Writing At Home & Ritual

For years I wrote in coffee shops, often twice a day, with a gym and lunch break in between. Then I started commuting to work in Manhattan and the idea of writing in a crowded coffee shop instead of spending some time at home, became less appealing. Also around the same time, my husband Jacob found himself fatigued of coffee shop working. We lived in a small one bedroom apartment, but we found ourselves rearranging so that somehow we managed to fit a rough approximation of a desk.

The important thing I have learned about working at home is a that a sense of ritual is vital. In the coffee shop there is a certain built in ritual. You have to walk there. Then you pay for the coffee, sit down, open your laptop and discover that often enough you are ready to work. At home this just does not work. One of the things Jacob found himself doing instead as part of his work ritual was making bread. He found a recipe for bread that was very simple, involved virtually no kneading, but it required up to 24 hours to create, with a couple steps within that time. It would break up his time nicely, but it would also create a delicious finished product. Jacob would also make pour over coffee as part as his ritual. I would often read first, or start working with a cup of coffee after coming back from the gym.

Since we had a month off to travel and move, we are now reordering our rituals. Living in a smaller town and a bigger apartment has helped inform the changes. We now have an office with two windows as the office, but our living room and deck also create additional work space. We often go for a long walk in the afternoon and Jacob has started bread baking again. Instead of drinking coffee we have taken to tea in the morning. Often the first cup of tea makes it clear when the serious work is starting. We have also discovered, that due to the mass amount of time zone changing we have done and the morning express train that runs by our apartment, we now wake up much earlier, which has very much changed the shape of our day. It also surprisingly means that unlike before, I am actually more capable of writing in the morning.

Rituals always shift and need reshaping, but it is really nice to discover one that encourages encourages work and writing to happen naturally. I started really thinking about ritual and writing when the wonderful Rebecca Loudon started interviewing me for Menacing Hedge (you can read the finished product here).

 

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W.H. Auden

“May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
show an affirming flame”

September 1st, 1939 – W.H. Auden

The above excerpt was from the poem that initially drew me to Auden’s work. The poem as a whole was not a favorite of Audens, by any stretch. He was known to refuse to allow magazines to reprint it and once referred to it and another poem as “Trash which he is ashamed to have written”. The poem is also not a favorite of mine, but those lines, more then any have stuck with me, become much more a part of my body then any tattoo could be. They manage to bring in many of the ideas that Auden was preoccupied with in a few lines, while alluding to others. They encapsulate what I admire about Auden as a poet, a man, and a Christian.

Auden wrote about love, the apocalypse, language, faith, war, and loss, in a distant, often impersonal way, that remains powerfully specific. I was never taught any of his work as high school student, an undergraduate, or a graduate student. Even though every poetry class I have ever attended has somehow managed to cover the Fish by Elizabeth Bishop, no one mentioned Auden. In fact most of the complex discussions I have had about Auden have involved non poets, who really admire his writing.

I do not know how his writing managed to find its way out of favor. He was both famous and polarizing in his time. But as I understand it, somewhere along the line he was classified with the “older poets” for writing verse. His poem’s reflect verse, in a natural, organic way that, once you become accustomed to it, only adds to the poem. Never distracting from it. Auden himself said “Poetic Form is a challenge to prove that what the poet has to say is not an accident.” What he chose to say was very deliberate, a clear balance of content and language that happened to involve rhyme. When I first read one of his poems to Jacob, his initial reaction was that it wasn’t very good, partially because he was unsure of how to interact with the rhyme. Now Auden is one of his favorite poets.

Depending on the poem Auden can be a simple poet, making clear statements, or he can be very convoluted. Since I have taught Auden’s work to classes, I have had the pleasure of ordering students to look up words like “midden”. Many of his more complicated works manage to be a treat even just on the level of word play, and the sound of the language.

My favorite Auden poems generally balance the language with an idea, but an idea made clear and substantial through imagery. Because of his strong idea and image pairing many of his lines, have become part of my life, in a way, that makes me grateful, regularly for that fact that he lived and wrote. In a way, when I question my own writing, I keep his poems in mind, as a reassurance, that words can create substance.

 

(Sources: Edward Mendelson’s introduction to W.H. Auden’s Selected Poems, Auden: An American Friendship, by Charles H. Miller, Wystan and Chester by Thekla Clark.)

 

 

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To MFA, or not to MFA?

I have a Masters of Fine Arts degree in Creative Writing from Sarah Lawrence College. I loved Sarah Lawrence. The Professors truly helped me improve and explore as a writer. I used my degree to start down a career path I find fulfilling. I am very glad I worked towards the degree. However I do not think an MFA is necessarily for most writers.

One of the reasons many writers should not get it is the cost. MFA’s can be prohibitively expensive. Some are available on scholarship, some even involve a stipend and offer teaching experience, most do not. They can put you into debt without necessarily giving you a degree that will help you get out of debt. That doesn’t mean you shouldn’t get an MFA because of the debt that may or not be involved, but that you should enter it into your equation as a writer, because if you have to work that off, you might have even less time to write. Which does not seem worth it to me. Time spent writing, editing, etc, is invaluable, and sometimes that is the most important thing that people take away from the MFA program, so if you can create that time for yourself without the program, and make sure that it is a profitable time in terms of writing, then that should be an option to consider.

Getting an MFA does not guarantee that you will continue writing. Some people I know went into the MFA program thinking it would turn them into someone who writes, outside of the program. In fact the opposite is true, often. Approximately 3 out of 5 people with a MFA degree in creative writing, will stop writing within 5 years of receiving there degree. Those are not good odds. I think that happens because the MFA creates an artificial environment in which you have time to write and also motivation to do so.

It depends a great deal on what you plan to do with an MFA. If you plan to try to publish fiction and non fiction it might help. As a poet I don’t even include it in most of author bios. Not because I am not proud of it, but because I believe my publication list is much more helpful to the editor considering my work. It does  allow you to teach. If you want to write and be a professor in college, there is no reason not to pursue an MFA, in my opinion. It also might help you get a job at a literary magazine, but it is not necessary.

Some of the best writers I know do not have an MFA. The most influential professors I had in grad school did not have MFA’s. If you are a good writer, who has a good community around you already, and don’t have any desire to teach, there are very few reasons for you to pursue an MFA.

However if you are a writer who thrives off challenges (as I do), want to teach at the university level, or really feel like you are in need of a good writing mentor, they are worth considering.

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Places to Write: Brooklyn (III)

In case you missed earlier posts, I have written about writing in coffee shops in Brooklyn twice before, here and here. However due to strange luck two more excellent coffee shops have been discovered within walking distance of our apartment since I last wrote about working at coffee shops.

Forty-Weight

492 6th Ave (between 13th St & 12th St)

Forty-Weight coffee is a cafe located in a restaurant called Sweetwolf. The two separate businesses have an arrangement so that the cafe is open seven days a week from 7 till 3:30, then the restaurant is open at night. At first this seemed confusing to me, but it actually works really well in practice. The restaurant also serves lunch in the afternoons at the cafe, every day but Monday. However that is very low key. More people just have a coffee or a pastry. The diners and the lap top workers are all seated in the same area, often on the same table because the cafe is dominated by two pleasant communal tables.  The restaurant has a wood burning oven, that is on all afternoon, so if your sitting in the back of the cafe, you get a nice fire to look at. The front of the cafe is all windows and flooded with light. The whole place is well decorated and very peaceful. The coffee is amazing. It isn’t cheep though. French press is 2.25 per cup, and the amazing pour over is 3$’s and up. But both are worth every penny, because the beans are always exceptional. Forty-Weight is primarily a small batch roasting company (nine pounds at a time) in Ithaca, NY. This is the only cafe location but they sell to other coffee shops and bars. One of the partners in the business roasts the beans and the other (Matt) runs the shop. Everyone who works here is friendly and wonderful, not to name names or anything. I noticed glancing over the Yelp reviews that everyone praises the people who work here, and with good reason. Not only are they great at making coffee but they are some of the nicest people you will ever meet in New York.

Steeplechase Coffee Shop

3013 Fort Hamilton Pkwy (between 3rd St & 2nd St)

Steeplechase is in Windsor Terrace, Brooklyn. It is on a busy street, but the front windows let in lots of light, and there is another small window near the back. No real views, but lots of light. It also has two comfy chairs that are well positioned in terms of light. Lot’s of tables too. It never seems to get too packed.  The french press coffee I had was not worth writing home about. It is a nice quite place to work.

 

 

 

 

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Excercise and Practice

There are a lot of writing exercise out there. However unlike physical exercise which I am addicted to, I have always struggled with using writing exercises on a daily basis. Or even a yearly basis.  Until recently when my good friend, Fawaz Al-Matrouk a very gifted screenwriter (and film maker) told me about an exercise he had started to do on a daily basis. One that he had found extremely helpful. It has quickly become a part of my daily routine, something I do even on the days where I do not really have time to write.

The exercise as I understand it, works as follows. You do some arm stretches. Then you write a title for your piece. Your title should work as a prompt. I usually write something fairly concrete, for example, Dark Island, West Coast Cabin, Light in the Storm. Nothing too original. You then set the timer for 3 minutes, press play, and type as quickly as you possibly can. The object of this very fast typing is quantity, not quality. So far the most words I have managed to type in three minutes is 166. But most days I manage to improve on my number. Although right now I seem to consistently miss reaching the hoped for 167. Most times the writing I have produced is not even worth reading over, but sometimes there are some good ideas contained within. However the way the exercise has helped me the most so far is thinking and writing quicker. It has allowed me to come up with ideas that otherwise would have never occurred to me.

I have done it now for three weeks. I seem to be improving my typing speed by an average of ten extra words every week.

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Man Convicted of Killing Wife Second Time

I started reading Peter Pereira last year. His books are well written and organized, but I must honestly confess that due to personal bias, I am most attracted to his poems about language. Even though he is so well known as a doctor poet, those poems compel me, but not as much as his explorations of language and grammar. Many poets right now are preoccupied with similar themes, but they focus on playing on language without getting to the true ideas or the essence of what is going on. “Man Convicted of Killing Wife Second Time” is particularly striking because of how open to interpretation most headlines are. It also struck me as important because of how general much of the language used in non fiction about crime, is.

“Man Convicted of Killing Wife Second Time”

The Seattle Times, April 2, 2002

 

What fractured syntax! And hard to say

which is worse: that he’d hack her to pieces

in the bathtub as the children slept,

or that then years later he’s convinced enough

of his innocence, to drag himself to trail again.

 

Either way the mother of these kids

is still gripping a lily, her name bolded

across headlines, killed all over again -

 

hatchet wounds fresh as the crime scene photographs

of blood blotting the suburban rambler’s hallway.

 

Calm and contrite, he resembles a parish priest,

not the tough Vietnam vet from whose temper

she once cowered. And it’s almost Shakespearean

now, the way he wrings his hands, as if enough

conviction could somehow wash them clean.

 

 

By Peter Pereira from his book, What’s Written on The Body

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Practice

I have been reading a good (if uneven) book entitled  Talent is Overrated, which is actually less about talent and more about practice, which is something that is very important to me as a writer. I feel like practice is something that was not emphasized in grad school or in the writing groups. Which may be one of the reasons that so many people get an MFA and then within five years, stop writing. However enough about that. I am instead going to write a little bit about the helpful things I learned in Talent is Overrated and how I have been applying these ideas.

First off, Talent of Overrated is by Geoff Colvin, who is primarily a business writer/editor. This is not a book I would have picked off the shelf. However Jacob bought it, and talked about it, and by the time I finished it, I had unofficially renamed it the Art Of Practice, which is definitely a book I would pick off the shelf. The book talks about what makes experts and world class performers great, using specific examples. The examples are always interesting. The conclusions Colvin draws from them are often wrong. However he focuses a lot on specifics, which means that you, as the reader can draw your own conclusion from them.

The most important idea I came out of the book with was that practice should be specific. That the top athletes and musicians don’t just practice, or play pieces that they are good at. They actually focus in practice on the things that they are not great at. As a poet, often practice for me has been writing, and allowing myself to write poems that are sometimes atrocious as a warm up, or intensely editing a poem that is close to good, but not quite there yet.  But after reading the book I’ve started to challenge myself by writing in form, something I have always been scared of. Right now I am focusing on writing Sestina’s. I AM not very good yet, but I am improving. At first I kept getting bogged down in the strange math like elements in Sestina’s, but since I discovered the Sestina Builder. It figures out all the practical stuff, giving me the opportunity to really focusing on improving the writing.

Also I am devoting time, to just practicing, not even technically writing every day. Per the books suggestion I am keeping track of this time, monitoring to see how much work I am actually putting into improving my craft.

 

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Print &/Versus Online

Print journals have been around for a very long time, you can submit to journals that are going into their sixth decade, and have published many famous poets, dead and alive. Online journals are clearly a much more recent establishment. Blackbird, one of the first online literary journals that stayed the course, just celebrated their 10th anniversary.  There are advantages and disadvantages that are associated with both forms of publishing. Below I will offer my personal opinion.

Print Journals

Advantages

- Generally more established. Really helps your overall reputation as a writer. The most established, respected journals are all currently print.

- Often you get a free contributor’s copy. A free journal is always nice.

- You get to see your work in print. Sometimes well bound with a nice cover. A thoroughly wonderful experience. It can then go on a shelf with all your other printed work. An occasional ego boost.

- They are more likely to pay. Though usually not much.

Disadvantages

- Less people read your work. This is more a theory then something I can concretely prove, and some journals do have a very large circulation, and a large group of consistent readers. But others do not. Also some publications (I am not naming names) publish almost as much as they can fit, poorly, into one book. I had a hard time finding my own poem on that occasion. People generally seem more open to reading poems for free, online, then seeking them out or subscribing to journals. All the feedback I have received from readers that I didn’t know has been regarding poems that were published online.

- Sometimes you have to pay for copies with no contributor discount and no complimentary copy. I do not agree with this.

- They often have a slower response time.

- Sometimes you have to wait a year or more to see your work in print.

Online Journals

Advantages

- Sometimes they have a large readership.

- Easy to share with friends and acquaintances. Easy to link to on your website.

- The websites can have audio and visual options that are not as easy for print journals to offer.

- Online journals often have a faster response time.

- Your work is sometimes put online within the week, or within a few months. You don’t have to wait too long to see your work.

Disadvantages

- Most online journals are not taken as seriously as print journals.

- You don’t really know how many new people are reading your work. Your own friends could just be reading it. If that.

- Once a piece is printed online you have fewer options open to you in terms of getting a journal to reprint it.

In Conclusion: These are obviosly general rules because when you go too far into the specifics there are often exceptions. I have submitted extensively to both. For a while last year I  submitted only to print journals, however rewarding that was, after a while I missed the accessibility and visablity of online publications, so now I am once again submitting to both.

 

 

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Class

One of the best experiences I have had this year is teaching a poetry class. I have been an English professor for over a year now, and while I have managed to sneak  poetry in to most of my classes, I have never had the opportunity to teach an entire class before.

My own experience with poetry as an undergraduate was not a very good one. I was already writing, both poetry and prose, quite seriously. I read poetry fairly often, but in a very undisciplined, anthology friendly way. So I entered the class fairly confident that an introductory course in poetry would not overwhelm. On the first day the teacher informed us that the first time she read poetry for fun was when she was assigned this course. I was shocked that she even phrased it that way, if she was already assigned the course how could it be for fun? She inadvertently reversed the unstressed and stressed syllables when explaining Iambs and Trochees. She spent two three hour classes teaching us that the Love Song of J. Alfred Prufrock was not something anyone was capable of understanding. The most modern poem she taught us was the Fish by Elizabeth Bishop. The list goes on.

The school I received my undergraduate degree from is very different from the school I now teach at. The University of Toronto is a very established, extremely competitive, large institution, that generally focused on humanities. Berkley (not the one in California) where I teach now, is a small business college. Students get degrees in Criminal Justice, and Fashion Marketing. I really like teaching there in large part because of the students. In the poetry class I taught (the last day is today) I had students who read poetry for their own amusement and enjoyed writing poems. I also had students who had never really read a poem before, they were taking my class only because they needed an elective to graduate and mine happened to fit into their schedule. Both groups of students and the class as a whole has taught me many lessons.

The most important lesson was that the poets and poems you are taught about in graduate school are not the ones that impact peoples live outside of the poetry community. The first assignment I gave my students was to bring in a poem of their choice to share with the class. I got a great deal of Langston Hughes, Edgar Allen Poe, Robert Frost, and Maya Angelou. When the students gave presentation on poet’s, five people gave there presentation on Poe, four on Angelou. I am admitting now that while I read Poe as a child, the first time I heard one of Angelou’s poems it was in my class, being read by one of my students. Phenomenal Women is a poem that empowers, it doesn’t have the sophistication of line breaks that appeals so much to teachers and students, but it is raw in a way that connects with individuals. It would be mocked in many of my graduate classes, yet it has had much more impact on humanity then Jack Gilbert or John Ashberys poems.

As a graduate student in workshop you don’t often talk about the importance of the idea in a poem, but for my students, that is often the most valuable thing. I think as a writer, a reader, and a teacher, that is a lesson I will carry with me for a long time. I learned that I also value the idea, although I prefer it to be less transparent, I love and remember it best when a poet like Auden or Yeats combines great thoughts with imagery and language, to make it alive. That is the balance I am seeking more in my work now, thanks in part to my students.

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Victims Of Ted Bundy: The Chapbook

The chapbooks are officially for sale here! I could not be more excited. They just arrived in the mail on Monday.

You should go here and buy one! Or send the link to someone who might be interested.

If you are on the fence, you can read several of the poems that were published by the new and terrific Menacing Hedge Literary Magazine.

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