The Wednesday Web Browser: Teaching, Learning, Workshopping

Building on the interest generated last week, The New Yorker is running an online poll for those with MFA degrees. Questions include: What do you think of your MFA in creative writing? Was it worth it? Have you pursued a career in writing (freelance counts)? If so, is it the same genre of writing you got your degree in? Go ahead and answer–the poll is anonymous.
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Erin O’Connor provides an excellent take on Rachel Toor’s latest “Page Proof” column, the subject of which is “writing like a doctor” (think mainly “doctor of philosophy”).
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And then, on the McSweeney’s site, there’s Tanya Rey’s “Comments Written by Actual Students Extracted from Workshopped Manuscripts at a Major University.” (Thanks to the One Story blog for the tip.)

Writing About Writing Programs

I’ve been feeling pretty unwell this week (but my doctor says I do NOT have swine flu, and for that I am grateful). I nearly missed Louis Menand’s review-essay in The New Yorker, which centers on that old question: Should creative writing be taught?. But my ever-thoughtful mother, knowing that I haven’t been reading with my usual clarity, pointed it out to me. (Thanks, Mom!)

And online, there’s more.

I can’t help wishing Menand had said at least something about low-residency programs–I’ll have to see if the new book he writes about in this piece (Mark McGurl’s The Program Era) focuses on them at all.

In any case, it’ll be interesting to see the letters to the editors on this one….

The Wednesday Web Browser: Poets & Writers Edition

A couple of days ago I pointed you to the classifieds in the May/June issue of Poets & Writers magazine. Today, I’m going to spotlight some articles the magazine has made available online.

–In a special section on literary journals, Sandra Beasley writes about the evolution of online journals.
–The super “Agents and Editors” series continues, this time with Jofie Ferrari-Adler speaking with agents Maria Massie, Jim Rutman, Anna Stein, and Peter Steinberg.
–Kevin Larimer updates us on small presses and lit mags.

There’s plenty of great content in the print issue, too, including Mary Gannon’s profile of Jay McInerney. Since I encountered resistance from some fiction workshop-mates when I wrote stories (in 2002) with connections to the attacks of September 11, 2001, I particularly appreciated this snippet: “And, as he did by using the second person in his debut, in The Good Life McInerney took a risk by writing about New York City in the immediate aftermath of September 11, despite advice from the late Norman Mailer to hold off ten years. ‘I was writing about the emotional texture of those three months afterwards,’ he says. ‘If I had waited, that would have faded for me.'”

Writing Your Family History: Five Hints from Chloe’ Yelena Miller

My friend Chloé Yelena Miller will present a workshop on “Writing Your Family History” at the Ann Arbor Book Festival Writer’s Conference, which will take place on Friday and Saturday, May 15-16, 2009. (Chloé is also coordinating the Author Breakfast that will take place as part of the Festival on May 16.)

If you can’t get to Ann Arbor, you’ll appreciate Chloé’s guest post, featuring tips on her workshop topic. And if you can get to Ann Arbor, perhaps you’ll want to check out the conference for yourself.

Writing Your Family History: Five Hints from Chloé Yelena Miller

On the first day of an adult memoir writing class I taught a few years ago, I asked the students what motivated them to take the class. One elderly woman said that she has been waiting for her children and grandchildren to ask her about her life story. They never did. She decided to take up the pen and write her own story.

Don’t risk losing your family’s stories. Here are five hints to help you collect, preserve and share family stories.

    1. Start with what you know. Make a list of memories. Then, work step by step to add details and develop the narrative scene by scene. Try to include details that involve the five senses (What did the food taste like? Was there air conditioning?)

    2. Expand on your memories by discussing them with family members. Inevitably, they will remember something differently. One technique is to share what you’ve written and ask them to fill in the blanks. Ask specific questions (What do you remember eating on your birthday? How did you find your first job?) Another technique, which is a more standard interview process, is to ask your family members very open ended questions. You could start with asking them about their earliest memories and what they enjoyed doing as children. Practice listening and don’t interject your own memories. See what they come up with.

    3. Family history isn’t relegated to the past. Journal regularly to keep track of your life and what you witness. Include quotes from relatives that display their tone and speech patterns. Note where and when moments took place such as personal moments between you and a loved one and national moments, like Obama’s inauguration.

    4. Learn (or remember) more about the past. If you are writing about something from your parents’ generation, read contemporary novels that they might have read as teenagers. Watch movies set in that period. Look at local newspaper ads. The word changes so quickly; remember what it was like then (without the internet, cell phones, etc.) Consider how daily life was different and use your findings as prompts for future questions.

    5. Share your findings with family members. You may decide to make photocopies of your stories and documents, share scanned pictures on a website or even ask family members to write their own memories. This last holiday season, I asked family members to write a short piece about past Christmas celebrations. Each resulting piece was intimate and shared a slightly different experience. Being from a younger generation from most of the contributors, I loved learning about their past in their own words. They brought up details that I wouldn’t have known to ask about. Relatives had a chance to organize their memories and reminisce together, even across geographical boundaries.

My mother, a professional photographer, and I have compiled a collection of paired poems and photographs documenting our family’s emigration from southern Italy to New Jersey. These pieces are based on visits to the town where our family originated, oral histories collected with Americans and Italians, historical documents and cultural history about the towns and time periods involved. What we created contains an emotional truth and some facts, but the stories mostly contain facts as we experienced them or as they were told to us. We continue to translate the experiences in the form of our art.

Good luck and enjoy the journey.

Chloé Yelena Miller has poems published or forthcoming in Alimentum Journal, Lumina, Privatephotoreview.com, South Mountain Poets Chapbook, Sink Review and The Cortland Review. Her manuscript, Permission to Stay, was a finalist for the Philip Levine Prize in Poetry. She teaches writing online for Fairleigh Dickinson University and edits Portal Del Sol. She received an M.F.A. from Sarah Lawrence College and a B.A. from Smith College.

Thirteen Ways of Looking at My Latest Cold

Given that I’ve been fighting my (very) latest cold for the past several days, it seems a particularly appropriate time to share with you my latest publication, a poem that’s part of a special section in the new issue of Babel Fruit. The section features poems that are clearly inspired by previous works/poets. It’s pretty cool, if I do say so myself.

My contribution,”Thirteen Ways of Looking at My Latest Cold,” which developed from an assignment in one of Matthew Lippman’s online classes, can be seen here. (Yes, I know the link to my Web site isn’t working, and I’m hoping that the editor will soon fix that and capitalize “My” in the poem’s title as well, but I’ve asked her twice now and I can’t do more than that!) And check out all the other work in the issue by visiting the table of contents.