually write from my apartment in downtown L.A. I need quiet, but just the right amount of noise: too much and I can’t concentrate, too little and I’ll end up scrolling through Instagram. I typically write in the mornings and afternoons, when my mind is still clear, and I try to write every day—though I often take breaks to binge-watch TV and nurse hangovers.

4. What are you reading right now?
I’m reading A Slow Fire Burning by Paula Hawkins. I want to write a suspense thriller, so I’m reading all the thrillers I can find!

5. Which author, in your opinion, deserves wider recognition?
All of them? I think authors don’t often get the recognition they deserve. It takes a lot of work to write a book. I will say one book I think deserved way more attention than it got was Speak No Evil by Uzodinma Iweala—that was such an important and beautiful book.

6. What is the biggest impediment to your writing life?
My social life. I like to go out. I like to party. It’s hard to reconcile the part of me that wants to drop it low at the club with the part that needs to be sitting at a desk with my “thoughts.”

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
“You’re past your deadline.” Ha. There were so many little tidbits of advice or notes, it’s hard to choose just one.

8. What is one thing you might change about the writing community or publishing industry?
I’d like to see more people having fun. Some writers take themselves too seriously.

9. Who is your most trusted reader of your work and why?
My editor. She understands where I’m trying to go with something, even at its earliest stage, and is able to nudge me in the right direction.

10. What’s the best piece of writing advice you’ve ever heard?
“Don’t do it.” Because that just made me want to do it even more.

Neel Patel, author of Tell Me How to Be. (Credit: Bradford Rogne)

Ten Questions for James Hannaham

11.30.21

This week’s installment of Ten Questions features James Hannaham, whose latest book, Pilot Impostor, is out today from Soft Skull Press. Throughout Pilot Impostor, Hannaham wrestles with the potential futility of his own project—of making art in a time of (and about) disaster. He asks: “Doesn’t it lately seem a foregone conclusion that the psychotic combination of our science, our religion, and our stupidity would lead us to self-destruction? How much of a chance does this piece of writing have to last?” Yet he persists, despite despair, and strives to make sense of the most extreme catastrophes of the modern era, from isolated plane crashes to systemic racism. Inventive in form and told with devastating wit, Pilot Impostor reveals the volatility and perilous edges of human consciousness. “Pilot Impostor takes us on an exhilarating, incandescent ride,” writes Monique Truong. “Words crash, meanings disintegrate and reincarnate, histories disappear and appear on the radar, and against all odds the pilot knows exactly where we’re headed.” James Hannaham is a writer and visual artist. He is the author of the novels God Says No (McSweeney’s, 2009), which was a Lambda Literary Award finalist, and Delicious Foods (Little, Brown, 2016), which won the PEN/Faulkner Award and a Hurston/Wright Legacy Award. His writing has also appeared in the New York Times Magazine, Out, and 4Columns, among other publications.

1. How long did it take you to write Pilot Impostor?
The idea that it would be a book came to me on Sunday, December 18, 2016, while traveling from Nelson Mandela International Airport in Praia, Santiago, Cape Verde, to Lisbon, Portugal, on TAP Portugal Flight 1534, departing Praia (RAI) 13:40, arriving in Lisbon Humberto Delgado (LIS) at 18:45. I finished the writing part sometime in the spring of this year, maybe April, and getting photo permissions took until July? So almost exactly five years. But I was writing a novel at the same time, so maybe it would’ve taken me less time to write both if I had worked on one or the other.

2. What is the earliest memory that you associate with the book?
I suppose it was the sudden, strong feeling that I could turn various obsessions into a book that I got after reading the first section of “The Keeper of Sheep,” the first poem in Fernando Pessoa & Co., an anthology of Fernando Pessoa’s work. Supposedly penned by the heteronym Alberto Caeiro, it begins, “I’ve never kept sheep / But it’s as if I did.” Caeiro is supposed to be a mystically nonmystic poet who espouses the idea that perception is everything, that things are exactly what they look like. This sounded sort of like totalitarianism to me, though I might not have said so in that moment.

3. What was the most challenging thing about writing the book?
Getting—and paying for!—photo permissions after having grabbed so many random images off the web turned out to be pretty difficult. Which is proof to me that I wasn’t really thinking that I would get it published, I was just doing it to do it. I have a few other unfinished projects like this on my laptop going years back.

4. Where, when, and how often do you write?
It depends. I have an art/writing studio separate from my apartment, where I might do any number of things in a given day, round-robin style, usually in the mid-to-late afternoon. How often I write depends on what parameters. I like to include the thinking part of writing in the process, not just the sitting-in-front-of-the-laptop-and-bashing-the-keys part; thinking is really about 90 percent of the work. So I’m going to say I am always writing something, because I never know what material or experience will turn out to be significant to a project, and I’m “Always thinking / Always busy cooking up an angle / Working on the tiny blueprint of the angle / Sketching out the burning autumn leaves,” as They Might Be Giants once put it.

5. What are you reading right now?
My students and I just sort of finished The Bear Comes Home, which was polarizing, and so good fodder for discussion, and this week we’re reading Maus, which, it is a little embarrassing to say, I have known of for decades without having read it in its entirety.

6. Which author, in your opinion, deserves wider recognition?
It would be easier to say which ones deserve less wide recognition. Over the summer I wrote a piece about William Gardner Smith and his book The Stone Face; I feel as if that guy didn’t get his due. I feel as if Earl Lovelace has been overshadowed by V. S. Naipaul—he is not alone, I know—which irritates me because Lovelace is far more compassionate and funky and his sentences are just better. Writing in translation generally does not get enough attention in the United States.

7. What is one thing that surprised you during the writing of Pilot Impostor?
I started out thinking the book was about failures of leadership and incompetence masquerading as experience and then at a certain point it became a metaphor for living inside one’s own mind—that is to say, being the pilot of a doomed vehicle, not really knowing what was real and what was unreal, having questions about one’s own identity and those of others.

8. How did you know when the book was finished?
When we got done with the photo permissions.

9. Who is your most trusted reader of your work and why?
Clarinda Mac Low is always the first person to whom I show my work, because she has read really extensively, she reads really quickly, and she can gently describe to me what’s working and what’s not. She shares with me the inability to separate artistic community from family. She’s not at all associated with the publishing world—she’s much more of a dance/performance/art person, and that community was and remains foundational for me and my values.

10. What’s the best piece of writing advice you’ve ever heard?
Jennifer Egan once said to me, “You have to give yourself permission to write badly.” But then she also said, “The only leverage we have is the quality of our work.” These I think are the bookends of the process. I think of the first while drafting and the second while editing.

James Hannaham, author of Pilot Impostor (Credit: Isaac Fitzgerald)

Ten Questions for Truong Tran

11.22.21

This week’s installment of Ten Questions features Truong Tran, whose seventh book of poetry, book of the other: small in comparison, was published on November 9, 2021. Throughout book of the other, Tran scrutinizes how whiteness has pervaded his life and uses poetry to attempt to wrest back control. At times this feels like an impossible task: “can you call yourself a writer. when everything youve written. feels as though. you have been written.” To combat the racism and gaslighting he experiences, Tran repeats the “facts. because the truth is subject to interpretations. when the white reader of this book. tells you that this couldnt possibly have happened.” With a unique and precise attention to syntax, punctuation, and tense, Truong demands to be seen and begins to plant the seeds of a new narrative for all those who have been othered. “This is witness of whiteness at the scenes of what it refuses to name crimes,” writes Douglas Kearney. “This book is necessary—terribly so. Yesterday, today, and for the foreseeable future.” Truong Tran was born in Saigon, Vietnam. He is the author of six previous books of poetry, including Four Letter Words (Apogee Press, 2008) and 100 Words (Omnidawn, 2021), which he coauthored with Damon Potter. Truong lives in San Francisco and teaches at Mills College in Oakland.

1. How long did it take you to write book of the other: small in comparison?
It’s taken me fifteen years or so to live this book. I guess you can say that it’s taken me just as long to write it. Some microaggression about race happened to you and it gets lodged in your body. You carry it with you through life and one day it gets dislodged when you least expect it to and you play that moment in your head again and again. When something like what happened in the book happens to you, it never stops happening. You live with it, it becomes a part of you. You are looking for a way to put it down. Writing this book became a necessity. What is it about?  I am still trying to put it down even now so I won’t relitigate the subject. I won’t recount what happened. It began on December 9, 2005. I know this for a fact because I went from the university straight to the movie theater where I saw Ang Lee’s Brokeback Mountain. I remember being moved to tears. My friend who watched the movie with me said that she refused to cry for a movie about two white men.

2. What is the earliest memory that you associate with the book?
I had published a version of this book in 2008. It was titled Four Letter Words. It was written in coded language, written from a place of fear. I remember being invited into a classroom to lecture about Four Letter Words. The class was taught by someone I wrote about in the book. It occurred to me while I was lecturing, this individual did not see herself in the book. I knew then that I would have to rewrite the book in no uncertain terms. What I did not know at the time was that the narrative of Four Letter Words would not only be rewritten but also relived. book of the other is a book about race. That memory, the classroom, my lecture about Four Letter Words, they were all about race. It will always be about race.

3. What was the most challenging thing about writing the book? 
I wrote this book with the constraint of honesty. This is easier said than done. Honesty meant that I had to come out of hiding. I had to break my silence. I write poetry. I am addicted to metaphors. Honesty meant that I had to write the book without metaphors or at least attempt to do this. I did not entirely accomplish this because the metaphor appears out of habit or necessity. The metaphor is a shelter and as such, it is a luxury. This book cannot afford such luxuries. There is no hiding from the truth, the facts. Inside the book and in the world. There is no hiding for both the writer and the reader.

4. Where, when, and how often do you write? 
I have been writing in bed right before I go to sleep and right after I wake up. There is something about writing in this way that feels like the act of putting down the things I carry. I wrote this book as a way of putting down the weight of someone else’s shame. I do most of this writing in bed before sleeping as a reminder that I have a voice, and again in bed before I start the day. I wake up in silence. Writing helps me find my voice. I am always looking for my voice.

5. What are you reading right now? 
I’m reading Wanda Coleman’s Wicked Enchantment. I am rereading it for the millionth time. I like to keep her words close by. I miss her.

6. Which author, in your opinion, deserves wider recognition? 
Bhanu Kapil is my ride-or-die poet of a lifetime! Her words have a way of giving my writing purpose. The Vertical Interrogation of Strangers changed my perceptions of poetry forever. And her latest book, How to Wash a Heart, is still teaching me how to breathe.

7. What is the biggest impediment to your writing life? 
Silence. It has always been silence. Even during the times when I thought that silence was my right and my power. I thought that silence was a withholding that asserted my authority as a writer. Silence as an absence of my language, that in my absence, there would be a need, desire, or demand that my voice is present, my contribution would be seen as a necessity. This is the quandary, no this is the fantasy, no this is the burden of being the immigrant, of being the other. This is the overwhelming hope of belonging. Silence is not just an impediment. It is a lifelong path of obstacles. From a very young age, I knew that I wanted to do the work of writing. I wanted to say something. I just did not know that I had to overcome the work of silencing that was happening to me. Writing these days is about saying what needs to be said.

8. If you could go back in time and talk to the earlier you before you started book of the other, what would you say?
I would offer my earlier self two questions and a demand. Where are you? What are you afraid of? Break something. Use your words and break something now!

9. Who is your most trusted reader of your work and why?
My editor for this book, Sunyoung Lee. She kept on asking the difficult questions. She insisted on clarity when the book needed clarity. She was my editor but also someone who walked right next to me as we walked this book back home. Kaya Press is the only U.S. publisher doing the work of publishing Asian diasporic literature. This book could not have been edited by anyone else. This book could not have been published by any other publisher.

10. What’s the best piece of writing advice you’ve ever heard? 
The late Wanda Coleman, who was also a dear friend, once whispered to me, I’m paraphrasing here, “If you allow them to not see themselves, they’ll take it.”

Truong Tran, author of book of the other: small in comparison.

Ten Questions for Claire Oshetsky

11.16.21

This week’s installment of Ten Questions features Claire Oshetsky, whose debut novel, Chouette, is out today from Ecco. Tiny, a professional cellist and the narrator of Chouette, has a sense of foreboding about her pregnancy: “This baby is an owl-baby,” she tells her husband. “If I have this baby, it’s going to kill me.” But while Tiny’s fears endure even after she gives birth to her daughter, who does indeed turn out to be an owl, she also loves her fiercely. She resists her panicked husband’s search for treatments and strives to understand her daughter’s own needs and desires. With Chouette, Oshetsky movingly renders the variousness and sweep of motherhood. “Viscous, tender, baffling, and glorious, Chouette is an unforgettable fairy tale that glitters darkly with Oshetsky’s raw and soaring brilliance,” writes Rachel Yoder. “Part love letter, part lament, Chouette astonishes as each perfected sentence burrows deep into the maternal shadows of love, possession, selfhood, and sanity. A bone-deep, breathtaking wonder.” Claire Oshetsky is a novelist whose writing has appeared in the New York Times, Salon, and Wired. She lives with her family in California. Chouette draws on her own experiences of motherhood.

1. How long did it take you to write Chouette?
If I hadn’t kept all the drafts then I might have answered “about three months,” and in a way it’s true. One day I wrote what became the first sentence in Chouette: “I dream I’m making tender love with an owl.” The sentence turned out to be the key that unlocked the entire story, where the rest of the novel almost wrote itself. A more true answer, though, would be that the novel took me nine years to write. There were a lot of false starts.

2. What was the most challenging thing about writing the book?
Without question my greatest struggle was in finding the right voice to tell this story. I’d never written fiction in the first person before, and I really fought against it. The voice of my narrator was a voice I didn’t recognize, and I didn’t know what to make of it, and at first I didn’t trust it. Once I yielded to the way the story apparently wanted to be told, though, it felt as if my protagonist was in the room with me, telling me her story, and that I was just there to take it down. Other writers have also described this feeling, as if they are transcribing stories being told to them by their characters. I’ve always thought the notion was a little fanciful until it happened to me.

3. Where, when, and how often do you write?
Whenever I can write, I write. When I’m deep into a project I need to pull myself away from it and remind myself to sleep and eat. My preferred place to write is in my library, surrounded by my books. I frequently consult the words of other authors as I write. If I’m writing a fight scene, I’ll read eleven fight scenes. I like to study how other authors end chapters, and how they split paragraphs. I try to learn from their beginnings and their endings. Often when I write it feels as if I’m tapping into stored-up memories of favorite words and rhythms in my head—from poems, mostly, that I’ve read in the past and nearly memorized, but not quite. There are bits of T. S. Eliot, E. E. Cummings, Gerard Manley Hopkins, and many other inspirations in Chouette. I like the idea of a reader out there who might be reminded of an echo of a poem or passage they love when they read a certain sentence in my novel.

4. What are you reading right now?
Palmares by Gayl Jones.

5. Which author, in your opinion, deserves wider recognition?
Gayl Jones.

6. What is the biggest impediment to your writing life?
Self-doubt.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
“They want to make an offer.”

8. What is one thing that surprised you during the writing of Chouette?
I’ve already mentioned the surprise of Chouette’s first sentence, and the surprise of the novel’s voice. I don’t know if I can ever explain, though, just how flabbergasted I was at the way this sentence and this voice compelled me to write a story that’s steeped in the fantastic, the surreal, and the uncanny. This novel began as a memoir, actually. The plan was to write about my real experiences as the mother of two unique children. I ended up writing a novel about a woman who gives birth to a child, conceived with the help of a giant owl. I was surprised. On the other hand, what I’ve ended up writing seems very close to the truth of my experience as a mother, which was entirely surreal.

9. Who is your most trusted reader of your work and why?
It’s been my everlasting delight to work with my agent Alexa Stark and with my editors at Ecco and Virago, Sara Birmingham and Rose Tomaszewska, to make the novel better than I could on my own. I imagine they will continue to be my first and most trusted readers for upcoming projects. They were extraordinary partners in the creative process, suggesting not just line edits or other smallish changes for clarity, but also encouraging me to try new scenes and to explore new fictional directions. I wrote five different endings! As I recall it, ending number four won out, but I loved the chance to play with many other possibilities and other fates for my characters. I loved the playfulness of the process—the sense that we were trying things out together, just to see what happens, and that we could always back the changes out again if they didn’t work.

10. What’s the best piece of writing advice you’ve ever heard?
The late Jan Morris said: “I believe in the religion of kindness.” Is it writing advice? Not exactly. But I feel kindness in everything Jan Morris wrote, and I try to follow her example and to write from a place of kindness. Kindness to my characters, and kindness to my readers. As I write I always try to keep the idea in mind that we humans must take tender care of one another.

Claire Oshetsky, author of Chouette

Ten Questions for Domenico Starnone and Jhumpa Lahiri

11.9.21

This week’s installment of Ten Questions features Domenico Starnone and Jhumpa Lahiri, the author and the translator of Trust, which is out today from Europa Editions. When Pietro’s lover, Teresa, suggests that they each divulge a terrible secret, he expects that the act will bind them together for good. Instead, a few days later, they decide to bring their tumultuous three-year relationship to an end. Despite their separation, however, Pietro remains preoccupied by Teresa and the fact of her knowledge of his darkest story. He goes about his life—falls in love with a new woman, builds a successful career, constructs a polished public persona—but thoughts of Teresa reassert themselves at various turns. In subtle and dexterous prose, Starnone renders both the pleasures and anxieties that accompany desire and being known. Domenico Starnone is an Italian writer, screenwriter, and journalist. He was born in Naples and lives in Rome. He is the author of over twenty works of fiction, including Via Gemito, or First Execution (Europa Editions, 2009), winner of Italy’s most prestigious literary prize, the Strega. Jhumpa Lahiri is a writer and translator who works in both English and Italian. Her most recent novel, Whereabouts, was published by Knopf in April. She has translated two previous books by Starnone, both published by Europa Editions: Ties (2017) and Trick (2018).

1. How long did it take you to complete work on Trust?
Domenico Starnone: The multiple drafts kept me busy for over a year. The project itself and the preparatory notes have accompanied me for much longer.

Jhumpa Lahiri: Six months to complete the first draft, and another three months or so to revise it.

2. What was the most challenging thing about the project?
Domenico Starnone: Describing how much escapes us, how at times the person whom we most love is also the person who scares us the most, and how, in the story of our lives, we attribute great importance to certain irrelevant events simply to avoid seeing what isn’t irrelevant.

Jhumpa Lahiri: Finding solutions to translate different words for love out of Italian.

3. Where, when, and how often do you write? Where, when, and how often do you translate?
Domenico Starnone: I write all the time and wherever I can. But when it comes time to put the story down on paper, I work sitting in an armchair by the window, with the computer on my knees, until I have a full first draft. I write every day from eight in the morning until lunchtime, then from three in the afternoon until dinnertime.

Jhumpa Lahiri: I write and translate when I have time and wherever I happen to be. Usually at home or in a library. The amount of time and energy I have to devote to these activities changes from day to day given that I also teach at a university.

4. What are you reading right now?
Domenico Starnone: I’ve just finished a novel by Antonio Pascale, La foglia di fico, out in November in Italy. Each chapter mixes, in the most surprising ways, trees and human affairs. Pascale works at the Ministry of Agriculture, he is well versed in the sciences, but above all he’s a fine storyteller.

Jhumpa Lahiri: Aristotle’s Nicomachean Ethics.

5. Which author, in your opinion, deserves wider recognition?
Domenico Starnone: I’d have to give you so many names. It’s a good moment for Italian literature. Generally I’m intrigued by writers who build worlds that are distant from mine and from whom I am thereby able to learn. I’ll name two: Melania Mazzucco and Michele Mari.

Jhumpa Lahiri: Alba de Céspedes.

6. What is one thing you might change about the literary community or publishing industry?
Domenico Starnone: I would like it if books were considered more than products from which to gain, in different ways, shapes, and forms, a little profit. Books are living organisms. They want their voices to be heard, they want to discuss and be discussed. They need good readers from the very first line.

Jhumpa Lahiri: Encourage more writers to write short stories as opposed to novels.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
Domenico Starnone: “It’s a mysterious story.” I’m still thinking of the adjective mysterious, and I hope my editor meant elusive.

Jhumpa Lahiri: I began translating the book without telling my agent or editor I was doing it. In fact I waited until I was almost finished before telling Domenico that I had translated the book. I wanted to surprise him.

8. What is the biggest impediment to your creative life?
Domenico Starnone: The books that I loved and that I love deeply. I consider them so powerful that it discourages me.

Jhumpa Lahiri: The rest of my life.

9. Who is your most trusted reader of your work and why?
Domenico Starnone: My wife and my daughter. They are implacable and therefore essential. 

Jhumpa Lahiri: Now that I write in Italian, Domenico is one of my most trusted readers, for the obvious reasons.

10. What’s the best piece of creative advice you’ve ever heard?
Domenico Starnone: When I was about sixteen a teacher told me not to use the adjective strange. “Don’t say something is strange, show that it is.” Since then, every now and again, I forbid myself from using some adjective or another.

Jhumpa Lahiri: One must hear the story.

 

Editor’s Note: Domenico Starnone’s answers appear in translation from the Italian by Jhumpa Lahiri.

Domenico Starnone and Jhumpa Lahiri, the author and the translator of Trust. (Credit: Starnone: Alamy; Lahiri: Marco Delogu)

Ten Questions for Pajtim Statovci and David Hackston

7.6.21

This week’s installment of Ten Questions features Pajtim Statovci and David Hackston, the author and the translator of the novel Bolla, which is out today from Pantheon. Bolla follows Arsim and Miloš, two young men who first meet in Kosovo in 1995—as the threat of war looms—and begin an affair. Arsim, who is married and a soon-to-be father, is Albanian, while Miloš is Serbian. “We should be enemies,” Arsim reflects. “But now, as we touch, there is nothing between us that is strange or foreign to the other.” When the violence in the region escalates, Arsim’s family decides to leave the country and Miloš enlists in the army, and yet despite their abrupt separation, they remain forever touched by each other. The story extends into the 2000s, weaving back and forth in time, and is punctuated by the legend of a demonic serpent. This is a sweeping novel about difference, desire, and the consequences of war. Pajtim Statovci was born in Kosovo in 1990 and moved with his family to Finland when he was two years old. He is currently a PhD candidate at the University of Helsinki. He is also the author of My Cat Yugoslavia (Pantheon, 2017) and Crossing (Pantheon, 2019), which was a finalist for the National Book Award. Bolla was awarded Finland’s highest literary honor, the Finlandia Prize. David Hackston is a British translator of Finnish and Swedish literature and drama. He graduated from University College London in 1999 with a degree in Scandinavian studies.

1. How long did it take you to complete work on Bolla?
Pajtim Statovci: I wrote the first sentences of Bolla about ten years ago. However, I often find it difficult to designate the starting point of a novel. Many aspects, themes, and even plotlines have been on my mind for much longer than the actual years of writing and working on the novel.

David Hackston: After translating a preliminary sample from different sections of the book, preparing the initial draft of Bolla took around three months. Of course, the relative speed of a translation project depends very much on the style of the original, but a good rule of thumb is to allow around one month for every hundred pages of text. Though Pajtim’s rich deployment of Finnish is always a challenge, over time I’ve become more familiar with his voice, and with each subsequent translation—this is the third of his novels I have translated—getting the initial draft done feels easier. Though it’s never “easy” in the truest sense of the word.

2. What is the earliest memory that you associate with the book?
Pajtim Statovci: On the last page of the novel there’s this picture of bolla, a demonic serpent. I think I was maybe six or seven years old when I drew this picture—that has been edited and photoshopped by a graphic designer to fit the page—based on the stories I was told about this creature. How it spends its life in a dark cave, hiding from humans, only to be released once a year for a single day. And when it’s released for that brief moment of freedom, it becomes a kulshedra, a dragon that causes havoc by destroying everything and everyone it sees. I think that this drawing was, in a way, one of the starting points of this book.

David Hackston: My very earliest memory of Bolla is when Pajtim sent me a draft of the novel, some six months before it was first published in Finnish. This was a great privilege, as authors don’t ordinarily involve their translators in the process of writing the original novel. It was fascinating to compare this early draft with the finished product. Of course, through translations into different languages, the text takes on new life again and again. In this sense, the publication of the original—in this case, the Finnish text—isn’t really the end of the process so much as a pitstop on a much longer journey.

3. What was the most challenging thing about the project?
Pajtim Statovci: I really wanted to challenge myself with this novel by writing a story with a narrator that is not a typical hero. Bolla’s protagonist is a human wreck, a man that is so lost and broken and wounded that he ends up hurting the people closest to him. In fact, creating this character has been one of the hardest things in my writing career. After failing to find a believable narrator’s voice for him multiple times, I had to disregard some “unwritten rules” of fiction writing, such as the necessity of having the reader in your corner all the time. Doing that also freed me, because now I could write without fear of judgment, and I started getting somewhere. A catharsis isn’t necessarily always peaceful.

David Hackston: As I mentioned earlier, Pajtim’s use of language is particularly rich, and rethinking this richness in another language is always a challenge, though one that I relish. One particular challenge here is in conveying aspects of the history explored in the novel to readers who may not necessarily be familiar with the details of the Kosovo-Serbia conflict. The translator has to provide little signposts here and there to keep the reader up to speed, but in such a way that the prose doesn’t read like a textbook.

4. Where, when, and how often do you write? Where, when, and how often do you translate?
Pajtim Statovci: I only write when I feel like I have something to say. I don’t have a work schedule, and I don’t write every day. I need to be inspired and motivated to be able to start, and if I force myself to write, what I have managed to write is usually something that just doesn’t last. Currently I work from home. Before COVID-19 I worked in libraries and cafés. My day usually consists of answering e-mails, reading, occasional interviews—and on a good day, writing, too.

David Hackston: Some translators really need absolute silence in order to concentrate, but I actually prefer a little background hubbub. I translated most of Bolla at a café across the street from my house. Because I often travel—at least in pre-pandemic times—I sometimes need to translate whenever I get the chance: in cafés, local libraries, in transit at an airport. In this respect, the pandemic proved challenging as it forced me to find a way of concentrating at home where, paradoxically, there are so many other things that easily distract me.

5. What are you reading right now?
Pajtim Statovci: I’m reading Emma Cline’s Daddy. It was just published in Finnish, translated by Kaijamari Sivill. I enjoy Cline’s writing immensely. These stories are so rich in detail, drawing you in instantly. What is left unsaid, to bubble under the surface, is what I really do appreciate in Cline’s work. It defies explanation and doesn’t avoid a single thing.

David Hackston: One of the drawbacks of being a translator is that I rarely get the opportunity to read anything that isn’t directly related to my work: I’m either reading the original of an upcoming translation project, checking the proofs of a translation about to go to print, editing things I translated last week, or more often than not all of the above at once. It’s also hard to read Finnish literature without my translator’s spectacles on. I’m currently reading Lovetown by Polish author Michał Witkowski, in a glorious and uproarious Finnish translation by the excellent Tapani Kärkkäinen, and Pete Buttigieg’s Trust.

6. What is one thing you might change about the literary community or publishing industry?
Pajtim Statovci: I wouldn’t know.

David Hackston: In the twenty or so years I have been working as a translator, the number of titles published in English translation has grown steadily, something demonstrated by the recent inclusion of a category for translated literature at the National Book Awards. This is a great development. Given the rise in popularity and visibility of translated fiction in the English-speaking world, sometimes it’s disappointing when reviewers, magazines, and journals forget to mention the input of the translator in the process, giving rise to the recent #namethetranslator hashtag on Twitter. While we don’t necessarily need or want to bask in the limelight, we have creative agency too, and it’s only right that it should get the credit it deserves.

7. What, if anything, will you miss most about working on the book?
Pajtim Statovci: I don’t know if I miss anything about it, really. Writing this book was, as I said, very consuming and also emotionally draining. It’s been over two years since I finished Bolla, and I have moved on to other interests and other themes. The excitement of having something new to work on is what I like to focus on, and not miss what’s forever gone. When you’ve given your work for publication, it’ll never be yours again, it’ll never give you the comfort of being solely yours, a place of freedom. You just need to build this space again from scratch.

David Hackston: The worlds, characters, and lives portrayed in Pajtim’s books are very unique, and there’s always an element of sadness at saying goodbye to them once the translation goes to print. But as I said earlier, just as the publication of the original isn’t the end of the process, neither is the publication of the translation. The book will go on to live a life of its own, and it’s gratifying to read reviews and hear other people’s thoughts about something that until that point had existed only on my computer. This is why we translate: to make fascinating works of literature accessible to other readers, who can then make up their own minds and have thoughts of their own about them.    

8. Which author, in your opinion, deserves wider recognition?
Pajtim Statovci: I find it a bit hard to say what counts as “wide recognition.” But I’d like to see more discussion about the works of György Dragomàn and Hiromi Kawakami, both of whom are respected and recognized authors.

David Hackston: Among authors writing in English, it’s hard to say because everything we read has already been published and, therefore, “recognized.” The one English-language author I keep coming back to is Alan Hollinghurst, for the stories but also for the beauty of the writing. As for Finnish authors, who to my knowledge haven’t been published in English translation but certainly should be, there are many, but I would particularly mention Riitta Jalonen, whose recent novel Clarity is a touching, semi-fictionalized account of the life and career of New Zealand author Janet Frame, and Sirpa Kähkönen, whose novels, notably her Kuopio series, explore aspects of Finnish history and life in rural communities.

9. Who is your most trusted reader of your work and why?
Pajtim Statovci: I have many trusted readers, friends and colleagues, all of whom focus on different things while reading, which is helpful. Then, I listen carefully to everything my editors here in Finland, as well as abroad, especially in the United States and the U.K., have to say, as English is a language I understand and know, to some extent. I equally respect the opinions of my translators, especially David, who has done a fantastic job in bringing all of my books to life in the English language. He has this miraculous ability to capture the essence, the soul and spirit, my writing. I am very lucky to have him by my side.

David Hackston: At least for me, this is generally the copy editor. They are able to read the very first draft of a translation, often still full of question marks and chunks of the original text, and to look beyond the roughness and see the novel itself as it emerges through the translation process.   

10. What’s the best piece of creative advice you’ve ever heard?
Pajtim Statovci: “Creativity is tolerating continuous incompleteness.”

David Hackston: Often it’s the comments said in passing that can end up being the most important. I remember studying Finnish in London sometime around 1998, and my late Finnish teacher, Hannele Branch, saying after a short translation exercise, “Have you ever thought about becoming a translator?” At the time, I hadn’t ever thought about it, but now, twenty-plus years later, this feels like a significant moment.

 

Correction: An earlier version of this article incorrectly stated that Sirpa Kähkönen’s Kuopio books were a trilogy. They are a series.

Pajtim Statovci and David Hackston, the author and the translator of Bolla (Credit: Statovci: Anna Kurki; Hackston: Ville Kuukka)

Ten Questions for Clare Sestanovich

6.29.21

This week’s installment of Ten Questions features Clare Sestanovich, whose debut story collection, Objects of Desire, is out today from Knopf. The eleven stories that make up Objects of Desires are filled with subtle yet significant gestures. A boyfriend “close to getting angry” goes to lie down and faces the wall; a mother falls asleep in her daughter’s bed after she leaves for college; a husband pauses to mark his place in the book he is reading when his wife asks for a divorce. Throughout the collection, Sestanovich remains this attuned to the often precarious dynamics between her characters. She reveals how friends, family, and lovers perform or fail to perform for one another—how there will always be mystery, miscommunication, and strangeness even in the most intimate of relationships. “Astonishing—one of the best story collections I’ve read in a long time,” writes Brandon Taylor. “The stories in Objects of Desire are subtle and sophisticated, written with sensitive lucidity and warmth; their emotional effects are brought about naturally, almost indirectly, and one leaves each of the stories feeling a little homesick.” Clare Sestanovich is an editor at the New Yorker. Her fiction has appeared in the New Yorker, the Paris Review, Harper’s, and Electric Literature. She lives in Brooklyn, New York.

1. How long did it take you to write Objects of Desire?
The oldest story in this collection is five years old, and when I wrote it, I had no idea that I was writing a book. It took another year or so for me to realize, and even then, I didn’t quite believe it. I never referred to “my book.” Other people sometimes called it that, which was surprising and flattering and a little preposterous. It was just a lot of words on my computer! But up until the very last minute, that’s all a book ever is. The newest story was written a year ago, at the height of the pandemic, when I thought the collection was already finished. Which is all to say: The book often knows more, and knows better, than you do.

2. What is the earliest memory that you associate with the book?
In the early months of writing the book, I turned down a job, because it was a job that I suspected would give me meaning and purpose, and I was afraid that if I took it I would use it as an excuse to abandon writing—a vaster but far less stable source of meaning and purpose. I don’t think this was an especially brave decision—had I not found another way to make money, it could simply have been arrogant and unwise—but it was a difficult one, and I lost a lot of sleep over it. The agonizing helped, though. I put my eggs in this basket, this book, and after that, I had to do whatever I could to find out what would hatch.

3. What was the most challenging thing about writing the book?
That hardest part was that every day I had to decide—again—to keep writing it.

4. Where, when, and how often do you write?
I write early every morning. This isn’t really a preference, or a principle, it just happens to be the only schedule that I can follow while also doing my day job. I regret that early risers seem virtuous and night owls seem cool. I would much rather be cool!

5. What are you reading right now?
I just finished A Shock by Keith Ridgway and started Erasure by Percival Everett.

6. Which author, in your opinion, deserves wider recognition?
Mary Robison is funny and unafraid and knows how to break your heart in two sentences. Why aren’t we all talking about her?

7. What is one thing you might change about the writing community or publishing industry?
I wish there were more paths to being in it. Communities so often just mean institutions. And getting inside one institution usually requires passing through another, which in turn requires pushing open the door at yet another. I hope we can remap the labyrinth, because too many people get lost in it.

8. If you could go back in time and talk to the earlier you, before you started Objects of Desire, what would you say?
I wouldn’t tell her that it was going to work out. The negative capability that is required to write without certainty but with conviction is surely the most important skill you can acquire. I haven’t yet, but every day that I lose and find my faith—in myself, in my prose—feels like one step closer to relinquishing the need to believe in anything other than the process.

9. Who is your most trusted reader of your work and why?
For a long time my writing felt a little bit like a secret. I wasn’t hiding it on purpose, but other people only ever glimpsed it in bits and pieces, and most of them never saw it all. My agent, Bill, was the first person who ever saw the whole thing, and it’s true what they say about being seen: It makes all the difference. I imprinted on Bill the way ducklings do. You know you trust a reader when they tell you to cut your first sentence or your last sentence—those sacred darlings!—and your only reaction is, of course.

10. What’s the best piece of writing advice you’ve ever heard?
My greatest menace as a writer is self-doubt, which is why I return so often to the advice that Martha Graham gave to Agnes de Mille: “There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open…. No artist is pleased…. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”

Clare Sestanovich, author of Objects of Desire (Credit: Edward Friedman)

Ten Questions for Mariana Oliver and Julia Sanches

6.22.21

This week’s installment of Ten Questions features Mariana Oliver and Julia Sanches, the author and the translator of the essay collection Migratory Birds, which is out today from Transit Books. In Migratory Birds, Oliver writes about historical episodes—and the experiences of various figures—as if they are personal memories. In the opening of “Normandy,” for instance, she transports readers to 1944 as “amphibious vessels slid out of the water like sea monsters and shook themselves dry” during the liberation of France. Meanwhile, in the title essay, she steps into the point of view of naturalist and ultralight aviation pioneer Bill Lishman, who helped guide endangered migratory birds: “It was like his body had multiplied. As he flew among the birds, Bill became one too.” Weaving vignettes from her own life alongside those from history, Oliver offers revelatory and poetic insights about migration, memory, and home. Mariana Oliver was born in Mexico City in 1986. She received a master’s degree in comparative literature from the National Autonomous University of México and is currently a PhD candidate in modern literature at the Iberoamerican University in Mexico City. Julia Sanches is a translator of Portuguese, Spanish, and Catalan. She has translated works by Susana Moreira Marques, Claudia Hernández, Daniel Galera, and Eva Baltasar, among others.

1. How long did it take you to complete work on Migratory Birds?
Mariana Oliver: I wrote Aves migratorias in the span of two years, from 2013 to 2015, thanks to a grant I received from the Fundación para las Letras Mexicanas.

Julia Sanches: I translated the titular essay several years ago, and “Özdamar’s Tongue” a couple of years after that, during the pandemic. But the whole book took me less than a month to translate. By then I’d become familiar with Mariana’s voice and style, which can only have helped the fast turnaround.

2. What was the most challenging thing about the project?
Mariana Oliver: When I started writing the essays in Aves my writing experience was exclusively academic, so I felt insecure about my work.

Since I didn’t have a concrete project to work toward, much less any idea of how to plan a book, I began to write about issues that were on my mind at the time: home, migration, belonging, how memory is shaped, adopted languages. I had come back from a short stint in Germany a couple of months before.

From a distance, I started seeing a unifying thread; the questions posed in the book were all connected and addressed the same line of inquiry.

Julia Sanches: I struggle with brevity in my own writing, and Mariana’s style is so spare and directed that I found myself constantly striving to whittle sentences down to the bare minimum without compromising the voice, tone, and sense. I also spent a lot of time refining the opening paragraph of each essay, where Mariana sets the scene. For example in “Normandy,” where she describes the landings in a way that is almost aquatic, and “The Other Lost Boys and Girls,” in which she paints the ocean in a frightening, powerful light.

3. Where, when, and how often do you write? Where, when, and how often do you translate?
Mariana Oliver: I’m about to begin the last year of my PhD program, so I dedicate almost every day to writing my thesis. At the same time I’m compiling research for a new book. I make a point to add notes to my working draft at least once a week.

At home I have a small office space to myself, facing a window, but if I didn’t have to be at home, I’m sure I’d be writing in other places: at the university library or a café. While writing Aves, I rode the Mexico City metro almost every day, so I also ended up working on a lot of the essays there.

That said, I’ve realized that when I’m working on a piece of writing, I think about it around the clock, so I end up solving a lot of the questions raised in the process of writing while I’m doing something else: walking, washing the dishes, or cooking.

Julia Sanches: In the Before Times, I did most of my translating at a coworking space in downtown Providence in a bid to achieve work-life balance. Now I translate all over my house: I tend to start in my office, where I have an ergonomic, two-screen set-up, and migrate to the sofa after lunch. Sometimes I work on my feet at the kitchen island. Now that it’s summer and my new apartment has a porch, I often end up translating there, where I take the occasional break to feed a menagerie of our neighborhood’s characterful stray cats. Like Mariana, though, when I’m working on a project I don’t ever really stop thinking about that project. I carry around a small notebook where I write down words that I hear in movies and television or from people around me, as well as those I read in books, so that I make sure not to forget them.

4. What are you reading right now?
Mariana Oliver: I’m reading a book with a beautiful title: Esta herida llena de peces by Lorena Salazar, published by Angosta Editores. I’m also reading a book of essays by George Steiner called Extraterritorial: Papers on Literature and the Language Revolution.

Julia Sanches: My attention span has suffered enormously during the pandemic, so I’ve been reading several different books very slowly: Live; Live; Live by Jonathan Buckley, a soothing and beautifully written book about the relationship between a young man and his neighbor, a clairvoyant called Lucas; Hurricane Season by Fernanda Melchor, translated by Sophie Hughes, which I’m reading as research for a book I am currently translating that features a good deal of colorful cursing from its potty-mouthed ten-year old protagonist, her best friend, and her best friend’s grandmother, Chela. I’m also reading Divya Victor’s Curb, because I’ve vowed to read more poetry, and Sinéad Gleeson’s Constellations.

5. Which author, in your opinion, deserves wider recognition?
Mariana Oliver: There are two Mexican essayists who deserve to be read more widely. One is Marina Azahua, whose writing is sensitive and brilliant. She’s published two books: Treinta ensayos mínimos ante el vacío and Retrato involuntario. El acto fotográfico como forma de violencia. The other essayist is Marisol García Walls, who has an eye for detail and contrast. Later this year her book Atlas de rasgos familiares will be published by the Colombian press Tragaluz.

Julia Sanches: My boring answer is that there are too many to name, if you consider the miniscule number of writers from other countries, especially those writing in non-European languages, that ever find their way into English.

6. What is one thing you might change about the literary community or publishing industry?
Mariana Oliver: In Mexico, without a question, I would change the gender disparity. Men continue to be published more than women. They have more public appearances and are invited to take part in more panels and juries.

Julia Sanches: Hire more immigrants.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
Mariana Oliver: When I started writing these essays, a friend of mine told me to use fewer parenthetical clauses because it interrupted the flow of the text. Now, whenever I write, I pay careful attention to this and read aloud to make sure the flow isn’t being interrupted in any way. Ever since then I’ve listened to my writing.

For the English edition, Julia and our editor, Adam Levy, suggested a series of subtle but important changes to a couple of the essays; for example, eliminating statements that from a distance felt out of context. Throughout this process, I had to take a step back from the book and ask myself what aspects of the text no longer spoke to my current thinking and how the context in which I’d written had changed. The experience is similar to when you look at an old photograph of yourself: You recognize certain traits and, at the same time, others seem foreign to you.

Julia Sanches: I remember that Adam complimented a comma placement in the penultimate essay, and it made me smile.

8. What is the biggest impediment to your creative life?
Mariana Oliver: I need to finish my PhD and research, which doesn’t leave much mental space to do other things. Even though at the moment it feels like an impediment, I know that won’t be the case in the long run, because all of the ideas and questions being raised now will eventually find their way into my writing.

Julia Sanches: Making enough money to survive as a literary translator in the United States is…no small challenge. Trying to find ways to fix everything that is broken in the publishing industry also takes up more of my time and energy than I would like it to. All of which gets in the way of my creative life.

9. Who is your most trusted reader of your work and why?
Mariana Oliver: My friends, my sister. Not only because I often hear their voices when I’m writing, but because they’ve always been the first to read and workshop my work.

Julia Sanches: My fellow translators, who are always fielding questions from me, and all the wonderful editors I’ve had the opportunity to work with.

10. What’s the best piece of creative advice you’ve ever heard?
Mariana Oliver: Once the poet Dolores Castro told me that words were like doves: You have to feed them every day or they won’t keep coming. Leila Guerriero said something similar in an essay called “Writing”: “You have to knead the bread. You have to knead the bread with energy, indifference, rage, ambition, while you’re thinking of something else. You have to knead the bread when it’s cold and when it’s the middle of summer, when the sun is out, when it’s humid, when the rain is freezing. You have to knead the bread when you can’t be bothered to knead the bread.”

Julia Sanches: I learned from my colleague Charlotte Whittle to always pay attention to how sentences end. You never want them to fizzle, unless the fizzle is the point.

Editor’s Note: Mariana Oliver’s answers appear in translation from the Spanish by Julia Sanches.

Mariana Oliver and Julia Sanches, the author and the translator of Migratory Birds. (Credit: Sanches: Dagan Farancz)

Ten Questions for Krys Malcolm Belc

6.15.21

This week’s installment of Ten Questions features Krys Malcolm Belc, whose debut, The Natural Mother of the Child: A Memoir of Nonbinary Parenthood, is out today from Counterpoint. In The Natural Mother of the Child, Belc weaves back and forth in time to tell the story of his life as a nonbinary, transmasculine person and parent. He focuses particularly on his experience carrying and birthing his son Samson: “Queer people had children,” he writes, “but I almost never saw pregnant people like me.” Raising Samson and his other two children alongside his partner, Anna, Belc finds clarity about his gender and past. He also speaks candidly to the inevitable moments of shame, jealousy, and anger that populate a life, including those particular to life as a parent. Accompanied by ultrasound images, family photos, and other documents, The Natural Mother of the Child is an intimate and inventive text about transness, family, and caregiving. Krys Malcolm Belc is also the author of the flash nonfiction chapbook In Transit (The Cupboard Pamphlet, 2018). His work can be found in Black Warrior Review, Granta, and the Rumpus, among other publications. He holds a BA from Swarthmore College, an MEd in special education from Arcadia University, and an MFA from Northern Michigan University. Belc lives in Philadelphia.

1. How long did it take you to write The Natural Mother of the Child?
About two and a half years of really focused work to have a solid draft. I wrote the majority of it in an MFA program that I started just a few months after my third kid was born. I went to school for fiction and this book happened instead. The book sold soon after I started working as an educator in a pediatric oncology clinic, and so I was editing it while learning so much about cancer and its impact on patients’ school functioning. Instead of feeling like my book was frivolous or navel-gazing, I found great solace and gratitude in getting this story right and in getting to think deeply about myself again at the end of a long day.

2. What was the most challenging thing about writing the book?
It’s very hard to maintain the clarity of sentences, moments, and scenes in writing that is ultimately about ambivalence and in-betweenness.

3. Where, when, and how often do you write?
I don’t write more than once a week. Daily writing is just not a thing that leads to good art for me. Given how people talk about productivity and writing, it is hard to accept my own pace, but I’m getting there. I can’t do anything in twenty minutes or even an hour. The idea of a daily word count horrifies me. But every day I do try to write a little prompt in a document or notes app, so that I have a variety of possible starting points when I have time to sit down. Even just a phrase. Yesterday’s was “Strawberries, again.”

4. What are you reading right now?
I am reading White Girls by Hilton Als and I am listening to Tana French’s The Likeness. On deck is Chase Burke’s chapbook Men You Don’t Know You Know.

5. Which author, in your opinion, deserves wider recognition?
Lori Ostlund’s debut short story collection, The Bigness of the World, absolutely changed my life. Not my writing, my life. When I encountered it I had recently moved to the Upper Midwest to give my writing life more dedication and intention, and her characters move in reverse, out of the Midwest. That book helped me to adjust to living in a place that I was unprepared, on the deepest level, to love, and in the end I did love it and still do. If you know, you know; a lot of queer writers in my life know and admire her work. Its emotional precision is unparalleled. Everyone should read it and her pitch-perfect novel, After the Parade.

6. What is the biggest impediment to your writing life?
I wish we could do away with the idea that telling the story of a life in temporal order within the confines of a narrative arc is the “natural” way for memoir to be. It impedes my confidence and imagination, worrying what a market might make of what I create. I don’t want it to, but it does. These confines are a barrier to many marginalized stories even making it into the world. Life is messy and some of us want to corral it into a recognizable form, but others want to embrace the questions and fracturing and employ forms that are in the service of that messiness. If we’re going to ask me why my work is in the form it’s in, why don’t we ask every single memoirist that? All memoirists are making art out of time, and there isn’t one way.

7. What trait do you most value in your editor (or agent)?
My agent, Ashley Lopez, has an absolutely incredible editorial eye. Her comments on my manuscript, when I finally had one, led to some of the best writing of my life, sections that are now some of my favorites in the book. She and my editor, Jenny Alton, did not try to morph my work into something it isn’t. It has an unusual form and many images, and they did what they needed to do to help me sharpen my vision and my sentences without telling me to have a different imagination than the one I have.

8. Who is your most trusted reader of your work and why?
I show my partner, Anna, everything I write that I think even has a spark of hope in it. My book has many sections of direct address to her because the most complex thoughts and feelings in my life sometimes only come into sharp focus when I imagine myself explaining them to her.

9. What is one thing you might change about the writing community or publishing industry?
Before I went to graduate school for writing, I read books because they were best-sellers, “classics,” in the Best American series, and so on. Turns out, this isn’t because I have a small appetite for experimentation or a limited imagination. But how was I supposed to find books to read? I was an elementary school teacher living in a neighborhood with no independent bookstore—though we now have two, Harriett’s Bookshop and The Head & The Hand. I didn’t know writers would come hang out on Twitter. I had never seen a chapbook. There has to be a way to make sure that work that isn’t a blockbuster finds its way to people who don’t have the time to be full-time book sleuths. All kinds of readers deserve to find small press books. The deck is stacked against readers and writers who aren’t in academia finding brilliant books that bend and break boundaries.

10. What’s the best piece of writing advice you’ve ever heard?
Monica McFawn told me to think about my writing when I was doing other things and to “count” that as writing time. There’s a lot happening in my life now more than ever. Monica’s advice years ago was a gift that has allowed me to feel like I am truly a writer even though I must engage in paid work and care work during many of the hours and days I’d like to have time to make art.

Krys Malcolm Belc, author of The Natural Mother of the Child: A Memoir of Nonbinary Parenthood (Credit: Mark Likosky)

Ten Questions for Akwaeke Emezi

6.8.21

This week’s installment of Ten Questions features Akwaeke Emezi, whose latest book, Dear Senthuran: A Black Spirit Memoir, is out today from Riverhead Books. In Dear Senthuran, Emezi tells their origin story through a series of letters. They reflect on enduring challenges—their struggle with depression, for instance—but also describe coming into their own power. In an early letter, they write, “We can, I promise you, bear much more than we predict.” And in the many letters that follow they chart those moments of perseverance: They undergo surgeries that bring a “shift from wrongness to alignment,” they fend off predatory men who seek to leech off their literary talent and celebrity, and they survive heartbreak. This is a searing and intimate memoir about choosing to live despite the many sacrifices and pains of living. Akwaeke Emezi is also the author of The Death of Vivek Oji, which was a New York Times best-seller and longlisted for the Dylan Thomas Prize, and Freshwater, which was shortlisted for the Center for Fiction’s First Novel Prize, a Lambda Literary Award, the New York Public Library Young Lions Fiction Award, and the PEN/Hemingway Award. Their novel for young adults, Pet, was a finalist for the National Book Award for Young People’s Literature.

1. How long did it take you to write Dear Senthuran?
I started writing Dear Senthuran sometime in 2019, but I was in the middle of rolling out Pet, so it wasn’t until that fall that I really sat down to finish it. That time was very much a blur—a lot of the traumatic things I wrote about in the memoir had just happened, so the exact timeline escapes me, but we submitted the manuscript to my editor in January 2020.

2. What is the earliest memory that you associate with the book?
There’s a moment I write about in the memoir, about e-mailing Senthuran Varatharajah, who helped translate Freshwater into German, and how I liked the sound of his name with a dear before it. Composing those e-mails would be the earliest memory tied to the book.

3. What was the most challenging thing about writing the book?
Holding my center. It was hard enough to do while writing, worrying that it wouldn’t be received well, but it was also incredibly difficult to go through the editing process because it felt like my fear that centering a work in Black spirit would come with violent repercussions was proven right. Having to insist on that center and refuse, over and over again, to compromise the work in service of a white gaze was one of the most brutal experiences of my career.

4. Where, when, and how often do you write?
I no longer have any kind of regularity or structure around my writing, unfortunately. I get it in where I can fit it in. I do have to write in my office because my health issues mandate that I now work in an ergonomic setup—farewell to my laptop—but occasionally I write on my phone in bed at night and hope it doesn’t decimate my body too much.

5. What are you reading right now?
I’m about to catch up on two of Zen Cho’s books, Black Water Sister and The Order of the Pure Moon Reflected in Water, which I’m really excited about because she’s one of my favorite writers. I will read anything she publishes.

6. Which author, in your opinion, deserves wider recognition?
Definitely Chinelo Okparanta. We have so many writers working in queer Nigerian literature now, including myself, but she was the vanguard, and the work she did to open the road for us should be recognized. Her craft is brilliant, and she has an incisive intelligence that I’m excited for even more people to engage with once her next novel, Harry Sylvester Bird, comes out in 2022. It’s a satire of white liberalism, so I think it’s going to ruffle a few feathers, which should be delightful to witness. Chinelo is also an amazing member of the literary community—she’s taught at multiple workshops, advocated tirelessly for young queer Nigerian writers whose lives were quite literally at risk back home, and donated so much of her time to judging awards. I think how you move with your platform as an author is as important as the work you make.

7. What is one thing that surprised you during the writing of Dear Senthuran?
I learned to respect myself as a thinker. I used to believe that because I wasn’t in academia, I wasn’t qualified to engage with theory, but now I understand how much I am a spirit, not a scholar, and how working in Black spirit theory is my pocket.

8. What, if anything, will you miss most about working on the book?
I don’t think I’ll miss anything. After I completed the book last January, I wrote three more books in 2020 and I’m working on another book now, so I’m always in a writing process that has its own particular joy.

9. Who is your most trusted reader of your work and why?
It’s never one particular person. With my manuscripts, I have a community of trusted readers, and they each bring something specific to the table, informed by what their centers are. They are people I think with and write with, so for me, making work is really a community effort.

10. What’s the best piece of writing advice you’ve ever heard?
Octavia Butler said it wonderfully: “First forget inspiration. Habit is more dependable. Habit will sustain you whether you’re inspired or not. Habit will help you finish and polish your stories. Inspiration won’t. Habit is persistence in practice.”

Akwaeke Emezi, author of Dear Senthuran: A Black Spirit Memoir. (Credit: Kathleen Bomani)

Ten Questions for Jack Wang

6.1.21

This week’s installment of Ten Questions features Jack Wang, whose debut story collection, We Two Alone, will be published next week by HarperVia. Through the seven stories that make up We Two Alone, Wang offers a window into the complexity and diversity of experiences in the Chinese diaspora over the past century. In the title story, a struggling actor and founder of an Asian American Shakespeare company in New York City wrestles with dissatisfaction and heartache. In “The Valkyries,” set in early-twentieth-century Vancouver, a young Chinese boy is turned away from a men’s hockey team and so disguises himself in order to play alongside women. With other stories set in Nazi-occupied Vienna and Apartheid-era South Africa, We Two Alone is an ambitious collection that is richly imagined at every turn. “These stories are so elegantly shaped, so satisfying as individual stories, that their collective power sneaks up on you,” writes Emily Fridlund. We Two Alone was first published last year by House of Anansi Press in Canada. Wang’s writing can also be found in the Humber Literary Review, Joyland, the Malahat Review, the New Quarterly, and Prism International. He holds an MFA from the University of Arizona and a PhD from Florida State University. He lives in Ithaca, New York, where he teaches at Ithaca College.

1. How long did it take you to write We Two Alone?
About eight years, going back and forth between projects. My Canadian editor asked me to add a story to the collection after the book sold, so that extended the process.

2. What is the earliest memory that you associate with the book?
I started working on these stories after putting a novel in the proverbial drawer. I remember the freedom of getting to invent something new after grinding away at the same story for so many years. I also remember the pleasure of working on something short and crossing the finish line quickly, even if the collection itself took a while to complete.

3. What was the most challenging thing about writing the book?
As I mentioned, when I started these stories, I’d just retired a novel. This novel was read by a few publishers, but in the end there were no takers. So, after writing for many years and coming close to debuting, I suddenly found myself back at square one. That was probably the hardest thing, being almost forty, with young kids, and staring up again from the bottom of the mountain. But I found a way.

4. Where, when, and how often do you write?
A few years ago my wife and I renovated the second floor of our house in Ithaca, New York, and we turned the master closet into an office so that I wouldn’t have to write in the bedroom. It’s a windowless room that would probably crush the spirit of most writers, but it’s mine, and I love it. When I’m in the middle of a project, as I am now—I’m working on a new novel—I write every morning.

5. What are you reading right now?
Land of Big Numbers by Te-Ping Chen, which just came out in February. It’s a terrific collection of short stories about contemporary China and recent Chinese immigrants to the United States.

6. Which author, in your opinion, deserves wider recognition?
Gil Adamson. Gil is fairly well-known in Canada—her literary Western, Ridgerunner, won the 2020 Writers’ Trust Fiction Prize—but she should have a wider following in the United States. She’s a good old-fashioned storyteller who writes lush, gorgeous prose.

7. What is one thing you might change about the writing community or publishing industry?
The only rejection I received that bothered me was from the editor who said they’d just published a Chinese American writer. I read about something similar in the New York Times article, “Just How White Is the Publishing Industry?” Apparently someone at a major house was reluctant to make an offer to a Black author because they’d already published a Black author. It’s high time editors stopped thinking of BIPOC writers in terms of quotas.

8. Outside of writing, what other forms of work were essential to the creation of We Two Alone?
I did a lot of research for these stories. We Two Alone is set on five continents and spans nearly a century. I’m familiar with places like Vancouver, Shanghai, London, and New York City, where some of these stories are set, but many of the times, places, and events I was writing about—women’s hockey in Western Canada in the 1920s, the Second Sino-Japanese War, Kristallnacht, Apartheid—were less known to me. So I read a lot of books, everything from obscure diplomatic and scientific memoirs to dissertations in the British Library.

9. Who is your most trusted reader of your work and why?
My wife, Angelina Mirabella, is a novelist. She’s always my first and best reader, even—or maybe especially—when the things she tells me aren’t easy to hear.

10. What’s the best piece of writing advice you’ve ever heard?
Isak Dinesen said, “Write a little every day, without hope, without despair.” The trick is to cultivate that Zen, to not get too high or too low. You’re neither the genius nor the failure you think you are.

 

Corrections: A previous version of this article misstated the title of the book and misattributed the blurb that appears in the introduction.

Jack Wang, author of We Two Alone (Credit: Mike Grippi)

Ten Questions for Monica West

5.25.21

This week’s installment of Ten Questions features Monica West, whose debut novel, Revival Season, is out today from Simon & Schuster. Miriam Horton is the daughter of a Black Baptist preacher known for leading packed revivals—gatherings to inspire religious conversion—across the American South every summer. She is devoted to her father, in awe, especially, of his apparent miraculous power to heal the sick and injured at the end of each service. But after witnessing her father lose control and act out in violence, on more than one occasion, she begins to question him and all his teachings. Meanwhile, she discovers her own healing power and increasingly chafes at her exclusion from the ministry as a young woman. Revival Season is a sweeping novel about the pains of disillusionment and finding the courage to speak one’s truth. “Compact, suspenseful, and written with incredible elegance, Revival Season is a highly rewarding, utterly original read—one of my favorite debuts of the year,” writes Jami Attenberg. Monica West is a graduate of the Iowa Writers’ Workshop, where she was a Rona Jaffe Graduate Fellow. She received her BA from Duke University and her MA from New York University. She has also earned a fellowship from Kimbilio and a residency from Hedgebrook. Born and raised in Cleveland, she lives in Oakland.

1. How long did it take you to write Revival Season?
Nine years total. It took three years to research it and complete a first draft. During the next six years—including two in Iowa—I rewrote, revised, and edited it more times than I can count.

2. What was the most challenging thing about writing the book?
The most challenging aspect of writing this book was the process of holding multiple different novel threads in my brain simultaneously. There were so many characters, dates, timelines, plotlines, geographies, character arcs, flashbacks, and backstories that I had to be aware of in order to refer to them in a consistent way throughout. And then I made that task even harder for myself because I didn’t physically outline it until really late in the process.

3. Where, when, and how often do you write?
I write every day from my living room. I know that a lot of people can’t work at home, but I get distracted by other people when I’m in coffee shops or other public spaces. My writing hours are different depending upon other daily responsibilities—teaching, meetings, and so on—but I like to start in the morning around 10 AM. I set out to write one thousand words each day on my nonteaching days and five hundred words on my teaching days. I don’t have a set number of hours that I work each day, but I don’t let myself stop until I complete my goal. Sometimes that goal takes three hours to complete, but other times it takes ten.

4. What are you reading right now?
Purple Hibiscus by Chimamanda Ngozi Adichie. Several readers have compared Revival Season to it, and though I’ve read many of her other books and short stories, I’ve never read this one. So now seems like a great time to read it.

5. Which author, in your opinion, deserves wider recognition?
I loved Lesley Nneka Arimah’s What Happens When a Man Falls From the Sky. I read the story “Who Will Greet You at Home” when it was first published in the New Yorker, and when the entire collection came out I devoured it. I adore her strong characters and the lushness of her worlds.

6. Would you recommend writers pursue an MFA?
Getting my MFA was one of the best decisions of my life, primarily because it gave me the time and space to write the novel. I had never made writing a priority before because work got in the way, so an MFA was ideal for that reason. It also gave me an amazing community of other writers who not only workshopped my fiction but also became great friends. Even though an MFA was exactly right for me, the programs are not for everyone. Pursuing an MFA is a highly personal decision, and each writer should figure out what makes sense for them and what they need. After evaluating all of that information, they should decide if an MFA is worth the time and potential expense.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
My editor told me from the beginning that “everything is a conversation.” It put me at ease to know that if we had a disagreement about something editorial, we could talk about it. I used to think that the editorial process was that the editor told you what to fix and you had to fix it; Carina disabused me of that notion in our first conversation. Though I agreed with her about almost all of the edits, we had conversations about other ones that were truly dialogues.

8. What, if anything, will you miss most about working on the book?
I will miss these characters living in my head, miss the way that I kept thinking about how they interacted with each other or what they would say to each other. They have been with me for years, so even though I’m glad that I’ve finished writing the novel and have written the entire story that I intended to in the book, I will miss them dwelling with me every day.

9. Who is your most trusted reader of your work and why?
Margot Livesey is a sharp, precise reader who gets right at the heart of what’s working and what needs work in my fiction. She is also generous with her time and her feedback. She gave me some great advice about the book early on, and I trust her judgment about my writing.

10. What’s the best piece of writing advice you’ve ever heard?
“Write what you can.” Paul Harding gave me this advice after I had received a ton of feedback on the first draft of Revival Season during my first semester at Iowa. I didn’t know how I would start revising based on everything I’d just heard in workshop. Paul’s advice gave me the permission to start with what I knew I could do. Maybe I couldn’t figure out the ending yet, but I knew that I could write a specific scene, even if it was out of order. That advice got me through every revision.

Monica West, author of Revival Season (Credit: Chickpea Photography)

Ten Questions for Brian Broome

5.18.21

This week’s installment of Ten Questions features Brian Broome, whose debut memoir, Punch Me Up to the Gods, is out today from Houghton Mifflin Harcourt. Broome begins his story at a bus stop in Pennsylvania, where he watches a young Black boy fall on the pavement, only to have his tears admonished by his father. “I realize that this, what I am witnessing, is the playing out of one of the very conditions that have dogged my entire existence: this ‘being a man’ to the exclusion of all other things,” he writes. Traveling back and forth in time, Broome retraces his own journey as a Black gay man, detailing the violence and alienation he weathered as a child in small-town Ohio, the racism and homophobia that followed him into adulthood, and the unexpected moments of hope and tenderness throughout his life. He pays tribute to those who helped him survive, while also striking out entirely on his own, seeking an understanding of Blackness and masculinity free of limits. “Punch Me Up to the Gods obliterates what we thought were the limitations of not just the American memoir, but the possibilities of the American paragraph,” writes Kiese Laymon. Brian Broome is also a poet and screenwriter. He is pursuing an MFA at the University of Pittsburgh, where he is a K. Leroy Irvis Fellow. He has been a finalist in the Moth storytelling competition and won a Martin Luther King Jr. Day Writing Award from Carnegie Mellon University.

1. How long did it take you to write Punch Me Up to the Gods?
I actually started writing it eight years ago in rehab. Although, at the time, I didn’t know I was writing a book. I was just sitting in rehab writing about why I thought I ended up in rehab. But I think the official writing of a book happened when I met my agent, Danielle Chiotti, at a public reading where I performed. She asked me what I was writing and I told her that I had a few autobiographical pieces. I sent them to her. Danielle saw a cohesive book in my work that I couldn’t see at first. We worked together on connecting it all into a whole manuscript, starting in February 2018, and Danielle sent it out on submission in October 2019.

2. What was the most challenging thing about writing the book?
I had to think a great deal about the people I might damage by telling these stories. Those who are still alive, I mean. I often wondered if there would be backlash or anger. But I decided to be a servant to the story. Also, in writing about painful times from the past, I tried to put myself in the emotional state that I was in at that time. That was difficult. There were times when I was writing it that I actually felt like getting high because the feelings of worthlessness became so real.

3. Where, when, and how often do you write?
I write in my house. I’m not the kind of writer who can write in public places. I wish I were. I have an office downstairs that I’ve set up just the way I like it. The garden just behind me. I’ve painted it orange and green and I go down there during the day to do non-writing-related work. I only write at night. I turn all the lights off and sit in the dark. I find it works best because I can shut everything out. It gets really dark in my office at night. I don’t write often enough. I make up my mind to do it, give myself pep talks,  and then I talk myself out of it. Eventually, the words start to feel like they’re punching my skull from the inside and I just sit down and begin.

4. What are you reading right now?
My students’ essays. Honestly, school is taking a lot of my time right now and it’s particularly challenging when it’s online. I’m enjoying reading my students’ work, but I’d love to have nothing on my plate for a few days and just sit out back in the garden and read a book. That’s a luxury. Right now there’s a big pile. On top is Jeffrey Eugenides’s Middlesex, Ijeoma Oluo’s Mediocre: The Dangerous Legacy of White Male America, and I want to reread Flowers in the Attic by V. C. Andrews. Sometimes I’m sure I’m going to end up like Henry Bemis in that episode of The Twilight Zone. The one where all he wants to do is read and the whole world has to come to an end before he finally gets enough time. Then he breaks his only pair of reading glasses.

5. Which author, in your opinion, deserves wider recognition?
Reginald McKnight. His books The Kind of Light That Shines on Texas and White Boys really made me want to write more. He’s mastered the short story, in my opinion. I don’t really know how widely recognized his work is. But I know I don’t really hear his name mentioned a lot.

6. What is the biggest impediment to your writing life?
Me. I know it’s a cliché, but it’s really difficult to get going. There are some writers who love it and can’t wait to sit down and start pecking away. I often wonder what their secret is. As I mentioned earlier, I will avoid writing as long as I can until an idea starts ricocheting off the walls inside my head and I have to get it out. Once I sit down it’s never as terrible an experience as I thought it was going to be. But the next day I’m back at square one.

7. Would you recommend writers pursue an MFA?
I actually learned a lot and the experience itself is one I’ll never forget. The community it provides is valuable. I spent a long time writing in a vacuum and I’ve learned that this is not how you get to your best work. It also taught me a lot about the business of writing, which is important. I learned a great deal on a craft level as well. And I have very much enjoyed teaching writing. I truly believe that’s what I’m meant to do. It brings me more joy than any job I’ve ever done. Far too many people my age seem to believe they don’t have anything to learn from the young. Nothing could be further from the truth. I learn a great deal from my students.

8. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
Both my agent, Danielle, and my editor, Rakia Clark, were incredibly supportive throughout this process. I did a lot of handwringing about what other writers or people who read my work were going to think of me and my writing. I remember sitting at the Bureau Coffee shop and Danielle telling me to stop worrying about what other people think and just to write. After she said that, she shrugged her shoulders and went back to drinking her coffee. That shoulder shrug said a lot. It said that there will always be people who hate your work, and you have to decide how much energy you’re going to give them. That was a valuable shoulder shrug because I had been laboring under the delusion that revision was tantamount to failure. Both my agent and my editor taught me that a draft is a draft and not to be afraid to make mistakes or hit the wrong note.

9. Who is your most trusted reader of your work and why?
Right now it’s just Rakia and Danielle. It’s best to keep that pool of people small, I think. Too many cooks and whatnot.

10. What’s the best piece of writing advice you’ve ever heard?
Make it a routine. Do it every day at the same time and don’t ever deviate. Be consistent. This is the best writing advice I’ve ever heard and, someday, I may even follow it.

Brian Broome, author of Punch Me Up to the Gods. (Credit: Andy Johanson)

Ten Questions for E. C. Osondu

5.11.21

This week’s installment of Ten Questions features E. C. Osondu, whose second story collection, Alien Stories, is out today from BOA Editions. In Alien Stories, Osondu transports readers into landscapes that feel at once futuristic and all too familiar. “Memory Store” imagines a world in which people can exchange their memories for money. In “Feast,” a community gathers to celebrate the hanging of an alien. Osondu takes these dark premises and inflects them with wit and irony. In doing so, he elucidates both the pain and power of immigrants and people of color, of any person or extraterrestrial who has been othered. E. C. Osondu is also the author of the story collection Voice of America (Harper, 2010) and the novel This House Is Not for Sale (Harper, 2015). His writing has appeared in numerous publications, including the Atlantic, Guernica, Kenyon Review, Lapham’s Quarterly, McSweeney’s, and Zyzzyva. He is the recipient of the Caine Prize for African Writing and the Allen and Nirelle Glaso Prize for Fiction, among other awards. A graduate of the MFA program at Syracuse University, he lives in Rhode Island and teaches at Providence College.

1. How long did it take you to write Alien Stories?
About a year and a half. Some of the stories were from way back, but the bulk of the stories were written within the space of a year and a half.

2. What was the most challenging thing about writing the book?
It was all fun and games until I realized that I was actually writing a book. Before that I was just writing short stories as they came to me. When I realized that this could well be shaping up into a book, I figured that it needed an organizing principle or some kind of scaffolding but should not run the risk of being formulaic. I had also given myself the task of never writing any story that reads even remotely like a story from my previous collection. One of the greatest things about the legendary Afrobeat musical maestro Fela Kuti was his insistence on never performing any of his songs again once they have been released as an album. So as you can see I was meandering and juggling around a bunch of tall orders.

3. Where, when, and how often do you write?
To be completely honest, I am always not not writing. For me writing is much more than the proverbial putting pen to paper. I am always in a writing mode, so to speak. Writing mode might include reading a book, a magazine, author interviews, profiles, short stories in online magazines, and so on.

In my past life or once upon a time long ago, I was an advertising copywriter and one of the things that was often repeated in the agency was the need for creatives to always be in a creative mode. It was said that when one is in a creative mode, two flies perched on a windowsill could inspire a great copy idea for a TV commercial.

When I am reading widely and in creative mode, I find that the writing itself comes in short feverish bursts of blooming, satisfying creativity.

4. What are you reading right now?
Map: Collected and Last Poems by Wisława Szymborska—I find poetry to be a great palate cleanser.

5. Which author, in your opinion, deserves wider recognition?
Most, if not all, African writers deserve more space. Right now the literary table reserves one seat for African writing. It is an approach that I call “the one bright morning star” approach. This simply means that only one African writer can be acclaimed and read and celebrated and venerated and even canonized, at a time. There seems to be more space for others than African writers. Look at the generation of writers in Britain referred to as the Angry Young Men, or the generation of British writers that produced Amis, McEwan, Rushdie, Ishiguro, Timothy Mo, and even nominally Hitchens. Or the Language Poets. Or the New York School made up of Ashbery, Guest, O’Hara, Brainard. You see the plurality? As I had cause to say in a different context—we are legion. You know, there is an African proverb that sums up all I have been trying to articulate ever more succinctly: The sky is wide and spacious enough for every bird to fly without crashing into each other or knocking the other down.

6. What is the biggest impediment to your writing life?
James Baldwin once said, in his inimitable way, “I want to be an honest man and a good writer.” I find that both impulses come from two totally different places. The task is to find the secret to being both.

7. What is one thing you might change about the writing community or publishing industry?
Many more writers deserve to be published. Publishing appears to grow more risk-averse by the year.

8. If you could go back in time and talk to the earlier you, before you started Alien Stories, what would you say?
Writing a book is like having a wild and vivid and amazing dream, but while in the dream a part of you is second-guessing and asking yourself, When I wake up and tell people of this dream are they even going to believe that I had a dream this magical? So I would say to myself, Someone is going to believe in my dream no matter how outlandish. Just keep plucking that chicken, as someone once said.

9. Who is your most trusted reader of your work and why?
I often share story ideas with friends and family even before I write them. I would usually start with “What if?” and then watch their faces.

10. What’s the best piece of writing advice you’ve ever heard?
I will mention two. The first is to lean on your strengths as a writer instead of focusing on your weaknesses. I believe I first heard this from George Saunders at Syracuse. I am not certain, but it does certainly sound Saundersesque. I have run with it since then.

The other is from something the Swedish poet Tomas Tranströmer once said to someone I know but in a totally different context. He said when you are walking towards the Great Sphinx of Giza from behind, it looks like a random collection of stones, but if you approach it from the right direction, you realize it is a great work of art. If your writing is looking like a random collection of stones, at any moment, it may be because you are approaching that particular piece from the wrong angle.

E. C. Osondu, author of Alien Stories.

Ten Questions for Donika Kelly

5.4.21

This week’s installment of Ten Questions features Donika Kelly, whose second poetry collection, The Renunciations, is out today from Graywolf Press. Throughout The Renunciations, Kelly often invokes the monumental—deities, the oceans, continental drift theory—but she always returns to the individual. In one poem, she writes, “I am neither land nor timber, nor are you / ocean or celestial body. Rather, / we are the small animals we’ve always been.” Yet it is through bold metaphor—her understanding of memories and the body as landscapes—that Kelly finds insight. She retraces experiences of abuse as a child and divorce as an adult, but also travels beyond these wounds and builds into a new world, rich in possibility, with each poem. “I can’t imagine a time before having The Renunciations as a part of my emotional ecosystem and poetic landscape,” writes francine j. harris. Donika Kelly is also the author of Bestiary (Graywolf Press, 2016), which won the Kate Tufts Discovery Award and the Hurston/Wright Legacy Award for Poetry. Her poems have appeared in the New Yorker, Foglifter, and the Paris Review. The recipient of fellowships from Cave Canem, the Fine Arts Work Center, and the Lannan Foundation, she lives in Iowa City and teaches at the University of Iowa.

1. How long did it take you to write The Renunciations?
I wrote the poems in The Renunciations over the course of about five years or so. The oldest poems are from 2013 and the most recent were written in 2018. I started to gather these poems into what would become the book in 2017, when I realized that the poems were in conversation with each other and were a part of a larger project.

2. What was the most challenging thing about writing the book?
The biggest challenge to writing the book was living through the events I write about and finding some peace on the other side. Each poem in this collection was a step toward that peace: the other side of divorce, the other side of having survived childhood sexual abuse. Once the poems were written, then came the fun part of figuring out how they fit together.

3. Where, when, and how often do you write?
I write when I feel that I have something to say, which in real life means I write about two to three times a year in one- to two-week stretches. I set a pretty low bar for myself by committing to write twenty minutes a day, and I usually begin with a series of questions meant to lead me closer to myself. I write best at night, between 10 PM and 1 AM, which isn’t feasible for me during the semester.

4. What are you reading right now?
I’ve had a really tremendous year of reading. Poetry collections I have enjoyed recently are Taylor Johnson’s Inheritance and Dujie Tahat’s Salat. Both collections are a query into what we carry in our bodies, as prayers, as love, and what we mean to hold onto.

5. Which author, in your opinion, deserves wider recognition?
I’m going to answer this a little askance and make a small claim for reading entire poetry collections, as the poet orders the book. The book that convinced me of this practice, that brought me not only into the world of a poem but the whole of book, was Natasha Trethewey’s Bellocq’s Ophelia. The way the two primary sections resonate against and with each other to build the portrait of the speaker is expert and stunning.

6. What is the biggest impediment to your writing life?
Life stress and anxiety get in the way of my writing. I need a quiet mind to write, and the travails of being alive can get quite loud.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
My editor, Jeff Shotts, is a patient man. We had many conversations about how to create more white space between sections. Initially I resisted even the thought of sections, but over the course of a year I came around to the kindness and generosity of giving the reader space to process all the book holds.

8. How did you know when the book was finished?
Late in the process, one of the “Now” sections was giving me background trouble—nothing was wrong with it, but it also wasn’t correct. My dear friend Ama Codjoe suggested reordering the poems in the section. Again I was resistant, but I came around more quickly, and then the manuscript felt complete.

9. Who is your most trusted reader of your work and why?
I have a trusted network of readers, Ama Codjoe, Ladan Osman, and my beloved, Melissa Febos, because I need the volume of more than one trusted reader to hear suggestions over my own investment in being right. They are such incisive, compassionate, close readers, and I trust their sense of my work.

10. What’s the best piece of writing advice you’ve ever heard?
In Mary Oliver’s A Poetry Handbook, she writes about the importance of imitation, which I understand to be a skill-building exercise, a way to apprehend a technique. It’s been a vital practice for me because I haven’t always had, intuitively, the techniques I’ve needed to write a given poem.

Donika Kelly, author of The Renunciations. (Credit: Ladan Osman)

Ten Questions for Kelli Russell Agodon

4.27.21

This week’s installment of Ten Questions features Kelli Russell Agodon, whose latest poetry collection, Dialogues with Rising Tides, is out today from Copper Canyon Press. From the first line of Dialogues with Rising Tides, Agodon is transparent about hardship, yet optimistic: “If we never have enough love,” she writes, “we have more than most.” Instead of seeking to outpace anxiety and fear, she lingers with her most difficult emotions in order to better understand them. She wrestles with both personal and global traumas, setting poems about her family history of suicide alongside those addressing climate disaster. She does not promise recovery, but she does offer pockets of hope—moments of wit and humor that inflect the darkness. “This is the book I need right here, right now, as the fires burn and the tides rise,” writes Diane Seuss. Kelli Russell Agodon is a poet, writer, and editor from the Pacific Northwest. She is the author of three previous poetry collections, including Hourglass Museum (White Pine Press, 2014). She is the cofounder of Two Sylvias Press and the codirector of Poets on the Coast, a writing retreat for women. She also teaches at the Rainier Writing Workshop, a low-residency MFA program at Pacific Lutheran University.

1. How long did it take you to write Dialogues with Rising Tides?
I wrote “Braided Between the Broken” and “Love Waltz with Fireworks” in December 2013 and January 2014 respectively. At the time I didn’t realize I was beginning a new manuscript, but those two poems make up the right and left ventricles of the collection—one acknowledges a flawed self while the other tries to fall in love with a flawed world. I hadn’t realized I had started a new book until 2015 when I created the I-think-I-may-have-a-new-book-in-the-works folder called, uninterestingly enough, “Manuscript 4.” Dialogues with Rising Tides was accepted by Copper Canyon Press in March 2019 and I turned in my final version on Valentine’s Day 2020, so final answer: five to six years. 

2. What was the most challenging thing about writing the book?
Amusingly enough, I’d say trying to answer this question. Finding the best order for the poems is always a bit of a task, deciding whether to take a poem out or put one in can be a challenge, but mostly I so enjoy the process of creating a book that there isn’t one particular aspect that comes to mind. I guess if writing a book was a map, I’d say choosing which road to follow is probably the hardest part, as there are so many journeys I’d like to take.

3. Where, when, and how often do you write?
I tend to be a seasonal writer—I write much more from September through May and easily kick into that school-year schedule. However, during the pandemic, fellow poets Martha Silano, Ronda Broatch, and I started what we now call “The Thursday Night Poetry Club,” where we show up with quirky writing exercises and write on Zoom from 5 to 7 PM.

I refer to them as “quirky writing exercises” because we add some curious elements, such as blocks of random words, unexpected questions—Does rain ever tumble into a lightbulb? Who plugs in the weather?—and maybe a few instructions: Describe a ghost’s fedora. We do three prompts for about eighteen to twenty minutes each and share our work.

I also did some collaborative writing with Melissa Studdard, Jeannine Hall Gailey, Dean Rader, and still have many online writing dates with my friend Susan Rich. They have all helped me get through the pandemic and continue writing poems. 

As to where I write—I pulled the lawnmower out of our shed during the pandemic, added a desk and a chair, and turned it into my writing space. There were just too many people home during the pandemic and I was struggling to write with all that energy around me and so many dirty dishes in the house. Oddly, the dirty dishes were still there when I returned from my writing, but at least I wrote.

4. What are you reading right now?
Besides e-mail? I love nonfiction and am reading Useful Delusions: The Power and Paradox of the Self-Deceiving Brain by Shankar Vedantam and Bill Mesler, which is a fascinating look at how the mind uses self-deception as a way to create happiness. Also: Night Angler, a stunning collection of poems on family and fatherhood by Geffrey Davis. When I read Davis’s poems I feel as if I am being held in a deep prayer—the writing is beautiful and meditative. It’s a book I keep returning to. I also recently realized some of my favorite poetry books are available as audiobooks, so I’m listening to Jericho Brown’s The Tradition, Paige Lewis’s Space Struck, as well as Ross Gay’s The Book of Delights and Rainer Maria Rilke’s Letters to a Young Poet.

5. Which author, in your opinion, deserves wider recognition?
Sandra Yannone, January Gill O’Neil, and Lena Khalaf Tuffaha are three of my favorite poets and people whom I’d love to see get more attention for their work. But also, nonbinary, trans, and queer writers, as well as most women authors over the age of sixty and writers who have books from smaller indie publishers. I think there is always room in the literary community for more recognition. Poets tend be like meteor showers: They are acknowledged when they are seen, but many times, the world is looking in another direction and misses the show completely.

6. What is the biggest impediment to your writing life?
Besides sunny days, I would say my ability to put nonessential work before my writing. Also, snacking.

7. Would you recommend writers pursue an MFA?
As the newest faculty member of the Rainier Writing Workshop—Pacific Lutheran University’s low-residency MFA program—and a graduate of the program myself, I’d love to give a big “yes” here.

For me, returning to school to get my MFA was life-changing, as it created the space and time I needed to write and taught me how to be an advocate for my writing life; it made me take my work more seriously. I still have that community and I look back on my days at PLU as some of the happiest times in my life. Our writing lives are such a personal choice—each person needs to determine what their writing life needs. Returning to graduate school made me a stronger poet and led to my book, Letters from the Emily Dickinson Room, which was my creative thesis at PLU. An MFA definitely gives writers the structure and accountability they may be lacking in their own lives.

8. Outside of writing, what other forms of work were essential to the creation of Dialogues with Rising Tides?
Vintage photographs of lightships and lightvessels whose names became my section titles—Breaksea, Cross Rip, Overfalls, Black Deep, Shambles, Scarweather, and Relief—but also old maps, a misremembered quote from Zelda Fitzgerald, a line from an Anne Sexton poem, and a quote from Postcards From the Edge by Carrie Fisher. But I’d say the central form of work was the natural world—the sea and the landscape of the Pacific Northwest. Nature will always be the top source in my bibliography.

9. What, if anything, will you miss most about working on the book?
Anything and everything. When I’m working on a book, I’m in my happy place. But I also adore the “almost done” place. Right before I’m ready to turn in the final version, decisions feel big—what to leave in and take out, final word/image choices, and so on. There is this moment when my intuition comes into play. I’m very much a trust-my-gut person, and when I’m in this space, I have an inner knowing about what works. It’s like looking at the insides of a pocket watch and seeing all the parts moving, and while I may not understand how everything came together, I can see it’s ticking and complete. I miss that breathless moment of knowing it’s done and the confidence of that space, which I lose the moment the manuscript is out of my hands.

10. What’s the best piece of writing advice you’ve ever heard?
The best advice I hold onto that works for both one’s writing life and daily life comes from drag queen Alyssa Edwards: Don’t get bitter, just get better. In regards to submitting one’s work, poet Elizabeth Austen said these wise words: Don’t say no for them. It’s their job to say no, not yours. Meaning: Don’t self-select yourself out of opportunities.

Kelli Russell Agodon, author of Dialogues with Rising Tides. (Credit: Ronda Piszk Broatch)

Ten Questions for Carey Salerno

4.20.21

This week’s installment of Ten Questions features Carey Salerno, whose second poetry collection, Tributary, is out today from Persea Books. Tributary is full of questions and rich contradictions. In an early poem, Salerno writes: “River, what are you? / River I drink from. River in which I drown.” Using the river as a guiding metaphor, she searches for a better understanding of family secrets, religion, whiteness, and other concerns. She palms her subjects like river stones, turning them over and over until they are both more familiar and unfamiliar. “In poem after poem, Salerno layers thought after thought onto the river until it overflows,” writes Victoria Chang. “Dexterous, relentless, and edifying, these are exploding and gorgeous poems of unapologetic rebellion.” Carey Salerno is also the author of Shelter (Alice James Books, 2009). The executive director and executive editor of Alice James Books, she coedited the anthology Lit From Inside: 40 Years of Poetry From Alice James Books. She is a graduate of the MFA program at New England College and teaches at the University of Maine in Farmington.

1. How long did it take you to write Tributary?
The first poems for Tributary came about, in earnest, around the fall of 2016. They crept onto the page while I was feeling blocked trying to wrap up a wholly different manuscript. There were just a few poems, but I remember feeling ready to follow where they were leading me. Their conversations were burrowing in my body, or perhaps stirring from their deep burrows! I guess that makes the collection almost five years in the making. It seems like it went by a lot more quickly than it did.

2. What is the earliest memory that you associate with the book?
Deep summer in rural Michigan, playing in the sun-scorched grass with my older sister. We were swinging from the swings my father hung for us, having drilled them into the nearly horizontal bough of, what seemed at the time, a pretty mighty oak tree. He’d later hung a deer, slashed open from neck to tail from another branch before us, but we still swung, making a game out of trying to clap our feet together on the other side of its body without touching it. It’s gruesome and red death-y thinking about it now, but at the time we didn’t see it that way at all. We just made a game of it.

3. What was the most challenging thing about writing the book?
This is such a great question, and I don’t know that I have just one answer. Writing into these subjects was so opaque at first. I didn’t know where I would end up. I didn’t know what I was going to say—that was a challenge. I often worried what would come out would be scary, accusing, not close enough to the truth or too close. In terms of probing whiteness, patriarchy, religion, and other systems of violent power, I’m writing about systems that, to many degrees, protect me in ways that I can’t always readily distinguish, so how do I know if I’m using that same system to protect myself as I move through my poems? How do I know if I’m resisting self-incrimination, self-examination, self-acknowledgment, awareness, culpability? These systems taught me to avoid these things, to approach power with silence, gratitude, and acceptance, because they often don’t need to be spoken to or dealt with—just paid tribute to. Everything is set up to prevent the “dealing with” entirely, so how, as a product/beneficiary of these systems, do you interrogate them without using what you’re conditioned by them to use?

4. Where, when, and how often do you write?
It’s so sporadic. I want to be real with anyone reading this: No one writes like you do! Everyone does it differently. Everyone has their own process, unique unto them. I say this because I spent a lot of time comparing myself to others—and being compared to others, contemplating these comparisons, judging myself against them. Why wasn’t I as prolific as __________? Why didn’t I have a daily “practice.” When I write, I write intensely for weeks at a time for a few years at a time and then there’s drought—serious drought. That used to make me very uncomfortable, but now I just try to see it for what it is, knowing that the writing always comes back because it’s part of who I am, not because “it seems to be about time for another book.”

5. What are you reading right now?
The answer to this is always “lots of poetry manuscripts,” but outside of my editorial life, my jam is historical nonfiction. I’ve been savoring The Splendid and the Vile for too many months now just because I’m completely enamored by the way in which Erik Larson can spellbindingly storytell history. I’m reluctant to finish it. Also, Unworthy Republic by Claudio Saunt, and for poetry: Doppelgangbanger by Cortney Lamar Charleston, Embouchure by Emilia Phillips, and Prometeo by C. Dale Young. I spend a lot of time dreaming about when I’ll reread Hari Kunzru’s White Tears as well, which is probably one of the best books I’ve ever had the pleasure to read.

6. What is the biggest impediment to your writing life?
Ha, well, myself… in relation to work and motherhood. Because I’m so deeply invested in these areas of my life that call for concentrated and persistent effort, personal responsibility, and commitment, they just take precedence over what I see as “something for me,” which of course isn’t really true at all, except for the fact that the only one who I am certain is counting on/thriving off of the writing is me. Whereas with my work at Alice James and being a parent, I see, more ostensibly, the results of my efforts and dedication and how they benefit people. I feel really deeply the call to be in service of others, I guess is what I’m saying, and I’m also saying that it’s hard for me to switch that call off and attend to my writing or even other pursuits and passions.

7. What is one thing that surprised you during the writing of Tributary?
The music. The formal variation. All of it really. This book was such an act of discovery in its writing in terms of really utilizing form to embody/evoke emotion. I never set out to do that, but the mechanism found me along the way, and it definitely took me by surprise to be writing what felt like little songs, incantations, longer poems, interludes. I’m really grateful, even if at the time I was terrified by it, that I listened to the poems, followed where they wanted to go, and relaxed into them without my editorial self swooping in to try to “arrange” the chaos I initially perceived.

8. Outside of writing, what other forms of work were essential to the creation of the book?
Music, absolutely. Music from my teen years and especially the compilations of albums like Radiohead’s Kid A, Outkast’s ATLiens, Wu-Tang Clan’s Wu-Tang Forever, DJ Shadow’s Endtroducing, and then later, Kendrick Lamar’s Damn. These albums are, of course, composed of individual songs, but the order, placement, conversations between, and formal variation of each tells a great story over the album’s course through the lyrical experimentation, interjections, backmasking, register changes, and so on. I’ve always been deeply engaged by this type of creative expression, musically challenged as I am. And, too, the work calls to Jean Valentine, Marie Howe, Claudia Rankine, and Monica A. Hand.

9. Who is your most trusted reader of your work and why?
This is an easy and hard question to answer, because handing my work over to anyone, I realize, fills me with an enormous sense of guilt, as if I’m burdening that person. We are all so overworked! I’ve had so many people be incredibly generous to me over the years, offering to read things when I have them, and I so rarely take them up on it for fear of adding to their plates. That said, a dear friend and mentor of mine for nearly all my writing life, Anne Marie Macari, is my person. She’s a generous reader, and I know she’s a sounding board for more writers than just me, which makes the attention and care she gives my work all that more extraordinary. Our friendship is a rare gift. She’s also a writer I find myself turning to over and again. Have you ever read her book Gloryland? It’s just a complete masterpiece, as is her new book Heaven Beneath.

10. What’s the best piece of writing advice you’ve ever heard?
“Just write” is a simple piece of advice I carry with me always. Just write it. Write it down. Write without judgment or worry about the “final” outcome or where the poem/words will take you. Don’t think too far ahead of the poem you’re in. This advice was especially useful after I became a mother. I feel indebted to Nicole Cooley, who told me she would just write a few words or a line or two on any surface she could when she was a new mom, and that the poems found their way to doing the work they needed to do eventually. That opened doors for me to see the act of writing as a malleable thing. It was really empowering.

Carey Salerno, author of Tributary.

Ten Questions for Justin Jannise

4.13.21

This week’s installment of Ten Questions features Justin Jannise, whose debut poetry collection, How to Be Better by Being Worse, is out today from BOA Editions. The poems of How to Be Better by Being Worse are fearless and alive, queer and unapologetically indulgent. In the title poem, Jannise writes: “Be clothed / in scandal. Smear / and smudge and slander yourself // courageous.” Throughout the collection, he heeds his own advice to be daring. He frequently experiments with form—the poem “Flamingosexual” appears as the silhouette of the iconic bird—and tackles issues of family, love, and the self with great emotional honesty. “Justin expertly commands the techniques of his craft to summon up an authentic and undeniable voice that lifts off the page,” writes Richard Blanco, who chose the collection as the winner of the A. Poulin Jr. Poetry Prize. Justin Jannise received his MFA from the Iowa Writers’ Workshop and is currently a PhD candidate in literature and creative writing at the University of Houston. His poems have appeared in numerous publications, including Columbia Journal, Copper Nickel, Hobart, Split Lip, and the Yale Review. He has taught classes for Inprint, Grackle & Grackle, Writespace, and Writers in the Schools.

1. How long did it take you to write How to Be Better by Being Worse?
Seven or eight years. The earliest draft of the oldest poem dates back to 2012, and I was allowed to make some last-minute changes in 2020. There are human beings nearly capable of making a book who were not born when I started writing it.

2. What was the most challenging thing about writing the book?
Everything about writing is a challenge for me, but something that took a really long time to figure out was how best to sequence the poems. I’m aware that many readers will not approach the book from beginning to end, but those who do—I’m almost certain—will enjoy the whole theme park much more than any one thrill ride.

3. Where, when, and how often do you write?
Before the pandemic I wrote mostly on the go—initially in my head, later on a note-taking app on my phone. Walking is great for poetry. So is driving. Basically, any activity besides sitting and putting down the thoughts that come to mind in the order that they arrive. Shopping. Eavesdropping while eating alone. Juggling or rummaging. Anything that occupies the hands and feet but not the writing brain. I like to know that a line has been turned over a few hundred times before I stop to write it down. I love that scary feeling, once the poem has grown about eight lines solely in my head, that I’m about to receive an important phone call, or witness a crime—something that’ll make me lose the whole thing. Poof! Another masterpiece lost! I love the utter absorption of pulling the vehicle over, or dropping the flaming chainsaws, and as rapidly or discreetly as possible trying to get the important parts down—all over the page sometimes, like a police sketch.

4. What are you reading right now?
Anne Carson’s The Autobiography of Red, in the bathtub. Last fall I read from more than ninety titles for my comprehensive exams, starting with a good chunk of the Bible. I also chose to immerse myself in psychoanalytic theory, which was like learning a foreign language. On my nightstand I have new poetry collections by Erin Belieu, Diane Seuss, Mark Wunderlich, Christopher Kempf, and Natalie Shapero. What I like about poetry is that you can shuttle back and forth between books and it always feels like you’re getting somewhere, but when you stop to look at how much you have left, finishing feels impossible! There are just too many ways to get lost in the woods—in a good way.

5. Which author, in your opinion, deserves wider recognition?
I usually find it difficult to tell how widely recognized a writer is. I’ve bounced around enough to know that one person’s junk folder is another’s Treasure Island. If you haven’t read anything by Danez Smith or Ilya Kaminsky, I’m a little afraid of you. Many writers I know have had their first books come out during the pandemic, which feels unfair, but is Benjamin Garcia’s brilliant Thrown in the Throat more or less recognizable for that reason? Are people reading more because they’re going out less? Are they reading more poetry because it resonates more strongly during global catastrophes? Can we all agree that Willa Cather should’ve won a Pulitzer for The Professor’s House and not One of Ours? Is light verse “in”? Is “serious literature” out? How’s the novella doing? And what about all the fantastic work that appears in multi-author volumes—lit mags, anthologies, translations, and so on? What about hybrid genres? Online journals? Zines?! I just learned I’ve been mispronouncing Wisława Szymborska’s name even though she’s one of my all-time favorites. In a poem, Szymborska wrote that maybe two people in a thousand like poetry. That’s less than 0.2 percent! Can we recognize that?

6. Would you recommend writers pursue an MFA?
I wouldn’t say it’s worth taking on a lot of debt, but sure, why not? If your particular brand of genius is so fragile that it can’t withstand a bad teacher’s scrutiny—can’t overcome a hungover classmate’s offhand critique—you think the world of publishing is going to welcome you with open arms? Ha! I know some great writers who opted out of the MFA but still have solid careers and a list of publication credits a mile long. They all live in New York City. They were all born rich.

7. If you could go back in time and talk to the earlier you, before you started How to Be Better by Being Worse, what would you say?
Go to your Google Drive. Create a new folder. Call it “Cover Art Ideas.” Fill it with artwork you’ve seen in galleries, on street corners, at fancy hotel bars—wherever. Keep track of who made it, and when and where you saw it. Include the artist’s or gallery’s contact info if you have it. Only include images you like, but there’s no need to be stingy. A day will come when you will quickly need a TON of good, affordable options and, well, let’s just say that circumstances may prevent you from doing a worldwide tour of all your favorite galleries. There may even be a chance that the only thing you’ll be able to browse is the internet because everything else will be shut down. Have fun!

8. How did you know when the book was finished?
Call me psychic. I just knew.

9. Who is your most trusted reader of your work and why?
I trust my friend Christine Kwon, a great writer in her own right, to tell me exactly what she thinks without hesitation or apology.

10. What’s the best piece of writing advice you’ve ever heard?
I don’t know if it’s writing advice per se, but in The Virgin Suicides, Jeffrey Eugenides writes: “All wisdom ends in paradox.” Robert Frost, definitely issuing advice in “The Figure a Poem Makes,” said that a poem “begins in delight and ends in wisdom.” Put those two together and you get that poems end in paradoxes, which might be helpful if you are trying to determine whether or not a poem is finished. I wouldn’t be too literal about it and end every poem with a self-contradictory phrase or something like that, but I do think there’s something sort of final and fulfilling about discovering, say, that a poem’s floor is also its ceiling—as I think I did when I finally arrived at the title of “Poem with Trap Door.”

Justin Jannise, author of How to Be Better by Being Worse.

Ten Questions for Quiara Alegría Hudes

4.6.21

This week’s installment of Ten Questions features Quiara Alegría Hudes, whose memoir, My Broken Language, is out today from One World. Born to a Jewish father and Puerto Rican mother, Quiara Alegría Hudes grew up between two languages and cultures. When her parents separated, she recalls: “It was baffling, watching parts of myself get further and further from each other.” But above all she loves her family deeply and is in awe of the women, especially her mother. Ever tender and watchful, she ultimately finds her voice as a playwright, rooting her work in the lives and language of her family. This is a virtuosic and intimate memoir about building a rooted creative life. “Wise, graceful, and devastatingly beautiful, Hudes’s memoir gives voice to the complicated cultural collisions and gentle rebellions that seed a life,” writes Lynn Nottage. Quiara Alegría Hudes is the Pulitzer Prize–winning playwright of Water by the Spoonful. She wrote the book for the Broadway musical In the Heights and wrote the screenplay for the forthcoming film adaptation. She lives in New York City.

1. How long did it take you to write My Broken Language?
I wrote the first paragraph on my phone in October 2016. It was about a dance party at my Abuela’s house in Philly on her birthday, July 4, soon after Juan Luis Guerra’s Bachata Rosa album hit. Watching an old home video jogged my memory and reminded me how hard we used to dance.

2. What was the most challenging thing about writing the book?
Keeping it wild and mischievous and badass and ecstatic and irreverent while at the same time going deep and being real about the sorrow, loss, and struggles of the 1990s. As an adolescent, I numbed myself to much of the loss around me. But adult writers cannot afford the luxury of emotional numbness nor protective armor.

3. Where, when, and how often do you write?
In a studio uptown in Washington Heights, New York City. On a small, thick, silken slab of curly maple that my dad turned into a writing desk. I write every day for as many hours as possible. At around 3 or 4 PM, I usually need a glass of wine—a creative method endorsed by Questlove in his memoirs on creativity—so that’s when I head to the bar and keep writing there.

4. What are you reading right now?
Celia Cruz’s autobiography. Her life and talent are miraculous. And she’s got stories for days. I recently finished Mia McKenzie’s great new novel, Skye Falling, which comes out in August, and I encourage everyone to check it out.

5. Which author, in your opinion, deserves wider recognition?
Leslie Marmon Silko. Her book Ceremony was an essential read for me. It felt like a cleansing. The kind that starts with a burning.

6. What is the biggest impediment to your writing life?
COVID lockdown. I used to write in bars—can’t anymore. I used to write while walking—can’t do that either. Or in museums—nope. Being sedentary is the pits.

7. What trait do you most value in your editor (or agent)?
Wisdom, trust, and clarity. My editor, Chris Jackson, had no interest in telling me who I was or what kind of writer I should be. He was adept, though, at making me look further and further inward. It was a gentle, nurturing sort of ruthlessness. He is extraordinary.

8. If you could go back in time and talk to the earlier you, before you started My Broken Language, what would you say?
Hydrate more often. Have fresh ginger on hand at all times.

9. Who is your most trusted reader of your work and why?
My mother and my husband. They both know me well enough to point out when I’ve betrayed or misrepresented myself.

10. What’s the best piece of writing advice you’ve ever heard?
José Rivera, the great playwright and screenwriter, said: “Character is the embodiment of obsession. A character must be stupendously hungry. There is no rest for those characters until they’ve satisfied their needs.” His entire 36 Assumptions About Playwriting has been a rich source for me.

Quiara Alegría Hudes, author of My Broken Language. (Credit: Jon Chu)

Ten Questions for Kaitlyn Greenidge

3.30.21

This week’s installment of Ten Questions features Kaitlyn Greenidge, whose second novel, Libertie, is out today from Algonquin Books. A sweeping historical novel, Libertie begins in the Reconstruction era in Brooklyn, New York. The eponymous protagonist is eleven years old, and in the opening scene she watches her mother, a local doctor, revive a man who has just been smuggled north to escape slavery. If at first Libertie is fascinated by her mother’s work, she increasingly chafes against the expectation that she, too, will become a doctor. Greenidge maps Libertie’s life as it unfolds, from New York to Ohio to Haiti, and her pursuit of a life in music. Through Libertie’s eyes, Greenidge records the subtle and overt violence of racism, colorism, and misogyny, while meditating on what freedom might look like. “This is one of the most thoughtful and amazingly beautiful books I’ve read all year,” writes Jacqueline Woodson. “Kaitlyn Greenidge is a master storyteller.” Kaitlyn Greenidge is the author of a previous novel, We Love You, Charlie Freeman, which was a finalist for the Center for Fiction First Novel Prize. She is a contributing writer for the New York Times, and her work has also appeared in Vogue, Glamour, and the Wall Street Journal, among other publications. The recipient of fellowships from the Whiting Foundation, the National Endowment for the Arts, and the Radcliffe Institute for Advanced Study, she lives in Brooklyn, New York.

1. How long did it take you to write Libertie?
It took about three years in total. I came up with the idea for the book in the spring of 2016. I spent about a year just thinking about how it might work, reading and researching pretty slowly. I was overwhelmed with the technical challenge of setting part of the work in Haiti, a country I did not yet know well; in Kreyol, a language I did not speak; and during the 1870s, a time period in Haiti that is hard to find much information about in English. We have a lot of English books about the Haitian revolution at the start of the nineteenth century and U.S. intervention in Haiti in the twentieth century, but the time period I was looking at seemed more difficult to find. Luckily, I started e-mailing academics and writers and poets during that year and I found my way.

2. What was the most challenging thing about writing the book?
Probably figuring out how all the different elements would work cohesively. I knew what I wanted in the book, but convincing the reader that those things were in there for a reason was the challenge.

3. Where, when, and how often do you write?
I don’t follow a set schedule. I write and rewrite constantly in my head, often e-mailing myself lines or images or ideas. In 2018 I was very lucky to receive a fellowship at the Radcliffe Institute, which meant for the first time in a very long time I could write fiction every day. That was great—I came to my office by about 10 AM, wrote till about 2 PM, and then did nonfiction work in the afternoons. But then I got pregnant and had to rethink my fellowship time, so that schedule only lasted for about four months.

4. What are you reading right now?
Sarah Schulman’s Let the Record Show, which is an absolute game changer. Both in revealing more information about the history of ACT UP and in demonstrating how to use oral histories and write about social movements and organizing. I love it a lot. I just finished Detransition, Baby by Torrey Peters, which is just so satisfying and perfect. So many times in the last few years I’ve been told a novel is the novel of millennials, and I’ve been like, “Which millennials are you talking about? Not anyone I know.” Detransition, Baby feels like the last decade of my life. It’s so familiar.

5. Which author, in your opinion, deserves wider recognition?
Simone Schwarz-Bart. The Bridge of Beyond is, on the sentence level, an absolute masterpiece of a novel. I don’t know how she did it. I read it twice while writing Libertie.

6. What is the biggest impediment to your writing life?
Time. There’s never enough of it.

7. Would you recommend writers pursue an MFA?
It’s a highly personal decision. It all depends on the program you get into and whether the particular mix of instructors and students fits your particular needs at a particular point in your artistic life. I don’t think it’s helpful to be prescriptive about it.

8. If you could go back in time and talk to the earlier you, before you started Libertie, what would you say?
Keep going and do the hard stuff first.

9. What, if anything, will you miss most about working on the book?
The research and the characters. I loved them all and I also loved figuring out how to fit all these weird, wonderful pieces of history into the book.

10. What’s the best piece of writing advice you’ve ever heard?
There’s no perfect writing advice. It all depends on your particular artistic moment. But if you are in this for the long haul, it’s valuable to know that all you understand about yourself as an artist—your working habits, your interests, your needs—will shift as you grow and life changes. It’s helpful to expect that and roll with it rather than mourn a past perfect writing life or long for a future one that is never coming.

Kaitlyn Greenidge, author of Libertie (Credit: Syreeta McFadden)

Ten Questions for Gina Nutt

3.23.21

This week’s installment of Ten Questions features Gina Nutt, whose debut essay collection, Night Rooms, is out today from Two Dollar Radio. In Night Rooms, Nutt weaves images from horror films and other media with her own personal memories. She writes about potent illusions—how difficult it is to enter the ocean without thinking of Jaws—and others that are more fragile: As a child beauty pageant contestant, she recalls chipping one of her gold trophies, revealing its brown plastic interior. Accumulating vignettes, she circles in on the most intimate and challenging subjects, reckoning with grief and survival. “Gina Nutt writes prose so astonishing I want to read it in an MRI machine just to confirm that every part of my brain indeed lit up,” writes Jeannie Vanasco. “Night Rooms is a brilliant, beautiful, boundlessly inventive book.” Gina Nutt is also the author of the poetry collection Wilderness Champion (Gold Wake Press, 2014). Her writing has appeared in Cosmonauts Avenue, Joyland, Ninth Letter, Poetry Northwest, and Salt Hill, among other publications. She received her MFA from Syracuse University.

1. How long did it take you to write Night Rooms?
Four years. An essay that included the book’s earliest seeds was published in 2017. I kept writing from there, expanding and cutting away, then repeating the process.

2. What was the most challenging thing about writing the book?
Staying true to the lyrical momentum and reining in the disorienting tendencies; finding a balance between the dreamy and concrete.

3. Where, when, and how often do you write?
I write in my office at the back of my house every morning.

4. What are you reading right now?
I’m simmering in a few short story collections: Julián Herbert’s Bring Me the Head of Quentin Tarantino, which is translated by Christina MacSweeney, Souvankham Thammavongsa’s How to Pronounce Knife, and Rebecca Fishow’s The Trouble With Language.

5. Which author, in your opinion, deserves wider recognition?
Jose Perez Beduya, whose debut poetry collection, Throng, is a gorgeous study in image, precision, and atmosphere.

6. Would you recommend writers pursue an MFA?
An MFA—mentors, writing peers, workshops, time to write and read—can be transformative. It was for me. And funding can support an experience plenty of us can’t otherwise afford. I think, too, that online workshops, mentorships, writing groups, and other nonacademic opportunities can channel the most helpful aspects of MFA programs, and are sometimes more accessible or practical. My recommendation is to center the writing at the heart of any creative endeavor, sincerely weigh personal logistics, and decide from there.

7. Outside of writing, what other forms of work were essential to the creation of Night Rooms?
I spent some time in a friend’s jewelry studio during a stretch of revisions. Learning with her and working in a tactile creative form refreshed my approach to making changes in my writing. I also took breaks from this book and worked on other writing. Time away from the book was helpful. So was writing poetry and fiction, finding new approaches or ideas that I could carry back to the essays.

8. Who is your most trusted reader of your work and why?
My husband, David Nutt, who is also a writer. He’s amazing at suggesting when something I considered minor may be the pulse of a piece, or worth another look.   

9. What is one thing you might change about the writing community or publishing industry?
Encourage the long game by supporting sustainable creative lives for authors and continuing to reimagine the ways we write, publish, and ascribe value to writing.    

10. What’s the best piece of writing advice you’ve ever heard?
Arthur Flowers, in the first fiction workshop I found myself in as an undergraduate: “You’ve got to learn how to sing your own song and respect others for singing theirs.”

Gina Nutt, author of Night Rooms.

Ten Questions for Jo Ann Beard

3.16.21

This week’s installment of Ten Questions features Jo Ann Beard, whose latest book, Festival Days, is out today from Little, Brown. In the nine essays that make up Festival Days, Jo Ann Beard renders her own life and the lives of others with characteristic precision. In “Werner,” she inhabits the story of a man who narrowly escaped an apartment fire, shifting from the smoke-filled room to his childhood memories as if they were her own. In the title essay, she weaves scenes from India, Arizona, and elsewhere to tell the story of losing a close friend to cancer. With each piece, she presses the essay form into new, more intimate territory. “Festival Days is an artistic triumph—vividly peopled, elegantly written, and full of surprises,” writes Adrienne Brodeur. “Each essay and story is an electrically charged tale of loss and partial redemption.” Jo Ann Beard is also the author of The Boys of My Youth and In Zanesville. Her writing has appeared in the New Yorker, Tin House, and Best American Essays, among other publications. The recipient of awards from the Whiting Foundation, the John Simon Guggenheim Foundation, and the New York Foundation for the Arts, she teaches at Sarah Lawrence College.

1. How long did it take you to write Festival Days
Festival Days was written over the past twenty or so years—essays and stories that appeared in magazines and literary journals, and a new, novella-length piece that gives the book its title.      

2. What was the most challenging thing about writing the book? 
My challenge is that everything has to go silent for me to hear my own thoughts and find inspiration, and the current world isn’t designed for that. It wants us to always be listening to, or scrolling through, someone else’s thoughts. For me, the drone of that, visually and aurally, must be manually turned off. In the silence that ensues, windows have to be stared out of, floors have to be paced, and then eventually, like a banner, the imagination unfurls itself.

3. Where, when, and how often do you write?
By necessity I am a teacher first and a writer second, and since teaching is its own consuming creative activity, the writing only occurs during breaks. But those are plentiful enough that I can’t complain. Although, of course, I do.   

4. What are you reading right now? 
I’m reading books about consciousness, some good and some not so, some understandable and some beyond my ken. Which is good—once you leave the realm of your own understanding, you bump into some amazing things. Like cephalopods and fungi and Mexican medicine men.

5. Which author, in your opinion, deserves wider recognition? 
Some authors, no matter how much recognition they get, deserve even more. So, Lynda Barry.

6. Would you recommend writers pursue an MFA? 
I believe in graduate school, and not just as a teacher, but as a former student. Not because it confers knowledge, though it does, but because it’s difficult as an artist to claim your intention and your will to create. Whereas the rest of the world remains skeptical, graduate school takes it seriously and tries to help. Just try not to go into debt to do it—the rewards for a writer are immense, but they are rarely monetary.

7. What is one thing you might change about the writing community or publishing industry? 
I have close friends in the publishing industry, and they are as deeply committed to books as any writer I have met along the way. They have a lot of power over writers, of course, but very little power over readers, so it’s a marriage of convenience. As with all marriages, there are things we would change about our partners. That’s my way of not answering the question.

8. Outside of writing, what other forms of work were essential to the creation of Festival Days?
Teaching and the reading of other people’s writing, which is what makes mine possible.

9. Who is your most trusted reader of your work and why?
I write with, and for, Mary Allen, an essayist in Iowa. Every piece in Festival Days emerged from our long-distance writing friendship that has stretched from the early nineties to now. We listen and tell each other what we like, and the key to how we help one another is that we like everything. It’s like getting a massage—when you leave, everything hurts again, but while you’re there, you’ve never felt so good.   

10. What’s the best piece of writing advice you’ve ever heard? 
A long-ago student named Zac said about an essay we were workshopping: “I’m looking at a circle where I’d like to see a sphere.”

Jo Ann Beard, author of Festival Days. (Credit: Franco Vogt)

Ten Questions for Benjamín Naka-Hasebe Kingsley

3.9.21

This week’s installment of Ten Questions features Benjamín Naka-Hasebe Kingsley, whose third poetry collection, Dēmos, is out today from Milkweed Editions. In Dēmos, Kingsley reveals and speaks out against the violence that pervades American history and society. In an early poem, he addresses and challenges colonizers directly: “colonize / the crevice between my brown lungs, cremate me / in ashy anonymity before / I surface, I breathe, I war.” Writing about historical events—such as the infamous Phips Proclamation, which promised a bounty for the capture or scalps of Penobscot men, women, and children—Kingsley also attends to his own memories and experiences as a person belonging to Onondaga, Japanese, Cuban, and Appalachian communities. “Dēmos is a powerhouse collection of poems by a powerhouse poet,” writes Victoria Chang. Benjamín Naka-Hasebe Kingsley belongs to the Onondaga Nation of Indigenous Americans in New York. The recipient of fellowships from Kundiman and the Fine Arts Work Center in Provincetown, he is the author of Colonize Me (Saturnalia Books, 2019) and Not Your Mama’s Melting Pot (Backwaters Press, 2018). His work has also appeared in the Georgia Review, Kenyon Review, Poetry, Oxford American, and Tin House, among other publications.

1. How long did it take you to write Dēmos?
It’s terrible that I know the exact answer. I started writing Dēmos in the fall of 2016. The writing took me almost exactly as long as forty-five’s presidency.

2. What is the earliest memory that you associate with the book?
In ninth-grade biology we had to go through all that genotype/zygote stuff—I say “stuff” because I got through high school by the absolute skin of my shovel-shaped, Native incisors and am still making up for that mislaid literacy. The teacher gave prompts like “Fill out these squares with your family history: eye color, recessive, dominant, knuckle hair, yea, nay, etcetera,” and we kids start filling them out for ethnicity, which is hilariously apropos in its nearly two-decades-ago ignorance—for we so wise in the here and now—as if these cultural markers were some recessive trait you’d maybe or maybe not be born with. I remember writing all four of my “races” outside those Punnet boxes—Onondaga, Cuban, Japanese, Appalachian—and fitting them together as if I’d be able to figure out why I was me, and my homie looks over at me and says, “You’re one fucked-up Punnet Square.”

That really stuck with me. A fucked-up Punnet Square. I saw myself like that for a long time. That was my earliest memory associated with the book, and now fast forward a decade and a half, and maybe I see myself like that right now. If my monitor goes black and becomes that smudged electric mirror, I’m one fucked Punnet Square. That’s me. Because I have this intimate, or at least long-standing, relationship with a sterile, probabilistic—easily misread as problematic—diagram. I am a kind of cross-breeding experiment in and of myself. My goal in the specific memory of these poems was to remove the individual “me” and focus on the higher resolution “we,” à la “we the people,” and what a crisscrossed American experiment might yield. I wanted to experiment, to turn that relationship on its ear.

You put that all-too-famous—or way, way not famous enough—Phips Bounty Proclamation on one side of the Punnet. You put my people, our people, on the other. What do you get? The results aren’t as anodyne as eye color. They aren’t as neat as knuckle hair. Not as tidy as, Can she roll her tongue, her “R’s?” When They are dominant, what do We inherit? Is revolution a recessive necessity?

3. What was the most challenging thing about writing the book?
When I first presented my work to potential editors, early gatekeepers, they were always like, I don’t hear a unified voice. That happened all the time. To be fair, the corpus of my work is weird. Like, when you aggregate it, I mean, when you collect it all together and present it to a publisher, it’s weird. You get one poem or hybrid narrative essay about Japanese American internment. Then the very next is like in Spanish or broken English or Appalachian Amerikan—shout-out Pennsyltucky, we out here dropping linking verbs! Then the very next poem is talking about how in the Onondaga Nation, within my people, there is a famous legend of the Tadodaho: keeper of the people’s history, of the council fire. The tribe’s Tadodaho is charged with preserving the culture, tradition, and keeping the people’s spirit alive—a very pre-Derridean survivance. In the very next poem, I’m the binary-bucking cub of two mixed-race parents.

I pull as much blood from that “I am multitude” cliché as I can, as I want. What are you? is what editors/publishers were saying in rejection after rejection. There isn’t a unified voice, I heard repeatedly from big-name editors. What are you? is what people have been asking me my whole life. I’ve been teaching college students for a hot minute now, and especially at the beginning—like ten years ago—students would always ask, “Where are you from,” which is to say what are you, what race are you. I used to get asked that outright a lot. We know the whole rigamarole by now—especially if you look remotely ethnically ambiguous. I get out ahead of that somewhat these days, but it initially led to some of the wildest classroom conversations.

4. Where, when, and how often do you write?
I wake up—I try and chug a lot of water—and most days I try and write. My focus is, I hope, first and foremost on effort and not output. I have a lot more control over the discipline than I do the result. I tend to like the adage You don’t have to write, but you can’t do anything else. I write on one of those flash-furniture Costco folding tables. I have a mechanical keyboard. It’s dope.

5. What are you reading right now?
I’m reading Kentaro Miura’s Berserk series, Garry Ezzo and Robert Bucknam’s On Becoming Baby Wise: Giving Your Infant the Gift of Nighttime Sleep, Alan Moore’s Absolute Swamp Thing, and Pushcart Prize XLV: Best of the Small Presses 2021. They’re all drastically different enough that the plot lines haven’t been getting confused.

6. What is the biggest impediment to your writing life?
Being assaulted by the police. This is a tongue-in-cheek answer, but maybe a hopefully positive spin on turning absolutely negative real-life circumstances into positive generation or a call to action. A year into writing the book, in August of 2017, I was full-on maced—that big, pumpkin-orange, police-grade conical tornado of crowd-controlling pain—in the face by a cop. I was walking on the sidewalk, more or less minding my own business, where there were a dozen cops arresting and getting real aggressive and violent with this not-even-five-foot young woman of color.

The initial action took place on a narrow sidewalk, and there was no room for anyone to get past. So, they mace me very unexpectedly and I stumbled into oncoming traffic. It’s a busy Saturday night on the most popping street in Harrisburg, Pennsylvania—which isn’t saying a ton, but it isn’t saying nothing. Fight or flight kicked in hard. And yeah I’m not a fighter, lmao. Could you guess I fall into the sensitive poet stereotype? I almost get hit by these cars but I can’t see a damn thing. Your eyes capital S slam shut, trust me. I’m huddled in the corner of this pizza shop, totally alone, and by this point people are screaming—I find out later that the wind had picked up the clouded bloat of pepper spray blast and carried it up to a second-story, outdoor night club wherein the patrons began screaming and vomiting. Long story short, every storefront locked their doors, and I ended up being saved by the kindness of strangers and the cups of murky water they splashed in my eyes. Whew. I have bad eyes already, so I was worried permanent damage was on the table. Military folks and police get to wash their eyes out immediately after their pepper spray/tear gas tests with milk/water, whatever. I had nothing, you know? I did have to get a stronger prescription after that. It sucks to think about. There was a news article written up about it a couple days later. Like I do most things, I decided to turn it into art. I just cribbed straight from the racist comment section and the poem literally wrote itself. I like to think that, in this, and in the precursor poem that more detailed the assault in a more conventional narrative, I’m reclaiming a little of the white-whale space taken up by 2011’s fad(ish) Franco/LaBeouf-ian “uncreative writing.”

7. What is one thing you might change about the writing community or publishing industry?
I cannot wait until we can all be together again. I miss the intimacy of hearing undiluted voices. Hugs. Raw laughter.

8. Who is your most trusted reader of your work and why?
Senior year of my undergrad I was desperate for a mentor, comradery, and guidance. I synced up with this about-to retire professor who had gone to Iowa in the seventies. After a semester of trying to impress him and taking two of his classes, he told me, “An MFA program might take pity on you, but I hope they don’t.” Bleh. Maybe his heart was in the right place and he just thought I wasn’t ready. Maybe I’ll look back in two decades and be like, Yeah that guy was right. Right now I think, What an asshole. I kept writing. My first semester of grad school in English/Comp Lit I found space in my schedule for a creative writing class, I submitted a creative nonfiction piece about Down syndrome, disabled bodies, and violence. My professor wrote “No.” “No.” “No.” “Offensive.” “Wrong.” all over the essay. They asked me to drop the course. I later found out they actually knew nothing about Down syndrome, and their only experiences had been with TV, with the ultra “high functioning.” My family was on the wrong end of their spectrum, unbelievable, a reality to be erased. They tore me to shreds in workshop. But I believed in the veracity of that essay, and it ended up getting me into an MFA. Unfortunately, anecdotes like that abound. All this to say: I am the most trusted reader of my work. I’ve had enough bad workshops to know that if I don’t have faith in the work, no one will.

9. How did you know when the book was finished?
The only honest answer is that I know a book/essay/story/poem is finished when people in charge, i.e. publishers, will get mad if I change something, lol. Up until then everything is fair game.

10. What’s the best piece of writing advice you’ve ever heard?
Write. I know it sounds banal, but I think everything boils its way down to just write.

Benjamín Naka-Hasebe Kingsley, author of Dēmos

Ten Questions for Viet Thanh Nguyen

3.2.21

This week’s installment of Ten Questions features Viet Thanh Nguyen, whose second novel, The Committed, is out today from Grove Press. In The Committed, Nguyen returns to the story of the unnamed narrator of his debut novel, The Sympathizer. After enduring a year in a communist reeducation camp and two years in an Indonesian refugee camp, the narrator has managed to reach Paris and gain shelter with his French Vietnamese “aunt.” He, along with his close friend Bon, turn to drug dealing to make their way in the new city. But the work becomes increasingly dangerous, and the narrator is wary of participating in such a decidedly capitalist business. Told with characteristic wit and intelligence, The Sympathizer is a nuanced examination of ideology and identity. “A rich and exhilarating story of friendship, loyalty, and greed,” writes Laila Lalami. “Viet Thanh Nguyen gives us an unsparing look at the poisonous effects of ideology—whether colonialism, communism, or capitalism—even as he explores the deep-seated need we all have to believe in something.” Viet Thanh Nguyen’s first novel, The Sympathizer, won the 2016 Pulitzer Prize for Fiction, among several other awards. He is also the author of the short story collection The Refugees and the nonfiction book Nothing Ever Dies: Vietnam and the Memory of War, which was a National Book Award finalist. He lives in Los Angeles.

1. How long did it take you to write The Committed?
A bit over four years, from 2016 to early 2020. The novel would have been published in late 2020 but for the pandemic pushing everything back.

2. What is the earliest memory that you associate with the book?
How fun it was to start writing it in 2016. The Sympathizer had been a success, but it hadn’t yet won a Pulitzer Prize, so I was still left alone to enjoy the writing.

3. What was the most challenging thing about writing the book?
Coping with all the attention and expectations the Pulitzer brought. It was very distracting and prolonged the writing of the book by at least a year, maybe two.

4. Where, when, and how often do you write?
When I’m not teaching, I write four hours or one thousand words a day, whichever comes first. When I am teaching, I write a few days a week, nothing during grading, and mostly during holidays and summers. Most of my life, I wrote in a corner of a bedroom, facing a wall. Now I’m lucky to have my own office with a view of my garden.

5. What are you reading right now?
Many incredible books for the Aspen Words Literary Prize and the Pulitzer Prize. The Aspen Words longlist is public and I highly recommend it. The Pulitzer Prize is confidential so you’ll have to wait until the nominations and winners are announced in April. 

6. Which author, in your opinion, deserves wider recognition? 
Edward P. Jones. He won a Pulitzer Prize for The Known World, but he’s a modest man who doesn’t indulge in publicity, so he’s not as well-known as he deserves to be. His Lost in the City is one of the great short story collections. I love that book.

7. What trait do you most value in your editor (or agent)?
Their ability to understand what I want to do and their willingness to suggest what I need to cut.

8. What is one thing you might change about the writing community or publishing industry?
Eliminate blurbs. They are a tax on the writers and editors who have to ask for them, and the writers who have to write them. I’ve been on both sides. Just publish books without blurbs and let readers decide.

9. What, if anything, will you miss most about working on the book?
It was set in Paris and gave me a reason to spend more time there, including two full summers. I haven’t been back since the pandemic and look forward to returning in summer 2022, if not sooner.

10. What’s the best piece of writing advice you’ve ever heard?
I found Haruki Murakami’s What I Talk About When I Talk About Running to be the most inspirational book about writing, even though it’s explicitly about running. But that’s what writing is. You get up and you go and run every day, or as many days of the week as you can, for as long as you can, and you do it over and over and over and over until you can’t do it anymore, and it is an experience that is both repetitive and inspiring, painful and exhilarating. That’s writing.

Viet Thanh Nguyen, author of The Committed (Credit: BeBe Jacobs)

Ten Questions for Elizabeth Miki Brina

2.23.21

This week’s installment of Ten Questions features Elizabeth Miki Brina, whose debut memoir, Speak, Okinawa, is out today from Knopf. As a child, Elizabeth Miki Brina held her mother at a distance. She was embarrassed by her mother’s accent, how conspicuous it felt in their predominantly white suburb in upstate New York. She did not yet understand the complexities of her parent’s relationship—her mother was born on U.S.-occupied Okinawa and met Brina’s father, a white American soldier, while working as a nightclub hostess. But as an adult, Brina begins to look at her parents with new eyes. She reexamines her memories, her family history, and the history of Okinawa itself. “I had not learned this history, my mother’s history, my history, until I was thirty-four years old,” she writes. “Which is to say that I grew up not knowing my mother or myself.” Speak, Okinawa is a virtuosic and unflinching search for clarity. “In exploring how one comes to be, Brina’s prose illuminates and dazzles—and we see, in the end, what was intangible made clear in her writing,” writes Bryan Washington. “Speak, Okinawa is indelible, and Brina’s words are unforgettable.” Elizabeth Miki Brina is the recipient of a Rona Jaffe–Bread Loaf Scholarship and a New York State Summer Writers Institute Scholarship. She lives and teaches in New Orleans.

1. How long did it take you to write Speak, Okinawa?
I started writing the essay that would eventually become the book in the summer of 2015. So, five years.

2. What was the most challenging thing about writing the book?
The most challenging thing about writing the book was deciding what personal details to share or not share, deciding what was mine or not mine to share, and knowing that these decisions would affect and alter the narrative, as well as the reader’s perception of and attitude toward the people being portrayed. This was a great deal of responsibility that I didn’t want to abuse. Kept me awake some nights.

3. Where, when, and how often do you write?
I write on my porch and backyard mostly, sometimes in my office when the weather gets too ugly. I typically write at night, though sometimes I sneak moments during the day. I have a solid writing session about twice a week.

4. What are you reading right now?
I’m reading A Manual for Cleaning Women, a short story collection by Lucia Berlin. It’s fantastic.

5. Which author, in your opinion, deserves wider recognition?
I’m not the most up to date or in tune when it comes to discovering new or underappreciated authors. Julie Otsuka wrote one of my favorite books, The Buddha in the Attic, which won the PEN/Faulkner Award, but I still think it should get more attention. Maybe it is. Maybe it will.

6. Would you recommend writers pursue an MFA?
Yes. Absolutely. I learned so much from the workshop process: submitting drafts, reading drafts, receiving feedback, and trying to articulate what invites and moves or what falls flat on the page and why. Not to mention the camaraderie and lifelong connections. The MFA experience was invaluable to me.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
Both my agent and my editor have been incredibly encouraging and supportive. All of their continual reassurance and validation and faith in the importance of this story sticks with me.

8. What is one thing that surprised you during the writing of Speak, Okinawa?
I was surprised by how much I remembered, and how much my perspective of memories shifted as I was writing, rewriting, and revising. There were so many revelations I could only have reached through the process of putting memories on paper, seeing them reflected back at me, trying to view them objectively and find the precise words to describe them.

9. Who is your most trusted reader of your work and why?
Besides my editor at Knopf who is so brilliant and generous and thoughtful with how she reads, I have a couple close friends from my MFA program that I trust the most for different reasons. One of them praises and uplifts, but in a very pointed and concerted way, while asking more open-ended questions that make me feel safe and allow me to explore. Another friend scrutinizes and resists, a bit harshly for my thin skin, but that’s precisely what I need to toughen up and retort with something better.

10. What’s the best piece of writing advice you’ve ever heard?
There is a quote by Adrienne Rich that I always keep in mind: “You must write, and read, as if your life depended on it.” It helps me to write about the deeply personal, the private, to trust the reader with my secrets, to take risks and pursue high stakes.

Elizabeth Miki Brina, author of Speak, Okinawa.

Ten Questions for María José Ferrada and Elizabeth Bryer

2.16.21

This week’s installment of Ten Questions features María José Ferrada and Elizabeth Bryer, the author and the translator of How to Order the Universe, which is out today from Tin House. At seven years old, the narrator of How to Order the Universe, M, begins to assist her father in his work as a traveling salesman. Shadowing her father, her sense of the world becomes defined by his philosophies and his inventory of hardware tools. “While my classmates wrote poems about trees and the summer sun,” she recalls. “I wrote odes to door viewers, pliers, and saws.” But cracks begin to appear in what M initially presents as an idyllic arrangement. Through the eyes of her young narrator, Ferrada subtly reveals the true precarity of M’s family life and Pinochet-era Chile. “How to Order the Universe is a dreamscape of a book,” writes Tara Conklin. María José Ferrada is also the author of numerous children’s books, including the forthcoming Niños: Poems for the Lost Children of Chile (Eerdmans, 2021); she lives in Santiago, Chile. Elizabeth Bryer is an author and translator whose previous translations include The Palimpsests by Aleksandra Lun (Godine, 2019) and Blood of the Dawn by Claudia Salazar Jiménez (Deep Vellum, 2016).

1. How long did it take you to complete work on How to Order the Universe?
María José Ferrada: It’s a short novel, but it took me three years. I think partly this had to do with the fact that it draws on my own life. Writing it meant finding myself in the company of people who were dear to me, people who became characters. I knew that finishing the novel would mean saying goodbye to the traveling salesmen once more, and I think that some part of me wanted to take all the time in the world to do so.

Elizabeth Bryer: Around six months, spread across a couple of years.

2. What was the most challenging thing about the project?
María José Ferrada: The most challenging thing was finding the narrator. I only identified who that would be once I’d written half of the first version, so I had to retrace my steps and start over from the first word. It has taken me a long time to learn that changes in plans—identifying the narrator, eliminating characters, eliminating entire chapters—are not necessarily setbacks, but part of the writing process.

Elizabeth Bryer: Getting the precocious voice of the narrator right. That and the humor! Humor can be such an intricate puzzle to translate, especially those instances where a play on words is involved. Sometimes what does not read as a play on words in one language can look like one when viewed from the perspective of another. The constellation of meanings encompassed by a single word in one language rarely matches exactly that of the word’s closest counterpart in the other language, which is part of what makes translation so creatively and intellectually stimulating.

3. Where, when, and how often do you write?
María José Ferrada: I write in the living room—the only part of my apartment where a desk will fit—or at a café when possible. Unfortunately, with the pandemic, the café no longer counts as one of my “offices.” I try to be methodical, leaving periods for writing—a month, for example—and then a couple of weeks for revising and thinking about where to take it from there. Sometimes this second period—seeing where the text is going, if it’s going somewhere—can draw out. Mornings are much more productive for me than afternoons, so I try to keep them for writing.

Elizabeth Bryer: Workflow for translation can be intermittent, so it depends on when you ask me. If I have signed a contract to translate a work, I try to keep the early morning for my own creative writing, and then translation work is the next thing I do, starting around 9:30 AM. Ideally I do this five days a week, though this is not always possible around other commitments. As for where: inside a second-story flat in Birrarranga/Melbourne, on unceded sovereign Wurundjeri land, wearing expensive noise-canceling earphones to dim the drone of the frame-making factory next door.

4. What are you reading right now?
María José Ferrada: Cosmos by Alexander von Humbolt, a treatise in which the German naturalist and explorer attempts a “physical description of the universe” that incorporates all the things that he observed on his travels around the world. It is so interesting to see how he links biological and physical phenomena, until he arrives at the hunch of “nature as a whole,” interdependent, which three centuries later we are yet to fully comprehend. There are some poetic moments. He wonders, for example, at the number of phenomena that must have disappeared long before our eyes perceived them, or about changes that have already occurred and are yet to make their effects known. In those moments the perspective of this man of science reverts to that of a child asking why things are the way they are. That perspective interests me because I think it is the driving force behind many things.

Elizabeth Bryer: Currently I have two books on the go, a classic novel and a recent-ish essay collection: The Summer Book by Tove Jansson, translated from the Swedish by Thomas Teal, which has been a balm during confinement; and Tressie McMillan Cottom’s Thick: And Other Essays, which is so intelligent and generous and sublimely written.

5. Which author, in your opinion, deserves wider recognition?
María José Ferrada: I think that Murasaki Shikibu, author of The Tale of Genji, isn’t remembered as she should be. We don’t hear about her when we start learning the history of literature at school. We hear about Cervantes, but not about her, the person who, ten centuries ago, wrote what is now considered by many to be the first novel. She observed behavior in a way that was so profound and so free at the same time, that she not only wrote a classic, but also took the first steps into a genre that a thousand years later we are still reading.

Elizabeth Bryer: Adania Shibli. It’s a few months now since I read her novel Minor Detail, translated from the Arabic by Elisabeth Jaquette, yet I still think about it at least once a day. And Alexis Wright. Carpentaria and The Swan Book are mesmeric novels of the highest order.

6. What is one thing you might change about the literary community or publishing industry?
María José Ferrada: I think that in the publishing industry everything is too rushed. I always wonder how many good books never got a chance to be read—and perhaps never will be read—because they were discarded when the next month’s titles arrived. Literature, in contrast, operates at a slower speed, not only in terms of production, but in terms of reception. How did a novel do? That is something we only know a good deal of time later. There are novels that go unnoticed when they are published, only to be discovered later by a reader, and then they are reborn and attract a lot of attention. There are also best-sellers that we know nobody will remember in ten years’ time. Publishing and literature are two different things, and they operate on different timescales; I think it’s important not to lose sight of that and to recognize the times when you are working for one and the times when you are working for the other. I am not saying that you don’t need to sell your novel, because you do, especially if you want to make a living from your work, but you need to be aware, for better and worse, that the result, especially in terms of reception, doesn’t solely depend on the work you did. There are many factors involved; the pace of the market and the times we are living in are just two of them.

Elizabeth Bryer: Far more literature is translated out of English than into it, which of course means the flow of economic and cultural capital operates mostly in the inverse direction. I really like the idea—which I am pretty sure came from Michael Henry Heim, though I haven’t been able to relocate the source—for a system whereby a small percentage of earnings destined for each English-language author is automatically diverted to a pool of funds, and then these funds are dedicated to bringing into English more works by authors who write in other languages. I would also add a corrective bias towards underrepresented languages, regions, and intersections.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
María José Ferrada: This has to do with my previous response. Once I’d delivered the manuscript, I asked my editor Juan Manuel Silva what would happen if it didn’t do well. He responded that if that happened, he would be buying the beers. Which meant, he continued, that if it did well, I would be buying them. What he was saying, I think, is that after doing the work—in this case, after writing the story I wanted to write—I had to do what any worker would: crack open the beer that meant I’d made it to the end of my shift. I also think he was trying to warn me about what is and is not important in this trade. Literature and best-sellers are two different things. Sometimes as writers we confuse the two.

Elizabeth Bryer: It’s something the author, María José Ferrada, told me, and I know I can share it because she spoke about it in an interview: How to Order the Universe is very autobiographical, a gift for her father and his friends. I think this came as such a shock not only because of how endeared I had become to the characters, but also because of how crafted and almost fable-like the novel’s setting of 1980s Chile is, not to mention its picaresque tone. Translating means to inhabit the world of another author’s novel in such an intimate way, which always feels like an enormous privilege, but Ferrada’s revelation about the novel’s origins enhanced the privilege that I felt immensely.

8. What is the biggest impediment to your creative life?
María José Ferrada: E-mails, phone calls, the washing machine I must turn on, the food I must buy at the supermarket, and that long to-do list, which is never-ending and which you can’t ignore if you are alive in this world. But I also believe that literature is nourished by these acts, so I welcome all those small, and sometimes tedious, impediments.

Elizabeth Bryer: Financial uncertainty, and/or having too much on my plate, with the latter often a direct consequence of the former.

9. Who is your most trusted reader of your work and why?
María José Ferrada: A poet friend who has a remarkable ear and, most importantly, an enviable sincerity.

Elizabeth Bryer: For translation work, the editor of whichever book I am translating. In the case of How to Order the Universe, this was Masie Cochran. Often, rereading a translation that I am working on or have recently worked on means triggering a palimpsest in my head that includes all the turns of phrase I chose in earlier iterations. For this reason, it is incredibly valuable to have an editor’s perspective.

10. What’s the best piece of creative advice you’ve ever heard?
María José Ferrada: A piece of advice that Akira Kurosawa gave young people who wanted to make films. He told them that they could understand the details of how to structure a film by writing a screenplay. That to do so, they didn’t need a big budget, only paper and a pencil. He acknowledged that writing is certainly hard work, but that the only way to do it was to put one word down and then another. He insisted that you needed to be patient and, if you found the patience, after a few hours, even if it had been a challenging few hours, you would have a whole page. I think he was saying that it is a process that you can’t rush.

Elizabeth Bryer: To give whatever you are working on more time, care, thought, and creativity than you think you are able.
 

Editor’s Note: María José Ferrada’s answers appear in translation from the Spanish by Elizabeth Bryer.

María José Ferrada and Elizabeth Bryer, the author and the translator of How to Order the Universe. (Credit: Ferrada: Ignacio de la Cuadra; Bryer: Percy Cáceres)

Ten Questions for Alex Dimitrov

2.9.21

This week’s installment of Ten Questions features Alex Dimitrov, whose third poetry collection, Love and Other Poems, is out today from Copper Canyon Press. True to its title, Love and Other Poems swells with tenderness and feeling. “I love writing letters and this is my letter. To the world that never wrote to me,” Dimitrov writes. Despite the misery of the world—“How people are being detained / and shot with our money”—he remains devoted to approaching both cruelty and beauty with open eyes. Turning over familiar subjects—New York City, the moon, sex—and holding them up to the light, he models how to reclaim a sense of wonder and purpose in daily life. Alex Dimitrov is the author of Together and by Ourselves (Copper Canyon Press, 2017) and Begging for It (Four Way Books, 2013). The recipient of a Pushcart Prize and the Stanley Kunitz Memorial Prize, his writing has appeared in the New York Times, the New Yorker, and the Paris Review, among other publications. He and Dorothea Lasky write together as the Astro Poets and published Astro Poets: Your Guides to the Zodiac with Flatiron Books in 2019.

1. How long did it take you to write Love and Other Poems?
I started writing the book in August of 2017. I finished it in March of 2020. It was delayed by almost a year because I kept changing things. I’m a perfectionist.

2. What is the earliest memory that you associate with the book?
I remember meeting a friend for a drink at Old Town Bar on a summer Friday, and walking from there to Lovers of Today in the East Village to meet another friend. It was that hazy, late light of summer. The streets were very hot. And I was happy because I was about to quit my office job and take a big risk. I’d just started writing the title poem, “Love,” which I really believed in.

3. What was the most challenging thing about writing the book?
Not having healthcare or benefits while also having more jobs than I’ve ever had in my life. I think I taught, as an adjunct, at something like six or seven different colleges and universities in the time period in which I wrote the book. Most semesters I taught five classes. The poems came easy compared to that.

4. Where, when, and how often do you write?
I write in my apartment at a white desk that faces a window. I write every day. The time I write changes depending on my schedule. Ideally I read in the morning and write in the late afternoon. Usually I like to go for a late run after I write and then meet a friend for a drink. Having an entire day free almost never happens. Regardless, it’s important to treat writing like a job and be serious about having a routine. Like any job, there are many bad days. But writing is the most important thing in my life. There’s no quitting.

5. What are you reading right now?
Melissa Broder’s novel Milk Fed. I think Melissa Broder is a genius.

6. What is the biggest impediment to your writing life?
Money.

7. Outside of writing, what other forms of work were essential to the creation of Love and Other Poems?
I want poems to sound as pleasurable as songs and to speak to everyone. I also want them to have an edge and feel cool. I was listening to a lot of sixties and seventies girl groups. Also rock. The Strokes. The Stones. Love, time, and New York City are the big subjects of my work.

8. How did you know when the book was finished?
I didn’t. I don’t know when anything is finished and I’m not sure I want to. I hate saying goodbye and I hate finishing things.

9. Who is your most trusted reader of your work and why?
I send my poems to almost no one. I will occasionally send them to my best friend, who is an art historian, though not for general feedback. Sometimes I have a very specific question about a line or punctuation or a larger idea. I trust her to tell me the truth, as a reader who is interested in both the intellect and pleasure, which is important to me. I care a lot about the reader. I do not take them or their time for granted. I know there are a million other things they could be doing—having sex, eating, smoking. When I have their attention, it’s on me to make it worth it.

10. What’s the best piece of writing advice you’ve ever heard?
Spend as much time alone as possible.

Alex Dimitrov, author of Love and Other Poems. (Credit: Sylvie Rosokoff)

Ten Questions for Randa Jarrar

2.2.21

This week’s installment of Ten Questions features Randa Jarrar, whose memoir, Love Is an Ex-Country, is out today from Catapult. Love Is an Ex-Country opens in the summer of 2016, in the shadow of the upcoming presidential election, as Jarrar sets out on a cross-country road trip from California to Connecticut. Along the way there are many moments of joy and pleasure: She gathers with fellow Arab American and Muslim writers at a conference in Minneapolis, for instance, and reflects, “I wish we could spend our whole lives in celebration, communion, checking on each other, loving each other, being free.” Yet the journey also presents new challenges, and throughout the book, Jarrar revisits painful memories of domestic abuse, racism, and death threats. But no matter her subject, Jarrar steers through the varied landscape of America and memory with steady hands, speaking boldly and truthfully at every turn. “There wasn’t a page in this memoir that didn’t make me want to jump up and cheer, murmur in awe, scream with laughter, or weep,” writes Melissa Febos. Randa Jarrar is also the author of the novel A Map of Home (Penguin Books, 2009) and the short story collection Him, Me, Muhammad Ali (Sarabande Books, 2016). Her writing has appeared in the New York Times Magazine, Salon, Bitch, and Buzzfeed, among other publications. She lives in Los Angeles.

1. How long did it take you to write Love Is an Ex-Country?
Some of the chapters were written seven years before the book sold. But from the moment I understood this would be a book to the moment I sent it out: three years.

2. What was the most challenging thing about writing the book?
I love being in a car and hearing directions to “go straight.” I always yell, “Gayly forward!” I wanted to write a road trip memoir but to subvert the form, so that readers would share my sense of disorientation as a refugee, as well as my sense of alienation. But I also wanted the book to be read. Ha! So the toughest part was finding a balance between reflecting my experiences of trauma and exile, while guiding the reader gayly forward through the narrative.

3. Where, when, and how often do you write?
Any time, any place, and as often as I feel like it! I self-assign deadlines for my creative projects. I raised a child alone, so I always had to write wherever I could: McDonald’s play areas, the park, at cafés with cheap tacos, and so on. Nowadays I tend to write where I’m most comfortable. I write quick drafts and spend most of my time revising.

4. What are you reading right now?
Craft in the Real World by Matthew Salesses, which is long overdue and needs to be required reading for both students and professors.

5. Which author, in your opinion, deserves wider recognition?
Sherley Anne Williams, specifically her book The Peacock Poems, a beautiful book about Black desire, motherhood, and California’s Central Valley.

6. What is the biggest impediment to your writing life?
Racism and imperialism—the biggest impediments to the vast majority of people’s lives, really.

7. What is one thing that your agent or editor told you during the process of publishing this book that stuck with you?
It’s not really one thing editor Megha Majumdar told me, it was what and how she told me in her first round of editorial notes. When I received her comments I was at AWP in Portland—a Very White conference in a Very White city. I’d never had a book editor of color. I was so moved by how deeply engaged she was with my work, her sharp and great suggestions, the way she saw my story, that I wept.

8. Would you recommend writers pursue an MFA?
Only if they’re paid to, or it’s an affordable state school. Academia is often harmful for the most marginalized of us.

9. Who is your most trusted reader of your work and why?
Women and nonbinary queers of color, because we are who I write for. My first reader tends to be a close friend, and for Love Is an Ex-Country, it was writer Christine Hyung-Oak Lee, with whom I share a lot of intersections. She was equal parts encouraging and constructive in her criticism.

10. What’s the best piece of writing advice you’ve ever heard?
When you’re working on a project, create a regular writing schedule and commit to completing a scene each time you write. For some, word counts and page numbers work best. But once a teacher told me to shift to scenes, books happened.

Randa Jarrar, author of Love Is an Ex-Country.

Ten Questions for Edward Carey

1.26.21

This week’s installment of Ten Questions features Edward Carey, whose latest novel, The Swallowed Man, is out today from Riverhead Books. In The Swallowed Man, Carey reimagines the classic tale of Pinocchio from the father’s point of view. The novel begins inside the belly of a monster-fish, where the carpenter Giuseppe “Geppetto” Lorenzini became trapped after venturing into the sea in search of his runaway wooden son. Writing in an old journal—scavenged from the stomach of the beast—Giuseppe addresses the reader directly, relaying not only the joy of creating Pinocchio but also the misfortune that followed: “Have you ever had those moments when, without quite knowing how, your art comes through with more grace, more life in it, than you had supposed possible?” Accompanied by the author’s own illustrations, The Swallowed Man is a surreal and intimate portrait of a father in crisis. “The Swallowed Man is profound and delightful,” writes Max Porter. “It is a strange and tender parable of two maddening obsessions; parenting and art-making.” Edward Carey is a novelist, illustrator, and playwright. His previous novels include Little, Observatory Mansions, and Alva and Irva: The Twins Who Saved a City. He is also the author of the acclaimed Iremonger Trilogy for young adult readers. Born in England, he lives in Austin, Texas.

1. How long did it take you to write The Swallowed Man?
A couple of years. The book is the journal and art of the two years Geppetto spent inside the belly of a gigantic sea beast. Originally the book was a sort of catalogue to an exhibition at the Parco di Pinocchio in the town of Collodi, Italy. Since then, the book has changed rather a lot. There’s new art—I always illustrate the books I write—and a new character called Ill-face, a very unpleasant, burnt puppet who haunts Geppetto.

2. What is the earliest memory that you associate with the book?
I read the story of Pinocchio as a child but I think it must have been in a very adulterated version, probably by Disney. I don’t think I read the book properly until I was commissioned to adapt Robert Coover’s wonderful novel Pinocchio In Venice for the National Theatre of Craiova in Romania. Since then I’ve been obsessed by Carlo Collodi’s original story, which is dark and strange and full of life. I think of Pinocchio as something like the patron saint of objects. And when I was in my early twenties I saw the beautiful wooden Jesus in the Basicila di Santo Spirito in Florence, carved from wood by Michelangelo at age eighteen, and the sculpture seemed to me a relative of the famous Tuscan puppet.

3. What was the most challenging thing about writing the book?
I wanted to explore Geppetto as a character. He’s abandoned by Collodi for two years inside the belly of an enormous shark, but Collodi gives us no information on what that imprisonment was like, except that there’s a wrecked ship inside the belly with him. Collodi’s book keeps asking the question from the puppet’s viewpoint, “What is a human?” I thought that Geppetto must have asked himself the same question during his confinement.

4. Where, when, and how often do you write?
I used to work in my office on campus at the University of Texas at Austin, but that hasn’t been possible for some time. Now it’s on the dining room table, or in the bedroom or in a studio a walk away, which is also where I teach from. Since the pandemic I’ve put one novel on hold and written a draft of another. My main way of getting through this strange time is doing a drawing a day and posting it on Twitter and Instagram. Every day without fail. Small marks with a pencil. Sometimes I draw something someone suggests, sometimes the drawings are in relation to current events, sometimes they’re because I’m missing England and I draw something from home. If I’m not able to write I can at least draw a little, every day.

5. What are you reading right now?
One Thousand and One Nights. I’m teaching a class on fairy tales and right now I’m getting lost in that extraordinary ocean of stories. The best way I can think of traveling during a pandemic.

6. Which author, in your opinion, deserves wider recognition?
I wish more people knew of the fairy tales of Giambattista Basile. He wrote his extraordinary collection The Tale of Tales in the 1600s, but he wrote in the Neapolitan dialect and, unless you were from Naples, you wouldn’t be able to understand them. He died of plague in 1632, and his sister published his masterwork after his death. For centuries no one read his work, or only saw it in poor translations. Not until 1925 did Benedetto Croce translate Basile into Italian, and we did not get a brilliant English translation until Nancy L. Canepa published one in 2007. Oh, it’s so good. He wrote, for example, many amazing sentences about dawn. Here’s one: Until Dawn brought the news that the Sun had been found alive, and the sky shed its mourning clothes.

7. If you could go back in time and talk to the earlier you, before you started The Swallowed Man, what would you say?
I would say, “Stop! Don’t do it. Put the computer down. Go outside, get on a plane, go and see friends, go to the theater, go to the cinema, go to restaurants. Stop sitting in a corner, you’re going to be stuck inside a bungalow in Texas for at least a year which is a little too similar at times to being inside the belly of a giant sea beast, go, get out, SEE PEOPLE while you still can!”

8. What is one thing you might change about the writing community or publishing industry?
Diversity.

9. Who is your most trusted reader of your work and why?
My wife, the writer Elizabeth McCracken. She’s wise and kind and very sharp. I trust her absolutely. She’ll tell me the truth, but she’ll tell it to me in such a way that I’ll feel excited about going back to work.

10. What’s the best piece of writing advice you’ve ever heard?
I really love this from Italo Calvino: “Instead of making myself write the book I ought to write, the novel that was expected of me, I conjured up the book I myself would have liked to read, the sort by an unknown writer, from another age and another country, discovered in an attic.”

Edward Carey, author of The Swallowed Man. (Credit: Riverhead Books)

Ten Questions for Jana Larson

1.19.21

This week’s installment of Ten Questions features Jana Larson, whose first book, Reel Bay, is out today from Coffee House Press. Nearly two decades ago, writer and filmmaker Jana Larson was riveted by a short news item in a Minneapolis newspaper, which reported the apparent suicide of a young woman, Takako Konishi, who was visiting from Japan. The police, who had by chance interviewed Konishi a few days earlier—though greatly inhibited by a language barrier—speculated she had come to the Midwest in search of the money hidden in a snowdrift in the movie Fargo. Captivated by the strangeness of the report, and an image that flashed in her mind of the young woman wandering in a great expanse of white, Larson began to research the case further. Written as a hybrid screenplay-essay, Reel Bay documents the author’s obsession with Konishi’s story and her various attempts to transform the story into art. What begins as an exploration into another woman’s struggle becomes a broader reckoning with the author’s own creative and emotional lives. “Reel Bay is an obsessive, fascinating, haunting debut,” writes Dana Spiotta. Jana Larson holds an MFA in creative nonfiction writing from Hamline University and an MFA in filmmaking from the University of California in San Diego. As a filmmaker, she has received honors from the Princess Grace Foundation and the Minnesota State Arts Board. She lives in Minneapolis.

1. How long did it take you to write Reel Bay?
Too long. My friends and family had, for the most part, stopped asking me how I was doing because it had become painful for them to hear about the book. My mother would occasionally scream, “When are you going to be finished with this thing so you can move on with your life?” I worked on the project off and on for about seventeen years, first as a documentary film, then as a screenplay, and finally as a book. If I were to add up all of the time I was actively working on the project, it was probably ten years. I now console myself by thinking that might be fairly typical for a first book.

2. What was the most challenging thing about writing the book?
Grappling with my own mind. Admitting to myself that I was as much a part of the story as Takako; that my own delusions rivaled hers. Then finding a structure to tell that story—about a long quest that occurred in the minds of two different women, that took them across continents at different times. Only one of them survived.

3. Where, when, and how often do you write?
When I’m actively working on something, I try to write every morning for an hour or two. If I don’t do that, the continuity and momentum of my thought process breaks apart and it takes me a long time to get back to it. I need to be alone at a table near a window because I need natural light. Sitting in a chair under a tree is also good. I am very particular about the pen and notebook I use. Later I go back and highlight or underline whatever interests me in the notebook and then work to cobble those lines and paragraphs together into a longer piece.

4. What are you reading right now?
I’m about halfway through Antkind by Charlie Kaufman. I’m also reading A Collapse of Horses by Brian Evenson and In Search of Lost Time by Marcel Proust. Next up are Ornamental by Juan Cárdenas, The Waves by Virginia Woolf, and Suite for Barbara Loden by Nathalie Léger.

5. Which author, in your opinion, deserves wider recognition?
Probably all of them. It seems like reading isn’t a very popular pastime right now. But I feel comfortable in the more obscure corners of the artistic world. I grew up going to punk rock shows in tiny clubs and dilapidated warehouses. Mostly the bands couldn’t play their instruments very well, but there was something amazing about the energy that came from being part of something that felt totally uncommercial and sometimes a little dangerous. That probably gets lost when people in board rooms get involved and start fretting over how much money they’re investing and what kind of return they need to get. Maybe it’s great to have that kind of validation; I wouldn’t know about that. But to answer the question more directly: Julio Cortázar. I love his stories so much I want to climb inside of them. I love Lydia Davis’s stories too, but I’m already living inside of a Lydia Davis story.

6. What is the biggest impediment to your writing life?
Self-doubt.

7. Would you recommend writers pursue an MFA?
During my first year of graduate school, one of the professors said to me, “Run while you still can! People arrive here with talent and leave with none.” I thought he was kidding, but he absolutely wasn’t. The wrong MFA program can be very damaging and confusing. Still, I think that if a person has a project they’re working on and they want structure—deadlines and critiques and a practice community—to help them finish it, then perhaps graduate school is a good fit. To those people, my advice is: Get absolutely clear about what supports your creative process and what undermines it; steer toward the former and treat the latter like kryptonite.

8. If you could go back in time and talk to the earlier you, before you started Reel Bay, what would you say?
I don’t think you can give someone insight; they have to struggle to find it on their own. But I remember one of my professors in graduate school telling me that Jonas Mekas, patron saint of lyric and experimental cinema, encouraged artists to buy real estate in New York. He understood that the existence of an art scene depends on artists having affordable spaces to live and work. So I would say, “Buy property in San Diego while it’s still possible.”

9. What, if anything, will you miss most about working on the book?
Sometimes I can’t imagine myself without this book, and without Takako. Of course, she’s mostly a figment of my imagination; she’s continued on for so long as my companion because of all that I’ve projected onto her. And I don’t have that anymore. I have to let it go. It’s like any intimate relationship, really.

10. What’s the best piece of writing advice you’ve ever heard?
Patricia Weaver Francisco, after watching me struggle with this book for many years, said, “You need to just choose an island and swim to it.”

Jana Larson, author of Reel Bay. (Credit: Shelly Mosman)

Go to Source

Author: jdegregorio

  • If you’re an artist, up to a creative challenge, and love this story, enter your email here. Click here for more info.

Date:
  • May 2, 2022
Share: