I asked my Introduction to Fiction students to ‘creatively reinterpret’ a story from the Anchor Book of New American Short Stories (or another story/book at my discretion). They were to turn in a creative project and an essay reflecting upon and explaining their project. The goal of the assignment was to get the student to try to consider reading stories and telling stories from a new perspective, to let him or her be creative and examine that creativity, and to step away from the standard ‘lit-crit’ essay. Many of these projects were, I think anyhow, a nice break from the grind, and I’m really happy with how they turned out. It’s these sorts of things I’ll miss about teaching.

After the break, you can have a quick look at four projects (posted with permission of the students). These are just a few of the great projects I saw. Other students wrote diary entries for the characters, made scrapbooks and photo albums to narrate the story, rewrote the endings (“Do Not Disturb” by AM Homes received this treatment quite a bit), illustrated various scenes. One student planned a three course meal based on “Sea Oak” by George Saunders; she brought pumpkin pie squares in for the class. Another student set up and video recorded four interviews with actors, two of which were based on characters from “Do Not Disturb” by AM Homes and “The Girl In The Flammable Skirt” by Aimee Bender. The other two interviews dealt with real events in the actors’ lives. The idea was to examine the similarities between fiction and reality. Finally, another student wrote and recorded a punk song based on Sam Lipsyte’s “I’m Slavering.” The song was supposed to be a demo tape from Gary’s days of trying to be a rock star despite his having a dead thumb.

More below the thing. Enjoy.

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Imagine yourself for a moment a laundry basket. A duffel bag of laundry, a black trash bag of laundry. Whatever. You’re one. Is there not, in the terrifying accumulation of our lives, a distinction between giving yourself away and asking to try someone on? Let’s say I ask if you’re okay. If you’re much pleasured by the current sky. Curried rice. Jim Carrey or ice cream. In so asking I’m digging in, hand in your basket, to take and pull a little cloth of yourself over a naked me-bit. Which is not always aggressive. Sometimes you do want me to ask you things; sometimes you’d rather I didn’t. I don’t want to talk about 2009, Facebook surveys, Michael Bloomberg’s polling strategies, focus groups for salsa commercials. It’s all relevant, but what I most want to say about Padgett Powell’s eye-twist of a novel (and I mean novel, like damn that’s novel) The Interrogative Mood is that its one-hundred-sixty-four pages of questions and question marks remind me that I am afraid of people, in love with people, hungry to know people, and made (bye laundry metaphor) mostly to be dispensed: what I mean is all that water.

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In past conversations, Blake and I have talked about the kinds of words we most often rely upon in our writing, and whether or not we should break from them or embrace them, or both. For example, I noticed Blake seems to like rhythmic -ed words, like ‘befucked’ and ‘squidged’ and so on, and he uses them quite a lot in his writing.

Then, while reviewing SAT words with a high school student the other day, I thought of how I should make a list of words I like to use when I write, or a list of words I would like to use in another story. I went through a bunch of my past stories and reread them for words I remember liking as I wrote them into the text. I’ve listed them here with a few sentences of explanation.

What words do you like? Do you have words you use too much? Words you want to use more? Do you maintain lists of these words? Is it possible to talk about words this way? I think much of this depends on context and how the word is used, so know that I’m speaking directly from how I use these words when I write.

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