September 15, 2021 § 1 Comment
Brevity’s 68th issue launches this morning, with brilliant new essays from Kimiko Hahn, Sven Birkerts, Ryan Van Meter, Richard Robbins, Suzanne Roberts, Kathleen Rooney, Alysia Li Ying Sawchyn, Sarah Cedeño, Laurie Easter, Gary Fincke, Charles Jensen, Kathryn Nuernberger, Mary Ann O’Gorman, Katerina Ivanov Prado, and Alyssa Sorresso.
In our Craft Section, Abigail Thomas reminds us that vulnerability is a memoirist’s strength, Kim Pittaway examines what we can learn from visual artists about self-portraiture, Heather Durham discusses changes in how we portray animals, and Tarn Wilson details the power of noticing.
Plus stunning photography by Amy Selwyn.
Please take the time to read our brilliant September issue.
September 13, 2021 § 2 Comments
In 1348, Boccaccio writes in the Decameron, Florence was gripped by plague. Seven young women and three young men (about the ratio of most writing events) meet on a Tuesday morning in the church of Santa Maria Novella. Living in the city right now sucks, they agree, and so they’ll
betake ourselves quietly to our places in the country…and there take such diversion, such delight and such pleasance as we may, without anywise overpassing the bounds of reason. There may we hear the small birds sing, there may we see the hills and plains clad all in green and the fields full of corn wave even as doth the sea; there may we see trees, a thousand sorts, and there is the face of heaven more open to view…
In an isolated hilltop castle, the characters set up quite a life. Servants make their beds with fragrant sheets, bring meals and wine, put flowers on the table. In the afternoons, the ten relax in a shady meadow, but rather than spend their minds on gambling, they decide that every day for ten days, each one of them shall tell a story. Those hundred stories form Boccaccio’s Decameron.
Writers, too, need diversion, delight and pleasance in their surroundings. With retreats, the setting is often as important as the work done there. Bringing ourselves to a new location allows focus and stimulation—and a surprising amount of creative power is unleashed when someone else handles meals.
Brevity’s Editor-in-Chief Dinty W. Moore and Social Media Editor Allison K Williams are leading an October retreat in Boccaccio’s hometown, Certaldo. In a small hilltop castle, on a terrace overlooking Tuscan fields, we’ll help ten writers create their stories every day.
Is it…responsible…to travel overseas right now? Is it risky?
ALLISON: I spent July in Tuscany, went to the USA, and was in Florence again last week. I needed negative PCR tests to board international flights and showed proof of vaccination to enter Italy, to dine inside, and to enter public indoor spaces. Tuscany has half the lowest per-capita Covid rate of any US state, has a fully-vaccinated rate of 63% and climbing, and masking indoors is required and mostly followed. I felt much safer there than in Florida, New York and Pennsylvania.
Much like Boccaccio’s storytellers, we’ll be largely keeping to ourselves, with private airport transfers and our own dining areas and lodging in a small, family hotel. We’ll also be testing before returning home.
What’s the difference between a workshop and a retreat?
DINTY: A Workshop is primarily designed for feedback, where we look at draft pages around a table and ‘critique’ what is working and what is not quite coming across. Our Tuscany experience is instead a Retreat, aimed at both freeing up time to expand the writing and freeing up the necessary head space to think holistically about a large writing project. We will “retreat” from the burdens and distractions of our regular lives, to aim our attention on the joys and struggles of putting words on the page and turning pages into completed books.
What exactly will Allison and Dinty do all week?
DINTY: Some days have formal classes to help get the wheels spinning, and as Retreat leaders, we’ll be sitting down with everyone individually to work through manuscript problems (and opportunities). But we will be available as coaches at every step along the way, to discuss small issues in the text or larger concerns about sustaining your writing project. Plus, we will steer you to some lovely Tuscan destinations when the time comes to relax.
ALLISON: I truly love being “at the table.” When a writer hits a tough spot, we can step out and talk through the challenge, getting them back to the page. We’ll meet with each writer via Zoom before the retreat to make a clear plan for what they want to accomplish (writers can bring an idea, a full draft, or anything in between), and meet again after returning home, to sustain the momentum.
Also, gelato. I will be eating a lot of gelato. Some of it onion-flavored. (It’s a local thing, and way better than it sounds!)
DINTY: I may not be eating the onion gelato. But I’ll be eating gelato for sure!
I’m not ready for this.
ALLISON: That’s OK! We might see you virtually in January, in Costa Rica in Feb/March, or next year in Tuscany! This is not your only chance to retreat with us. Meanwhile, please make time for your work when you can. Check into a local AirBnB for a weekend, or train your family that Wednesday afternoons are sacred. Or focus the emotional power you have on keeping yourself and your family safe in this weird time. Writing will always be there when you come back.
DINTY: These are difficult times. I admit some initial hesitancy about travel right now, but I researched how airlines are enforcing masking and safety and how Italy looks right now and I feel confident, especially given the precautions we will all be taking. A trip like this is just what I need. Maybe it is for you too, but if not, stay safe. We’ll see you another time.
I’m totally ready for this.
DINTY: We still have spots for two writers and we’d love for you to join us. Here are the full details including cost, daily itinerary, FAQ, and photos from the 2019 Rebirth Your Book in Tuscany. Get in touch through the contact form with questions.
At the end of their retreat, one of Boccaccio’s young men says,
I have seen and felt here a continual decency, an unbroken concord and a constant fraternal familiarity… I hold it meet, if it be your pleasure, that we now return whence we came…
That’s what we hope our writers will return with, too.
August 17, 2021 § 9 Comments
I’m going to a writers’ conference! With workshops and panels and book sales and a lot of strangers and oh dear god what if none of them like me? What if all the workshops are too advanced, or too basic, and I have no idea what the Liminal Space Outside the Academy: A Feminist Perspective Through The Work of Dickinson and Gay As Realized In Graphic Novels panel is talking about? Am I too old? Am I too young? What if I haven’t had anything published yet?
Good news: we’re all welcome. Conferences, both online and in real life, are a great chance to meet and talk with writers of all ages and stages. Most conferences have purple-haired college kids, silver-haired seniors, and a variety of pantsuits, piercings, ties and tattoos in between.
I’m just about to teach at the Woodhall Writers Conference this Saturday, and I’ve just taught at the HippoCamp Creative Nonfiction Conference in Lancaster, PA. There were/are some terrific panels (none of them use the word ‘liminal’) on publishing, researching, writing, promoting and a lot more. (It turns out the key to getting ahead as an author is pretty much the key to everything else–work hard, be nice to people, and don’t tweet “Buy My Book!” every hour because everyone else will mute you.)
Some thoughts on how to make the most of attending a writing conference.
Before you go:
1a) For a virtual conference, set up a reasonably private space and brief your family that you won’t be answering calls or texts unless someone’s on fire. Have your water and coffee handy. Maybe make some meals in advance so you can enjoy thoughtful breaks rather than rushing to your kitchen. Consider starting your day with yoga or a walk, even if you don’t usually, to energize the morning.
1b) Going live? Decide whether to stay onsite. Conference hotels are often expensive, but when your day starts at 8AM and the last reading finishes at 11PM, it’s nice to have a last glass of wine and hit the elevator instead of the pavement. If budget’s an issue, see if you can get a roommate–most conferences have a message board to share rides and rooms. Or, if you’re more of a hermit, retreating to an offsite AirBnB might be your jam. I’ve been fortunate to be in a sunny, plant-filled studio this week, and it was worth it to book a few extra days on each side of the conference for personal writing time.
2) If you have an author website, update it. Make sure your links aren’t broken and that your most current work is represented. If you have Twitter, Facebook, Instagram, etc, check your page from a friend’s account and see what shows up first. Any embarrassing pictures? Is your top post a rant? You’ll be friend-ing/following a bunch of new people, and you want to give a strong first impression. What if an agent loves your query in a workshop and clicks over during a break? Be you online, but be the best you.
3a) Check your virtual space: does anything look like it’s growing out of your head? Is your background over-bright or distracting? If you’ve got a book out, display it on a shelf behind you!
3b) For live conferences, pack comfy shoes, layers and a jacket. Most convention centers and big hotels are freezing, especially first thing in the morning. Dress code at most conferences is Casual Friday–professional but comfortable, often a little quirky.
4) Get on Twitter. Specifically Twitter. Find out what the conference hashtag is and follow it. Even if you never tweet again, Twitter is where people are commenting on the panels, making dinner plans, and announcing schedule updates. It’s worth it to be in the loop. If you’re virtual, chances are there’s some backchannel messaging going on, too, and it’s a great way to connect with fellow attendees.
At the conference:
1) Go to everything. It’s worth getting up early, it’s worth staying out late. Sleep when you go home. That said,
2) Don’t be afraid to bail. If you’re exhausted and can’t focus, slip upstairs to your hotel room or turn your camera off and take a power nap.
3) Make the first move. As the Victorians said about fellow houseguests, “The roof constitutes an introduction.” It’s OK to sidle up to a conversation in progress, make some smiley eye contact and start listening. Find people on social media and see what they’re up to. Like what someone just read? Send a private chat message. When in doubt, start with “How were your workshops today?” And the best follow-up question ever: “What do you write?”
4) Volunteer. If there’s a chance to be read or heard, jump on it. There’s always a pause before the first person volunteers–fill that pause. After the first person it will be a scrimmage and not everyone will get a turn.
Corollary: Ask good questions. Before popping up to the mic or raising your hand during the Q&A, ask yourself, “Will this be relevant to at least half the room?” If your question is “I’m writing a memoir about my mother, do you want to buy it?” phrase it as, “What topics are you seeing in memoir right now, and what are you looking for? Are there a lot of parent-child stories?”
When you get home:
1) Follow up. Everyone whose card you took, send them an email saying how nice it was to meet them, and/or connect through your preferred social media. If you’ve got free time, send out a few links to articles you think would interest specific people. Start building your literary citizenship by being useful and kind.
2) Keep the energy going. Register the domain for that blog idea you talked about. Query that agent who seemed really nice. Ask someone to be your writing buddy.
And of course, write write write.
See you at the Woodhall Press Writers Conference this Saturday! I’ll be giving a keynote address; there are small-group workshops, a pitch panel and more. Register here.
Allison Williams is Brevity‘s Social Media Editor and the author of Seven Drafts: Self-Edit Like a Pro from Blank Page to Book.
July 29, 2021 § 14 Comments
You may not be ready to step into the world yet. Or plan travel. Or be around groups of people. And that’s just fine. The Delta variant, angry political arguments, the idea that wanting to protect your own health and others is somehow not a universal given, all of these are frightening.
In this past span of 18+ months we’re sort of calling “a year,” virtual teaching and online workshops have flourished. Suddenly, we’re all able to cater to people who can’t leave their houses for reasons physical or emotional or financial or just because. And it turns out there are great ways to teach online, to interact with students and help students interact with each other.
Yet, many of us still miss personal, human connection without a mediating screen. Gentle crosstalk without a Zoom delay. The warm presence of writerly bodies across a table. Hugs.
Fortunately, whether you’re a staying-home-still or a stepping-into-the-world person, on a budget or ready to spend your accumulated vacation funds, there are upcoming events for you! You might enjoy:
August 13-15 (live) Hippocamp Creative Nonfiction Conference in Lancaster, Pennsylvania. This three-day writing conference features 50+ notable speakers including Athena Dixon, Lilly Dancyger and Marian Winik; engaging sessions focused on writing, publishing, networking and writing life, interactive all-conference panels, author and attendee readings, social activities, networking opps, meals, and optional, intimate pre-conference workshops. Cost is $489 and 8 places remain. More information/register here.
August 21 (virtual) Woodhall Writers Conference. This first-time conference includes small-group workshops with top-notch instructors, enlightening panels on the Future of Publishing and Book Pitches, keynote speeches by inspiring writers, and networking interactions that will help you expand your artistic community. Workshops include: Introduction to Short Forms with Tom Hazuka and Darien Gee, Poetry with Charles Rafferty and Prose Writing with Eugenia Kim. Cost is $175 with a workshop, or $95 for keynotes and panels only. More information/register here.
October 10-17 (live) Rebirth Your Book in Tuscany. Truly excited to travel and write, but want some guidance? Or maybe you just want to write in a castle? Join Brevity’s Editor-in-Chief Dinty W. Moore and Social Media Editor (me!) Allison K Williams for personal coaching, editorial feedback on up to 75 pages, seminars on writing and publishing, live-editing, great food and inspiring scenery, all in a tiny town in the hills outside Florence. Cost is $3250, payment plans available. More information here.
Ongoing (virtual) Low on cash but want to better the business aspect of your work? Enjoy Jane Friedman’s free Sunday Business Sermons. Jane’s frank, friendly style gets to the nuts and bolts of publishing and process. You can watch live upcoming sessions on Using Discord and Better Slide Presentations, or enjoy the recordings of past sessions at Jane’s YouTube channel, including Branding Tips&Tricks and How I Get So Much Done. FREE, no registration needed. Topics list and dates here.
Ongoing (virtual) Creative Nonfiction Magazine offers webinars, live and asynchronous courses, and self-guided courses to generate new writing, stay focused, and create your best work. Upcoming webinars include Byline Boot Camp: Everything You Need to Know to Get Your Short Nonfiction Published with Melissa Petro, and Mind Music: Writing the Lyric Essay with Amy Hassinger. Most webinars are $15 early bird/$25 regular; course prices vary. Find out more/register here.
What are YOU teaching or learning, and when and where and how much? We invite you to share your upcoming events—and events you’re excited about!—in comments.
June 28, 2021 § 4 Comments
By Dinty W. Moore
There is, perhaps, no current genre of writing as misunderstood as the personal essay. The personal (or literary) essay nowadays is often dismissed as some variation on a “Freshman English” paper, dull at best, and at worst a cliché-ridden five-paragraphs weighed down by unnecessary thesis sentences. Alternately, the personal essay is confused with archaic, meandering pontifications from old dead white guys, British and effete. Or at times the essay form just gets lost in the name game confusion of creative nonfiction. What, for instance, do we call a work of scene-based memoir that runs six manuscript pages? Is it an essay, or a memoir, or a, essay-length memoir? And if it is indeed an essay, then what do we call an essay that isn’t primarily memoir?
I’m confusing even myself.
The downside of all this uncertainty is that too often we fail to recognize that the personal essay is a wonderfully flexible and creative form, as alive and inventive as the writer at the desk wishes it to be.
In its purest and most dynamic state, the essay takes flight when a writer engages a topic – any topic under the big yellow sun – and holds it up to the bright light, turning it this way and that, upside and down, studying every perspective, fault, and reflection, in an artful attempt to perceive something fresh and significant. In the hands of contemporary practitioners such as Rebecca Solnit, Brian Doyle, Patrick Madden, or Roxane Gay, the personal essay is an idiosyncratic combination of the author’s discrete sensibilities and the endless possibilities of meaning and connection.
I’d like the personal essay to generate less confusion, and I’d like more nonfiction writers to see how this flexible form creates opportunities to expand on our “usual” subjects, to find new life and fresh writing pathways emanating from our personal stories.
On Wednesday, I’ll explore all of this in a 75-minute webinar – The Pleasures of the Personal Essay – sponsored by Jane Friedman, examining the myriad forms that an essay can take. The 90-minute course will discuss how the essay fits into contemporary literary publishing, how understanding the flexibility of the essay form can help with “stuckness,” The role of research (and how it can be fun not work), and how to find the best markets (literary magazines and beyond). Participants will leave with useful prompts to help them determine their own essayistic opportunities.
Here are the details. Hope to see you there:
When: Wednesday, June 30, 2021
Time: 1 p.m.–2:15 p.m. Eastern Time / 10 a.m. Pacific Time
Do I have to attend the live class?
No. Everyone who registers will get access to the recording.
May 17, 2021 § Leave a comment
Brevity’s 67th issue launches this morning, with startling flash essays from Beth Ann Fennelly, David Mura, Irina Dumitrescu, Abigail Thomas, Bret Lott, Elizabeth Dodd, Pam Durban, Amy Monticello, Carrie Jade Williams, Cameron Steele, Joe Plicka. Yi Shun Lai, Sabrina Hicks, Sarah Ebba Hansen, and L.I. Henley, and stunning photos from essayist Dinah Lenney.
In our craft section, Karen Babine explores how she finds friction in odd objects, Beth Kephart offers insights for writing about our childhood homes, Heidi Seaborn illustrates persona by becoming Marilyn Monroe, and Heather Walmsley recommends freeing our minds through movement.
And two exciting announcements:
- We’ve launched an expanded Resources for Teaching section on our main website. Helpful new resources will roll out all of this week on the blog.
- and in just a few short weeks Brevity is moving to Philadelphia. See you along the Schuylkill.
May 10, 2021 § 9 Comments
With summer around the corner, the Brevity staff slips out to the deck and into our summer schedule of waterskiing, forest hikes, and celebrating our vaccination status around the campfire. A new issue of Brevity comes out next week—you’ll love the beautiful essays and thoughtful craft pieces. Start making that summer reading list from Brevity book reviews (and please do drop your own reviews on Amazon and Goodreads of the new books you’re reading.) And stay tuned as well for announcements regarding our greatly expanded “Teaching Brevity” section of the website!
We’ll still be posting to the Brevity blog, on a slightly more relaxed schedule, and we’ll keep reading blog submissions at a summery pace. In June we’ll be rolling out a new feature—biweekly writer advice!—and we’ll be calling soon for your writing, editorial and publishing conundrums.
Meanwhile, tell us what you hope for from the Brevity blog. What pieces have stuck with you, and what do you want to see more of? Essay pitching tips, querying or submissions advice, writer’s life, journal reviews, writing craft, exercises to try yourself or teach? What haven’t you seen that you’d love to read on Brevity?
We’re so thankful to be sharing a writerly summer with you, beautiful readers. Let us know what else we should share. We’ll be on our inflatable pool loungers (Dinty’s floating on a wise giraffe, Allison’s on a toothy alligator, of course), ready to hear your thoughts. Swim up and join us.
Allison K Williams is Brevity‘s Social Media Editor
March 22, 2021 § 3 Comments
In her latest book, Processed Meats: Essays on Food, Flesh, and Navigating Disaster, Nicole Walker continues her deep essayistic dive into sustainability, climate change, global food issues, and her own eating obsessions, layering in the overlapping impact of our unsettling pandemic year. Her insights remain refreshingly honest and are, at times, spiced with unexpected humor. Brevity founder and fellow pancetta-enthusiast Dinty W. Moore interviews Walker on her book, on digression in the essay, and on the possibility of hope in desperate times:
Dinty W. Moore: First, a confession. More than a decade ago I was visiting the Arizona city where you live and you invited me to join you for dinner. “How about charcuterie?” you said, pronouncing it as if you knew exactly what you were proposing, and I instinctively blurted, “Yes, I’d really love that,” because I didn’t want to seem unsophisticated. Back then, I had no idea what “charcuterie” really meant, though I do still remember the enticing selection of meats, cheeses, pickled vegetables, and spreads that ensued. So maybe I’m not the best person to speak with you about Processed Meats, or maybe I am the perfect person. In any case, it is too late – we have agreed. So, here’s my question: Do you remember that dinner and I did I fool you at all?
Nicole Walker: This question is the most on-point question you could ask. I just wrote an essay for the NYT and the only real edit was, can you make it clear how you know what charcuterie is and how much privilege comes with making sure your kid eats 9 colors of fruits and vegetables a day? An obsession with food isn’t becoming. Making your guests feel out of place is definitely against the Emily Post’s rules of etiquette. Your graciousness at that dinner covered for you, if not me. I remember us sitting on the deck, eating cheese and prosciutto, and then maybe also having tacos? Max and Zoe adored you. You talked to them like they were the adults they thought they were, even though they were two and six at the time.
This story is making me want to hang out with you. If I could spend the energy to build a teleport machine instead of curing strange meats, I should. But maybe charcuterie is its own kind of teleport machine. I know books are. The main reason to publish books is to be invited to places to read or to be invited to talk with you. It’s a kind of teleport machine. The book came out earlier this month. I made pancetta for the book release, which took four weeks to cure. With book and pancetta, I am bringing myself to book readers and charcuterie eaters, which is all I ever really wanted to do.
DWM: Speaking of charcuterie as its own kind of teleportation device, what I love about your book is how processed meat, your ostensible subject, becomes a vehicle to explore so many deeper themes: pregnancy, plastic waste, parenthood, pandemic, owlets, and anti-bodies. The Greek philosopher Anaxagoras first expounded the theory of “everything-in-everything,” which is the basis for poetic (and essayistic) metaphor. Look closely at any one thing and all things will be revealed. Did you imagine at the outset of Processed Meats that salami, capicola, bologna, and prime rib would lead you in all these directions, open all these portals into culture and human existence?
NW: I was talking with a friend who is working on this big book project about her father’s time in a concentration camp in the Ukraine and she was trying to figure out a structure to the book because otherwise she just chases after details and the book sprawls. I said to her, well, you can just be like me and see where the words take you, but I get that such an approach is an unconventional one. Maybe even a vilified one. Cohesion. Topic sentences. Stay on target, Luke is told when he’s gunning for the Death Star’s weak spot. Max says of nachos that the triangle ones are better for chasing the cheese. It is nice to have a target and maybe even an angular and pointed kind of targeting device. Circles have a hard time getting the cheese.
But in writing, the target is always moving. Derrida said so in “Structure, Sign, and Play,” obviously riffing off Anaxagoras—you’re more likely to get at the thing if you approximate the thing itself. If you get closer to it. Sidle up. Don’t spook it! And metaphors are the best approximators. I take my cue from poetry so I can leap and play but I also know it can seem unserious—that I’m not making a point and completing an argument in my essays.
But my larger, forever-point is that we can understand things better from supremely local positions. Bologna and prime rib, shrimp and capicola we can know. Meat in particular is a weird way to approximate the center. Our bodies are subject to so many strange manipulations—not so many as the cow’s, of course, but still—from sitting unmovingly in church to forcing it on 100-mile runs, to suffering real hunger to letting the doctor’s take a big chunk out for biopsy, we know through our bodies and our mouths abstractions that are hard to understand otherwise. If I can mete out the steps from mouth to body to soil to tree to big global catastrophe, maybe the everything-in-everything theory that Anaxagoras offers us not only makes sense in a cognitive way but in a visceral one as well. (Puns apologized for, but not regretted. Well, a little regretted.)
DWM: All this talk of Anaxagoras and Derrida may mislead potential readers, overlooking what I find equally compelling about your book: the humor, the silly asides, the basic optimism. Processed Meats doesn’t fail to acknowledge our difficult times—not just our pandemic nightmare but our toxic consumerism and the climate crisis that we’ve been avoiding for too long—but I found the book itself to be a bit of a lift, a buoyant and invigorating read.
So, tell me Nicole. Do you still have hope? Despite it all?
NW: What is wrong with me? Why do I read about the fires and the melting and the storms and the dislocation and still find hope? I am, as flawed as it is to be, an American. I’m full of optimism just as I am full of cheese. Optimism is dangerous. It’s often plain wrong. But when I look at the twenty-year old kid who invented a boat to pull plastic from the ocean and the water protectors from the Hopi and Navajo nations bringing attention to the rapidly declining aquifer and the local farmers and community-supported agriculture, all I can see is promise. It’s brighter than the bad news—not because it’s bigger. In fact, maybe because it’s smaller. I can relate to the person who grows heritage pigs and feeds them acorns from his hand and still manages to slaughter them and sell that pig to his local pork product purveyors because he spent so much time and energy with them. They had a good and industrious life. The acorns did too. The soil researchers who worry that at a certain temperature the forest becomes a bigger producer of carbon than a carbon sink look at layers of sand and at the nearly invisible microorganisms chowing down on the decaying leaves and I think, those microbes, if not those scientists, will figure something out. I’m Generation X. We aren’t supposed to believe in anything or have a lot of hope, but I think underlying all that biting realism, there’s a layer of “fine. We’ll get it done.” I believe we’ll get it together. And by we, again, I might mean the microorganisms more than the people, but still. Getting it together will be got.
Nicole Walker is the author of Processed Meat: Essays on Food, Flesh, and Navigating Disaster, The After-Normal: Brief, Alphabetical Essays on a Changing Planet and Sustainability: A Love Story and A Survival Guide for Life in the Ruins. Her previous books include Where the Tiny Things Are, Egg, Micrograms, Quench Your Thirst with Salt, and This Noisy Egg. Her work has been published in Orion, Boston Review, Creative Nonfiction, Brevity, The Normal School and other places. She curated, with Rebecca Campbell, “7 Artists, 7 Rings—an Artist’s Game of Telephone” for the Huffington Post. A recipient of a fellowship from the National Endowment for the Arts, she is noted in multiple editions of Best American Essays. She’s nonfiction editor at Diagram and Professor at Northern Arizona University in Flagstaff, Arizona.
Dinty W. Moore is editor-in-chief of Brevity and author of To Hell with It: Of Sin and Sex, Chicken Wings, and Dante’s Entirely Ridiculous, Needlessly Guilt-Inducing Inferno.
March 3, 2021 § 4 Comments
By Dinty W. Moore
The AWP Conference is virtual this year, and most current and former members are rather curious what that will look like and how that will go. No hotel bar? No hotel lobby stress-attacks? No book fair chocolates? Nonetheless, U of Nebraska Press has arranged for an author “meet and greet” to mark the release this week of my hellish new memoir To Hell with It: Of Sin and Sex, Chicken Wings, and Dante’s Entirely Ridiculous Inferno, and I hope someone, anyone, shows up.
You have to be registered for the conference already, so if not, you have an easy out here. But those of you who are registered, the event is Friday, from 11 am to noon EST, at this link: Dinty Meet & Greet Hell Book AWP 2021. We can chat. I can sign the air. You only need to stay for a moment or two.
It is a tough year to launch a book, as many of you know. The marketing folks are working from home, pandemic bookselling is a mess, and January itself had a hellish quality. But here we are:
To Hell With It is part memoir/part spiritual essay, asking what would our world be like if eternal damnation was not hanging constantly over our sheepish heads, stoking our self-loathing and making so many of us vaguely miserable? To Hell with It pokes fun at Dante’s ambitious poem, Divine Comedy, and explores the ways in which the poet’s gruesome imagination, helped along by shady theologians, shaped western culture and made us all a little more miserable than we need to be.
The more I read about early religion, the more I came to understand how much of Catholic and Christian theology was clearly man-made, and designed to manipulate rather than to inspire spiritual awakening. Plus, I love poking fun at silliness, and Dante’s long poem is a rather bizarre and ridiculous mix of horror-movie imagery and revenge fantasy.
Beth Ann Fennelly, author of Heating and Cooling: 52 Micro-Memoirs, generously says of the book: “I don’t dare say that Dinty’s Inferno is better than Dante’s. But it is a hell of a lot funnier. It’s so funny that you don’t realize how smart it is until it’s too late: you’ve suffered Deep Thoughts. You realize you’ve been not only entertained but enlightened.”
If you are registered for the AWP, please join me on Friday, for five minutes or so, and we’ll chat. If not, maybe have a moment, check out the book, or ask your local library to order a copy.
Thanks so much, and stay healthy!
Dinty W. Moore is the founding editor of Brevity.
February 18, 2021 § 2 Comments
By Dinty W. Moore
As a teacher of memoir since before the invention of the lightbulb, one challenge I see writers struggle with consistently is how to make the “I” on the page a fully living, breathing, walking and talking character. And even more important, how to make that “I” someone the reader will want to spend time with, over ten or 250 pages.
Phillip Lopate aptly points out that the problem for writers is thinking that the ‘I’ we type onto the page “is swarming with background and a lush, sticky past…” Instead, Lopate warns, all readers will actually see in the letter ‘I’ is “a slender telephone pole standing in the sentence, trying to catch a few signals to send on.”
I know this problem well, because it remains an issue for me, in my own early drafts. It is maddeningly difficult to escape my own mind, one in which the mere thought of myself brings up this complex, swirling, tumbling wealth of memories and associations. What is needed, however, is to somehow enter the mindset of an anonymous reader, one who knows virtually nothing about me.
Yet it is not enough to merely tell the reader who I am. Why should a reader believe me, of all people? Why would you believe some stranger in a Starbucks who wandered up to your table and began explaining his positive traits, unjust obstacles, and charming little idiosyncrasies? The natural reaction to the fellow in the coffee shop is to think, “Sure buddy, I’ll believe it when I see it.”
Readers aren’t that different.
On Wednesday of next week, Feb. 24th, from 1 to 2:15 pm, I’ll be exploring the various ways we can craft a compelling “I” onto the memoir page, and how that person becomes a rounded, engaging, and believable presence. The 75-minute Zoom webinar, hosted by the wonderful Jane Friedman, will focus on:
- Why characterization is critical
- How the ways in which we assess people in “real life” transfer to how readers assess us on the page
- What to reveal, and what to keep hidden
- The importance of compassion when writing about others, but also when writing about the self
- How to gain the reader’s trust through honesty and fairness about yourself and your adversaries (And the surprising way sharing your own faults affects the reader!)
The webinar is useful for writes at all levels,
- When: Wednesday, February 24, 2021
- Time: 1 p.m.–2:15 p.m. Eastern Time / 10 a.m. Pacific Time
- Fee: $25