June 4, 2018 § 3 Comments
Author Penny Guisinger interviews Beth Ann Fennelly about flash nonfiction, micro-memoir, prose poems, the engine of the sentence, and the upcoming Iota Short Prose Conference:
Guisinger: Your new book, Heating and Cooling: 52 Micro-Memoirs, consists of tidbits that you call micro-memoirs. I feel a kinship to this book because it shares some qualities with my own work, particularly the way it pushes at definitions of words we use to describe different forms of writing. You’re a poet laureate writing short prose pieces that aren’t prose poems; instead they are memoirs which are usually a book-length thing, but there’s this hyphenated modifier “micro” involved. I’d love for you to talk about this line between pieces like these and prose poetry. Does it exist?
Fennelly: I love prose poems and have written a bunch. I like how they look like a paragraph but still move the way a poem moves, which is to say a prose poem is often image-based, and it is held together by syntactical repetition and motif and sonic ligature. In the micro-memoirs, I was more interested in connecting the way fiction connects, through the engine of the sentence, building tension through plot, creating a narrative arc with a beginning, middle, and end. Perhaps I might simply say poetry has always felt vertical to me, and prose, horizontal. These pieces are heading toward the horizon.
Guisinger: You said in another interview that once you thought of the idea of the micro-memoir, it felt like permission to create these pieces. I’m curious about what came right before that. Was the book already in progress, and you were searching for a form? Or was the idea of the form what allowed you to even get started?
Fennelly: Yes, the book was already in progress, but I didn’t know it, because I was writing these weirdo little things and I didn’t know what to do with them. They didn’t look like poems or essays or a novel, they didn’t look like anything I’d written before. Discovering a name for them helped me recognize them and then articulate my project to myself.
Guisinger: I love the boldness of the pieces that are just one sentence. What made you think you could get away with that? You totally do get away with that, but did it make you nervous to try it?
Fennelly: It wasn’t scary, it was fun. One-sentence pieces are so low stakes—if it doesn’t work, so what? Throw it away and start another! My goal was to see how much I could take away and still have a story. Also, the one-sentence pieces could sometimes make use of humor because, like a joke, they’re stripped of exposition and the bones become visible. So that’s another way they were fun to write.
Guisinger: I’d love to hear about the process of revising this book. Was there an urge to keep making all the pieces shorter: to keep tightening the bolts? The title piece is over four pages, and others are much shorter. What drove the decisions to keep the longer pieces long? Was it a conscious decision to have a variety of lengths in the collection or was each piece given the authority to spread out if it wanted to?
Fennelly: I’m attracted to books that have a pleasing uniformity. For example, British author Dan Rhodes has a book called Anthropology: 101 True Love Stories, which has this symmetry not only of form but subject matter, as every one of the 101 stories has 101 words, and every one is a love story about a different girlfriend.
Rhodes’ tidiness is very appealing. Nevertheless, I knew I wanted my book to have a lot of range and tonal variety, and I wanted the pieces to move at various speeds and densities, and to have different physical shapes on the page. I wanted them to be a short as possible, but not shorter, and in one case that means eleven words, and in another case that means four pages.
Guisinger: Was it a challenge to organize the collection?
Fennelly: Yes, very much so, in the way a book of poems requires a careful construction because it has lots of moving parts. The micro-memoirs span my life from birth to adulthood, but I didn’t want to order them chronologically They vary in length, but I didn’t want to group the one-sentence pieces, then the one-paragraph pieces, then the longer ones. And they vary in subject, but I didn’t want to group them according to subject matter, to have, say, pieces about grief in one section, love in one section, motherhood in another. And they vary in tone, but I didn’t want the funny ones separated from the bitchy ones from the wistful ones, etc. So organization was an ongoing challenge—if I ever removed one for some reason, I had to rethink the whole thing.
Guisinger: You brought multiple approaches to using titles in the book. One Doesn’t Always Wish to Converse on Airplanes is part of the first sentence of the piece, while I Come from a Long Line of Modest Achievers is the set-up line for a one-sentence piece. Talk about how you approached titling these pieces and how you were able to put titles to work for you.
Fennelly: The shorter a piece is, the more heavy lifting the title has to do. Some of the one-sentence pieces wouldn’t even qualify as “literature” without the title.
Guisinger: Writers often sit down with a thing to say and we either don’t know how to say it or we actually end up saying something completely different. A small kernel of an idea often blows the door open to something enormous, or an enormous idea has to be honed down to a manageable, concrete image. The piece Safety Scissors opens with specific childhood memories and ends with this breath-stealing emotional punch. I just have to ask: which idea came to you first? The haircut memory? The loss? Which opened the door to the other?
Fennelly: The story of my sister cutting off my hair and eyelashes in my infancy is an oft-repeated Fennelly family anecdote, one I also told myself, for laughs. But I felt unease when I told this story for a laugh because there was something about the anecdote that was darker, something that got simplified, in quest of a laugh. Revisiting the material in micro-memoir form helped me linger in the moment, and identify how that moment in our childhood explains something about our relationship now.
Guisinger: This book is receiving a lot of attention. It was excerpted on Oprah.com. You were interviewed on PBS. It feels unusual (and heartening!) for a collection of small, literary pieces to hit the big time. (Yay!) So, first of all, congrats! And secondly, since you are clearly a publicity Jedi, when will your seminar “How to Promote your Book” be scheduled? (I’d like to sign up.) Can you share your hottest tip for getting the word out?
Fennelly: Penny, I am astonished at your characterization of me as a “publicity Jedi,” and everyone who knows me would share my astonishment, because I’m kind of a publicist’s worst nightmare. Like, I just got on Facebook last year I met with my editor to discuss the launch of Heating & Cooling, and I said, “What can I do to help the book get out into the world? I don’t do social media, but I love to give readings, meet with students, visit bookstores, etc.” And she was like, “You have to do social media.” And I was all, “No, you misheard me, I don’t do social media, but I like to do readings, meet with students, visit bookstores, etc.” and she was like, “Oh, I heard you, but you have to do social media.” So, for her, I finally on got on Facebook. But when people talk about their “platforms” and their “product,” I kind of break out in hives. So I’d be the last person to give a book promotion seminar. That being said, I have had a lot of fun in introducing the micro-memoir form to various groups. It’s a teachable form; it’s low pressure. I know a lot of folks who’d like to write their life story, say, but don’t know where to begin, and they feel daunted. But to write a true story in a single paragraph? That seems manageable. My friend, the novelist Joshilyn Jackson, went to a micro-memoir craft class I gave and now teaches the form in a women’s prison in Georgia where she volunteers, because it’s possible to introduce the form and get great results in a one-hour class, even with students who aren’t allow access to computers. I love that.
Guisinger: This August, I get to welcome you as faculty at Iota: Short Prose Conference on the coast of Maine along with Sven Birkerts. It’s a generative, four-day conference on short forms. What does that mean and what can people expect from the experience of studying with you?
Fennelly: Oh yes I’m SUPER excited about the conference. Truly bucolic location. And I admire Sven Birkerts’ work a lot. I teach his craft book The Art of Time in Memoir: Then, Again. It’s so smart. I’m excited to give prompts and share examples of short forms that really inspire me—including short form nonfiction pieces that I first read here at Brevity. Three cheers for Brevity! And for Iota!
Want to study with Beth Ann Fennelly and Sven Birkerts at Iota this summer? Dates are August 15 – 18. Visit www.iotaconference.com while there are still seats available.
Beth Ann Fennelly, Poet Laureate of Mississippi, teaches in the MFA Program at the University of Mississippi, where she was named Outstanding Teacher of the Year. Her newest prose book is Heating & Cooling: 52 Micro-Memoirs, published in October 2017 with W.W. Norton, and she published Great with Child: Letters to a Young Mother, a collection of essays with Norton in 2006. Beth Ann is the author of three poetry books: Open House, Tender Hooks, and Unmentionables, all with W. W. Norton. Beth Ann’s poetry has been in over fifty anthologies, including Best American Poetry 1996, 2005, and 2006. A contributing editor to The Oxford American, she also writes freelance on travel, culture, and design for many magazines. Recent nonfiction awards include the Orlando Award in Nonfiction from A Room of Her Own, the Lamar York Prize from The Chattachoochee Review and the Porter Fleming Award for Excellence in the Essay. She’s the first woman honored with the University of Notre Dame’s Distinguished Alumni in the Arts Award.
Penny Guisinger lives and writes on the easternmost tip of the United States. A Maine Literary Award winner and twice named as a notable in Best American Essays, she has appeared in the pages of Fourth Genre, River Teeth, The Rumpus, Guernica, Solstice Literary Magazine, Under the Gum Tree, multiple anthologies, and other places. She is an Assistant Editor at Brevity magazine, the founding organizer of Iota: Short Prose Conference, and a graduate of the Stonecoast MFA Program. She lives with her wife and kids, two dogs, and a constantly changing number of tropical fish. She can be found at: www.pennyguisinger.com and @PennyGuisinger.
May 18, 2018 § 1 Comment
In the new issue of Brevity, Nicole Cyrus offers up an essay posing as a professional resume, revealing some of what it means to be a black woman “who wants to rock her Afro in business settings.”
Here’s a portion:
- Received positive feedback from colleagues on her brown-bag meetings, despite her refusal to repeat or expand her talk on black hair textures.
- Recovered from chest pains and stomach cramps after she cropped her hair into a pixie, thanks to a mishap with a flatiron.
- Taught black women inside and outside the company how to explain dramatic transformations in their appearance—such as haircuts, use of wigs and hair weaves, and, in extreme cases, headscarves—because of bad relaxers or overheated hair styling tools.
Now by all means, go and read the rest.
May 17, 2018 § 3 Comments
From Lance Larsen’s “Aphorisms for a Lonely Planet,” one of 15 fearless flash essays featured in the freakingly fantastic new issue of Brevity.
When his son fell into a well, San Isidro didn’t pray the deed undone, but asked for the water to rise—and the infant floated up into his arms.
Walking down a narrow Cuzco alley, my teenage daughter leans into me, which means she’s cold or tired or a little scared. Maybe all three. And yet, what father doesn’t hoodwink himself into calling this love and snuggling closer?
Have you visited yet?
May 16, 2018 § Leave a comment
Please pay a visit to our 58th issue, featuring fearless flash from Lance Larsen, Pam Durban, Jill Talbot, Amy Wright, Scott Loring Sanders, Joe Oestreich, Kathryn Nuernberger, Bridget Apfeld, Jennifer Sinor, Nicole Cyrus, Allison Gruber, Marcia Aldrich, Phyllis Reilly, Jamila Osman, and Amy Butcher, alongside brilliant artwork by John Gallaher.
In our Craft section, Wendy Staley Colbert looks at how memoirists can manage the ethical problem of writing about others, Gwendolyn Edwards discusses how writers experiment with speculation and imagination while still upholding the reader-writer contract, and Jennifer Gravely reminds us that all essays will ultimately end in white space.
January 24, 2018 § 25 Comments
by Jan Priddy
As soon as I open a document and before I begin typing, I select ‘Layout’ to indicate margins on my page. The guidelines do not show when I print, but they help me know where I am as I write.
Ursula K. Le Guin helps me know where I am.
She is not gone.
The obituaries are respectful. They list her more obvious accomplishments—the awards, the publications, her activism and generosity to other writers. They want to label her a “popular fantasy” writer, though these are not terms she would have chosen. “Why Are Americans Afraid of Dragons?” she asked in 1974. We dismiss what we consider “unrealistic” in our country, but that is a mistake. In the hands of a philosopher with substantial anthropological credentials, essays and poems, novels and stories are not escapism but challenges to our imagination.
For more than twenty years, I began my Junior English classes with Le Guin’s “The Wife’s Story” (1982) from Buffalo Gals. I read the five pages aloud, and then we talked about the nature of betrayal until the bell rang.
That most famous story, “The Ones Who Walk Away from Omelas” (1973), provokes questions: Would readers walk away or stay in paradise. Are we willing to allow another pay for our perfection? They are troubling questions, but contain another, underlying moral assumption: Must someone pay? In our superstitious faith in balance, do we demand another’s pain for our pleasure?
She gives us the suffering child in the basement because we insist that child exist.
“If you cannot or will not imagine the results of your actions, there’s no way you can act morally or responsibly,” Le Guin said in 2005.
My husband was standing at an information desk in Powell’s Book Store, a couple of years ago, when he recognized Ursula coming up the wide stairs and duck around into the Purple Room.
“There goes Ursula Le Guin,” he said to the millennial behind the counter.
We laughed about this again just the other day. Young sales clerks being what they are, they will learn.
Imagination is not mere child’s play, it is the only way we pursue what is possible, what is grand and just and beautiful.
She should have had the Nobel. She should have lasted longer because we need her here. We should have appreciated her more while we had her. My deepest sympathy to her family, her closest friends, and to all the rest of us.
Jan Priddy took classes from Ursula K. Le Guin, took tea in her Cannon Beach kitchen, ferried her to readings, and attended Jane Todd’s writers’ book club where Molly Gloss sat on her right, Ursula next, and Cheryl Strayed on her left. She read her books. They both had two years of Latin in high school and loved the beach.
January 16, 2018 § 6 Comments
Brevity is pleased to present the first issue of our third decade, featuring work from Beverly Donofrio, Jack Pendarvis, Abigail Thomas, Temim Fruchter, Jessica Handler, Fleda Brown, Heather Sellers, Jeff Gundy, and a rich array of other outstanding writers, chronicling pine trees and gar, the mud and the gravel, the creek and the trees, and the endless peculiarity of the human experience.
Also, three brilliant craft essays: Chelsey Drysdale examines how a writer transforms an essay collection into a memoir, Felicia Rose Chavez asks why so many wives and mothers feel like a “sometime-y writer,” and Annelise Jolley captures Mary Karr’s sacred carnality.
We’ve just turned 21. Feel free to buy us a beer.