I Went to Scandinavia
I had a week off. I decided to leave Germany. I booked plane tickets. I packed a bag. In the bag I put six pairs of underwear, six pairs of socks, five tshirts, one sweater, one button-down shirt, a pair of gym shorts, a pair of long underwear, a copy of The Angel Esmeralda: Nine Stories, a copy of The Year of Magical Thinking, and a copy of Miami, a Flip videocamera, my passport, my cell phone, a 2 oz. bottle of hand sanitizer, my toothbrush, a bottle of vitamins, a bottle of zinc supplement, a cup, and a hefty amount of Konsyl psyllium fiber supplement. I was going to Scandinavia.
I didn’t know much about Scandinavia, other than that it was socialist, expensive, and cold. A couple years earlier I’d been published in a short-run magazine called Gustaf, and had limited contact with its editor Audun Mortensen. We’d met briefly in New York and emailed infrequently since then. When I contacted him upon moving to Berlin, he told me he’d been living with his girlfriend, another writer, Victoria Durnak, in Stockholm. He encouraged me to visit and said I could stay with them in their two-room apartment. I asked if he knew anywhere to stay in Oslo, and he seemed not to. I posted on my Facebook asking if I knew anyone in Oslo who wanted to host me for two nights. A few days later I received an email from Kenneth Pettersen, a poet who I’d never talked to as far as I could remember, but somehow seemed a constant in the internet literary scene. A month later I arrived in Rygge, took an hour bus ride through the gray Norwegian countryside, half asleep and flipping through DeLillo stories.
Upon entering Oslo, the scenery changed dramatically. Cranes hung across the sky, like the entire city was under construction. There were buildings coming up everywhere, skyscrapers looming over the damp clouds and foggy ocean. Kenneth met me at a subway station, which took me longer to find than it should’ve, after I paid the equivalent of $40 for a 48-hour pass, after I paid the equivalent of $30 for the bus from the airport. He took me to his apartment, which was a room with half of a kitchen and a bathroom with heated tiles. I had trouble keeping my eyes open and we made small talk, mostly about literature and blogs. He took me to a bar, where I bought a $40 fish and chips and Aass beer. I said something about how I didn’t understand how the money worked and he mentioned wages. He said he worked at a kindergarten.
We drank our beer, then another, and another. There was some sort of a event happening at the bar, hosting an airline company, and a pilot sat in the corner of the room, getting progressively drunker, while his slicked back hair changed directions. He was sweating in a sports coat, tie, jeans. People were silent, drinking from pitchers and then all of a sudden very loud and laughing and then silent again. The bar served Sam Adams and Brooklyn Lager.
Melville House site redo. What do you think? To me, their last site was a model of amazeballs. So much PHP. This one is cleaner? I dunno, but I’m about to explore it and find out.
Autographed by the author — who gives a shit? What is the best autographed book story you got then?
Inside an MFA: Call & Response #1.5
Last week, I put up student responses to the following questions:
Can you teach creative writing? How? How would you teach creative writing that is different from your MFA? How would you “innovate” or “renovate”? What have you “learned” from your MFA? What has been the biggest surprise? Disappointment?
Here is a long response, penned by Jeff Pickell. Enjoy. & read it all. It’s worth it!
- Shitty syntax begets shitty phrases. Shitty phrases beget shitty sentences. Shitty sentences beget shitty paragraphs. Shitty paragraphs beget shitty sections. Shittiness begets shittiness begets shittiness.
- The MFA enrolls in a creative writing program. He does not enroll in a written creations program. Asked what he studies, the MFA replies “creative writing” or simply “writing.” He doesn’t reply “creative.” This is because the MFA doesn’t have a creative deficiency. He has a writing deficiency. He should know this, too. A lot of MFA’s—the shitty MFA’s—don’t. The shitty MFA is a strange creature. More on him later.
- Many contend writing can’t be taught. This is absolutely false, as any MFA with a journalism background knows.
- The shittier the story is, the harder it is to revise. READ MORE >
Q&A #8
If you have questions about writing or publishing or whatever, leave them in the comments or e-mail them to roxane at htmlgiant dot com and we will find you some answers.
Question:
i have a website and published stories. i sell booklets of my stories on the streets. sometimes i feel like no one reads anything i’ve written. how do i put myself out in the public more? how do i get a broader readership?
Inside an MFA program: Call & response #1
We’ve had a bunch of pedagogy posts recently from inside the creative writing classroom, from the professor’s point of view. I thought it would be pretty cool to let some students chime in. And as luck would have it, I happen to have access to a bunch of MFA peoples (at New Mexico State), because I’m professional like that. So, last Thursday night, during my 500-level Form & Techniques in Fiction class (themed Constrained Prose), I put out my laptop and posed the following questions:
Can you teach creative writing? How? How would you teach creative writing that is different from your MFA? How would you “innovate” or “renovate”? What have you “learned” from your MFA? What has been the biggest surprise? Disappointment?
Below, you’ll find the responses. If you have other questions you’d like discussed/answered, this will be an on-going segment for me, so shoot me an email or something.
This Is the Only Thing I Feel Like Posting About Literature Right Now
Your Facebook friends have probably already showed you the We Are the 99 Percent Tumblr, but here it is again. It’s PostFrankness instead of PostSecret. Camwhore angles repurposed for a who’s-there roll call in the deep effed.
Chicks Dig Pink, Frilly Things and (Domestic) Porn
When you write a book with the title It’s A Man’s World, with the tagline “but it takes a woman to run it,” you have to have some sense that your book is going to be marketed in a certain way. I haven’t read the book in question, but the title certainly gives an impression. Maybe it’s just me but when I see that title, I think “chick lit.” I also enjoy “chick lit,” so that label is not a bad thing. That book’s author, Polly Courtney, recently had a very public reaction to how her book was being marketed as “chick-lit,” announcing she was leaving her publisher, Harper Collins, so her writing wouldn’t be pigeonholed. As writers, we often have to worry about whether or not our work will be pigeonholed based on some aspect of our identity. No one wants their creativity limited or misrepresented; pushing back against rigid, often unfair categories is a natural response for a creative person.
In her explanation for why she was leaving her publisher, Courtney distinguishes between women’s fiction, which she writes, and “chick lit,” which she very much does not. I gather that women’s fiction is serious while “chick lit” is not. She writes, “Don’t get me wrong; chick-lit is a worthy sub-genre and there is absolutely a place for it on the shelves. Some publishers, mine included, are very successful at marketing this genre to women. The problem comes when non-chick lit content is shoe-horned into a frilly “chick-lit” package. Everyone is then disappointed: the author, for seeing his or her work portrayed as such; the readers, for finding there is too much substance in the plot; and the passers-by, who might actually have enjoyed the contents but dismissed the book on the grounds of its frivolous cover.”
Depending on the content of the book in question, Courtney is correct in noting that disappointment is possible for everyone involved in the consumption of a book. At the same time, isn’t a cover is just a cover? Eventually, the writing speaks for itself and either readers will like the work or they won’t. Readers are fairly sophisticated these days, aren’t they? I would like to believe readers will, more often than not, have a good sense of what a book is or isn’t about no matter what is emblazoned across the cover. Unfortunately, such does not seem to be the case and certain books are burdened by covers that alienate certain audiences.
“Relationships first, sales second.”
To further the conversation, here are two things about “community” and bookstores that have influenced my thinking on the subject.
First, above, is video of a talk by the amazing Matthew Stadler. In it, he discusses the future of the brick and mortar bookstore. It’s the source of the title for this post.
The second is a short essay from my local alt-weekly, The Stranger. In it, Books Editor Paul Constant takes all the talk of community building and asks someone to go ahead and put up (or rent out) an actual building:
So here’s what we need: a fairly large bar, nothing fancy, not too expensive. Open almost all the time. Maybe a typewriter here or there for ambience. Ratty books on shelves. Some sort of an area that can easily become a stage. Chairs. Tables. No TV, no Wi-Fi. No nattering blogs or flickering videos to distract from the words you’re writing, speaking, or reading. A jukebox stuffed with Edith Frost, the Magnetic Fields, and the Pogues. That’s about it for the hardware.
Both are on the right track, I think.