Attend a literary reading in your underwear

1966064_1435953959985329_5969882273842050095_oYou know you’ve always wanted to.

Now, thanks to the Lit Demon, you can attend a whole reading series from the comfort of your bathrobe. The website that’s bringing you online creative writing workshops and editing services and a range of other awesomeness is now scheduling a series of readings, online, streaming live right into your dingy home.

For free.

And the line-up is already awesome. The series begins on May 14 with Bud Smith, author and the guy behind The Unknown Show. The next day, you can see a reading from David S. Atkinson, author of Bones Buried in Dirt and the dude who previewed my novel in The Great 2014 Indie Press Preview, and a few days later, CL Bledsoe, my fellow storySouth Million Writers Award Notable Story writer, will be reading. Then Bartleby Snopes‘s Nathaniel Tower will read, followed by the excellent and ubiquitous J. Bradley. And, in June, you’ll get to see me on your little laptop screen.

That’s right, gang. On June 5, I’m reading from Hagridden, live on the Internet. And you can come join me.

But wait, there’s more! If you’re a writer and you want to participate in the readings, you can apply for a slot. (This is especially a shout-out to the women out there: this list is amazing, but there’s a lot of testosterone in the beginning of this series. I want to hear from all the killer women writers I know!) The application is fairly simple: just visit the online form and fill it out.

In the meantime, check out the reading series and sign up to “attend.” Then pour yourself a whisky, kick off your house shoes, and pull the handle on your recliner. And enjoy the show!

A signed copy Box Cutters if you help Molly Gaudry fly

Do you know Molly Gaudry? Because you should.

I don’t want to bury the lead, so if you want to get to know her, start by helping her out at Fly with Molly. But more on that in the minute.

I mention this because I’m a huge fan of Molly. She’s a hell of a writer — just last month I finally got round to reading her stunning prose-verse-novella We Take Me Apart and the book kept me up at night, thinking about all the new things she made possible in her writing. She’s also a hell of a literary citizen — in addition to all the work she does on her own to support and promote writers and books, she’s also one of the masterminds behind The Lit Pub.

But Molly suffers from double vision, cognitive functioning, and sensory processing disorder. That’s just about the worst thing that could happen to a scholar, writer, and bookseller, and it’s been hard times. Vision therapy. Physical therapy. Occupational therapy. Craniosacral therapy, myofascial trigger point release therapy, mental health therapy . . . . And that’s on top of all her writing, her academic work, her Lit Pub business, her marketing . . . .

There’s good news, though:  Molly has found tremendous success with AntiGravity Fitness.

AntiGravity Fitness incorporates physical therapy and “heavy work,” proprioceptive and vestibular stimulation and feedback, deep tissue trigger point massage, and, with the help of the hammock’s tight, total body “squeeze” (which is like wearing a “hug vest”) my central nervous system is calmed enough that I am better able to self-regulate prior to sensory overload or sensory meltdown caused by overstimulating environments (classrooms, grocery stores, movie theaters, etc.)

The system has been so effective in helping Molly with her challenges (you can read more here) that she wants to share it with others, to help others. To do that, she’s going to become a certified instructor in AntiGravity Fitness.

But to accomplish this, she’s going to need some funding. Which is where I come in.

Molly has been so supportive of the literary community that the literary community is stepping up to help. Molly’s running a fundraiser through Indiegogo, called Fly with Molly, and writers and publishers have been stepping up to offer perks for anyone willing to help her out.

My perk is part of the CCM/Sunnyoutside Bundle: Contribute $70, and, as a thank you, you’ll get four books from Civil Coping Mechanism plus a signed copy of my chapbook, Box Cutters.

Of course, you don’t have to take that offer: there are also a couple of perk packages from Ampersand Books, as well as loads of options from writers, artists, editors, and Molly herself. Or you could always just chip in — any amount helps — and skip the perks altogether. Whatever works for you.

At the very least, visit Fly with Molly, read her story, and share it with everyone you know. Social media, blogs, gyms, street corners.

And thanks from me and the rest of the literary community.

Every Kiss a War, from Leesa Cross-Smith

every_kiss_FINAL_storeimg_originalI just bought Leesa Cross-Smith‘s debut story collection, Every Kiss a War, out from Mojave River Press.

I was going to buy this book anyway, because I’m a fan of Cross-Smith’s work, both in terms of her own fiction and in terms of her fantastic literary magazine, WhiskeyPaper. (I had a story in WhiskeyPaper a while back.) And the title is killer — so terse yet so lyrical, and such a beautiful contradiction of language. So this was always going to wind up on my bookshelf.

But then yesterday I watched this trailer:

I had to watch it twice.

The speaker’s voice is enough to sell me on the book (and no, it’s not Cross-Smith’s voice — I asked). The fluidity and softness of her accent does such a wonderful job of finding the balance between the opposing words of the title, the love and the conflict, the heady sound of magnolias and the cutting edge of rosethorns. And whoever directed the scenes did a fantastic job, both in terms of composing the shots and in terms of what comes out of the actors. It’s a beautiful piece of art in its own right.

But then there are the words — Cross-Smith’s words — and they’re stunning. The trailer opens with three lines, spaced out in the actor’s voice to distinguish the sentences as well as to accentuate the rhythms of Cross-Smith’s prose:

“He lives on a houseboat when he’s home and sometimes he fights in wars. Of course he’s killed a man with his bare hands. I want him to show me.”

The language is simple but the syntax shows so much. He lives on a houseboat . . . when he’s home . . . and sometimes he fights in wars.

(Of course) — spoken softly and quickly, not emphasized but an aside. A given. We should assume he’s killed a man. With his bare hands.

And then, this soft-spoken, sad-sounding woman tells us, “I want him to show me.”

As the trailer goes on, she describes how she backs into him, how she puts his arm around her throat, and what follows is a beautiful, terrifying dance that is simultaneously sensual and dangerous, a perfect blending of sex and death, the exact conflation of kissing and warfare. It’s the whole book in a single passage, and it’s a testament to how precise Cross-Smith’s writing is.

So I bought the book. Because of course I know Cross-Smith can write this way, can simultaneously elevate and devastate me with words. But I can’t wait for her to show me.

Enhanced by Zemanta

Erasing the grade

Today I found this article in my Facebook newsfeed:

Wellesley Initiates New Grading Policy for First-Year Students.”

And it’s about damn time.

The idea is to institute “shadow grades,” which means professors will provide traditional letter grades for those students who want to know, but it removes those grades from the institution itself, recording only pass/fail grades on transcripts:

This policy provides first-year students with the opportunity to learn about the standards for academic achievement at Wellesley and to assess the quality of their work in relation to these standards. It further enables them to use their first semester to focus on intellectual engagement and inspiration and to learn how to grow as a learner in college. “When grades become the object of learning rather than learning itself, students are engaged in a form of goal displacement,” Professor of Sociology Lee Cuba told Wellesley magazine in a feature for the 2014 Winter issue.

This is almost exactly my own grading policy in my writing classes: while, at the colleges where I teach, I still have to record grades for institutional purposes, I refuse to write grades on essays themselves. My policy is based on research I did — and a paper I wrote and presented at the Conference of College Teachers of English back in 2001 — in which I argued that grades interfere with student learning.

These are not new ideas. Back in the 1960s Max S. Marshall, in Teaching Without Grades, compared grades to the “inadmissible evidence” of the American judicial system. Inadmissible evidence, he explained, is anything which at any point could be called prejudicial or which would unfairly bias the jury toward one decision. He wrote that grades functioned in the same way — that by giving a student an A and reporting it, other teachers would be inclined to give that student As as well. Likewise for a D student, who would continue getting Ds regardless of his or her efforts. For these reasons, Marshall proposed that grades, too, be “inadmissible” — that is, removed from education. And later, in 1990, Charles Hargis wrote about alternative grading methods in his book Grades and Grading Practices: Obstacles to Improving Education and to Helping At-Risk Students, saying that any alternative should involve the student as well as the teacher and focus the evaluation not on a grade but on learning.

Yet, even when we attempt to hide the grade with descriptive commentary and lengthy, explanatory conferencing, the student cannot ignore that little red letter he or she knows will ultimately determine the worth of the paper. As Dr. Richard Miller is quoted as saying in “The Day the Consultant Looked at Our Grading System” (from Degrading the Grading Myths: A Primer of Alternatives to Grades and Marks): “Grades have made our students believe that ‘wadjaget’ is the most important word to be used when summarizing their own education.”

And in a more recent article from 2011, “The Case Against Grades,” Alfie Kohn reiterates a lot of these old arguments, including a wonderful breakdown of the pedagogical problems inherent in grades:

  • Grades tend to diminish students’ interest in whatever they’re learning. A “grading orientation” and a “learning orientation” have been shown to be inversely related and, as far as I can tell, every study that has ever investigated the impact on intrinsic motivation of receiving grades (or instructions that emphasize the importance of getting good grades) has found a negative effect.

  • Grades create a preference for the easiest possible task. Impress upon students that what they’re doing will count toward their grade, and their response will likely be to avoid taking any unnecessary intellectual risks. They’ll choose a shorter book, or a project on a familiar topic, in order to minimize the chance of doing poorly — not because they’re “unmotivated” but because they’re rational. They’re responding to adults who, by telling them the goal is to get a good mark, have sent the message that success matters more than learning.

  • Grades tend to reduce the quality of students’ thinking. They may skim books for what they’ll “need to know.” They’re less likely to wonder, say, “How can we be sure that’s true?” than to ask “Is this going to be on the test?” In one experiment, students told they’d be graded on how well they learned a social studies lesson had more trouble understanding the main point of the text than did students who were told that no grades would be involved. Even on a measure of rote recall, the graded group remembered fewer facts a week later (Grolnick and Ryan, 1987).

When I first learned all this back in grad school, I knew I couldn’t actually just eliminate grades. I was responsible to the institution where I taught, and as a teaching assistant, I didn’t have the power to challenge that system. But, in my research and in that paper I presented at conference, I argued that I could at least get the grade off the paper, which would force my students to read my comments and then have a conversation with me about their work. It seemed the best of both worlds: I was still “grading” to satisfy the institution, but my grades weren’t interfering with my students’ learning. At the time, I was still teaching under the tutelage of my professor, Dr. Sherle Furnish, but Dr. Furnish was good about allowing us new teachers a lot of latitude and autonomy in our classrooms, and when I asked his permission to try my “gradeless paper” approach, he gave me his blessing. And it’s been my policy ever since — going on 15 years now.

And it’s worked. Every semester, students hear not only my policy but the rationale behind my policy, and while it still takes some of them a few papers to get used to the policy, I always get positive feedback by the end of the class. And by positive, I mean they both understand the theory and appreciate the practice. Many students actually thank me for getting grades out of the way and making them think about their work as their work, for reinforcing process and self-evaluation over product and outside judgment. And I’m often pleasantly surprised by how many students with C grades, who ordinarily would have complained about their grades, decide based solely on the comments and their own judgment that they’re satisfied with their paper and wind up also satisfied with their C — and how many A students keep plugging away at a paper even after they know they have an A, because I might love their paper but they’re still not quite finished with it.

But all of this just a baby step in one classroom; for this practice to have any lasting effect on students’ attitudes toward their work and their learning, it needs to become institutional. As Kohn writes:

If we begin with a desire to assess more often, or to produce more data, or to improve the consistency of our grading, then certain prescriptions will follow.  If, however, our point of departure isn’t mostly about the grading, but about our desire for students to understand ideas from the inside out, or to get a kick out of playing with words and numbers, or to be in charge of their own learning, then we will likely end up elsewhere.  We may come to see grading as a huge, noisy, fuel-guzzling, smoke-belching machine that constantly requires repairs and new parts, when what we should be doing is pulling the plug. [. . .] Still, it takes courage to do right by kids in an era when the quantitative matters more than the qualitative, when meeting (someone else’s) standards counts for more than exploring ideas, and when anything “rigorous” is automatically assumed to be valuable. We have to be willing to challenge the conventional wisdom, which in this case means asking not how to improve grades but how to jettison them once and for all. (emphasis mine)

And that’s why this announcement from Wellesley is so exciting. It’s a small step in a movement that’s been scraping along, millimeter by millimeter, for decades now, but it’s a step in the right direction.

 

Enhanced by Zemanta

My Writing Process

By now, you’ve probably heard about this whole #MyWritingProcessTour thing, a kind of literary chain-letter meme that’s been making the rounds among writers lately. It’s a fun project, I think, because it gives us all a bit of insight into each other’s writing lives and it helps introduce each other to other writers. In fact, some of you might have come here because you follow my blog, but some of you might have wound up here via James Claffey, who tapped me in his blog post last week. (If you don’t know James or his work, check him out now — his book Blood a Cold Blue is a stunning feat of prose, each short piece like a fist of flowers, like a bouquet of barbed wire, gorgeous and melodic but cutting, penetrating.)

Anyway, now you’re here, let’s get down to the Q&A:

What am I working on?

At the moment, my most important project is launching my novel, Hagridden. That comes out in August, but in the meantime, I’ve been working on edits, crafting front- and end-matter, emailing with my publisher, planning readings and maybe a book tour (tentatively and privately, so far — no announcements yet) . . . .

I also have a couple of new projects I’m currently shopping around — a new chapbook and a book-length story cycle — and I’m still promoting my first chapbook, Box Cutters, so in one way or another, the bulk of my time lately has been focused on finished books.

Recently, though, I’ve started revisiting an old novella with an eye toward cleaning it up and sending it out again, and (in spite of myself) I’ve been making notes and writing scenes for my next novel, which I started last November but won’t really get to focus on until this summer.

How does my work differ from others of its genre?

This is going to date me, but whenever I think of genre, I think of Soundgarden winning an award in the best alternative music category. Chris Cornell took the mic and kind of shrugged. “I don’t know what ‘alternative music’ means. I thought we were just playing rock and roll.”*

I suppose the broadest definition of what I do is literary fiction, but I also write a lot of what you might call historical fiction, and Southern fiction, and speculative fiction, and weird fiction. . . . I don’t know. It’s all just storytelling to me.

But even aside from the genre aspect, what sets me apart from others is a weird question because I’m more interested in where I fit in with others, in the people I drawn inspiration from and want to share shelf space with. Those folks mostly have a strong attention to language and a willingness to let the writing lead them into strange new territory, into unexpected ideas or associations. I wouldn’t say I’m an experimentalist, but I like a story to surprise me, whether I’m reading it or writing it, so the unexpected is important to me. In that sense, I suppose I would stand apart from, say, formulaic writers and rigid structuralists.

Whatever that means.

* I’ve been scouring the Internet looking for this Soundgarden moment so I could get the words right, but I’m not finding it. I have no idea if this even really happened; maybe I’m thinking of the time “Spoonman” won a Grammy in both the Hard Rock and Heavy Metal category and the whole band apologized to the metal artists for stealing their category, or the time they interviewed with Kurt Loder at the MTV VMAs and said they don’t really think in categories. Soundgarden doesn’t like the idea of genre, is what I’m saying. And neither do I.

Why do I write what I do?

Someone once asked Tom Franklin which of his own books was his favorite. He named his second novel, Smonk; he explained that at the time he was writing it, it was the book he most wanted to read. I try to approach all my fiction that way, and I suppose I always have: when I first started writing, back in middle school, I was reading a lot of my dad’s action novels, old Mack Bolan and Phoenix Force books, as well as a lot of Stephen King, and at some point I thought, “You know, I could probably do this too.” And as soon as I started trying my hand at it, I realized not only that I could do it, but also that I actually wanted to do it, because (I discovered) I had stories in my head that I wanted to read, and if no one else was going to write them, I would have to write them myself. My reading tastes have evolved since my teenage years, but this is still the main thing driving my fiction: I write what I want to read. I think that’s where all good writing comes from, really.

How does my writing process work?

I’ve answered this a lot lately, including a couple of blog posts (this one, and this one) I wrote around the turn of the year. But those posts were more like musing on the process and how much stock to put into rigid discipline (my answer: not much). But this whole blog tour seems more aimed at practical advice, so here’s a different version of what I’ve said before:

My process depends on what I’m working on, and that’s how it should be. Each writing project demands its own process, its own approach.

Still not much good as practical advice, but that’s how I work.

For both my novels and my short fiction, I have a whole range of practices and exercises I draw on: writing from music, making wall charts and outlines, freewriting, character interviews, descriptive outlines, writing from photos, reading news articles, researching . . . . I might employ just one of these practices in order to get a story told, or I might try any combination of all of them over the course of project. Even the time frame varies; I have stories I wrote in a day and novels I wrote in a couple of weeks, and I have short stories I took ten years to finish and novels I’ve rewritten from scratch four or five times and still haven’t figured out.

All of this is trial and error, and while I’ve been at this long enough to trust my craft whenever I sit down to write, I still have to figure it out anew each time. That doesn’t work for everyone — some writers need routine, need familiarity — but this is how I work, and so far, it’s served me pretty well.


And now for the folks you’ll get to read next:

Adam Strong was scared of grass until he was 4, when he got glasses. Adam Strong is a High School Digital Arts teacher. Adam Strong is working on his first novel, Bella Vista, where Deadbird Redbird comes from. Adam Strong has published a few pieces here and there. Adam Strong has two children that make his jaw go funny when he sees them. Adam Strong is a proud member of Dangerous Writers in Portland, OR.

Jon Konrath writes absurdist, bizarro, and experimental fiction, and self-publishes because the big six (or five or four or whatever it is this week) tend to shy away from fiction about plane crash enthusiasts and Satanic demolition derby leagues. His books include Rumored to Exist, Fistful of Pizza, The Earworm Inception, Sleep Has No Master, and Thunderbird. He also runs Paragraphline.com and has appeared in a bunch of anthologies and on websites and in zines.

Jordan Blum holds an MFA in Fiction and teaches at several colleges/universities. He’s the founder/Editor-in-Chief of The Bookends Review, an online creative arts journal, and he’s published numerous creative pieces in several places, including The Rusty Nail, FictionBrigade, Connotation Press, Dual Coast Magazine, Jitter Press, and The Lit Pub, as well as having a short story in the anthology Strangers of Different Ink. Finally, he’s a professional music journalist specializing in progressive genres. In his spare time, he likes to yell at strangers about how much Genesis sucked in the ’80s.

Robert Peate is a writer, English teacher, and visual artist whose work focuses mainly on politics, philosophy, and religion.  In 2011 he released The Recovery, a play depicting Jesus of Nazareth surviving his crucifixion, and in 2013 he released Sisyphus Shrugged, a sequel/rebuttal to Ayn Rand’s Atlas Shrugged, in which he proposed a modification to capitalism to distribute the rewards of labor more fairly.  He lives in Oregon City with his wife and two small children.

Ryan Werner is the author of the short short story collection Shake Away These Constant Days (Jersey Devil Press, 2012) and the story cycle Murmuration (Passenger Side Books, 2013). His work has appeared in or is forthcoming in the Indiana Review, The Rumpus, Smokelong Quarterly, [PANK], BULL: Men’s Fiction, Juked, and many other places of varying notoriety and popularity.

Another YA author you should get to know!

edited-pubfinal1A couple of days ago, I wrote about the up-and-coming Michelle Modesto, whose forthcoming YA novel is going to be awesome. Then yesterday, I was at the Terroir Creative Writing Festival in McMinnville, OR, where I met another YA author, Jennifer M. Hartsock. And gang, I’m telling you now, if you’re a YA fan, put her on your list, too.

I haven’t seen anything of her novel, Battleground, but I’ve been browsing her blog and watching her YouTube series, The YA Publication Project, and I’m enjoying her enthusiasm and ambition and professionalism and honesty — it’s fascinating, refreshing, and inspiring. She hits all the conferences and festivals, she writes and publishes widely, she’s interned for Ashland Creek Press and run a student newspaper column (which brought back memories of my own student journalism days) . . . . In short, she works damn hard, which is what you have to do if you’re going to call yourself a writer.

I don’t think it’ll be long before she lands an agent and a book deal, but in the meantime, she already has a lot to offer, so you should get to know her now. If nothing else, subscribe to her video series on YouTube — if you’re new to writing, you’ll find a lot of great information there, and if you’re an old pro, you’ll find some good reminders of craft. (Beginner’s Mind, gang!)

Enhanced by Zemanta

This is the YA author you need to keep an eye on

Michelle author photoA handful of years ago, I met Michelle Modesto right here on this blog: she left some comments, I left some replies, and pretty soon we were swapping ideas about writing. She was just starting out as a writer, and we talked craft quite a bit, both here and via email. Michelle has a ton of talent and some fascinating ideas, and I enjoyed the hell out of our early discussions. Email turned into Facebook and eventually Twitter, and I’m proud to say we’re digital friends now.

Which is why I’m so excited to share this news with you:

A few weeks ago, Michelle sold her debut YA novel, Machine and the Wild, to Balzer + Bray, an imprint of HarperCollins! 

The novel is a mad mashup of weird fiction and Westerns, set in an alt-history California Gold Rush, with a bit of steampunk (the heroine has a mechanical arm) and a bit of horror (she’s hunting down roving gangs of cannibals) and a bit of fantasy (through magic and fantastical creatures). It’s basically everything everyone would ever want in one novel, and I can’t imagine a cooler book — when I was a teen, I’d have been ALL OVER this thing, and as an adult, I can’t wait to read it!

As with all good things, of course, I will have to wait; Machine and the Wild isn’t due out until 2016. But in the meantime, you can find out a bit more about the author via a new interview over at YA Misfits. You can also see her agent-nabbing query letter and an interview about her querying process in the Kickass Queries series.

And keep an eye out for Michelle’s new website — it’s in development now, but as soon as it’s live, I’ll link to it here.

So welcome an exciting new author, gang, and start following Michelle Modesto through every digital means possible, because come 2016, she’s going to own YA fiction!

Enhanced by Zemanta

This weekend in literature: Terroir Creative Writing Festival and Ink Noise Review

This weekend, I’ll be at a couple of writing-related events in Oregon, if you’re in the area and want to say hi.

terroir-2014-for-fb-hi-res-ver-4On Saturday, April 19, I’ll be down in McMinnville at the Terroir Creative Writing Festival, held on the Yamhill campus of Chemeketa Community College. I went last year in support of my friend Monica Drake and as a geekboy fan of Nicole J. Georges, and I loved the whole event. (It’s also where I met Lynda Phillippi, who later interviewed me for her TV program Arts Alive.)

At this year’s festival, I’m not a panelist, but I’ll be attending all day, and I do plan on reading at the open mic that wraps up the festival. I’ll also be bringing copies of my chapbook, Box Cutters, so if you still haven’t bought a copy or would like to get one signed, come find me.


1978881_10203470568551956_1315713363_n

The next evening, on April 20, I’ll be rejoining the Ink Noise Review reading series. This time, I’m serving as an “appetizer” to the main event, a kind of pre-reading warm-up, so my bit will be brief. But stick around, because after me, you’ll get to enjoy my friend Jenny Forrester, as well as my new friend Adam Strong, and a whole crew of other talented folks.

This is all going down at the Jade Lounge in SE Portland. My bit starts at 7 pm, so don’t be late! Oh, and I’ll have copies of Box Cutters there, too, if you want to buy one.

Enhanced by Zemanta

Gabriel García Márquez has died . . .

. . . Long live Gabriel García Márquez.

I was a late-comer to García Márquez, having never been assigned his seminal One Hundred Years of Solitude in high school, as so many others had been. I first picked him up a handful of years ago when I was browsing a bookstore in a fit of indecision, unsure what to read next but yearning for something new. I’d recently finished Dostoyevsky’s House of the Dead, and while I was too exhausted to try more Russian fiction, I felt like I still needed something both non-American and classic. Which is when I found the García Márquez shelf. That store didn’t have his most famous work, but they did have Of Love and Other Demons, so I bought it and took it home and curled up in bed on a hot afternoon to see what all the fuss was about.

I fell in love.

I don’t mean that in the conventional sense of “I love this writer” or “I love that book.” I mean I felt connected to the book, as though the text and I were in communion with one another, some secret bond of unspoken understanding. Reading the book felt like the beginning of a romance. At the time, I couldn’t put my finger on exactly why this translated prose was impacting me this way, why I was so consumed by it, but later I came to realize that it was about the density of the work, the precision of García Márquez’s images and characterizations and insights that transcend translation. In many ways, it reminded me of Chekhov, another non-English writer whose work I love in almost any translation, except García Márquez was writing in much longer form.

Faulkner (another dense and florid writer) once quipped in an interview that the difference between short fiction and novels is that short fiction must be precise, whereas in novels the writer can get away with all sorts of sloppy experimentation. I’ve often used that line to criticize the worst of Faulkner’s novels — he really was at his best in short form — but it was hard to argue with him when you look at novelists who also write short stories: sure enough, most novels do start to feel drawn out, lazy, and indulgent, though I love novels anyway. And yet I continued to argue with Faulkner, because I had the examples of short-story writers like Chekhov or Alice Munro, writers who, in relatively short works, managed to build whole novels worth of character and setting and backstory. I read writers like that and I feel like a story that spans 20 or 30 pages took years of my life to experience. Why couldn’t a novel have that same degree of compression and depth?

But in García Márquez, I’d discovered the true potential of long-form fiction. García Márquez does with the novel what Munro or Chekhov does with the short story — that same degree of intensity and compression — so that when I finish reading a García Márquez novel, I felt as if I’ve lived lifetimes. The last novel of his I read, Love in the Time of Cholera, is utterly epic in scope, recounting generations of family and national histories, sending characters on grand voyages and profound self-discoveries and life-changing romances . . . and when I first set the book aside to catch my breath and collect my thoughts, I realized I’d only read about 60 pages. I still had almost four-fifths of the novel to go!

This is how absorbing García Márquez’s prose is, and, I think, it’s why his death has given me such pause. If you read even one book, you become so possessed by García Márquez’s vision that you feel he’s become a relative, someone you know and grew up with even if you only just met him. If you read more than one García Márquez book, you start to become his lover, your soul embracing his soul, your vision becoming his vision.

And now he is gone from this world.

But our greatest comfort — the greatest comfort any reader could hope for — is that he is not gone from this world. His works remain, and if we can manage to read them all, their time will unfold before us, within us, and with García Márquez, we will live forever.

It was a memorable death, and not without reason.

~ Gabriel Garcí­a Márquez, Love in the Time of Cholera

19/03/2009 La Ministra de Cultuta de Colombia ...
19/03/2009 La Ministra de Cultuta de Colombia Paula Moreno y el escritor colombiano Gabriel García Marquez fueron los encargados de entregar el Mayahuel de Plata a Victor Gaviria (Photo credit: Wikipedia)
Enhanced by Zemanta

Dream journal: Meryl Streep in the mall

I sometimes have dreams so vivid I have to write them down when I wake up. Sometimes those things wind up in notebooks, other times they wind up on Facebook (and sometimes they wind up as fiction), but except for a couple of old Writer’s Notebook entries (this one, and this one), I haven’t really written up any of those dreams here on the blog. I think that’s mostly because I don’t actually keep a formal dream journal — I just scribble ideas that feel fully formed enough and narrative enough to merit a little storytelling, even if only casually — so I hadn’t thought to include those here on the blog.

But the dream I had last night was so much fun (and has gotten such a fun reaction on Facebook) that I figured I might as well share it here. And maybe I’ll keep doing so from time to time. I don’t anticipate this becoming a regular feature on the blog, but once in a while, if a dream seems share-worthy, I’ll go ahead and toss it up for everyone to enjoy.


Last night I dreamed that my wife, Jennifer, sent me out for fast food breakfast, which for some reason I could only find in the mall, but as I was walking through the mall to the food court, I got stuck behind a slow walker. After a few minutes, the slow woman turned around and joked, “Are you stalking me?” And it was Meryl Streep.

By Robert Hanashiro, USA TODAY
By Robert Hanashiro, USA TODAY

I swore to her that I wasn’t stalking her, and she laughed and said it was okay. For some reason, I mentioned the Oregon Book Awards, and she said, “Oh, are you a writer?” And then she invited me to sit on the floor of the mall, right there in the corridor, to chat with her for a bit. I said, “Won’t people mind?” But she said, “Oh, I do this all the time.”

I told her all about my novel, and she asked if there was a part in it for her, and at first I said not really, but then I said, “Well, there’s a lot of accent work, Southern and Cajun, and you know you and accents. You could probably play anyone you wanted.” We talked for maybe half an hour, and I kept thinking, I’m late getting Jennifer’s breakfast, but then I thought, it’s Meryl Streep! Jennifer is going to be thrilled! Later, my friend Karma Dorje walked by and spotted us, and after I introduced him to Streep, he said, “No one is ever going to believe this.”

When we got up from the floor to go our separate ways, Streep asked if I had a business card, and I did, but as I rooted in my satchel, I remembered I’d cut them all up into little paper horses and Batman symbols. I don’t know why. But finally I found a whole card and Streep took it and I thought, I wonder if she’d let me call her Meryl now, but I was still too intimidated to ask.

Enhanced by Zemanta