Tag Archives: Writer

The 30/30 Challenge of Tupelo Press, and How I Proved I Have a Screw Loose

I’ve gone and done it. I must be crazy.

Throughout September, I will be “running” a poetry “marathon” for the Tupelo Press 30/30 project. By donating in recognition of my efforts, you will be supporting a fabulous independent, nonprofit press.

I promise to write a poem a day for 30 days. Since it took me decades to cough up not even twice that for my first poetry collection Doll God, you can see what a feat I am trying to accomplish.

To help preserve poetry as an art, it’s important to support the independent presses and literary magazines. These are the places that publish nearly all published poetry today. It hasn’t been a positive era for them. I’ve seen many lit magazines close up—and when the presses go out of business, we often don’t even hear about it.

Every dollar you donate will go toward the operation of the press, enabling it to continue publishing beautiful books that would not get picked up by large commercial publishers. You can read the daily poems, as well as the bios of this month’s poets, and donate here.

As incentives to donate, I am offering the following:

  • For a donation of $10, you tell me what subject or image you want to see in a poem, and I’ll write that poem.
  • For a donation of $20, I will dedicate a poem to you or someone of your choice.
  • For a donation of $40, I will send you or someone of your choice, a signed and personally addressed copy of my book, Doll God.
  • For a donation of $55, I will send you or someone of your choice, a signed and personally addressed copy of my book, Doll God, and I will dedicate a poem to you or someone of your choice.
  • For a donation of $100, you get two copies of Doll God and two dedications!
  • Remember that if you donate $129 for a Tupelo Press subscription, you will receive the 10 free books of their current series.

For any of the above donations, including the subscription of 10 books, please remember to click or write my name in the honor field. Then email me at luannecastle@gmail.com and let me know what dedication or subject you are interested in. If you “earned” a copy or two of Doll God, please give me your mailing address and to whom you would like the book(s) addressed.

Again, you can read the daily poems, as well as the bios of this month’s poets, and donate here.

If you decide to help keep Tupelo Press publishing its amazing variety of books, THANK YOU THANK YOU THANK YOU!!!!

Wish me well, please. It starts tomorrow, and I’m nervous as can be!

 

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If you are not able to donate, the other poets and I would still love for you to read our first draft work. I love feedback. Every day, I will post a link to that day’s poem over here so feel free to critique or pat me on the back (or the head, if you think that is more appropriate after reading the poem), encourage me, tell me what you like or what you don’t like. Or tell me a funny story or something completely unrelated that the poem reminded you of ;). Or just say hi in your own incomparable way so that I remember there is a world outside poetry. Gonna be an intense month!

One more thing: by November 1, I plan to take down all September’s 30/30 posts.

That’s us poets in the photo 😉

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Filed under #AmWriting, Blogging, Doll God, Inspiration, Literary Journals, Poetry, Poetry book, Poetry Collection, WordPress, Writing, Writing goals, Writing prompt, Writing Tips and Habits

You Wanted to Hear What That Flash Nonfiction Course Was Like?

Marie from 1WriteWay and I completed our Flash Essay on the Edge course. It was offered by Apiary Lit, which offers editorial services, as well as courses they call workshops.

The course instructor was talented writer and teacher Chelsea Biondolillo. Her prose has appeared or is forthcoming in Brevity, Passages North, Rappahannock Review, Hayden’s Ferry Review, Shenandoah, and others. She has an MFA from the University of Wyoming and is a 2014-15 O’Connor Fellow at Colgate University. You can check out Chelsea here or do a search for her pieces in online magazines. Her knowledge of the genre and generosity to share that knowledge with her students was outstanding.

I took the course because I hadn’t written for months, mainly because of my father’s illness and death. Knowing the way I operate, I figured that a course would force me to focus and get a little writing done.

As planned, Marie and I evaluated the course when we were finished. We are both posting a list of the pros and cons of the course, as we saw it. At the end of the list, I’ll give you my additional impressions. Check out Marie’s post because she will give her own impressions.

Course Textbook

PROs

  • The teacher prep was outstanding. She provided a wealth of readings, which were useful in showing me what flash nonfiction can look and sound like.
  • The course was only four weeks, so I found that to be very manageable. If it had been longer, I would have been too stressed during the summer and at this time in my life.
  • The instructor generally gave useful feedback, seemed qualified in the subject, and was very nice. She seemed to love her subject.
  • The instructor was accessible, responding within the same day if there was a question or concern.
  • Other than a problem I will list under CONs, the website was pretty easy to negotiate.
  • The online classroom had various forums that enabled you to share your work with the other students and have discussions.
  • The writing prompts were generally interesting, but I didn’t feel tied to them, which was good.
  • The course was not graded.  I could focus on what I wanted to turn in, not what I thought I had to turn in in order to get an A.
  • The course got me writing without adding stress to my life.
  • I got more writing done in this past month than I would have otherwise.
  • I feel that I know where to go with flash nonfiction now. It would be ideal to get more feedback down the road on attempts at Flash Nonfiction, but at least I feel much more comfortable with the genre from taking this course.
  • Above all, I had fun with the readings and the writing.

CONS

  • Although there were forums available, we had no real discussion of any of the readings. We were not strongly encouraged to interact with each other. We had maybe one discussion prompt during the whole course.
  • The readings and essay examples were available through either some kind of Adobe program that took a bit of time to figure out, or through hyperlinks that weren’t always easy to download.
  • We posted our written assignments privately to the instructor so I had no way of learning from what others had turned in or from reading instructor comments on the work of others. I didn’t care for this method as it diminished what I could learn from the course by a hefty percentage. I suppose this is the difference between the workshop method and a traditional style class.
  • We felt isolated in this class and had little interaction with anyone but each other and the instructor.  In the discussion forum, one other student interacted with us, and another made a couple of independent comments.  Other than that, it was a strangely quiet class.
  • Two platforms were used for the course:  an online classroom and a blog, so sometimes I had a little trouble negotiating the course. Sometimes I had to login in two places. This inconvenience turned out to be less of a problem than I first anticipated, but it could be streamlined.  The blog material could have been included on the classroom platform.
  • Since I don’t know how many people were in the course, I don’t know the instructor’s workload. My belief is that in a course that is short in length, the instructor should return assignments in short order. The lag time between turning in an assignment/beginning reading for a new lesson and getting the instructor’s feedback on my previous assignment was a little too long for my comfort.
  • The price at $199 was a little steep for four weeks and no discussion/no workshopping.

***

 I want to make clear that I am really glad I took the course. Apiary hired a qualified instructor and offered a solid, contemporary course. There was so much that was right about the course. But I think it needs a little tinkering to make it better in terms of both learning environment and the economy of the course.

The above list really hits the main points of what I liked and didn’t care for about the course. The oddest thing for me was working in such an isolated environment. I’ve been in many workshops, and this isn’t a workshop. In workshops, your work is presented to the teacher and classmates. Typically, you receive feedback from both the instructor and at least a fair number of peers. I learn this way from what several people have to say about a piece. And I learn a lot from reading the work of others and seeing what all, especially the instructor, have to say about a variety of writing.

That said, there are people who hate workshops, generally because they have had a bad experience with one. I also find it fun to diss them sometimes. But, overall, they are an effective way to improve one’s writing.

The class seemed eerily quiet, perhaps because it wasn’t a workshop. But if we had had discussions about our readings, that would have provided some connection between students.

One other student (besides Marie and me) did participate in the class as much as possible. The course had a feature that she and I both used. It was called the Work-Sharing Blog. We were allowed to post anything we wanted to and see if anybody would give us feedback. It was not encouraged by the instructor or the course setup, but this other student and I both took advantage of it. I was thrilled to get feedback from her and from Marie on a piece I’ve struggled with.

I’ve taken online writing courses from a variety of schools/companies. They all have their pros and cons. For what I wanted this summer, Apiary’s course satisfied me fairly well.

If you are looking for an online writing course, my suggestion would be to decide how you want to learn and then ask questions. If you want a workshop, ask if all students will be sharing their work with the class and if the class will be providing peer feedback. Will there be guidelines for providing that feedback? The guidelines protect the writer from snarky or downright mean classmates. If you don’t want a workshop, ask those questions, too. Be aware that the majority of online writing courses are workshop-based.

Have fun! It’s so rewarding to get motivation, specialized readings, and writing feedback all in one place.

Once I get my thoughts together on the subject, I’ll post something about the genre of flash nonfiction, to give you an idea of what we were working on.

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Filed under #AmWriting, Creative Nonfiction, Editing, Essay, Flash Nonfiction, Inspiration, Literary Journals, Memoir, Memoir writing theory, Nonfiction, Research and prep for writing, Writing, Writing goals, Writing prompt, Writing Tips and Habits

Summer Reading

Marie from 1WriteWay and I are finishing up our Flash Essay course. We’ll be posting about it before too long. I’ve had a very full work and personal (not fun stuff) schedule this summer, so adding that course was a bit much, but it did get me writing again. That’s always a good thing, even if just for my mental outlook.

I’m enjoying having Nakana part of the household but because of travel and a non-recorded leukemia test on Nakana I’ve had to wait to introduce her to the other cats.  I’m sure they wonder who that is behind the closed door! Tiger is especially curious and waits in the hall for me when I’m with Nakana.

I’m reading two books right now. One is Writing Our Way Home, a collection of writings by people who have been homeless, edited by WordPress blogger and Southern writer Ellen Morris Prewitt. I’m going slow and savoring.

41EaKva8i8L._SX331_BO1,204,203,200_The other book I’m reading is one suggested for class: The Rose Metal Press Field Guide to Writing Flash Nonfiction:

FlashNonFiction_200Because I am way too overtired this summer, I am falling asleep the minute I sit or lie down, so reading books where I can read in digestible chunks is wonderful. These are both well worth putting on your list.

As I move into the August hubbub and end of summer doldrums (brief pause to hurriedly look up “doldrums”–yup, that fits–“a state or period of inactivity, stagnation, or depression,” but I think I also meant dog days, which are the hottest days and a period of sluggishness), I might post less regularly. I try to usually post Mondays and Thursdays, although sometimes I add in an extra or switch a Thursday for Wednesday or Friday. But I don’t plan on sticking to any particular schedule in August. Then I’ll re-start my regular schedule in September. I’ll be checking on your blogs as I get online!

If you are still thinking of picking up a copy of Doll God, it’s also a book that can be read in small chunks–a poem a day, for instance.

castle-promotional-cover

About summer in Arizona, Doll God has this to say:

the heat hints at its future
when all will be blue blue blue.

Blue sky over everything. Only here in Phoenix is blue not a cool color, but a FLAME HOT color!

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Filed under #AmWriting, Blogging, Book Review, Cats and Other Animals, Doll God, poems about dolls, Poetry, Poetry book, Poetry Collection, Reading, Writing

More Tsuris: A Cat’s Tale of Mourning

We had a close call this past week. As you probably know, I lost my father in May. Then a week and a half ago, I lost my oldest cat Mac. It’s been a rough year.

For at least a week, I actually forgot my first book,  Doll God, was published this same year! I am not kidding either. What kind of ridiculous year is this?!

Anyway, 3 days or so after Mac died, cat #2, my sweet dear Pear Blossom, stopped eating! If you have or have ever had a cat, you might know that cats cannot go without food. Their livers go haywire. It’s very dangerous. I tried everything: a dozen kinds of canned food, fresh chicken, tuna, treats, kibble, egg, tiny hotdogs for babies, you name it. I had to resort to feeding her baby food (Gerber 2nd foods are the ones you want–safe and healthy for cats) with a syringe. I could get about 5-7 ccs in her before she would let it ooze out all over the couch. Yes, the couch because she wouldn’t move from the couch. For days she lay there.

I hadn’t had much time to grieve my father before Mac became sick and died. Now I had had no time at all to grieve Mac and my darling booboo girl looked as if she were going to die.

After $1,000 in vet bills (see how blithely I just wrote that hahaha), she seems to be coming back a little. The only medical problem they found is a UTI (she and my human daughter are both prone to those). But hubby and I are sure that she is grieving Mac.

It’s understandable. She is 15 1/2 and we’ve had her for 15 years. She was inseparable from Mac in those 15 years. In fact, and go ahead and think I’m weird (er), but I have a very long kitchen counter and have 3 cat beds lined up on it. She slept there every day with Mac and Felix. Tiger prefers to sleep elsewhere. Pear refuses to lie on the counter now.

Pear Blossom as Judge Judy

I’m praying she begins to eat better. She refuses most food I offer to her. But she seems to feel a little better.

POLL RESULTS: where do creative nonfiction writers come from?

Well, that wasn’t the name of the poll, but that is sort of what I was angling for. Here is a graphic of the results:

poll results

 

What I had wanted to know is what brings people to writing creative nonfiction. I was intrigued to read that many “never or rarely” write creative nonfiction. I’m pretty sure that a lot of blogs are creative nonfiction, rather than journalism, because as bloggers we can’t help but create public personas by what we write. If we write about our own lives at all, I would call it CNF.

It surprised me that not many others wrote poetry first and then moved to CNF, but I wasn’t surprised that many started with fiction. I read another nameless article that said that writers shouldn’t write more than one genre. I think it was mainly focused on “genre fiction,” but why can’t a writer write in another genre? Judy Blume has written for children and adults, and if that isn’t crossing genres, I don’t know what is. One book opens with a little girl praying to God. Another book opens with a man playing with his penis while an adult woman and mother watches. Hah. Better know which genre Blume book you’re buying ahead of time! Marie from 1WriteWay and I discussed this recently.

Did a book ever surprise you because you expected a different genre? Was it a pleasant surprise or a shock? A penis instead of a prayer? (Or a prayer instead of a penis?)

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Filed under Blogging, Books, Cats and Other Animals, Children's Literature, Creative Nonfiction, Doll God, Fiction, Memoir, Nonfiction, Poetry book, Poetry Collection, Reading, Writing

A Poll for Writers that Anybody Can Take

Are you a writer? (Hint: if you’re a blogger, you’re a writer)

Do you write in more than one genre? Do you want to expand to another genre?

Hippocampus Magazine, one of my favorite creative nonfiction lit mags, is advertising their August “HippoCamp.” On the website for the conference, they say this about “genre-hopping.”

Writers often take up creative nonfiction only after having established themselves in prior genres, bringing with them unique strengths that inflect their work, whether in the process of writing it, in the finished product, or both. This presentation features three writers who discuss the close relationship between creative nonfiction, poetry and fiction, as they share observations made in the process of moving from one genre to another, and on what we can gain as nonfiction writers when we make forays into other forms.

It’s true for me that I began with poetry and even fiction before I moved to creative nonfiction. I’ve noticed a fair number of poets move to creative nonfiction–even Carolyn Forché. It definitely surprised me the first time I saw her name as an editor on a volume of CNF.

I’d like you to respond to this poll, if you’re up to it.

Thanks for participating. I’ll post the results in a few days!

Grandma’s buttons

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Being Confused

Today I want to introduce a wonderful poet, Cullen Bailey Burns. Cullen and I go way back. We met in the MFA program at Western Michigan University. Since then Cullen has published two gorgeous poetry collections. Her most recent is Slip, out just this year.

by Guest Blogger Cullen Bailey Burns

Most of us hate the feeling of confusion; I know I do. In fact, confusion often causes a feeling of panic in me. In reading poetry, however, I have learned to look forward to and embrace confusion. The first moments when a poem resists me as I read it bring me to life and into curiosity in ways I find hard to explain. Take for example the wonderful Mary Szybist’s “The Troubadours, Etc.

The title catches me off-guard at the start. Isn’t there some rule about not using “etc.” in titles, that throwaway word? Then the first line, “Just for this evening, let’s not mock them.” I don’t know who the speaker is; I am not certain who the “them” is and I don’t know why we would be mocking to begin with. I am also confused by my complicity implied with the casual “let’s.” My confusion eases a bit in the next lines, when it becomes clear they are the troubadours, but arises again in the one-line stanza “At least they had ideas about love.”

Again, the implication here is that someone (the reader? the couple we meet in the next lines?) does not have ideas about love. As the poem becomes more personal, I understand the situation: a couple is driving west, the speaker meditating on distance, time, the meaning (possibility?) of love. In a series of moves that keep me off balance, the poem addresses a wide range of subjects, some visible to the speaker as she travels and some pulled from memory.

Toward the end of the poem, the speaker asks a series of questions, beginning with “At what point is something gone completely?” The “something” could be many things: passenger pigeons. Troubadours. Pilgrims. Love. Because the poet has so skillfully filled the poem with possibilities, the question can be about each of her subjects/all of her subjects at once.

And that’s the thing about confusion. Our minds’ desire to pin meaning down hard and fast is a desire for simplicity: this + that = something beautiful and smart. Isn’t that formula of many poems? But the best poems require us to linger in the space of not completely understanding, where we find many bolder, harder options. A poem could be about love (most poems are) but also about what passes, what we destroy, what we are unsatisfied with. This poem ends: “Then try, try to come closer–/my wonderful and less than.” In its unfinished comparison, this line refuses to explain itself, and mimics the distant horizon the couple travels toward, unreachable. As are the answers to our hardest questions about love and belief.

Ok, so that’s all well and good, you say, but what about writing? How does confusion help us write better? I would say this: we need to leave space. What’s brave about Szybist’s poem is that it trusts the reader will follow its twists and leaps, without a particular end in sight. Often when I write, I am so very tempted to tie everything up at the end in a lovely bow. “See, reader, what I’m doing here? See what this means?” How many years it has taken me to step back, let the poem be, trust that while my images and language must be as clear and tight as possible, meaning will be made in the reader.

Does not belong in a poem

 

Don’t mistake me. I am not arguing that a bunch of random images can mean just anything or that the writer should not understand or carefully construct the poem’s movement. I am not suggesting that a poem means anything a reader wants it to. But surprise, a temporary loss of our footing on the slope of a first reading, that’s good stuff. And a reader only gets that thrill if the writer leaves space for it.

Cullen Bailey Burns

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Filed under Books, Essay, Nonfiction, Poetry, Poetry book, Writing

Assigning Stars to Books I’ve Read

HAPPY THANKSGIVING, AMERICAN READERS!!!

After I started transferring my memoir reviews over to Goodreads, I had to go through another critiquing process: assigning the number of stars to each book. What goes into that analysis is different from writing a review. A review focuses on all the ways the reader (the reviewer) reacts to and interacts with a book. I can love the experience of reading a book without thinking that overall the book deserves the highest score possible, 5 stars.

Also, there are books I want to give a 4.5, but I don’t know how to do that. Do you have to assign a 4 or a 5? No halves?

And what does a 5 mean? Does it always mean that I think the book is the most engaging story? Not necessarily because some books aren’t about the narrative. Does it mean that the book has the most literate, well-crafted sentences? Often times it does mean that. But not always. I am using 5 stars to mean a book that I can see myself reading again, should the occasion arise. And a book I can advise others to read, without qualification.

It kind of astonishes me how stingy some people are when they assign stars to books on Goodreads. I suspect those people have never written anything themselves ;).

Here are some unexpected stars in nature:

And here:

Speaking of book reviews, I plan on writing one for Julia Scheeres’ memoir Jesus Land in the near future.

This winter I will complete my tutorial in the Stanford program. In the tutorial I will be working with an instructor who will read my whole book draft (the memoir) and give me feedback for revision. Researching the Stanford instructors I realized that I so wanted to work with Julia Scheeres, especially after I read her Jesus Land.  Oh, what a book! Imagine my excitement when I got the email saying that my request had been approved and that I get to work with Ms. Scheeres this winter!

But I have to go work on my draft which needs another year’s worth of work before it’s ready. And I only have until the end of December. Good thing we’re not having our Thanksgiving dinner today. Pumpkin pie Saturday!

 

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Filed under Book Review, Creative Nonfiction, Editing, Memoir, Memoir writing theory, Nonfiction, Research and prep for writing, Writing, Writing goals

Poetry, Loss, and Grieving: A Guest Blogger Perspective

by Guest Blogger Carla  McGill

A few years ago, I saw Billy Collins (Poet Laureate of the United States from 2001 – 2003) read his poems at a local university. I have read his poetry for many years, usually bringing out one or two from his many collections to read to dinner guests during an after-dinner drink. My second time seeing him read live, I knew enough to expect a few comedic moments, something I enjoy about his public presentations. This time, though, he spoke about death and loss, the major focus of much poetry. To emphasize his point he remarked that the classic anthology used in most universities, The Norton Anthology of Poetry, which typically contains between 1500 – 1700 poems in the regular editions, could be called The Norton Pamphlet of Poetry if we removed all of the poems that were about death and loss.

Quite a difference between The Norton Anthology of Poetry and a pamphlet

Quite a difference between The Norton Anthology of Poetry and a pamphlet

His words resonated with me, since I had written an elegy for my father, who died in 2009, and four years later, an elegy for my aunt who died on Thanksgiving Day of 2013, as well as other poems that elucidate the experience of profound loss. My first impulse, when trying to memorialize them both was to write poems that in some way illuminated and crystallized my memories of them. There are thousands of poems about nature, love, and joy, but why are so many more of them about loss? What is it about poetry that makes it an excellent configuration for deeply painful experiences?

Poetry does seem to offer us ways to envision our experiences from various and unusual perspectives. Poetry can allow us to express profound thoughts, philosophical musings, and significant moments in time. Other expressions can do something similar, such as photography, painting, and sculpture, but poetry involves language, and language is tied to our humanity in a specific way. We have things we want to express with words. Emotions, ideas, perspectives. The public persona is unseated by the poetic voice as it utters deeper feelings, sharper and more distinct images, more acute insights. It has been said by many that poetry reflects the unconscious and the world of dreams. When I write a poem, I do encounter new dispositions, surprising mental vistas, and sometimes emotional resolutions to inner dilemmas. When I read an engaging poem, I find myself enriched, as if I have been with an encouraging friend or a spiritual mentor. The pain of grieving seems particularly difficult to articulate, and yet its poetic expression can yield a kind of peace, a sense of having located a central inner place, a core level of being and feeling.

The anguish of loss is inevitable. Our loved ones die, our happy moments fade, and we age. As Mark Twain said, “When you’re born, you’re finished.” Perhaps poetry best expresses our feelings of loss because it provides a certain amount of delight even if the topic is unpleasant or disturbing. The sound devices that poets use, the rhyme or meter, and the imagery all provide sensual and psychological gratification. More importantly, the great body of poetry about death and loss tells us that we are all on the journey together.

Roland Barthes said much the same about photography in his book Camera Lucida. He mentions that all photographs retain a certain feeling of melancholy because the subjects of the photograph have been in a specific place at a specific time, and yet they are no longer in that place and time. Therefore, loss is at the heart of photography, and in some ways, it is also at the heart of poetry, which tries to express moments, singularities, epiphanies.

Poetry presents delightful and rewarding experiences, even while it expresses the worst that we can endure as human beings. What a gift it is.

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I  earned my BA in English from California State University, San Bernardino, and my MA and PhD from the University of California, Riverside. My writing has been published in A Clean Well-Lighted Place, Westerners Journal, and Inland Empire Magazine. As a member of the Live Poets’ Society from 1991–2012 at The Huntington Library in San Marino, CA, my poems have appeared in three of my group’s chapbooks: Garden Lyrics, Huntington Lyrics, and California Lyrics.

Though I have occasionally done freelance work for a local magazine, I mainly write poetry and short stories, and I am working on my first novel.

 CarlaMcGill

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Filed under Books, Essay, Nonfiction, Poetry, Poetry book, Writing

To Be Read as a Collection of Magic and Poetry

Michael Ondaatje, the author of The English Patient, wrote a memoir about his Sri Lankan family called Running in the Family.

The style of this book is quite different from other memoirs. The cover of my book has a blurb by Maxine Hong Kingston which calls what is inside the book “a truly magical world.” Since Kingston created her own magical worlds in The Woman Warrior and China Men, she’s a good judge of that. But Ondaatje’s book is not as tied to narrative as books by Kingston. In fact, the book has a few poems threaded throughout–and much of the prose moves beyond the lyrical to the truly poetic.

The book is very beautiful, and many readers have a very emotional response to the style of the book. When I began reading, I had the wrong mindset. I was expecting  a narrative. Big mistake. What I should have done was prepare myself by understanding that I would be reading a collection of magic and poetry.

The book is not tied to narrative or history. If a reader doesn’t know anything about Sri Lankan history or the racial structure of the country, she will miss a lot of what is going on–will, in fact, get the wrong idea about a lot in the book. But if the reader does know, what Ondaatje does so very well is to create the mood of a long gone time and place. In that way he is very Fitzgerald-ish.

My favorite parts of the book are the magical realism story of his unique grandmother who walked into a flood and the poem “The Cinnamon Peeler.” Here is a little taste of Ondaatje’s style with his lovely descriptive abilities and his dysfunctional relatives:

Only the mangosteen tree, which I practically lived in as a child during its season of fruit, was full and strong. At the back, the kitul tree still leaned against the kitchen–tall, with tiny yellow berries which the polecat used to love. Once a week it would climb up and spend the morning eating the berries and come down drunk, would stagger over the lawn pulling up flowers or come into the house to up-end drawers of cutlery and serviettes. Me and my polecat, my father said after one occasion when their drunks coincided, my father lapsing into his songs.

And now I will admit I have not yet read The English Patient. Or seen the movie.

What I learned from this memoir is that memoirists are free to cross boundaries–even into fantasy and poetry.

 

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Filed under Book Review, Creative Nonfiction, Memoir, Memoir writing theory, Nonfiction, Research and prep for writing, Writing

Let’s Talk About Writing Process

Sherri Matthews who writes A View From My Summerhouse tagged me to write about my writing process.  She wrote about her own here. Sherri’s very welcoming blog shows her wonderful personality, her stories, and her photographs. I particularly love the way she crosses the pond by writing about her life in the UK and her experiences living in the US.Sherri

Sherri discovered her true calling to write three years while supporting her daughter through her diagnosis of Asperger’s Syndrome.    Since then she has had articles, poems and a short story published in magazines and two anthologies. She is writing her first book, a memoir telling the story of her three years spent with her American G.I. and the catastrophic events that changed both their lives forever. A born and bred Brit, Sherri moved to California in the mid 1980’s where she raised her three children for seventeen years.  Returning to the UK after her marriage broke up in 2003, today and happily remarried, she lives, writes and takes endless photographs in the West Country of England with her hubby, daughter, two cats and an African Land Snail called Vladimir (her daughter’s). Sherri publishes regularly on her blog, ‘A View From My Summerhouse’.

You can read about Sherri’s memoir book project here.

Writers meme

When I agreed to be tagged by Sherri, I had forgotten that I already wrote about my writing process last spring. At first I thought, why bother to think about this again. But after reading what I wrote at that time, I realized that a lot has changed. For that reason, I thought I’d think about the process again. Also, I wrote a lot about blogging at that time, but today I’ll focus on my other writing

1. What am I working on at the moment?

Last spring I was putting together my full-length poetry manuscript and working on my book-length memoir.

Since then, my poetry collection Doll God is being published by Aldrich Press. I finally started thinking of poetry beyond the book and began to write a series of poems based on old family photographs and the results of my genealogical research. Maybe I’ll collect them into a chapbook, eventually.

However, I just heard from the publisher of Doll God. Kelsay Books plans to put the book out earlier than expected! Perhaps mid-January. I’m getting excited, but I’m also getting too nervous.

I started working on short memoir pieces to send out. A chapter of my memoir was published here. Several other pieces are in various stages of completion and two have been submitted to magazines. Since I’ll be working on my memoir during my Stanford University certificate tutorial this winter, I will have to set aside the shorter pieces.

2.  How does my work differ from others of its genre?

I wasn’t given this question last time. It’s a very difficult one to answer because I haven’t looked at my own work with the analytic eye necessary for that. Instead, I write by instinct, using my own individual voice, experience, and outlook. I’ve been told often enough that I’m a little bit of a nut or that my view is “idiosyncratic,” so I’m pretty sure that means that my take is a little different. But I’ve also been told that my experience resonates with others, so maybe everybody is a little different, a little “nutty.”

My memoir is a story that is specific to me and to my family, but it has commonalities with the lives of many other people. It’s an emotional history of a family.

My poetry springs from the interaction of heart and head.

3.  Why do I write what I do?

I write poetry because I love to play work with language and see a poem take shape that is more complex and rich than what I envisioned when I began.

Why memoir? Because I am writing a burdensome history out of my body. Once it is shaped on the page, I no long have to carry the burden. The more well-crafted it is, the better job I’ve done at moving away from the raw material. Additionally, I am learning (in a therapeutic sense) how to recast my history in a light that feels healing.

4.  How does my writing process work?

The process I go through is the same as it was last spring:

For prose, I write in Word, one scene at a time. When I feel that I’ve taken a scene as far as I can at that moment, I put it away and move on to another scene. But I always print out drafts, revise by hand, and then make the corrections on the computer. I revise over and over and over again, often times for several little changes each time. It’s a big tree waster, but one I can’t seem to avoid at this point in my writing. However, I do turn the pages over and re-print on the other side.

Poems sometimes start out by hand, but in general, I don’t have an affinity for writing by hand and wonder how Jane Austin ever did it.

Process also includes what I do once I’ve taken a piece as far as I can. I do like to have a trusted reader read my work. My in-person writing group–Rudri at Being Rudri and Renee at Unpacked Writer–give me great feedback on where to improve and what to rethink. I have another long-time friend who is a fabulous writer and editor who is also a fabulous reader. These women help me bring my prose to completion. I wish I had friends who were this reliable as poetry readers, but I have not been as lucky in that genre.

I would like to introduce my three  four (rules are meant to be broken) nominees who will post their responses to these four writing process questions on their blogs. 

First up is American Ellen Morris Prewitt, an award-winning fiction writer. I love her stories. She’s recorded many of them in audio format, too, and listening to her read is quite the experience. She has a southern accent and a sort of deadpan delivery. What a delectable combination! Have a listen here.

Here’s a description of Ellen’s fascinating life right from her own distinctive southern voice:

My life has been shaped by two very early events: I was born into the racism of the civil rights South, and I carry the grief of my daddy being killed by a train. Much of my writing carefully picks at the nuances of racism, and many of my stories involve the child trying to understand the space left by a missing parent. The two jobs for which I’ve been well-paid are lawyering in Jackson, Mississippi and walking the runway in Memphis. I follow my own peculiar definition of God, which led me to start a writing group of men and women who have experienced homelessness. I love all the people in my life but mostly my husband, my dog (yes, she’s a person), and my two grandbabies. I’ve been known to appear in public in costume.Ellen

Ellen blogs at www.ellenmorrisprewitt.com under the tagline “Ellen Morris Prewitt: My Very Southern Voice.  In addition to Ellen’s skillful and engaging stories, I love reading Ellen’s posts for their heart and inspiration. Her work with the homeless is so important.

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Next up is my Canadian buddy Sue Fletcher aka Menomama3. Sue writes two blogs.  I’ve been reading her first blog since I started blogging. She’s got a great voice and wonderful sense of humor–and I think eventually she will need to start sending out her memoir pieces. What she shares on her blog are wonderful stories and observations. This is what she says about herself:

Here’s a confession: When people read and comment on something I’ve written, I am thrilled to bits. But I also blog because it feels good to explore what’s in my head and work it out through writing. In a way it’s like taking your clothes to the dry-cleaners. Inside the closet they looked kinda dingy and lost among all the dresses and blouses and skirts and slacks. But when you show them the light of day and look at them one at a time and give them a good cleaning they look all new and fresh. Just like memories.

I call myself Menomama3 because when I started blogging four years ago I was deep in the throes of menopause, and my three daughters were like hormonal pressure cookers. Release was essential and writing was the form. Better than running away from home – me, not the girls.

Anyway, there are two Menomama3 blogs. “Wuthering Bites” is poetry, photos, and a few little stories. The other, “Life in a flash”, is an assortment of whatever comes into my head during dog-walking. Then I have to bolt home and write it down before I forget. Which I suppose is also what the blogs are about. Writing memories down before I forget.

menomama

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Let’s go Down Under to meet novelist Dianne Gray.

Dianne is Australian author who lives in tropical Queensland, Australia. She has won numerous writing awards for her short stories and novels and is currently renovating an old club house she had moved to the family farm in 2012. She is currently working on three new novels which will be published in the coming months.

Dianne’s Freshly Pressed adorned blog can be found here. She blogs about her life on the family farm, as well as other aspects of daily living in rural Australia. Her resume is chockfull of book publications and writing awards.

Dianne

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Quite recently, I found Adrienne Morris’ blog. And I love it. It’s intelligent and quirky and always has something new to say about the past.

Adrienne Morris is a writer, living in the country, who milks goats, chases chickens and sometimes keeps the dogs off the table while writing books about the Weldon and Crenshaw families of Gilded Age Englewood, New Jersey. Her first novel, The House on Tenafly Road was selected as an Editors’ Choice Book by The Historical Novel Society. http://historicalnovelsociety.org/reviews/the-house-on-tenafly-road/

You can find her blog, Nothing Gilded, Nothing Gained–Books & Writing at Middlemay Farm, here.

Adrienne MorrisEnjoy getting to know these bloggers if you don’t already read their wonderful blogs–and watch for their writing process posts!

 

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