Tuesday, December 15, 2009
Tuesday, December 08, 2009
Sunday, August 16, 2009
Hempel's fiction has a warm feeling that I appreciate; I haven't pinpointed exactly how she accomplishes it, but I have a couple theories. One possibility is that she doesn't rely on conflict in the traditional sense. Because much of her work is very very short, she doesn't need to use conflict to make one commit to reading, and her notion of "plot" is more reliant on character obsession and language. Her humor is based in surpise, the disarming turns her narrators take inside paragraphs, or indeed sentences. And she doesn't waste language. This feels to me very respectful of the reader and is another source of warmth.
One of the things I like about Gaitskill's work (Veronica in particular) is her facility with physical description to bring out character emotion. Her empathy is not just for characters but for everything in their world. When I read her work, I am reminded that emotions are not something contained inside a human being. We all radiate emotion all around us, in the way we observe the world and interact with it. The interpenetration is palpable and mysterious. Gaitskill captures this in a very rare way.
I bring up these observations about their work because each had an approach to teaching writing that was consitent with these observations.
Amy Hempel immediately set a warm tone. At the beginning of each critique we went around the room and each named something that we thought was working well in the story. This was a welcome reminder to me that something positive can be said about every unfinished work, and I mean every one, and it does not hurt to give specifics. Further, pointing out what works is not the same as saying you love the story, it's finished, etc. We had no trouble with this exercise.
After going around the circle, she asked us leading questions, like "how did people feel about ____?" Sometimes she even took a vote. What I liked was how she followed up after our response: she addressed the writer each time and instead of "here's what you should do," she said, "so there's some information you can use." (Or something like that.) It's an important distinction, and very respectful of the writer. One of the reasons we go to workshop is to learn how strangers react. The reactions are a data point, not necessarily a prescription for how to move forward.
Hempel also found moments in each critique to address us all with general ideas about how to make fiction better. Questions to ask ourselves: what do I have that's already enough? What happens in this story--not what is it "about," but what happens? (She allowed that what happens is often language, not incident.) Regarding setting: what is the thing that only happens here? Is the story an account of an event or an event itself? And some tidbits I jotted in my notebook: Pay attention to what you give yourself to work with later. The story needs to be logical on its own terms. In stories of illness, illness is the situation, not the story. (I think of her much anthologized "In the Cemetery Where Al Jolson is Buried.")
Her comments in my manuscipt were gems. I had submitted a reminiscence piece and she encouraged me to do something to bring it into the present, to give a reason for discussing 1977 right now. It's a logic question. I've played with this suggestion and I'm happier with the story. And her line edits were what you would expect from Hempel. Like she said, what do I have that's already enough? It's hard for me, sometimes, to trust that I've adequately presented a theme. Her cuts were quite encouraging. Like yes, I did say it already. She helped me to trust my readers more.
On to Mary Gaitskill. She opened the class with a discussion of the state of literature. Her argument was that we attend writing programs to learn how to write better, and since this costs money, social class is involved. (The elephant in the room at a nice college like Skidmore, and she said it on the first day. I applauded inwardly.) Further, writers teach at writing programs to make a living, because publishing isn't enough. And to top it off, the only people who read literary fiction are aspiring writers, writers, academics, etc. It's become an insular world. We are ghettoizing ourselves. She seemed really distraught over this development, over the inability of writers to actually interact with people in other walks of life.
Her approach to teaching writing reminded me of the (offstage) teacher in her story "Description." Partly because of themes in the student stories we were critiquing, and partly because this is her strong suit, she focused on creating emotional empathy through physical description. The discussion was tremendously helpful to me. We went through stories of John Cheever and Flannery O'Connor, among others, to look at the use of crude characterization mixed with not-crude description. It's an angle I hadn't thought of before. The crude, maybe even grotesque nature of the characters in the textbook stories had a similarity to Gaitskill's earlier work, and she pointed out where the description in the stories "opened up" and became more subtle. Listening to Gaitskill's close reading was worth the price of admission.
Early in the class, Gaiskill discussed the mysterious nature of what makes writing great. "It's like a person's unconscious or guts--invisible but essential--that inner quality that makes the work alive." And she argued that style is a big part of it. "We think of style as something superficial," she said, "but it's not. " The examples she gave later in the class supported this argument, where the nature of the description turned softer, making character identities--even crude ones--fall apart.
Which is in line with something Hempel said, and I'll close with it: "The more consistent a character is, the less credible." I'll chew on this for awhile, while I go off to finish my household chores.
Hope this has been fun for you to read. If you ever get the chance to work with either of these teachers, I recommend them.
Saturday, August 08, 2009
First the basics and logistics. It was a four week workshop with the option to attend for only two. I was there for the second half. Many of the students were there on scholarship from grad or undergrad creative writing programs at other schools. Others were teachers using continuing ed grants. Others were serious "hobbyists" like me, who need to play full-time writer for a couple weeks every year, on vacation from otherwise unrelated dayjobs. And there was a handful of retirees, some just starting to write. The mix of age and experience was large (with all the positive and negative aspects one would expect). Most of us stayed in the dorms, in a block of single rooms set aside for writers.
The schedule was less strenous than other conferences. Mornings were unprogrammed. Workshop met Monday, Wednesday, and Friday afternoons. Class size ranged from 5 to 16. There were 7 concurrent workshops, so it was possible to learn every single student's name. Some students paid extra for a consultation on a book-length manuscript with an author of note. (Many of them told me it was a shining highlight of the conference.) Tuesday and Thursday afternoons were generic Q&A sessions with visiting writers. (These sessions relied on the students to provide the topics of discussion, which I felt was a weakness relative to other conferences--I would have preferred to hear the authors talk on specific craft-related subjects. Wouldn't you love to hear Russell Banks talk about voice for an hour? Or Charles Simic talk about what one learns from doing translations? But I digress.) Each evening had a reading by two of the faculty or visitors, followed by a reception. There was a good amount of drinking but alcohol was not the main event. Sunday evening had a student reading and barbecue at an old Victorian mansion attached to the school.
But enough with the nuts and bolts, and on to the unique and/or noteworthy aspects. My overall impression was that we were encouraged to delve deeply into the work of others. The nightly faculty readings were long (each author for as much as 45 minutes) and gave more than a taste of a writer's work. Bob Boyers, the director, gave a thorough, thoughtful introduction to each writer, and while the good-natured jokes did fly about the length of his speeches, they were an art form unto themselves, carefully composed (and even, from previous years, compiled in a volume called A BOOK OF COMMON PRAISE), and designed to help us hear new things in the work of authors we thought we already knew.
A word on the faculty and guests. It's an astonishing list of literary heavies, and my reason for going. (My favorite readings were from Charles Simic, Danzy Senna, Nick Delbanco, Rick Moody, and my teachers Amy Hempel and Mary Gaitskill.) Hero worship was definitely in the air. But the faculty, too, seemed committed to passing the baton. It felt (to me) like it was more than a dayjob to them.
This theme of delving deeply extended into the classroom, where we were reading and annotating 30 pages each of student prose. (Most other workshops I have done ask for half that amount.) With a class of 16, plus assigned published works to read, the load added up. I learned what a slow reader I am. I had flash memories of the oppressive weekends of grading papers, back when I used to teach comp. So the "free" mornings in Saratoga Springs turned out to be me with my folder and pencil, changing venue but not activity: to the cafe in town, to the cafeteria, to the library, to my dorm, to the outdoor chair. To work and work some more, this annotating freak went.
The sheer volume of required reading created in me a new impatience for extra verbiage, for explanation of character motive and/or backstory, for wit for wit's sake. I apologize (if you're reading this) to my classmates for the mass of delete marks I put in your pages. It's not you, it's me, and I think I overreached. I encourage you to ignore the unhelpful comments. I'm not one of those people who thinks workshop is about thickening your skin. But it is about sharpening one's taste and editing skills, and I grew a lot in that department. Emphasis on taste, as in that's why there's horseracing.
I kept thinking about what my husband says about a good day up at bat. The pitch might be coming at 80MPH but if you're in the groove, if you've practiced your fundamentals and put on your lucky underwear and said rabbit rabbit rabbit when you got out of bed in the morning, if you are in the best possible shape before you stand at the plate, the ball looks like it's hanging in the air. All you have to do is whack it.
I felt a little of this shift happening in my brain. The long hours spent picking apart other peoples' unfinished work has made it much easier to pick apart my own. The mistakes and missed opportunities jump out faster. I don't have to beg readers to show them all to me.
The other byproduct of the deep-looking emphasis of the conference was a total lack of instruction on how to get published. I found this refreshing. It wasn't a matter of the discussion being premature for the students (it was for some, but not all), but rather, it would almost be in bad taste. This was a conference about writing and reading, but not about sales. Yahoo.
I want to get into more specifics about what I learned in the classroom, but I'll save that for a future post. Just one more thing before I sign off--that sparkly water they have all over Saratoga bubbling from those cute Victorian spigots--delicious! But it contained microbes my body did not know yet. Be warned. Also: racehorses are exciting and gorgeous when they're working out in the morning. They're not wearing all that wacky colorful clothing they wear on race day, and they are not in a big pack, so you can see more of what they're doing. Worth getting up early. Damn, they're fast.
More later! Off to make dinner.
Sunday, July 19, 2009
Sunday, June 14, 2009
One sobering thing: the shaving revealed some pretty bad burn scars. This is a bird's eye view--sorry the photo isn't clearer. Our little guy has had a rough life: burns, abscesses, a crushed hip, and a crusty eyeball! Sorry, Bud, wish we could have found you sooner.Chow down! You're home now, crosseyed cat.
Sunday, June 07, 2009
Sunday, May 31, 2009
What do you think? I like her black nailpolish. She's about 2 years old and can jump really high. Will Willie like her as much as we humans do? What about the cats? And what the heck breed is she? A Corgiweiler? I'll keep you posted.
Friday, May 22, 2009
Tobias Wolff reads the Denis Johnson classic short story "Emergency" on the New Yorker Fiction Podcast. Time to buy milk for the preemie rabbits and save some lives. Some of my favorite dialogue ever written, the kind that makes me laugh aloud on the subway. (And news to me--I learned that Johnson himself played the patient with the knife in his eye in the movie version of Jesus' Son!)
Zadie Smith talks about language, social class, and inclusion/exclusion in her NYPL lecture "Speaking in Tongues." From Pygmalion to Obama (both president and memoirist). What exactly is "keeping it real," and does education make that impossible? And if so, is that a tragedy, as it has been painted in the past, the so-called "tragedy of the mulatto?" Or, are people like Obama (and Zadie Smith too) teaching us a new way to think about "real?"
Luis Alberto Urrea lectures at Bread Loaf 2008: "The Road Out of Tijuana is Paved with Ink." Talk about keeping it real. Dude has wild stories to tell about his aunt, La Flaca, and her terrifying fireside tales, along with other early experiences that formed who he is as a writer. Instructive and entertaining. Sorry I could not figure out how to deep link to this episode. Click on the "lectures" tab in iTunes. Also recommended from Bread Loaf: Robert Boswell's lecture on omniscient narration, a pared-down version of his essay from The Half-Known World: On Writing Fiction, my new favorite craft book ever.
Alan Davis Drake's podcast of Anton Chekhov's unabridged short stories is fun and well-produced. It's a good way to get up to speed on the classics. There are two things I love about Chekhov (so far)... One: he makes characters' motives transparent--often selfish ones--without completely sacrificing their likeability. Is this the essence of comedy? Or at least the kind of comedy I love, which laughs at the self and the other at the same time? And two: he doesn't appear to be following strict rules of beginning-middle-end. You know how I feel about that crap. Character motive pulls you right on through. That, and the feeling you're sitting around a campfire or card table hearing the story. The structural surprises are welcome and satisfying.
Tuesday, May 05, 2009
Both in NYC, one poetry, one prose. Both are lineups I'm stoked to be in.
Monday, May 18 2009, 6PM
Cornelia Street Cafe
29 Cornelia Street, NYC 10014
Cover $7 (includes one house drink)
Host: Ted Jonathan
Featuring: R.D. Coleman, Anne Elliott, Jason Tandon
Friends of and contributors to NYQuarterly celebrate one of America's finest poetry journals by reading from its pages.
Drunken! Careening! Writers!
Thursday May 21, 7PM
85 E. 4th St. NYC
Hostess: Kathleen Warnock
Featuring: Anne Elliott, Jessie Male, Felicia Sullivan
In 2005, Jessie Male's advanced knowledge of the frozen foods section earned her the title of assistant editor at the number two grocery trade magazine in the country. She has since been published in numerous food and dance publications and is currently working on two nonfiction collections. Jessie recently emigrated from Brooklyn to Manhattan to serve as a program coordinator at Columbia University. Her family is a constant source of support and material.
Felicia C. Sullivan is the author of The Sky Isn't Visible from Here, which has been featured in Vanity Fair, Elle, USA Today, Redbook, Newsday, and The Washington Post. In 2008, her memoir was optioned for film by Gigi Productions. Sullivan lives in New York where she is presently writing the screenplay adaptation of her memoir and working on her novel, Women and Children First. Visit her online at: http://www.feliciasullivan.com/.
Jason Tandon is the author of two collections of poetry, Give over the Heckler and Everyone Gets Hurt, winner of the St. Lawrence Book Award for a first book (Black Lawrence Press, 2008), and Wee Hour Martyrdom (Sunnyoutside Press, 2008). His poetry and reviews have appeared in many journals including Columbia Poetry Review, DIAGRAM, Fugue, Laurel Review, Madison Review, Notre Dame Review, Poetry International, Red Cedar Review, Poet Lore, and Quarterly West. He is currently a Lecturer in Writing at Boston University.
(I'll add info as it becomes available.)
Monday, March 23, 2009
(Audio may not be safe for work)
(and here is their youtube channel)
Saturday, February 21, 2009
PRECIOUS, by Sandra Novack, via Random House. Publisher's Weekly says, "The graceful prose and bleak atmosphere underscore the loneliness of each character. Novack takes the massive distance between friends, husbands and wives, and makes it her home." Me, I love bleak, and I love family drama, so I'm definitely gonna read this. You can read an excerpt here at Powell's to decide for yourself.
WOMEN UP ON BLOCKS, a short story collection by Mary Akers, coauthor of RADICAL GRATITUDE. This fiction collection, published by Press 53, "explores the price women pay when they allow the roles of wife, mother, daughter, or lover to define them." Also right up my alley. Akers has a clean, no-nonsense voice that is a joy to read.
NOTHING LIKE AN OCEAN, another short story collection by Jim Tomlinson, author of THINGS KEPT, THINGS LEFT BEHIND, which I gushed over here back when I still had time to write full reviews. The stories in the new collection "reflect Tomlinson’s awareness of place, revisiting the fictional town of Spivey, a community in rural Appalachia where the characters confront difficult circumstances and, with quiet dignity, try to do what is right." This collection comes via University Press of Kentucky's Kentucky Voices series.
Time to get off the net and start reading! So here I go.