Content Tagged ‘Annie Dillard’

Joe Bonomo on sex, spirit & implication: ‘Living is complicated.’

June 23, 2013 | 3 Comments

Memoir is made of memories, by definition; some theorists assert memoir must be about memory. Yet it’s notable how much Joe Bonomo explores memory and takes it as his subject. His new collection of essays, This Must Be Where My Obsession with Infinity Began, summons and examines a wide range of memories, expressed in often lyrical sentences. He’s had an ordinary suburban boyhood and adult life, but he makes this material interesting because—as he tells stories, and muses interestingly on their meaning—we find ourselves catching our own cast-off thoughts and doubts, thinking about our own stories.

Here’s this reflective person in the present trying to make sense of his life: what every adult does, one supposes, and it’s satisfying being privy to another’s subjective reality and party to his grappling with memory and meaning. His blog, No Such Thing as Was, its title taken from Faulkner’s remark about the past’s persistence, testifies to his steady inquiry into the memories that live inside him.

Some of his essays are strongly narrative, with personal experience dramatized in scenes; others are models of the classical ruminative approach (as run through a poet’s sensibility) and some are short prose poems. Since he’s got all the chops and deploys them artfully, slapping a label on his creative nonfiction is difficult and would be misleading.

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To plan or to plunge?

May 29, 2013 | 15 Comments

What a nude “gesture sketch” class taught writer Rachel Howard. Go to the pine if you want to learn about the pine, or to the bamboo if you want to learn about the bamboo. And in doing so you must leave your subjective preoccupation with yourself. Otherwise you impose yourself on the object and do not learn.  Your poetry issues of its own accord when you and the object have become one. —Basho, The Narrow Road to the Deep North and …

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Learning the craft, part two

May 13, 2013 | 17 Comments

In writing, I learn, it’s wise to emphasize love over discipline.   This is part two of a three-part series on the major lessons I learned while writing Shepherd: A Memoir, which is scheduled to be published in Spring 2014.  There’s a common notion that self-discipline is a freakish peculiarity of writers—that writers differ from other people by possessing enormous and equal portions of talent and willpower.  They grit their powerful teeth and go into their little rooms. I think that’s a bad …

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Q&A with memoirist Liz Stephens

April 21, 2013 | 6 Comments

The Days are Gods author on braids, voice & earning your story. After reviewing The Days are Gods, I asked its author, Liz Stephens, for an interview, and she has kindly obliged. Stephens, Visiting Professor of Creative Writing at Glendale College, California, earned a PhD in creative nonfiction at Ohio University, where she served as managing editor of Brevity. You’re very reflective about your ongoing experience as the story moves forward—and it does move forward, The Days are Gods combining …

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The ‘So what?’ dilemma

February 26, 2013 | 14 Comments

Craft as conduit to art & Brenda Miller’s seminal essay on form. If a writer is any good, what he makes will have its source in a realm much larger than that which his conscious mind can encompass and will always be a greater surprise to him than it can ever be to his reader.—Bret Lott, “Against Technique” I read many student personal essays, memoirs, and literary analyses. I’m not one who bashes student writing, says kids today can’t write—the …

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A life sentence

August 22, 2012 | 21 Comments

Six years ago, in August 2006, during a writers’ gathering at Goucher College, Baltimore, I was dispatched to fetch Verlyn Klinkenborg from his hotel. He was silent, riding in my van. Then on campus he took the stage and began speaking on “The Genre of the Sentence.” No deferential joke or aw shucks warmup. He stared into the dim auditorium and lobbed oracular commandments: “Don’t believe what others believe”; “Look for gaps between sentences, paragraphs.”

He disdained sentence fragments, semicolons, and transitions. Oh, and workshopping. Was it my imagination that the hall’s temperature dropped ten degrees? He resembled a dyspeptic owl. Across the top row of seats, perched like crows, the teachers glared down at him. In between them and him, the students, fresh from their workshops, perked up. What’s with this guy?

“I had been thinking about writing about nonfiction,” he said. “I have written several hundred short sentences about writing, now a book. I’m very pragmatic. How do you get the work done, make the sentences? What do you think about when you make sentences?”

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Review/Q&A: Alethea Black on ‘Lovely,’ faith & fiction, essays & cutting to bone

April 29, 2012 | 9 Comments

I can only speak for myself, but there’s something about writing at night that feels . . . sneaky. There’s an outlaw quality to it, combined, oddly enough, with a sense of being safe. It has an anaerobic, subterranean feel; it’s as if I’m working beneath the soil, toiling in secret, trying to cultivate something hidden and occult.—Alethea Black, “Essay to be Read at 3 a.m”  I Knew You’d Be Lovely by Alethea Black. Broadway Books, 238 pp. I read …

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