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
January 18, 2021 § 2 Comments
Our new issue launches this morning, with wishes for a safer, healthier world and brilliant essays from Jesse Lee Kercheval, Elena Passarello, Hiram Perez, Michael McAllister, Dorian Fox, Tyler Orion, Noah Davis, Ira Sukrungruang, Sonja Livingston, Anne Panning, Kate Hopper, Lizz Huerta, Melissa Stephenson, Francis Walsh, and Laurie Klein. Also, an array of wonderful photos from Kim Adrian.
In our Craft section, Nancy Reddy explores the “community we” and David Perez uses his acting background to show how reading our work aloud can make the written word come alive.
And we have a request as well: Brevity comes to you with no subscription fees, but we do have expenses. We have no institutional funding, and our volunteer staff is unpaid, but we pay for our website, domain name, backup software, website security software, and various other operating expenses. And we are very proud to say that we pay our authors.
If you appreciate the work we publish or are one of the many teachers who utilize Brevity in the classroom, please consider a small donation.
We are a 501 (c)(3) charitable organization, and as such all of your donations are tax-deductible.
December 28, 2020 § 8 Comments
The author Barry Lopez passed away on Christmas Day, and we will truly miss him. His sentences were beautiful, and he was as well: setting an example as an artist, a citizen, and a human being.
Thankfully, he left us with so much of his wisdom and heart, including this passage, on the subject of hope and why we make art:
“In conversations over the years with other writers and artists about what we’re actually supposed to be doing, I’ve been struck by how often, deep down, the talk becomes a quest for the same mysterious thing. Underneath the particular image in question, the particular short story or musical composition, we’re looking for a source of hope. When a conversation about each other’s work doesn’t pivot on professional jargon or drift toward the logistics of career management, when it’s instead deferential and accommodating, we’re sometimes able to locate a kind of Rosetta Stone, a key to living well with the vexing and intractable nature of human life. If any wisdom emerges in these conversations, it offers sudden clarification. It’s the Grail shimmer. You feel it, and you can’t wait to get to work.”
December 14, 2020 § 5 Comments
During my parents’ divorce, I lived with my grandmother, a gifted raconteur with impeccable timing and skillful intonation. Listening to her made me want to become a storyteller. Most of her tales were set during her childhood in the Bronx and involved the Yankees, her mother’s mysterious illness, or her family’s elaborate Italian dinners.
One day, she told me about a dollhouse she’d wanted for her sixth Christmas. At sixty-one, she could still recall the number of rooms and the color of the kitchen’s porcelain plates. With each detail, she transformed into the little girl who pleaded for her one and only Christmas wish.
But the only gifts under that year’s Christmas tree were underwear and socks.
After a long pause, she swallowed hard then patted my hand. “That day, I learned an important lesson. If you never want anything, you’ll never be disappointed.”
A lifetime of heartache solidified that lesson.
Her mother’s tragic death.
A shotgun wedding after an unplanned pregnancy.
An unhappy marriage.
A suicide attempt.
Mysterious health problems.
At ten, I absorbed her lesson.
It took several decades to unlearn it.
Since March, I’ve thought a lot about her story and how it’s hard to want anything when problems keep dropping upon us.
A global pandemic.
Lockdowns and stay-at-home orders.
More COVID cases.
And yet, even now, I have desires.
I want to finish the memoir about my brother’s suicide.
I want to send it to agents.
I want to believe this story will help someone.
When grief overpowers me during the revision process or I fear my memoir no longer matters, I turn to Brevity for inspiration.
While my teacup steams beside me, I read courageous posts about Chelsey Drysdale’s courage in the face of rejection, Amy Grier’s determination to finish her memoir, and Shiv Dutta’s late-life publishing success.
Brevity shows me that I’m part of a creative family whose wishes are sacred.
In November, I met with several members of this creative family who sounded as broken-hearted as my grandmother. Many talked of shrinking their dreams. I felt like doing this too.
During my master’s in counseling, my advisor once said, “We can’t change the past, but we can change the story we tell about it.” That’s what counselors help people do.
It’s also the gift of creative nonfiction.
As we entered the final month of this year, I wanted to do something that proved there’s more than one story we can tell about 2020.
I created my #Giveaway4Good Challenge to help writers connect with something greater than themselves. Each week’s challenge is designed to boost resilience and encourage literary citizenship. Knowing this work benefits my creative family gives me the strength to work on the hardest parts of my memoir.
My Week Three Challenge gives you an opportunity to support organizations like Brevity that encourage us to courageously turn our difficult experiences into art.
Here are the details for this week’s challenge:
- Support any literary organization with a monetary donation or social media share, and I’ll give you one ticket for this week’s drawing. I’m giving additional tickets for support to Hippocampus Literary Magazine, James River Writers, and Creative Nonfiction. For more details check out my website.
- Support Brevity by doing one of the following and I’ll give you two tickets for this week’s drawing:
- Make a ten-dollar donation to Brevity or send a copy of The Best of Brevity to a writer, teacher, or friend and I’ll give you four tickets for this week’s drawing.
The more you do, the more tickets you’ll earn.
This week’s prize is a set of author-signed books published in 2020 and a spot in Jane Friedman’s Query Master Class.
You’ll also be entered in my grand-prize drawing for a one-hour coaching session with me (includes a 10-page manuscript review) PLUS a spot in Jane Friedman’s course How to Write a Book Proposal.
To participate in this challenge, send an email to email@example.com. Please include the name of the organization and your donation amount or a screenshot of your social media posts.
If loneliness, heartache or overwhelm make you question your dreams, brew a hot beverage, and scroll through Brevity. Let the words of your brilliant, courageous writing family remind you to that your stories are your gift to the world.
Lisa Ellison is an editor, writing coach, and speaker with an Ed.S in Clinical Mental Health Counseling. Her life story and essays have appeared on NPR’s With Good Reason and in Hippocampus Literary Magazine, Kenyon Review Online, and The Guardian, among others. She is currently working on a memoir about how, after her brother’s suicide, a chance meeting during a heavy metal tour ultimately saved her life. Follow her on Twitter @LisaEllisonsPen or Instagram @lisacooperellison.
November 18, 2020 § 17 Comments
By Sweta Srivastava Vikram
It’s been raining nonstop in NYC as I write this essay. I am a sunshine-loving woman and the relentless downpour (We have had a wet week) dries up my creative juices. It makes me unnecessarily mellow and puts out my creative fire. I like being able to go for a walk in the woods or stroll in the park close to home to tap into my inner voice and connect with the stories that matter.
Denial: Being homebound these past few days, I said to my husband, “You sure we weren’t transported to London one night while we were asleep?” Nothing seems strange or impossible in 2020. Because I remember autumn as a crisp and bright season in NYC, not grey and wet like the weather across the pond that our London friends and family complain about. Imagine what winter will be like?
Acceptance: Once I let the rant out of my system, I ordered a few brightening and heating lamps for our apartment. Because either you change your situation (which I can’t at this time) or your attitude around it. 2020 has taught us all that so much of our survival and sanity is dependent on our mindset. We are stuck in the pandemic for a long haul…sometimes, with awful weather. We can either accept it with grace or fight a battle with no outcome in sight.
Innovation: I can’t write on the couch. I can’t work on the floor. So, I carved out an intimate corner for my creative work, which is well-lit and has a space heater for my feet to stay warm. It also has close access to the kitchen—literally five seconds—for the numerous cups of chai I need. I, for one, have not returned to working from coffee shops or a co-working space. I don’t see writing residencies or writing retreats in my near future. I live in a NYC apartment, so the space is not something you will read about in an architectural magazine. But I love that it’s all mine for my writing. In this nook, I don’t work my day job. None of my virtual speaking engagements or client coaching happen in my writing space. No one else is allowed to sit in my writing chair. I show up here every day with gratitude in my heart.
Meaningfulness: I view this pandemic as an opportunity to connect with our individual selves and society-at-large. It’s an unintended but profound mindfulness practice. When the days get shorter and colder and our ability to go out and see people (even if from a distance) becomes reduced, writers can rely on the company of their words. While 2020 has been brutal and unpreceded, it’s given us writers a lot of material to work with. If you feel too close to it, the timing seems uncomfortable, and it makes you anxious, don’t start to write. The brain is still collecting information. It’s percolating, fermenting, and processing. These are all vital limbs of the writing process.
Association: I also remind myself that writing is like yoga asanas and meditation—you show up daily with dedication without any attachment to the outcome. Some days will be prolific; other days, will be null. But show up because having a habit and purpose can help us feel connected. Be fine with all days not being the same. Be okay with not hammering yourself to produce a daily quota of words. Befriend writing on a deeper level. Sit with the discomfort but don’t pressure yourself to churn out pages after pages. Being a writer doesn’t just mean tapping away at the keyboard or scribbling in your journal all day. All these experiences will stay with you. When the time is right, you will write. This approach ultimately reassures me that I will always be a writer (whether I am writing a book or being creative with a social media post), so it eliminates any fear associated with my identity as a writer and encourages me to show up to writing daily.
I interviewed three women writers who live in different countries—Canada, United Kingdom, and the United States—to get their input on how we, the writers, can make the most of a pandemic winter….no matter which place we call home.
London-based Sejal Sehmi, IT consultant and UK editor of Brown Girl Magazine, said, “Being in the midst of the pandemic especially in the winter is sure to arouse a lot of anxiety and uncertainty – much as what I myself have suffered during the peak of the lockdown. But it’s also a time that these fears can also give way to suppressed emotions which sometimes can only be articulated in words. Make it a point, at some time in the day, to keep a regular routine of writing something, anything, even if it’s just a Dear Diary moment. Early mornings, whilst I appreciate it is more challenging because of the shorter days to come, I feel is the best time to jot anything that comes to mind down on paper/journal. Once this becomes a routine, your creative juices in its own time will naturally build something you will enjoy reading back on.”
Sehmi further suggested something I can’t live without either: “Meditation can play an integral part to having a clear focused head and be mindful of looking for creativity even within the four walls we are surrounded by. We often spend so long seeking inspiration from the outside world and forget how close to home it actually is. This is the time, more than ever to use our words to self-heal and self-comfort.”
Another poignant suggestion comes from Seattle-based Joyce Yarrow, author of Zahara and the Lost Books of Light (Adelaide Books, NY/Lisbon). “When I think about being a house-bound writer during this pandemic, what comes to mind are the many books written by authors while serving time in prison. Although the majority of these ‘prisoner-authors’ have little in common with me—I am not a convicted thug, thief, kidnapper and rapist like Sir Thomas Malory, who wrote Le Morte d’Arthur—there are some I greatly admire, such as Nelson Mandela (Conversations with Myself) and Piper Kerman (Orange is the New Black). The bottom line is that I’ve always admired people who are able to transcend their surroundings and create a safe place in which to be creative. Whether we confine ourselves willingly or are sequestered by circumstance, developing the ability to visualize and create worlds that we literally wish into being is a gift to be treasured. And by nurturing our gratitude for this gift, we can not only survive—we can thrive.”
Anita Kushwaha, author of Secret Lives of Mothers & Daughters, Harper Avenue, said, “When we went into lockdown here in Ottawa back in March, like so many of us, my creativity took a nosedive. I couldn’t focus for long enough to write or even read. After a while, though, writing became my haven from the uncertainty of the world. At first, things moved slowly. But in time, the pace picked up and I even managed to complete a new manuscript over the span of the next five months. (Fast for me.) Now that we’re in the second wave of the pandemic, writing has once again become a kind of sanctuary for me, a place where I can go and have at least some control over what happens. My one suggestion? Observe and embrace the changes in your creative process, find new ways that work for you, and cut yourself some slack if you aren’t meeting your own expectations in terms of output. We’re all living through something incredibly challenging at the moment. Good luck and keep going!”
While we are ALL in the pandemic together, we are still individuals with our own strengths and struggles and hesitations. Figure out what works for you and your creative process this winter.
“You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it. That’s why I say one of the most valuable traits is persistence.” ~ Octavia E. Butler
Sweta Srivastava Vikram is an international speaker, best-selling author of 12 books, and Ayurveda and mindset coach who is committed to helping people thrive on their own terms. As a trusted source on health and wellness, most recently appearing on NBC and Radio Lifeforce, Sweta has dedicated her career to writing about and teaching a more holistic approach to creativity, productivity, health, and nutrition. Her work has appeared in The New York Times and other publications across nine countries on three continents. Sweta is a trained yogi and certified Ayurveda health coach, is on the board of Fly Female Founders, and holds a Master’s in Strategic Communications from Columbia University. Voted as “One of the Most Influential Asians of Our Times” and winner of the “Voices of the Year” award (past recipients have been Chelsea Clinton), she lives in New York City with her husband and works with clients across the globe. She also teaches yoga, meditation, and mindfulness to survivors of sexual assault and domestic violence as well incarcerated men and women. Find her on: Twitter, Instagram, LinkedIn, and Facebook.
November 16, 2020 § Leave a comment
This week, The Best of Brevity: Twenty Groundbreaking Years of Flash Nonfiction begins shipping from warehouses across the country (and becomes available at your local independent bookstore through curbside service or distanced browsing.) We are excited about early praise for the book, grateful to everyone who pre-ordered, and thrilled to hear from those of you who plan to give the book a test run in your writing classes next semester.
We also have two launch events this week, our West Coast Launch in Los Angeles and our East Coast Launch on the Three Rivers Coastline of Pittsburgh. We hope you will join us to celebrate!
Here are the particulars:
SKYLIGHT BOOKS, Los Angeles, Wednesday Nov. 18th at 6:30 pm PST (9:30 pm EST)
Best of Brevity co-editors Zoë Bossiere and Dinty W. Moore will be joined by authors Daisy Hernández, Nicole Walker, and Ira Sukrungruang. Following a reading of three brief (of course) essays from the anthology, there will be lively discussion about the flash nonfiction form and tips for those wanting to write, publish, and teach flash nonfiction. An audience Q&A will follow. You can pre-register here: https://www.crowdcast.io/e/skylit-best-of-brevity/register
WHITE WHALE BOOKSTORE, Pittsburgh, Thursday Nov. 19th at 7 pm EST
At this East Coast event, Zoë and Dinty will be joined by authors Julie Hakim Azzam, Lori Jakiela, and Deesha Philyaw. Following a reading of their three brief essays from the anthology, there will be lively discussion about the flash nonfiction form and tips for those wanting to write, publish, and teach flash nonfiction. An audience Q&A will follow. Preregister for the event here: https://www.eventbrite.com/e/east-coast-launch-for-the-best-of-brevity-registration-127005140795
And here’s more on the book:
Featuring examples of nonfiction forms such as memoir, narrative, lyric, braided, hermit crab, and hybrid, The Best of Brevity brings you 84 of the best-loved and most memorable reader favorites from the journal, collected in print for the first time. Compressed to their essence, these essays glint with drama, grief, love, and anger, as well as innumerable other lived intensities, resulting in an anthology that is as varied as it is unforgettable, leaving the reader transformed.
With contributions from Jenny Boully, Brian Doyle, Roxane Gay, Daisy Hernández, Michael Martone, Ander Monson, Patricia Park, Kristen Radtke, Diane Seuss, Abigail Thomas, Jia Tolentino, and many more.
“The Best of Brevity feels like the condensed energy of a coiled spring. A vibrant collection, dynamic in its exploration and celebration of the flash form.”
-Karen Babine, author of All the Wild Hungers