Student Picks: Wasserman, Curtis

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K. A. Hamilton-- Robin Wasserman’s Girls on Fire is the story of teenagers struggling to reclaim their identities from the grips of small town life. The central character is at once a daughter, an outcast, and a rebel, and impossible to refer to by name without taking sides. She is “Hannah,” “Dex,” or “Hannah Dexter,” depending on who you ask, and the prime battleground on which Kurt Cobain-worshipping Lacey and popular Everygirl Nikki wage their intimate culture war.

To read Girls on Fire is to experience the cautionary tale firsthand. Wasserman presents raw teenage realities a la carte, free of the morality-story garnish so commonly heard on the news. With startlingly clear technique, she humanizes figures we’re so often warned not to empathize with. By keeping close, readers are allowed to let go of the “why” just long enough to remember the “why not,” and maybe even recall “how good it felt to burn.”

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Jemiscoe Chambers-Black-- We’ve all heard that “those who do not learn history are doomed to repeat it,” and my literary mind feels we should turn to literature for this history. There is no better book for that than The Watsons Go to Birmingham – 1963 by Christopher Paul Curtis.

It follows the Watsons, who make their way from Flint, Michigan to Birmingham, Alabama because their son has been getting into trouble, and his parents think staying with his grandmother may be the change he needs. But 1963 is a turbulent time in the South, and Curtis weaves fiction with the historical event of the September 15th, 16th Street Baptist Church bombing. The event in this book is almost 55 years old, but racial tension still exists, and places that should feel sacred or safe, are instead places where children are met with fear, hate, and violence.

If you’re a parent, read this with your children. If you’re a teacher, share this with your students. If you’re neither, but a human, read it anyway. Start the conversation that Curtis sparked: one that asks how we can change and make sure that violence is not so easily accessible, especially when our children are the target.

As a woman

by K. A. Hamilton

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The other day, a colleague asked if I could give feedback on some of his writing. I said I'd be honored, and meant it; solicitation of opinion means a lot to me, especially from other writers. But then he became uncharacteristically quiet, muttering something about characters.... voice… point of view... and how he'd really like to get my opinion of it as a woman.

Ah.

If you're a female who is even vaguely associated with books, you've probably been there. It's a question oft-accompanied by a hesitant tone and downturned (but eager) eyes. I think most writers intuit it as an inherently impolite query, and they're not wrong. It's a little like inviting someone out for a beer, or a first date, or any other activity where interpersonal boundaries are meant to come down. Beta-reading is a situation that requires vulnerability of both the ask-er and the ask-ee.

Why? Because it’s a request for review of content, not craft, which can reveal elephant-sized rifts in worldview. Creative writers know this all too well, and have developed an entire pedagogy to avoid being overly-direct. Instructors are taught to employ the “sandwich method,” swaddling criticism in twice the compliments. In workshops, we blind ourselves to everything but technique – and rightfully so. An honest assessment of “likeability” could only end in bloodshed.

Yet sugar-coating the female (or any other target group) experience is counter-productive, for both author and reviewer. So what can you do when asked? Options include a) saying “no,” b) sidestepping and defaulting to craft, or c) changing your number and never showing your face in town again. But about option d): “yes?” Then it’s time to get personal.

In an honest review, I feel some disclaimers are needed. First is a notice to the writer: in this realm, there is more value in candor than encouragement. This lets them know that the breach of code is made with their growth in mind. The second is a big fat reminder that your feedback is rooted in your own experiences only, and does not represent that of every member of your gender/race/orientation/fill-in-the-blank. (I’ve had times when I felt I was being asked for permission, or to supply some kind of “kid-tested, mother-approved” checkbox. Not only would I have withheld it in those cases, but it was also never mine to give.)

But what if you’re the one soliciting this sort of feedback? You’re reading this blog post and now it all just seems so complicated and awkward… should you even ask? My answer is an emphatic yes. However, I have some equally-urgent disclaimers for you. First, consider who you’re asking. Do they seem comfortable talking about their beliefs in your company? Are they a peer on even footing, who is capable of declining? Do you think you’d have fun getting a beer together? If the answer to all of these is “yes,” then you have yourself a candidate.

But the work doesn’t end there. The next step is listening. When you received feedback, keep this in mind: if your beta-reader says things that are difficult to hear, they almost certainly know it and are trusting you not to freak out. Congrats, you’re on your way to a beautiful friendship. If something is hard to take and you absolutely must say something to the contrary… don’t. Bite your tongue and say “thank you” instead. Later, after you’ve had some time to think about it, find a way to phrase it as an open question (bonus points if you research the answer on your own time). You may be surprised at what you learn. Art imitates life, and there is much in the world to be critical of. Your beta-reader does not have the luxury of compartmentalizing literature and day-to-day experience, because the two often perpetuate one another. Whatever they say, don’t take it personally. But do try to internalize it.

I wrote three full pages of feedback for my colleague: two “as a writer” and one “as a woman.” The more I reviewed according to my experiences, the closer I got to revealing myself not just as a woman, but as… me. I sent it on a Sunday, crossing my fingers that it wouldn’t make Monday awkward. Spoiler alert: it didn’t. But we’re opting for coffee instead of beer.


My Life as a Serial Linguist

by Eric Beebe

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This week, I’ll leave for Spain to visit my sister on her semester abroad. She took French in high school, and I took Spanish, so the months leading up to her trip were filled with half-hearted agreements to compete with each other on Duolingo for supremacy. She upheld at least her end of the bargain, but I continued a shaky track record in the study of foreign languages.

I studied Spanish in high school to look well-rounded on college apps, the same reason I tolerated three seasons of football and volunteered to direct traffic at a Republican Party cookout my grandpa helped organize. German had been my real interest, but it wasn’t offered. So I undertook Spanish with all the effort a disinterested teen pressured to look good on paper could muster, taking three years before I would’ve had to sign up for AP and actually attempt fluency. I was content with my limited use of it in things like making Xbox gamertags (xOSO FUERTEx) and masking anxieties in social interactions (because sometimes hola is just so much easier than hello).

My lack of dedication felt vindicated when the first country I traveled to out of high school was Poland. I didn’t bother to learn much Polish either before my month there. What I did learn, thanks to a handbook my uncle bought me, was how to say “kiss me” (pocałuj mnie) and “do you want a massage?” (czy zrobić ci masaż), my uses of which were limited to shouting in my host-brother’s friend’s back yard after taking twelve–plus shots at his house party, before I started puking on a tree. I did pick up the basic yes, no, excuse me, etc. and familiarized myself with their phonetics, but training myself to recognize “dz” as “j,” “j” as “y,” “y” as “i,” “i” as “ee,” and so on was far from communication. I entertained thoughts of learning Polish and practicing online with my new friends to catch up after I left, until I actually left and felt no more motivated than I had for Spanish.

The problem I saw was I had no inherent link to either language. German had interested me because of my German/Nordic lineage, but I’d heard of no Polish relatives, and the only Spaniard I knew of in our family tree was Valeriano “The Butcher” Weyler, who’d earned his moniker using concentration camps to try quelling Cuban rebels in the 1890s—not exactly the kind of relation I wanted to embody. So come sophomore year of college, I asked my parents for books on Old Norse for Christmas, and the following summer I sought out a world expert on the subject for advice on teaching myself. I spent a day and a half with my sources and copious snacks—long enough to learn novelties like how the transition from þing ("meeting") to “thing” gave the phrase “I have a… thing then” meaning and cognates like land (“land”) and bok (“book”). Then I burnt out, around the same time I must have run out of Girl-Scout Cookies, and barely touched the material again.

But that fall, I felt my first great pull to Spanish when my lit seminar spent a week covering Pablo Neruda, with special attention to faults in translations of his work. A self-proclaimed hopeless romantic, I obsessed over his Cien sonetos de amor. My professor invited someone to try reading one poem in the original Spanish, so—buzzed on pre-class whisky and thinking Spanish classes from four years back would help—I volunteered. He stopped me, rightly, after the first line to save me from further embarrassment. I hated myself for losing so much of my Spanish I couldn’t even stumble through, and I told myself then I’d relearn Spanish. But Austria got in the way.

I spent the following spring and summer priming myself on German for a semester in Vienna. Once I got there, I was proud to be counted among the advanced students in my German class—for beginners. Even so, by the end of the term I felt steamrolled by the curriculum. When first ordered, “Ich möchte ein Weihenstephaner, bitte,” at what would become my favorite bar, I felt relief when the bartender shouted back in a thick Liverpool accent, “I don’t speak fucking German! Say it in English.” Still, I pestered the locals I befriended with drunken attempts at stringing sentences together, and, by the morning of my flight home, I was thankful to have picked up enough that my Turkish taxi driver and I could find a common-ish tongue.

After college, I briefly entered a daily regimen of German, Spanish, and Polish practice back-to-back but found only slightly more success with that than I had with Old Norse. This has remained true to the present. So has my desire to return to each, flawed as it may be. As my visit to Spain nears, I wonder what effect it will have on me. I can hope to arrive and be caught up in the hum of Spanish life, coaxed all the more by whatever fragments of its language still shelter in my brain. I can hope they’ll come out to breathe, even if it takes a little booze or they’re met with insistence that the locals’ English is better. I can hope I’ll choose to learn all over again.


Eric Beebe is a graduate of The Mountainview Low-Residency MFA in Fiction and Nonfiction. He currently works as a substitute teacher for grades K–12 in New Hampshire.

Faculty Picks: Reed

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Justin Taylor-- Generally speaking, I always advocate for more poetry in the prose writer's reading diet. It is a great way to learn the weight of words, the value of lines. Even relatively expansive or dense poetry still has the virtue of concision, and most important of all it reminds us that there are other forms of logic and progression than simply, What happens next? Lately, I've been reading Indecency, Justin Phillip Reed's debut collection, which is about to be brand-new from Coffee House Press. In the words of Dawn Lundy Martin, "Reed's deft craft is so rare, so precise, and driven by language whose surface is texture like teeth, that it seems like freed speech into the ache of repressive histories, white gazes, and uninvited invasions." I find myself very drawn to this idea of "freed speech": how can we liberate our language from the bondage of cliched usage, lazy thinking, and harmful or retrograde presumptions--and aren't these really three ways of saying the same thing? Reed's poems are fierce and fast-moving. They are searching and raw. "what question / does the self ask at the body's behest / that time won't wring from the body itself?" he asks in "Performing a Warped Masculinity en Route to the Metro.” 

In "A Statement from No One, Incorporated," the poem's epigraph is granted unusual placement: above its title. The line is: "what is it when a death is ruled a homicide but no one is responsible for it" and it was written by the essayist Hanif Abdurraqib in response to the risible Kafkan determination by Baltimore officials that Freddie Gray, who died of injuries sustained on a so-called "rough ride" in a police van, was the victim of a homicide, but that no particular person was responsible for committing it. This is, of course, both a legal and moral impossibility. In the poem, the responsible non-entity is “incorporated”, i.e. made real, though still not human, since--despite dubious claims to the contrary--corporations are not people. Reed’s corporate entity, then, is an infernal creation—embodied but having no particular body, and therefore no locus of humanity, since whatever else we are, we are our bodies first and finally. The thing speaks in a bloodless collective voice; whining, "We are not responsible. We have not / the capacity to respond, cannot take / your call, are not obliged." Later, it ponderously intones that "We need to have a deeper dialogue / about the need for deeper dialogue[.]" 

But it would be a mistake, in heeding Reed's outrage and his sense of urgency (and heed it we should) to hurry past the beauty in these poems, of which there is plenty to be found: potent word play, intricate rhyme, and stray lines like "a smeared sweet on his cheek in the parenthesis of a grin" or "the dense streets clapped into a quick-descended stillness." Kadijah Queen says rightly of Reed's work that, "there is no separation of sound from the language it travels in, from the body that produces it, from the experience that evokes it." Indecency includes many poems in traditional structure, right alongside radical formal innovations. There are brief prose poems floating in oceans white space--"(in which all this white is my gaze)" he writes wryly--and work that extends the tradition of concrete poetry. "Portrait with Stiff Upper Lip", which I've taken a picture of and have included below, simply cannot be read "normally." The sculptural design forces our eye to move in directions to which we are unaccustomed to moving over the printed page: up instead of down, for example, or back and forth instead of one and done. You have to "read" it the way you would a piece of visual art, which, as Reed’s title makes clear, is part of his point. Whether you're looking to discover a new writer, some wild new approaches to style, or you just want to get more poetry into your reading life, I recommend Indecency

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The Best Laid Plans of Mice and Men

by Danielle Service

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When I was ten I made friends with two grey mice living in the cockpit of the well-weathered 1972 Sunfish Sailboat my parents stored under their camp in Millsfield, New Hampshire, thirty miles from the Canadian border. The camp had no electricity and stood on log poles. I stumbled on said mice by accident, while hiding from my brothers’ squabbling and roughhousing. The whoomp-whoomp of the boys’ footsteps echoed above my head as I whispered “hello mice”. They were my buddies.

Three days of consecutive visits and we reached an understanding. Then my dad pulled out the blue-and-yellow Sunfish sail and caught me whispering to vermin amid the spiderwebs.

“They’ll infect the camp,” he said. “You could get sick.” I protested. Cried. Ran into the woods as Dad pulled my mice by their tails from the cockpit. I turned back once and saw Dad fling them into Millsfield Pond. Horrified, I watched them sail through the air in perfect arcs toward the water. As my sobs caught up to my legs running away, my youngest stepbrother called out: “That’s life, Danielle!”

The thing I have never been able to reconcile about this story is that everyone in it is right.

My father was right: the mice were vermin.

I was right: the mice were my friends.

My stepbrother was right: Death is life. We kill to live. And – though mice aren’t food – we kill to eat. But I have not made easy terms with this.

I grew up in a family of hunters who respected animal life enough to pursue them in their natural habitat on honest terms. People at school wrinkled their noses at the dead deer hanging in our garage, then went home to eat thick bloody steaks they’d purchased at the store so as not to have that blood on their own hands.

And as an adult, I ignored the ethical implications of eating meat for years. I taught in the suburbs and bought my food at the supermarket. The concept was too inaccessible, until I started practicing yoga in 2009. As my practice grew I learned of the yogic precept of Ahimsa, or non-violence – first toward ourselves, and then against all beings.

In the summer of 2015 I was washing a chicken in my sink and as my hands caressed dead skin I thought really? this died? so that I could eat?

And I pushed that thought down, uneasily, over and over again until I started teaching yoga in earnest this November. Hungry one night after class, I thought “Burger King would be good.” My mind flashed one image: a cow screaming as a knife whistled through its neck.

Fuck this, I thought. It’s not worth it anymore. I’m becoming a vegetarian. And I did.

I was a vegetarian at Thanksgiving when I didn’t eat the turkey. I was a vegetarian through the holidays, checking labels, refusing anything with gelatin. I ate more vegetables and cheese and I tried Tofurkey and sofritas. I was no longer consuming the pain and fear of an animal. I felt such relief. Some yogis believe one is not practicing yoga unless they are vegetarian. Silently, I agreed. I felt an odd self-righteousness that I tried not to convey and yet, in January, two months post decision, I could not deny that I felt odd. I was lightheaded and eating too much sugar. I dreamed about meat. I considered borrowing a rifle so I could go shoot an animal, skin and smoke it myself, and have the honest transparency of the hunt. But instead I found myself ordering a tuna sandwich at school. The dam burst. I went to Chipotle that night, ate chicken. The next day I bought turkey. My teeth gnawed the flesh I’d fought so desperately to evade for Ahimsa’s sake. The worst part was that I didn’t feel nearly as bad about it as I thought I would.

How many animals have died so that I can live? On a cellular level my body craves flesh. Perhaps this is merely a matter of acceptance. Maybe it’s different than wantonly slaying two inedible mice living peacefully in a sailboat. Perhaps I didn’t do vegetarianism right, or there’s a hybrid method of local sourcing and ethical slaying that honors a yogic philosophy. What I do know is that our current systems disconnect us from each other’s lives, mark us for failure, though the point is connection in universal synergy.

Those mice were my friends. But they are gone.


Danielle Service is a graduate of The Mountainview Low-Residency MFA in Fiction and Nonfiction. She currently teaches seventh grade Language Arts and yoga in New Hampshire. 

Current and Future Questions

by Eddie Dzialo

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I am worried about the day my daughter will ask me if I’ve killed someone. No one has ever asked. Not even my closest friends who swam through Jameson with me when I first got home from my deployments in Afghanistan and Iraq. She’ll ask around the time she’s old enough to be curious, but young enough to have no filter. Of course, then, I’ll tell her that I didn’t and that I love her. But some of that will be a lie, because I don’t know if I’ve ever killed anyone. Nothing about the type of combat being fought in Afghanistan is that definitive.

The Taliban wore the same clothes as the people we wanted to protect. Sometimes pregnant women were a means to hide explosives; dead dogs on the side of the road were packed with nails and ball bearings. Things weren’t as absolute as the Shoot/No Shoot drills that we’d rehearsed in training, and no one had promised that they would be.

During the first month I was in Afghanistan, we were in a firefight for four hours, and I never once saw a single person who had been shooting at us. We moved, they moved, and then at some point, they dropped their weapons and blended back into the huts. On another day, my buddy’s platoon—a kid from the south shore of Massachusetts—got attacked, and my platoon helped corner the attackers into a section of the city. We fired rockets, detonated walls with C4, had helicopters flying overhead, giving us additional viewpoints. But like the four-hour firefight that preceded it, the attackers eventually dropped their weapons, and they likely stood next to innocent civilians who were trying to get away from both sides.  

Throughout all this, I never saw a dead body. When we were being attacked, I saw bullets kicking up dirt around Marines who were too brave to run away; I heard rockets and mortars landing, but I never saw if anyone had been impacted by the things we did. It would be easy for me to say that because I didn’t see anything then it didn’t happen. No one got hurt. They fought; they ran. But I’d been told that the people who were attacking us often took the dead with them before fleeing. Another friend of mine, from another platoon, went into a room after a firefight, and there had been fresh, ungodly amounts of blood on the walls and floor, but no weapons, clothes, or people.

Once, on the morning after we were attacked, a man approached my company. He’d been pushing a wheelbarrow, and in that wheelbarrow, was another man who was badly mangled, barely alive. The man told us that his friend had been mauled by a tractor and was asking for help. The only thing we could offer him were prayers. But was he telling the truth? Had he gotten hurt by a tractor or had it been from artillery rounds? Honestly, I don’t know.

It’s those situations that will make things difficult on the day when my daughter will inevitably ask me if I ever killed anyone overseas. When she’s young, I will tell her that I didn’t and that I love her. And when she’s older, I’ll probably tell her the same things that I’ve written here and that I still love her. As for me, I will likely leave this world not knowing if I ever took someone else’s life. Maybe then I’ll know for sure.


Student Picks: Johnson, July

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Eddie Dzialo-- To read Denis Johnson is to embed yourself in someone else’s struggle. In Johnson’s final book, The Largesse of the Sea Maiden, I couldn’t help but feeling that I was getting implanted into the author’s own acceptance of mortality and death. The stories in this collection focus on addicts, divorced men, convicts, men on their deathbeds; Johnson himself had been married three times, had been sober since the early eighties, and was in the later stages of his life.

In the title story, the protagonist says, “...I’ve lived longer in the past, now, than I can expect to live in the future. I have more to remember than I have to look forward to.” Sadly, this was also true for Johnson. Because some of the people in this book are writers or poets, it’s easy to imagine Johnson as being a character in these stories, reflecting on his past. And he does so with humor, honesty, and a command of language that makes this collection something surreal, something eternal. 

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Shawna-Lee Perrin-- When I think of Miranda July, I think of the kinds of films that I put on my watch list, and after months, decide I should watch it, start it, decide I’m not in the mood yet, and turn it off. Yet, still, there’s something magnetic about her.

So when I found out she was also a novelist, I was intrigued. The First Bad Man describes a neurotic, 43-year-old woman named Cheryl living on her own, pining after an older, self-obsessed man, and looking for a kindred spirit in the faces of strangers’ infants. Her life is thrown into chaos when her bosses’ twenty-something-year-old daughter moves in and displays total disregard, even hostility, for Cheryl and her strange little life, which unravels quickly.

July commits completely to her narrator’s voice, which follows some truly bizarre streams of consciousness that I found myself reading multiple times because I couldn’t believe the crazy things I just read. Cheryl follows her own internal logic, which only makes sense to her, and probably not many others. That July can pull readers along with this is a testament to her enviable skill as a writer. This is the Miranda July I signed up for.

Passing By: Thirty-seven words and eight entries

by Garrett Zecker

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I teach a workshop with mainly seventeen and eighteen-year-old writers. I recently assigned a short task: write your name and age at the top of the page, then write a piece about yourself using only the exact number of words of your age. I completed the task along with them. While I had twice as many words to work with, when I listened to them share their work I realized that I had little more insight than they did. Below, I have reproduced my activity and interspersed each line with an excerpt from a journal entry. These dated excerpts interlineate an experience from the ensuing years since I was my student's age. 


I keep journals 

April 5, 2000 (18) – I made an appointment to see a counselor. I will tell him about the last time I saw a counselor and that none of it really helped. It was all about talking about how the world treats me...but it didn't stop the world. 

I record an imperfect life 

November 29, 2006 (25) – Every day it seems I am looking at the work I am doing, the work to come, the payoff and potential rewards, and I think how I am twenty-five and do not want to be stuck with some of this or have to settle. 

Days, joy and torment, all words 

January 19, 2010 (28) – The clinic was at a library – a nice one – and I waited inside. 

Imagine, a manual 

August 30, 2011 (30) – I cried on stage in front of hundreds of people. It was a pure sorrow. A sorrow arisen from the show being over and so much of my life having passed and at joy. The joy of having had something so wonderful and amazing I helped create. Something beautiful and true with so many amazing people. 

"How To Be A Man" 

June 17, 2013 (32) – I am scared. I am an impulse. I am darting back and forth in a cage like a tiger. I am dying and I have never been happy. How much time do I have left? I'm a terminal case. What is the struggle for? What? 

Words fail often as my heart 

August 6, 2013 (32) - I remain frustrated, feeling like I am doing all the work, and thinking how resentful I am in ways that go all the way back to the beginning. The apartment. The jealousy of my friends. No need fulfilled unless I take care of it. Money. My brain starts despairing, thinking of ways of being satiated... 

My audience my mirror 

November 9, 2016 (35) – It's Carl Sagan's birthday and I really miss my friend. 

Books buried beneath the earth 

14 November 2017 (36) - I've needed to simplify. A lot. And I am trying and trying not to mess everything up, even at the expense of things I really, really want and need. And then I also want my heart to be quiet and still. To not be so anxious and mean and irritated at absolutely every last thing. 


Guernica

by Mickey Fisher

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I wish I’d brought headphones with me. There’s a song I know of that I always thought I’d listen to, here at the end. Nobody plans to be half a world away at times like these, so I sat alone and waited out the night. So the chorus goes.

I sit by my dad’s bed and stitch memories together.

We were all going on a road trip; this was before my mom divorced him. I was in the area of six years old, and sitting in the back seat with Clay. My dad was the only one not in the car; he was looking for something in the house before we left, sunglasses, maybe. I leaned over the center console, plucked his Marlboro Reds from the dashboard, and placed them on top of the rest of the trash in the little plastic bag that we used for car waste. I didn’t bother hiding the cigarettes under the tissues and wrappers that were already in the trash. I figured I’d be in enough trouble as it was. He came out to the car and asked us where his cigarettes were. His voice was already half-raised. My eyes gave the answer away. I thought he’d yell at me, but instead he said, “I know they’re bad for me.” Then he took them out of the trash.

A wedge of light from the hallway fluorescents cuts into his room in the rehab center. There’s no door to block it. No doors means that nurses can flit in like moths if they have to, administering food and water and drugs. I sit outside of the light’s path, next to him. I can’t tell if he’s conscious or not. If he is, his eyes are pointing at a TV set that’s turned off for quiet hours. Who knows what he sees.

He promised a blue Mustang to my brother and me one Christmas, when we were no older than ten. He wasn’t there to promise it to our faces, but he wrote out a note in wobbly black pen on a piece of note paper. He had a friend, he explained, who was going to sell the blue Mustang to him, and then he’d give it to us. I believed that he intended to. Our mom told us not to get our hopes up, and we didn’t.

I smell a false smell of vodka. I’m cycling between holding his hand and using too much hand sanitizer. I’d never known him to like vodka; he’d preferred Budweisers. When we’d worried about the beers, we should’ve been paying more attention to the cigarettes in his shirt pocket. The machine dispensing the sanitizer growls at me as I stick my hand underneath its sensor again.

After I graduated from college, I got a call on a rainy Friday on my way in to work. My dad was sick. I became his proxy. His initial illness led to the discovery of something worse. I got him into Mass General, the best-case scenario. I’d visited him on sunny Saturdays in Boston, watched horror movies with him in his room. I’d pushed him in a wheelchair to the meeting with the specialist, who’d told my dad that if he refused treatment, he’d be dead within a year. He’d refused that treatment thirteen months ago.

I check Facebook, the hotline to Clay. My brother is stationed in England and organizing a flight home with the Red Cross. I’d sent him the rehab center’s number and was waiting for him to call their phone. He wants to speak to our dad before he passes, and I don’t want to see how high the charges will be on my own line. There are no bright red notification badges interrupting the bold blue header of the site. I close the app.

A thin blue curtain hangs between my dad and his neighbor in the room. I hear the other man breathing in his sleep. I hear the calm beeping of machines. I do not hear the ring of the phone at the reception desk. Not yet. So I sit alone and wait out the night.


Student Picks: Davis, Melville

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Margaret McNellis--Versailles by Kathryn Davis follows Marie Antoinette from her marriage to Louis XVI to the end of her life at the mercy of the revolutionaries. Davis delves into Antoinette’s spirit, exploring what it might have felt like to be in her shoes—not the Antoinette that lives on through the historically inaccurate phrase, “Let them eat cake,” but rather through the eyes of a bright young woman required to fit into a confining role. Simultaneously, Davis presents the recent history of the French Monarchy, from the Sun King (Louis XIV) to Louis XVI through a discussion on changes to the architecture, landscaping, and design of Versailles.

In addition to all of these fascinating and beautiful details, what struck me was the structure Davis employs. While most of the story is told through first-person point of view, narrated by the Queen herself, interludes are presented as scenes in a play, providing insight into other characters’ points of view about Antoinette, Louis XVI, and contemporary French politics.

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Ashley Bales--This year faculty member Lydia Peelle participated in a marathon reading of Moby Dick, that takes place annually at the New Bedford Whaling Museum. I first heard about this marathon reading from Lydia a year ago, so when I took my copy off the shelf to get me through the holidays, her description of these celebratory readings was in my head. As I sat reading, watching my husband string Christmas lights on the tree my father had decided to let us decorate that year, I tried reading a sentence or two aloud. The words rolled off my tongue--round words, old words--and I ran out of breath before the first period. After Christmas, my husband, my brother and I drove 13 hours north from San Jose to visit my mother in Seattle. A week later we drove back and instead of podcasts or burning through an audio book, I practiced my breath control and read Moby Dick. It was wonderful to feel the language in those long, rhythmic sentences, feel Melville change the cadence with the lowering boats, adjust to Queeaueg's dialect, attack the consonant "Moby Dick" in Ahab's drawl. I didn't get through it all on the drive, had to finish it silently on the flight back home to New York. In those final ferocious moments I wished I could have made myself breathless with Melvilles words.

Hear Lydia Peelle talk about the annual marathon in this interview with NPR. 

The Dress

by Dominique Heuermann

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The dress was a sexy jet-black velvet, cinched in all the right places, meant to make you look like a sex kitten, a vixen. She didn’t dare ask what size it was or if they even carried hers. Running her fingers along the neckline, down the sides, along each perfectly hemmed cinch, she felt the crush of that soft, luscious fabric bend to the pressure of her touch. When she pictured herself holding a cocktail in that dress, hand to her chest laughing with radiant red lips that demanded attention, it seemed like a scene from a movie. A woman walked by giving her and the dress in her hand a questioning glace. Instantly, the perfect scenario of red lipped laughter and sex kitten status melted into one of shame. Images of her body bulging unflatteringly made her burn red with humiliation. She sighed with self-loathing and walked from the store empty handed. So many attempts at better diets, exercise, with various levels of failure and success. It didn’t help that she had always been skinny and fit…until she had children.

You’re no sex kitten, she told herself, you’re all cow.

At 37, with more desire to know herself and the limits of her body, she was stuck with one that needed quite a bit of fine tuning. Flabby arms, cellulite, fatty, stuffed trunks for legs, and a mid-section that could do with a bit of crossfit. She had a pretty face and nice eyes, but it was difficult to be satisfied with any part of herself.

I just don’t add up she would say to herself in the mirror.

It didn’t matter that her husband loved her bits and beauty equally. It didn’t matter that she was called beautiful by those who knew her. She thought they were only being polite anyway. Whatever she was missing was all summed up in that dress. That dress represented confidence.

Confidence, what an elusive concept.

Her confidence had eroded the very first time a boy at school called her ‘big’ because of her height, and then again when a girl in ninth grade called her a sasquatch. The P.E. locker room became a battleground to keep any last shred of self-esteem. At 19, diagnosed with polycystic ovarian syndrome, she found out her body was its own worst enemy. It would be in a constant state of hormonal imbalance and weight gain. With her first pregnancy at 22, when her doctor called her “hugely fat” after gaining 80 pounds, despite carefully watching her diet, confidence slipped away even more. Her second pregnancy, a year after the first, saw her gaining even more weight and taking twice as long to lose it. By the third and last pregnancy, she just couldn’t shake the extra pounds. Her children were now 15, 13, and 8, the years had gone by but the weight remained. It not only weighed down her body, but it weighed down her soul.

I’ll never be the person I was before, she cried into her journal, she’s gone and been replaced with the person who ate her.

During a particularly grueling self-hate session on the treadmill, mind focused on calories burned and the calories consumed, she failed to notice her 15-year old watching her from the doorway. When she eventually looked up and caught her eye, her daughter looked sad and confused.

“Why do you look so angry when you work out?” her daughter asked.

“I’m mad at myself.” She replied.

“Why? What did you do?”

Her words turned to bile in her throat. What was she going to say? How could she say she was angry with her body, when her daughter’s own body mimicked hers? She wouldn’t start that downward spiral in the one she loved the most. She refused to do that, so she lied.

“I’m angry the dress I want isn’t on sale anymore, and I should have bought it when I saw it.”

“The black velvet one?”

“Yeah. It’s ok though. It might not be the right kind of dress for me anyway.”

“Why not? You would look like one of those old movie stars, but with better hips and boobs.”

“And here I was thinking I would look like Miss Piggy.”

“Who’s Miss Piggy?”

“Never mind.”

The next day, she made a straight path past the pin-up mannequins and vintage dresses, back to that black velvet sex kitten dress and plucked it from its spot on the rack. A salesperson approached her and she didn’t hesitate to ask for her size, which she was told they most definitely had. In the dressing room, she kept her back to the mirror while she wiggled into the soft velvet. Pulling up the side zipper, she breathed in shakily. Here we go, sex kitten or Miss Piggy?

She turned around slowly and realized she didn’t recognize the woman in the mirror staring back at her. Her daughter was right. Gone were the worrisome spots of cellulite and fat trunk legs. Gone was a middle in need of crossfit. The woman in the mirror was her, only better. Better with age, better with maturity, better with appreciation for who she had become.

As she was handing the salesperson her credit card, her phone buzzed with a text message.

“Mom, did you get the dress?”

“Yes,” she texted back. “Now I’m off to find some red lipstick.”  


Ridiculous Boots

by Kirah Brouillette

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I wore a pair of Ridiculous Boots to my January writing residency in New Hampshire’s North Country, near Mt. Washington. It was -22 on the day I left Portland for Whitefield, so I packed an emergency bag, my snowmobile suit, my insulated Kamiks and a balaclava, too, just in case.

But with their black velvet uppers, waxed laces and three inch platform heels that made me walk extra tall, my Ridiculous Boots didn’t fit in. They looked more like the kind of thing a retired stripper might wear, not a country mom from Maine.

Naturally, I couldn’t resist them.

“These boots are ridiculous in the best way, aren’t they?” I asked my husband as I was walking out the door. I pointed at the Ridiculous Boots. I hadn’t worn anything like them in years. He didn’t respond, so I hunched over and folded myself up small, lifting my right foot up so he could see the boot better.

 With his nose scrunched, like something stank, he glanced down, then back up at me and said, “Yep, totally ridiculous.”

I couldn’t tell if he was joking. His face was inscrutable. We used to share a bone dry humor, regularly passing jokes between us. But now our exchanges felt vaguely—if at least equally—injurious instead.

Ok, fine. I thought. You’re right.

They were not the kind of boots a mom like me should wear. Were they the kind of boots I used to wear? Well, yes. But neither of us had seen that version of me in almost a decade.

That woman hitchhiked. That woman lived on some distant tropical island, wearing nothing but a bikini and muddy Chacos while she macheted a fresh mountain path down from the road to the secret beach below so she could write in peace, away from tourists. That woman had abs, sometimes.

Instead, I was a woman who drove a drastically used Subaru. I was a woman who sometimes shopped at the Dollar Tree for deals on crackers and binge-watched Bravo reality shows when she was depressed. Instead of a machete, I used a broom to clear a crooked path through piles of clean laundry and Legos in the hopes of liberating the last chocolate chip cookie for myself before my kids found it. I was pear shaped.

But I bought The Ridiculous Boots anyway, on a whim, when I saw them recommended for me on Amazon.com while I shopped for diaper wipes and Pine Sol. They were Important Boots, too, I realized as I added them to my cart. They were the first high heels I’d allowed myself to own since marrying my husband, a respectably-sized man of 5’7—next to my 5’9 ¾—whose height had become a symbol for our incompatibility..

I was, after all, well-trained from a young age to believe my height was problematic for everyone around me.

“You’re too tall,” my mom used to say to me when I was a girl “What will the boys think?” Then she’d pinch a soft hunk of my lower back between her bony finger tips, causing me to shout out in pain and bend down to her level where she would hiss into my ear, “Stand up straight if you’re going to be so tall. Ridiculous.”

Luckily for me, The Ridiculous Boots made me taller than I’d been in years, so I could fall harder than I had in years.

***

They say that emotions, particularly those related to trauma of any kind, are stored in the body like a computer stores information on a hard drive—your body systems retain a physical copy of the painful memory, like an imprint. Over your life, this pain can resurface accidentally, in unusual or destructive ways if it’s not brought out and healed with intention. And it’s not always old pain, either. Even the most recent and delicate emotional trauma can trigger a systems collapse.

When I bought my Ridiculous Boots, I already knew this theory well. I was intimate with the draining, dramatic process of releasing trauma from the body. In my own daily yoga practice—something I’d used to heal the PTSD my childhood left behind—I’d learned first-hand how unearthing buried emotions through movement could cause a physical illness to erupt alongside the healing. After all, I’d spent most of the previous two years (as my marriage struggled to survive) chasing the symptoms of Systemic Lupus Erythematous, a disease my rheumatologist partially blamed on “unresolved systemic stress.”

I wasn’t thinking of any of this later on that week in New Hampshire, when I stomped out of my peer workshop one morning, fuming over an exchange with a teacher that had reminded me of arguments with my husband, my mother. I stomped so hard and so thoughtlessly that my Ridiculous Boots and their sky high heels skipped a beat, and slipped, sending me down.

 As I crashed to the floor and my chin bouncing off the hardwood, I wasn’t thinking. I wasn’t thinking of the heavy sadness in my marriage that weighed each doomed footfall I’d taken before I fell. I wasn’t thinking of all the broken promises we’d made to each other when my knee took my weight and made a loud crack. I wasn’t thinking of how afraid I was of a life alone when I felt those long-held, bitterly hot emotions in my chest burn their way up and out as tears.

And once they started, they could not be stopped. All I could do was think, then. So I sat surrounded by friends and mentors with one leg hefted onto a pile of pillows and covered in bags of ice while I cried out all the stories: the mean mom stories, the sad state of my marriage stories, the personal failure stories, my fears for the future stories.

After a while of all that crying, something miraculous happened: I felt better. Even my knee. So I laced up my Ridiculous Boots and with the help of friends, kept walking tall.


Student Picks: Stevens, Doe

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Melissa Alvarado Sierra--After graduating with an MFA in fiction, Nell Stevens is offered a grant to go anywhere in the world for three months to write her first novel. Instead of scouting for a lavish locale in places like Italy or France, she picks the bare, freezing, and gloomy landscape of Bleaker Island, population: 0. Bleaker House begins with a clear declaration of the hybridity of the work, which was completed in absolute remoteness in the Falkland Islands.

The story follows the author’s quest for what she calls “the life of a writer,” something she believes is rooted in isolation. Stevens weaves short stories, novel-in-progress excerpts and her experiences on the island to show the passion and madness involved in trying to write something of value. At the end of her stay, Stevens fails to produce a novel and instead finishes what is at once a travel book, a work of fiction and a memoir.

Her knack for observation, introspection, and persistence make Bleaker House a study on what makes someone a bonafide writer; Stevens concludes it’s the result of not only learning the craft, but also venturing into the unknown to understand the world and yourself a little more.

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Shawna Lee-Perrin--With Under the Big Black Sun, John Doe did something unusual in the world of creative nonfiction: he got his friends to help him with the narrative. The resulting effect is something like a novel-in-stories, or a quilt made of old concert t-shirts, each voice filling in some important part of the larger picture.

Doe wrote just over one-third of the book’s 24 chapters, giving it a nice thread of consistency. The rest are first-person accounts from different people in the same era and geography, when LA punk was getting up and going in the late ‘70s and early ‘80s. While some are technically better writers than others, each perspective serves the book’s greater, Impressionistic impact.

We get stories from Doe and his muse and bandmate, Exene, in chapters 1 and 2, setting the framework. But the other chapters offer us a much richer, more nuanced view of the scene: the voices in this collection run the gamut from feminist, queer, Latino, working class, and yes, some angry white kids. What unites them all is a sense of finding their own unique, inimitable voices and a supportive community in a world they previously thought couldn’t care less about them.

Why do we care about grammar?

by Jillian Avalon 

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As writing students, we spend a lot of our time in the classroom considering craft and its various elements. These elements range from dialogue and scene to complicated balancing acts like narration and metaphor, and these elements are crucial tools for our writing toolbox. But no toolbox is complete without a hammer, and while it isn’t glamorous or even pleasant, grammar is just as critical an element as any of the others our teachers spend time on. Grammar skills are often more assumed than taught at universities, but not all of us have a sufficient, shiny hammer in our toolboxes.

I recently taught a grammar workshop to my grad student peers and in preparing my materials, I stressed over the lack of shared experience in the subject. We all came to the MFA with various experiences as writers, as students, as people. Some of us studied grammar for an English degree, but others of us don’t have English degrees. Likewise, some of us learned primary school writing when grammar and sentence diagramming were staples; others of us are products of a more liberal approach to the basics. I decided to test my methods on someone who had no knowledge or desire to learn grammar, in hope that teaching her would mean I could reach all comers in a single lunch break: I tried to teach my sister how to diagram.

ME: So here’s your sentence: I love pizza. Let’s start simple. Where’s the verb?

SISTER: (Points to pizza)

Disheartening is the best descriptor. I decided my sister was maybe not the best starting point, as after a brief recap of parts of speech she continued to get them muddled. Thankfully, everyone in my workshop had the base knowledge of grammar required for diagramming. But my attempts to teach my sister did make me think about a question I get frequently as an English teacher: Why do we teach grammar?          

I’ve seen other writing students ask this; some of them even teach English, like me. Sometimes it’s diagramming specific, sometimes it really is “Why do we care about grammar?”

We all recognize the importance of grammar as writers, but it can be tempting to shrug it off as unnecessarily hampering, a bar to our creativity, an antiquated set of rules. In some cases, we should feel free to brush off some of the tiny particularities of grammar. Breaking rules of punctuation or capitalization or even agreement can be powerful tools and statements in creative work. Provided, of course, that we do these things purposefully.

Beyond the outwardly obvious pedantic correction of others’ mistakes, understanding grammar makes me a better writer, a better reader, a better communicator, a better scholar, and a better linguist. Grammar isn’t about knowing a set of rules and sticking to them rigidly (although it can involve that), it’s about knowing how people communicate in various registers, recognizing the differences, and adjusting to those differences. It’s about recognizing and adapting to the change of language over time and place. It’s about thinking about the evolution of our words from where they entered our language to how we use them in our own work. While grammar is flexible and can be bent to create endlessly creative sentences, understanding the standards of that grammar bending is essential to clear and effective communication with a reader.

I may not be able to teach my sister the parts of speech in an hour, but I can refine my knowledge of British conversational verb structures to write British characters. Likewise, you may not master commas (really, who has time for all the uses of commas?), but maybe you’ll master the use of commas for subordinate clauses. Yes, there’s a lot of grammar, but if we all take small steps toward learning the basics and build from there, we’ll be better readers, better communicators, and better writers, one comma at a time.


Hidden Voices

by Arun Chittur

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“Your story matters … because everyone’s story matters,” challenged my instructor as I struggled through my last MFA workshop.  I’d heard that before, and always agreed.  Yet I denied the idea for myself, convinced instead that one must have “expertise” before sharing any part of themselves.  I wonder now if such an argument is meant to reinforce the need for more heady discourse, or to discourage those voices deemed unnecessary to a larger, more dominant narrative.

In my last days as a student, two sentences into this post, a notification appeared on my screen.  It was a news headline I would have ignored, except for two words: “shithole countries”.  The President of the United States had asked a meeting of legislators, “Why are we having all these people from shithole countries come here?”  As a critical reader in the post-2016 media era, I assumed (hoped?) that the headline was overblown.  Fabricated.  Extrapolated obnoxiously out of context.  Something had to be missing.  Then I watched Rupert Colville’s response as spokesman for the United Nations High Commissioner for Human Rights.  Then several members of Congress.  Several citizens of Johannesburg and Nairobi.  The President singled out Haiti, El Salvador, and “African nations,” apparently expressing preference for immigrants from Norway.  As one cable news anchor put it, “… people from Norway, with Nordic descent.  White people, in other words.”  I fought through a series of emotional responses, most of which have become second nature in the previous 12 months.  Of those, a standard passivity was replaced by a rush of anger.  I expect comments like this now, comments dividing the worlds of white and otherwise, European and otherwise, “Normal” and otherwise.  I could have dropped back into acceptance and moved.  That would have been easy.             

What comes to mind when you think of a “shithole”?  Large urban areas stricken with poverty?  Whole families living in one-room dwellings without access to clean water or reliable food sources?  Or perhaps rural areas so cut off from the world that the newest car you can buy was made when Eisenhower was president?  Where every scene in the big city looks not like New York in 2018 but 1968?

There are pockets of Mumbai, India—a sprawling metropolis home to millions—where the dream isn’t for the perfect job, the perfect mate, or even a shot at college.  It’s to eat one meal a day, and for the hope that your own waste will not return in the form a mortal disease.  This same country, currently the world’s largest democracy, is also famous for its network of post-secondary engineering schools.  My father emigrated from India to the United States in 1979 to complete work toward a PhD in chemical engineering.  He was funded through a government loan that forced a choice upon graduation: (a) return to India and your loan debt would be forgiven, or (b) you could repay the loan and remain in the U.S.  My father chose the latter, winning naturalization as an American citizen and placing his life in the hands of the American Dream and the trust it invoked so confidently back then.

Cuba is famous for its scenery and artistic culture, a popular vacation spot for many Canadian and European tourists.  It’s also famous as the capital of a country long lost in the 1950s following the demise of one dictatorship in favor of another and a subsequent American embargo.  Despite tourism revenue, Cubans have struggled to keep up with the rest of the world—especially since the fall of Cuba’s primary benefactor, the Soviet Union.  Most of the island’s people struggled to access the kind of medical care, education, and commoditized technology that swept much of the world in the twentieth century.  My mother’s parents brought her to the U.S. from Havana as they fled paradise for the unknowns of a foreign land.  Determined to make her own life as an American, she grew up to follow my grandfather into medicine—into helping people.  As a naturalized citizen, she graduated as a chemist and became a hospital laboratory analyst, testing patient samples hoping to find what ailed you quickly enough to save you from it.

My parents both came from oft referred-to “Third World” countries.  When our President takes offense at the immigration of citizens from “shithole” countries, he takes offense at the journey my parents made just for a taste of the American Dream.  He takes offense at the circumstances that drove them here, into the arms of a country that once sought to embody the call on Lady Liberty’s tablet.  For millions worldwide this country has been the last, best hope.  In my life, it has proven itself the only place a Cuban woman and Indian man could rise to the heights of their own potential and make a life next door to any other American family; and could give birth to a son with relatives tens of thousands of miles apart and raise him as an ‘American’.

What makes us “exceptional”?  What qualities underwrite a state endowed with a responsibility to lead the world?  Watching our evolution in the past two years, I’ve come to believe that our self-perceived political and moral supremacy isn’t drawn from a superior political system, nor a respected level of experience acting on the international stage.  It’s drawn from the diversity of our people.  As Americans, we live with a turbulent past, a history rife with suffering and exploitation.  Yet we have transcended before, moving through history still attracting the young and old from all corners.  The world could follow us because others could see themselves in us.  And now?  Promises of shelter and opportunity made in the past are becoming promises broken, dreams cast away to be cared for anywhere but here.

It is easy, I think, to dismiss the President’s words as racist.  It is easy to dismiss them with a passivity designed to enable life to go on.  But that passivity incurs the risk of losing sight of what was most important all along: America as a ‘beacon’ of hope and freedom.  As I reconcile the latest headline with the end of my academic journey, my most important lesson crystallizes into view.  As writers, we appreciate the chance to engage in our art without fear of political reprisal.  Even without publication, we have our words.  When I started my MFA, I debated whether the ambition to publish was the right one, whether my voice had enough authority to earn its place.  But to follow that logic, to favor academic discourse over all others, silences those voices deemed unnecessary by the dominant narrative.

Beginning anew two years later, I am convinced that such an ambition is right.  Not for fortune or fame.  Not for an ephemeral notoriety some know and fewer understand.  But because a democracy—any participative government—is based on voices.  My instructor was right.  Every story matters.  Every voice.  Every vote.  The urge to express in writing is an urge to articulate a story that is already part of our fabric, no matter its origin or what the owner looks like.  Writers of all stripes stand ready, willing, and able to articulate on behalf of not only themselves but those who cannot speak for themselves.  We provide words for the countless made silent by the will of the few.  It is our prime responsibility to ensure all sides discourse freely and responsibly, above the noise of those who would prefer a single storyline. 


Arun Chittur is a graduate of The Mountainview Low-Residency MFA in Fiction and Nonfiction. He currently teaches organizational leadership and pedagogy in Nevada.