Stephanie Soileau on Fiction and Moral Ambiguity


The prestigious literary journal Glimmer Train regularly publishes short essays about the writing process by their fiction contest winners. I appreciated these thoughts from Stephanie Soileau, winner of the December 2009 Fiction Open. Referring to Bruno Bettelheim’s theory that fairy tales give children a safe space to process the darkness and complexity of life, she suggests that all fiction writing can serve a similar function:

I believe in storytelling as a way to map and explore the ambiguities of human experience, and it is this belief that motivates me as a fiction writer. Stories have given me a language to express the contradictions in my own experience, and because writing them has been an often challenging exercise in sympathy and compassion, I have come to see the practice of storytelling as a moral imperative. But the morality is in the practice, not in the story itself. Fiction is no place for sermons, for conclusive answers. Whether we’re reading or writing them, the best fiction gives us a woods to get lost in, and if at the end, we have come to no conclusions, if we are only left with more questions, the questions themselves are something like a map, and we emerge from this woods a little better able to find our way.

The March Fiction Open is accepting entries now through the end of the month, with a top prize of $2,000.
Read more thoughts by winning authors in the Glimmer Train Bulletin.

My Chapbook “Swallow” Reviewed at The Pedestal Magazine


The new issue of The Pedestal Magazine, a bimonthly online journal of poetry, literary prose, book reviews, and visual art, includes a wonderful review of my poetry chapbook Swallow by JoSelle Vanderhooft. It’s a treat to be read by someone who gets my work and appreciates its connections to other genres, including humor and horror. From the review:

The first thing that strikes the reader about Jendi Reiter’s Swallow is, naturally, the unusual cover illustration, which appears at once to be a multi-eyed cherub (the proper Old Testament kind), a brace of clothespins, a flock of nightmare birds, sewing needles, bent nails, and a heart-shaped crown of thorns. While one may have a difficult time explaining all of this, one need only know that this image by Richard C. Jackson is the best visual realization of the horror, madness, blood, and beauty that infuse Reiter’s work: Like something out of a fever dream, it just makes perfect sense.

In reading Swallow, I was struck by how much Reiter’s work appears to have been informed by the conventions of horror poetry. Namely, both frequently concern themselves with the strangeness and gradual decay of the body, altered states of mind, and grotesquery. The first of these themes appears prominently in “Body I” (here reproduced in full), which I consider to be one of the chapbook’s finest poems. Here Reiter makes a subtle and powerful statement about the baseness of life and the commonality of death that would seem cliché in the hands of a lesser poet. Yet Reiter’s conversational tone and her suggestive use of repetition and imagery make this poem truly sing.

Read the whole article here (I’m the fourth of four books reviewed). Sign up for The Pedestal Magazine’s free email newsletter to be notified of new issues. Donors to their fund drive can receive free copies of editor John Amen’s gorgeously apocalyptic poetry books, or other books or CDs by staff members.

For your reading pleasure, here’s a poem from Swallow:

Body I

Here’s the thing about a body:
There’s no one inside.
Here’s the body the body was born in:
In the ground.
Here’s the body that went into the body:
A small sword, withdrawn.
Here’s the thing that came out of the body:
The sane bury it.
Here’s the thing that came out of the body:
The mad write with it.
Here’s the thing that covered the body:
Keep washing till it smells like nobody.
Here’s the thing the body needed:
Take it away boys take it away.
Here’s the way it entered the body:
Enough holes to breathe.
Here’s the thing that holds the body:
Pinewood planks for a final ship.
What holds the body becomes the body:
All hands meet underground.

Videos from My Green Street Cafe Poetry Reading, Plus Upcoming Readings News


Saturday, Feb. 20, 7:00-8:30 PM: I’ll be reading with poets Karen Johnston and Ellen LaFleche at Thirsty Mind Coffee and Wine Bar, 23 College Street, South Hadley, MA. For more information, call 413-538-9309.

Karen G. Johnston is a social worker by vocation, a poet by avocation, a socialist by inclination, a UU-Buddhist by faith, and mother by choice. Her writing has been published in Silkworm, Equinox, Concise Delight, WordCatalyst, and Women. Period. An Anthology of Writings on Menstruation.

Ellen LaFleche has a special interest in poems about working class people, and issues of health and healing. She has published in numerous journals, including Many Mountains Moving, Alehouse, Alligator Juniper, the Ledge, New Millennium Writings, and Naugatuck River Review.

And speaking of Naugatuck River Review

Saturday, Feb. 27, 2:00-4:00 PM: Launch party for the Winter 2010 issue, which includes winners of the 2009 narrative poetry contest, at Forbes Library, 20 West Street, Northampton. I’ll be reading with several of my fellow authors in this issue.

Readers include: Thomas R. Moore (1st place winner), Kathryn Neel (3rd place winner), Pat Hale, Gineen Lee Cooper, Jendi Reiter, Allegra Mira, Lynne Francis, Wendy Green Simpson, Don Lowe, Laura Rodley, David Giannini, Barbara Benoit, Christina Svane, Sharon Charde, Andrea Cousins, Paula Sayword, Jeff Friedman and Tim Mayo. Also reading are our poetry editors Oonagh Doherty, Ellen LaFleche and Sally Bellerose. Leslea Newman, our esteemed contest judge, will also read! Hosted by Publisher Lori Desrosiers.

****
Last month, I had the pleasure of reading with Charlie Bondhus, author of How the Boy Might See It (Pecan Grove Press, 2010) at the Green Street Cafe in Northampton. Thanks to my husband, Adam Cohen, and his ever-present Flip camera, our performances can now be viewed on Blip TV here (me) and here (Charlie). Each segment is about 25 minutes. We introduced each other, which is why Charlie’s segment starts with me and vice versa.

If you prefer to take me in small doses, as many people do, please enjoy these YouTube videos from the reading.

“Wedded” first appeared in The Broome Review. Regular readers of this blog may notice a familiar theme.

Buy Swallow!! I mean it.

And now for something completely inappropriate.

A Talent for Sadness (Turning Point Books, 2003) can also be yours.

New Radio Program at Gay Christian Fellowship


The Gay Christian Fellowship is an affirming evangelical website featuring Bible studies, a discussion forum, book and movie reviews, and (coming soon) a searchable gay-friendly church directory. Their latest project is The Voice of GCF, a weekly streaming radio show hosted by Bryan Dillon and Pastor Romell Weekly. Pastor Weekly is the drafter of the Affirmation Declaration, an inclusive response to the Manhattan Declaration. I enjoyed listening to their first show, which covered, among other topics, the importance of reading the Bible for yourself. New half-hour episodes will be released every Monday.

Here’s an excerpt from one of Pastor Weekly’s articles at GCF:

If there’s one thing about God’s people that hurts my heart more than anything, it’s how little we understand our worth in the Lord. Our poor concept of humility has led to a deficiency of confidence, both spiritually, as well as naturally. Somehow, we’ve convinced ourselves that this was a virtue. IT IS NOT!

It is neither haughty nor prideful to be sure of who we are as children of the King of the Universe. Our Father is not some far away, detached demagogue who selfishly demands worship but has no interest in positively impacting our lives. To the contrary, He intensely desires for our lives to be enriched by His presence working in and through us.

Now, if the Personhood of love is at work in our lives (whether we can perceive the evidence of it or not), what justification could we possibly have for looking down upon the gift of God at work in our lives? Sure, He’s not finished with us just yet—some of our rough edges have yet to be smoothed out—but still, Scripture calls His work in us “good” (Ph. 1:6).

Think about that for a moment. The Creator of Heaven and Earth is doing a work in you, and He calls it a “good work”. Now, if His work in you is considered good from the Divine perspective, surely there’s nothing in that worth feeling ashamed of.

Is a master painter ashamed of his work-in-progress? Does he consider horrid the splashes of color on the canvas, just because the image has not yet taken form, or does he value the present mess as though it is the masterpiece he knows it will become?

Read the whole article here. This message particularly spoke to me because I often am ashamed of my novel-in-progress for its imperfections, which has less to do with my novel than with unhealed personal shame that needs continual doses of God’s grace. Unless I “value the present mess”, I won’t be able to pick up my notebook each day and try to make it a little bit better.

New Poem by Conway: “Comfort-ward”


My prison pen pal “Conway”, who is serving 25-to-life for receiving stolen goods under California’s three-strikes law, has been reading Dag Hammarskjold’s Markings. He sent me these quotes to help me as I struggle to sort out true faith from legalistic obedience:

“A task becomes a duty from the moment you suspect it to be an essential part of that integrity which alone entitles a person to assume responsibility. While performing the part which is truly ours, how exhausting it is to be obliged to play a role which is not ours. The person you must be, or appear to others not to be, in order to be allowed by them to fulfill it. How exhausting but unavoidable, since mankind has laid down once and for all the organized rules for social behavior….

“How am I to find the strength to live as a free man, detached from all that was unjust in my past and all that is petty in my present, and so, daily, to forgive myself? Life will judge me by the measure of the love I myself am capable of, and with patience according to the measure of my honesty in attempting to meet its demands, and with an equity before which the feeble explanations and excuses of self-importance carry no weight whatsoever.”

Conway
also enclosed the poem below, “Comfort-ward”. It was written on the back of a document titled “Department of Corrections and Rehabilitation INFORMATIONAL BULLETIN”. Conway re-titled it “Fractured Form o’ Bull” and extracted a found-poem from it by underlining selected words and fragments of words. For instance, part of the original text (with Conway’s emphasis added) read:

…An inmate who is deemed a program failure by a classification committee is subject to having his/her personal property/appliances disposed of in accordance with Departmental procedure.

3315(f)(5)(P) Violation of subsection 3323(f)(6) shall result in:
1. Loss of visits for 90 days, to be followed by non-contact visits for 90 days for the first offense.
2. Loss of visits for 90 days, to be followed by non-contact visits for 180 days for the second offense.
3. Loss of visits for 180 days, to be followed by non-contact visits permanently for the third offense.

No text was deleted or changed, only misplaced by the publisher…

Thus, this section of the found-poem would read something like this:

…who is deemed a failure
subject his/her person
disposed in a dance with mental Violation
Loss followed first Loss
followed by offense
followed by non-contact
permanently misplaced…

I sent Conway some writing prompts and resources about Oulipo. Experiments with found texts may seem like a parlor game for academics, but when texts are generated by the oppressor and used to shore up a dehumanizing system, these literary methods reveal their politically subversive potential. I look forward to seeing what he does with these exercises. Meanwhile, enjoy his latest poem:

Comfort-ward

Timelines encircle this prisoner’s eyes
   mirroring shelves of eroded bone
      while arrest was left unexpressed.

This stone tongues talk has become useless.
   I would shave my head, if that
      could convey, all the words left unsaid.

This struggle has deposited scars
   but awakened me cleared by stars-n-gripes
      though my world may appear to be fallen stripes;

These verse’ feel somehow protective…

“Waiting for the Train to Fort Devens” Now Online at The Rose & Thorn


My flash fiction piece “Waiting for the Train to Fort Devens, June 17, 1943”, is now online in the Winter 2010 issue of The Rose & Thorn, a quarterly journal of literature and art. This story was inspired by an archival photo of young men from Western Massachusetts going off to World War II, republished in the Florence Savings Bank calendar. The photo’s owner, Sharon Matrishon, whose father is featured in the image, kindly allowed us to reprint it on The Rose & Thorn page. Here’s the opener:

This photograph was taken right before forty boys turned into soldiers. In fairy tales, transformations are sudden, painless. Seven brothers lift up their white arms in unison and become swans. Forty comical thieves peek out of fat-bellied oil jars. But these forty men waiting for the train to Fort Devens will have a long way to go before they all become the same.

They line up, as if for a yearbook portrait, beneath the slatted wooden balcony of the old Bay State Hotel, which must have been a cheap hotel because its front porch is only a dozen feet from the railroad tracks. A place for salesmen and card sharps, or girls who thought they needed to make a quick getaway from their parents’ sleepy fireside. Some of these boys might have taken a girl to the Bay State Hotel after a night of confused carousing, hooked up by an elder brother who offered a knowing wink that both annoyed and excited them. Some of these boys have never had the opportunity, and are distracting themselves from thoughts of German bullets by imagining the grateful softness of French girls in a farmhouse where a single candle burns in a wine bottle. These boys kissed Mary Sue or Ethel in the back seat at the drive-in and promised to wait for her, and she might have unhooked her bra even though she knew waiting was powerless against male hormones and the U.S. government.

In other writing news, my prose-poem “Possession” won the 2009 Robert J. DeMott Short Prose Prize from the journal Quarter After Eight. My poem “What Dora Said to Agnes” (a feminist response to David Copperfield) tied for third place in the 2009 Caesura Poetry Contest. Caesura is the literary journal of the Poetry Center San José.

Online Poetry Roundup: Wordgathering and Others


This past week at Reiter’s Block has been heavy on reprints, hasn’t it? Well, you all already know what I think about everything. And when you figure it out, could you please tell me?

From time to time I like to share links to my favorite online journals and poetry sites. One of the very best is Wordgathering: A Journal of Disability Poetry.  Published quarterly, Wordgathering features poetry, essays, book reviews and artwork by disabled authors and/or about the intersection of disability and literature. The blurb for their upcoming workshop at the AWP 2010 conference in Denver is a good summary of their mission:

This panel will discuss how the poetry of disability seeks to tackle and refigure traditional discourses of the disabled around an interrogation of “normalcy” and of the notions of beauty and function that have been so foundational to Western culture and aesthetics. The panel will focus on poetic strategies, including the subversion of historical discourses and the decentering of the subject through which a range of disabled poets have sought to address these issues.

Highlights of the December 2009 issue include Paul Kahn’s essay “The Deepening Fog (Part 2)”, about how his perspective as a disabled person helps him advocate for his parents in the nursing home; a review of Zimbabwean poet Tendai Mwanaka’s new collection; Rebecca Foust’s poems about her autistic son, which find beauty in what the world calls errors and mutations, without negating her maternal pain and anger; and other poems by Michael Basile and my friend Ellen LaFleche.

The Dirty Napkin is a literary journal whose content is available online for subscribers only ($16 per year). However, in each issue they feature a cover poem that can be read on the site. Their latest offering, an untitled poem from Simon Perchik, is a free-associative meditation on impermanence and beauty. Read and listen to the audio version here.

The Pedestal Magazine, edited by poet and songwriter John Amen, celebrates its ninth anniversary this month with Issue #55. The theme for this issue was speculative flash fiction. Notable contributors include Jane Yolen and Liz Argall. I also can’t resist poems about dolls, the creepier the better. Check out “The Doll After Play” by Rebecca Cross.

Charlie Bondhus: “His Sunday Morning Blues”; Plus, Upcoming Reading Jan. 14


Charlie Bondhus and I will be giving a poetry reading at 7:30 PM on Thursday, Jan. 14, at the Green Street Cafe, located at 64 Green Street (no surprise there) in Northampton, MA. This cozy neighborhood bistro cooks with home-grown herbs and vegetables; I recommend the Sri Lankan vegetable stew.

I’ll be reading some of my newer poems and selections from Swallow and A Talent for Sadness. Copies of these books will be on sale, along with my freshman effort, Miller Reiter Robbins: Three New Poets (Hanging Loose, 1990), which features a lovely picture of fierce 17-year-old me.

Charlie’s first full-length collection, How the Boy Might See It, was released last month by Pecan Grove Press. He kindly shares this poem from the book below. It exemplifies the combination of sensuality and spiritual depth that I appreciate in Charlie’s work.

His Sunday Morning Blues

Then the Lord God formed man out of the dust of the ground and breathed into his nostrils the breath of life, and man became a living being [and] the man knew Eve his wife.
-Genesis 2:7, 4:1


Woke up this
morning cold
kicked the
blankets last night
saw her gone
must’ve stolen out
with the boys
another gathering
lesson, though this time
didn’t wake me up
with a kiss and
touch on the head
like usual.

Don’t feel like checking the fields,
guess I’ll spend the day
in our camel hair bed
and hash this whole thing out.

Funny how
everything I remember before the
sand and the crag looks the way a deer
does, vague behind the gloss
of fog.
I do remember monkeys and mountain goats who
spoke in a voice
similar to our own;
toucans and thrushes that
screeched and warbled in
what must’ve been friendship;
a sense
that everything existed
indefinitely.

As for the woman, she
sometimes talks about tinctured
fruit, every color of a
blush, and uncured leaves–
of peppermint, thyme, rosemary–
something sharper, maybe wiser
that used to float
in the flavor of papayas and kiwis.

Also something more for her
in the sound of the river–
the entire streambed maybe
covered with flutes and shells,
rather than mud and papyrus.

These days though,
everything sounds and tastes
blurry as the dog looked
when we found him
at the bottom of the oasis,
as if we touch and eat
only the colored shadows
of grape, apple, grain–

as if life were lived
forever in twilight.

And still other things,
called to mind by
the branches of a tree–
something in the twist or
the pull, the sober tinge of
bark–

the slope of a leaf–
wondering whether the color is really
green or something that’s not quite
green and if
the edges are really as
pointed or smooth as they
appear.

The gravid clouds that shuffle,
dazed and vapid,
like the feet of an aging God,
across a monotonous sky,
wondering whether or not one could tear
their flimsy substance
between hands or teeth.

Always too, those objects that we
cannot see but still perceive more
readily than rocks and sand,
many of which
I haven’t gotten around
to naming.

Sometimes the woman
cries and throws
herself on the bed
refuses to talk and
I know she’s in pain because
of the blood but we’ve both
cut ourselves before, like once
I tore open my shin on a rock while
climbing after a
goat, and she ripped open
the palms of her hands when she
lost her grip, attempting to pull up
a stubborn vegetable in the garden,
but both of us were still able to speak then
so I know that when she bleeds unbidden,
she must be
stuffed full of
one of those crazy compound things
that we fear
for their power, persistence, and
lack of a name, and that’s
what really hurts.

My greatest fears
stand taller than wheat
when the ground isn’t fertile,
the animals go into hiding, and we
take Cain and Abel,
move to a different place,
and the woman and I find
in each empty, unbreathing land,
no matter how distant,
that the unspoken
is a little more real.

I tremble at these times
when the truth looks the way
that apple grape and grain taste–
should we fall the way some
animals have, stricken by neither
stone nor spear, and the sand were to cover
the crops and the caves crumble to
soil, as they have in the lands we have left,
with no creature capable of maintaining things
as we have, would we be judged unworthy
to return to the place of
sharp taste, musical river, and speaking beast?

Videos from the PEN Prison Writing Program


The PEN American Center mentors incarcerated writers and publishes the best of their work in the annual Voices From Inside series. On this page, you can view video clips of notable writers such as Marie Ponsot and Patricia Smith reading prisoners’ work at a November 2009 presentation in New York City.

In this five-minute video, Patricia Smith reads Christina MacNaughton’s “Just Another Death,” first-place winner for memoir in PEN’s 2007 Prison Writing Contest.


On a related note, the Jan/Feb 2010 issue of Books & Culture contains Jason Byassee’s article “Prisons and the Body of Christ”. Byassee surveys several new books concerning conditions on the inside, and calls on Christians to spend more time ministering to prisoners. I’m not sure if the article is available to non-subscribers, but here’s an excerpt (boldface emphasis mine):

…In Crossing the Yard, Richard Shelton writes about prison from the perspective of a volunteer teacher of creative writing over a period of thirty years. (Ken Lamberton was one of his students.) Shelton, a prizewinning poet and professor at the University of Arizona, says that much of what he knows about teaching was learned behind bars. When asked why he goes into the prisons, he replies that he’s selfish. The men teach him too much to stop. When asked if he’s not ever in danger there he replies affirmatively—from the guards, one of whom passed him a basket full of drugs by mistake once, while others have harassed, menaced, and generally thumped their chests around him, while trying to exterminate his massively successful writing program. The prisoners have protected him.

Shelton’s initial motive for volunteering, he recalls, was hardly noble. An infamous kidnapper and serial murderer, Charles Schmid, wanted to send him poetry. Shelton the writer sniffed promising material. He wanted to be a “voyeur,” looking in on a “monster.” But as Schmid learned about metaphor and went to war on sentimentality, harnessing the rage inside him, he began to change. He wrote to Shelton, “Something’s happened to me. Something wonderful and frightening. I can’t explain it. But I feel like somebody else.” Shelton concurred. “My God,” he thought. “He even looks different.”

Shelton has witnessed many such transformations. One writer won a National Endowment for the Arts grant—for which his entry was judged blind. Another, Lamberton, won that Burroughs Prize. Another took a PhD in history and became a college professor. Another designed a system to store solar energy while still in prison. Another became a preacher. Another, Calvin, grew so adept at speaking on the prisons’ “scared straight” circuit that he won his pardon and opened a rehab program.

You don’t have to be a cynic to recall the counter-examples over the years, of prison writers championed by celebrated outsiders (as Norman Mailer, for example, took up the cause of Jack Henry Abbott), with a bleak end to the story. But the point isn’t to add up literary honors or highlight the most dramatic instances of change, set against the most publicized failures. Rather, Shelton’s account of his writing classes should remind us of the humanity of the prisoners, whether talented or not. When a student would publish a poem or chapbook, the entire class would share in that success. Charles Schmid wrote his teacher on his first publication, “I have a kind of dignity.” Even more impressive, in a place that is strictly racially policed by gangs such that races do not mix in the chow hall, writing class turns inmates into friends. Perhaps it is the quasi-liturgical effect of being left breathless together by the beauty of words. Or of sharing unspeakable pain in words that point beyond words: in poetry. Or perhaps it is the bootcamp-like atmosphere of Shelton’s workshop—he pushes them hard. “I suppose it is caused by the fact that you can’t discuss and criticize someone’s most cherished ideas and creations without coming to feel some empathy with that person …. Actually I don’t know what causes it, but I know it happens and it violates the established norm of any prison.” It’s a bit like church is supposed to be, isn’t it?

Yes, all too often, inspiring success can be followed hard by devastating failure. Would-be successes re-offend upon release. The rate of recidivism for sexual predators is particularly discouraging (and this is equally true of those who are routed into the mental health system rather than to prison). Statistically speaking, Ken Lamberton is a very bad risk.

Some reformed prisoners aren’t even given a chance to fail on the outside. Charles Schmid was jumped and stabbed repeatedly by fellow inmates. After struggling in intensive care for a week, he died. Shelton blamed himself—perhaps his literary conversion left Charles (who’d changed his name to Paul) soft, inattentive, vulnerable. Another student, a Latino, refused an order from the Mexican mafia to leave the integrated class. He was also murdered. Another died due to neglect. The prison’s medical officer neglected to treat his hepatitis C, and instead tied him to his bunk. The talented young poet died in agony, with plentiful men behind bars as helpless witnesses. “Each death is less shocking,” Shelton writes. And after death? Prisoners were buried in a trash-filled, unmown yard with only their prison number over their heads.

Of course, victims of crime, or their surviving relatives, will reply that criminals have taken away their or their loved ones’ identity. And they would most certainly be right. One cannot talk about the barbarity of our prisons without talking also of the barbarities many prisoners committed to get in. Shelton reflects on the fact that Charles Schmid had become like a son to him. Then he has a start as he remembers that other parents lost their children at Schmid’s hands.

And Shelton assigns blame for violence in the prison more evenly than does Lamberton, seeing inmates’ culpability as well as the guards’. One comes away from his book with a greater sense of the depravity of those in prison than Lamberton’s account provides. Not that the two books don’t agree on much. Both argue that cynical prison administrators stir racial animosity, even hoping for occasional riots, so they can appeal to state legislatures for more weaponry and funding. Both compare our prison system to slavery—a massive, profitable system that depends on the conveyor belt of bodies into its maw. Both see subversion as the way to survive and writing as the way to thrive. Shelton pontificates more loudly. Lamberton prefers to show the quotidian.

Shelton spares no quarter for those who defend what T.S. Eliot called “Death’s other kingdom.” Prison holds up a mirror to our society, and what it shows is ugly. We are a violent and fearful people, on our way “toward the point where half of our society will be spending most of its money to keep the other half in prison.” Shelton marvels at the claim of one prisoner that life inside isn’t so bad: “For the first time in my life I have a bed to sleep in and three meals a day and we all sit down to eat together.” Prison has become a surrogate family for millions of people—a place with greater community than back home. (Would it be more punishment to release them, then?) Reflecting on Karen Lamberton’s heroic effort to stay with Ken, Shelton writes, “Incarceration is probably the quickest and most effective way to destroy a family permanently. And mass incarceration, as it is practiced in this country, is the quickest and most effective way to destroy the social fabric of entire communities, especially poor and minority communities.”

What is Shelton’s proposed solution? Dogged, committed volunteerism. Millions of volunteers could make prison more transparent, ease the transition from jail to free life, and leave, he thinks, “only a fraction of the present number of inmates incarcerated.” The more people who know the inanity of our current system, the more will see the wisdom of counter-proposals—like electronic monitoring. Shelton’s own work has born enormous fruit. We can only hope others will follow….

Maybe we should do what Jesus said, and visit those in prison. When I first did, I was struck how ordinary prisoners are. I don’t know if I’d been habituated into expecting them all to be snarling monsters bent on my destruction. But they seemed like guys I might play basketball with, or go to church or school with, or share a bus or sidewalk with (not likely a neighborhood—people in my social class rarely wind up in prison). On a later prison visit I met with my friend Jens Soering, a convict who writes that, if every Christian congregation would adopt two former inmates a year, we could greatly reduce recidivism. And if we flooded prisons with visits of the sort the Bible commands, the abuse to which many prisoners are subject would largely dry up.

Controlled Life, Uncontrolled Writing


Put that heading in Latin and it would be my motto. At least one writer feels the same. Scottish physicist and novelist Andrew Crumey reflects on his open-ended creative process at the Fine Line Editorial Consultancy blog:

I know two kinds of writer: there are the ones who like to plan everything very carefully, maybe even writing little personality profiles for their characters on postcards and sticking flow-chart plot diagrams on their wall; and then there are those who reckon the whole point of writing is making it up as you go along.

I’m the second kind. I don’t knock planning, I just find that it doesn’t work for me. Which is odd, really, because in most other respects I’m the think ahead type. I’d never dream of going on holiday without a guidebook – I’ve even been known to take a compass with me when going on a picnic (which is, I know, simply stupid). But writing is different. It’s the one corner of my life where the usual rules no longer apply – and that’s why I like doing it. Writing, in other words, is a matter of split personality or, as they call it nowadays, ‘second life’.

Robert Louis Stevenson had it sussed long before the internet, though it was Borges who really understood the Jekyll and Hyde plight of the author: one of his stories begins, ‘The other one, the one called Borges, is the one things happen to.’ I know that feeling. The other Crumey – the one whose name is on the book covers – is, I suspect, the interesting one. Me, I’m just the guy who makes sure he shows up for work. I give him plenty of coffee to start the day. The school walk (more eco-friendly than ‘run’) is a further wake-up, so that by 9.30 he has no excuse not to be writing. Except that I decide to peek at my inbox first and before I know it I’m reading somebody’s damn blog. But eventually he gets going, the writer inside me, and then there’s no stopping him.

Read the whole essay here.