M. and I are moving cross-country to Seattle in August, something we've toyed with for a few years now. I'll be pursuing an MFA in fiction writing at the University of Washington-Seattle; he'll be doing his urban planning thing, hopefully (fingers crossed on this whole sour economy thing). We're ecstatic and planning a cross-country drive which will cover a swath of the northern states. This means I will have to finally take some driving lessons so M. doesn't drive all 2,000+ miles (even if I did have fun testing out GoogleMaps'experimental walking option: it would take us 39 days of non-stop walking, apparently). As it happens, that first trip to Vancouver and Seattle was where I drove for the first time, in an icy parking lot at the University of British Columbia; M. told me to drive in a circle and all I could do were figure eights.
On that note, here are two fun mapping sites:
1. triptopnyc
2. literature map
Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts
Saturday, May 02, 2009
Thursday, February 07, 2008
Hungry Hungry Writers (AWP on Day 1)
Last week I attended the AWP conference. I'm probably eons behind other blogging attendees in reporting about my experience, but here's a bit about the first day.
Neophyte that I am, I exhausted myself on that first day, attending panels and readings and wandering the book fair from 9 am - 10 pm, buying way too many books and magazines way too early (no strategy-- none). I went to a panel on putting together short story collections, in which Steve Almond called short story writers "poets of the prose world". He gave fresh, honest advice about not letting agents or editors shove gimmicks on your collection (which appeared to make some other panelists shift uncomfortably in their seats). As such, deciding on where your commitment is and what your aesthetic may be before seeking representation may be helpful in staying true to your art. Noted.
After the panel, my grumbling stomach led me to room of pastry, bagels, and coffee. AWP attendees were heaping cheese danishes and pineapple slices onto little white plates. "What a pleasant surprise!" I said to a fellow writer as we munched on. Half-way through my raisin bagel, a Hilton security guard came in and asked if we're from the writing conference, with a look of disdain at all the AWP badges. "This isn't for you! It's for another group." he lamented. "Get out before my manager sees you." Twenty odd writers then scurried off with their half-eaten food. I felt like a coyote.
One of the readings I went to that day was the National Book Foundation's "5 Under 35" . One question posed during the Q&A was how the writers are able to stay motivated to write despite mounting obligations to other things (jobs, children, compulsive self-googling). Two recent mothers chirped that less time for them means becoming more efficient with the spare hour left for writing-- that they actually get more done. And while that's encouraging, I had to admire Amity Gaige's honest response: that she wishes she had more time to think and to wonder.
Perhaps more AWP stuff at a later time (jobs, wedding planning, and actual fiction writing may delay the next post...not to mention compulsive self-googling).
Neophyte that I am, I exhausted myself on that first day, attending panels and readings and wandering the book fair from 9 am - 10 pm, buying way too many books and magazines way too early (no strategy-- none). I went to a panel on putting together short story collections, in which Steve Almond called short story writers "poets of the prose world". He gave fresh, honest advice about not letting agents or editors shove gimmicks on your collection (which appeared to make some other panelists shift uncomfortably in their seats). As such, deciding on where your commitment is and what your aesthetic may be before seeking representation may be helpful in staying true to your art. Noted.
After the panel, my grumbling stomach led me to room of pastry, bagels, and coffee. AWP attendees were heaping cheese danishes and pineapple slices onto little white plates. "What a pleasant surprise!" I said to a fellow writer as we munched on. Half-way through my raisin bagel, a Hilton security guard came in and asked if we're from the writing conference, with a look of disdain at all the AWP badges. "This isn't for you! It's for another group." he lamented. "Get out before my manager sees you." Twenty odd writers then scurried off with their half-eaten food. I felt like a coyote.
One of the readings I went to that day was the National Book Foundation's "5 Under 35" . One question posed during the Q&A was how the writers are able to stay motivated to write despite mounting obligations to other things (jobs, children, compulsive self-googling). Two recent mothers chirped that less time for them means becoming more efficient with the spare hour left for writing-- that they actually get more done. And while that's encouraging, I had to admire Amity Gaige's honest response: that she wishes she had more time to think and to wonder.
Perhaps more AWP stuff at a later time (jobs, wedding planning, and actual fiction writing may delay the next post...not to mention compulsive self-googling).
Friday, July 27, 2007
changes
M, a.k.a. my betrothed, has a new blog called Zoned-In. It's all about hot topics in urban planning (adaptive re-use, congestion pricing, and the like) and makes for good, hearty reading (not that I'm biased).
In other (saddish) news, I've resigned from my post at 55 Words. It was a fabulous year; I'd missed being on the editing side of things since working on Scrivener at McGill and working with Rosemary on this project was a great way to jump back into the publishing fray. Seeing what people could do (and attempted to do) with such a restriction in form was a treat. Alas, I decided it was time for the guest stories to be received by a fresh set of eyes (not mention I've become greedy with my free time as I focus more on the novel). I'm looking forward to seeing how 55 Words evolves. I think every writer, particularly long-winded writers, should try their hand at the 55-word story.
In other (saddish) news, I've resigned from my post at 55 Words. It was a fabulous year; I'd missed being on the editing side of things since working on Scrivener at McGill and working with Rosemary on this project was a great way to jump back into the publishing fray. Seeing what people could do (and attempted to do) with such a restriction in form was a treat. Alas, I decided it was time for the guest stories to be received by a fresh set of eyes (not mention I've become greedy with my free time as I focus more on the novel). I'm looking forward to seeing how 55 Words evolves. I think every writer, particularly long-winded writers, should try their hand at the 55-word story.
Friday, December 08, 2006
Eels & Feels
One of my very first publications was an academic essay published by Hotel in 2002, entitled "The Sexual Life of Agnes Matzerath in Gunter Grass's Tin Drum". They've now made this volume available online as a .pdf. I had wanted to append "Eels and Feels:" to the beginning of the title but opted for something more staid at the time. The essay is on pp.70-76 if you're into that sort of thing.
Thursday, October 26, 2006
Transfer to Nowhere
In Second Language Acquisition (SLA) there are two types of transference: linguistic and cognitive. Linguistic means you can see the influence of the native language on the second language in the surface of the structure-- grammatical errors, etc. This is part of the "Transfer to Somewhere" hypothesis, that you can see the influence. "Transfer to Nowhere" is more interesting in that it is cognitive and you can't readily see the influence. That is, one could have a perfectly grammatical sentence but it still sounds "off" because a native speaker would most likely never produce a sentence that way-- that your native language shapes how you express your experience of the world. So off isn't necessarily off or odd, I think it could also be refreshingly different. It makes me think about writers working in their second/third/fourth/etc. languages. Did Nabokov transfer Russian onto French onto English? I guess he (and Conrad) might be exceptions because they were so able to manipulate English (and I'm guessing their other languages). But then again, I don't think the influence necessarily causes language to sound off (though in many cases it might, and it does get mixed in with the grammar issues), at least in the cases of talented language users/manipulators.
Friday, July 28, 2006
On Teaching Writing
I had a rude awakening in my practicum seminar yesterday. We talked about an article called "A challenge to second language writing professionals," by Ilona Leki, focusing on the claim that "Writing is personally fulfilling" and that that's one of the big reasons why writing is so important. Basically, Leki says this claim is bunk:
"The argument that learning to write is important because writing serves a few people so well is reminiscent of parents' argument to coerce children into practicing violin--some day the learner will be grateful. But we are not dealing with children, and we are not our students' parents."
The instructor asked how many in the room actually found writing personally fulfilling (we're a class of 8). Two or three including myself sheepishly raised our hands. Fact is, writing is not fun for a lot people, and torture for a lot of language learners-- a notion I never really considered but am beginning to understand. How can we ask them to see writing as "cathartic" if they're still struggling with the language (another question posed by Leki)?
So I was left with this dangling question: if students are not the creative type prone to playing with languages in the first place, do we not bother? Do we focus forever on English for academic purposes and business English and all-things-dry-and-pragmatic? That doesn't really lend itself to flexibility with a language. And that doesn't seem practical either. Hm.
"The argument that learning to write is important because writing serves a few people so well is reminiscent of parents' argument to coerce children into practicing violin--some day the learner will be grateful. But we are not dealing with children, and we are not our students' parents."
The instructor asked how many in the room actually found writing personally fulfilling (we're a class of 8). Two or three including myself sheepishly raised our hands. Fact is, writing is not fun for a lot people, and torture for a lot of language learners-- a notion I never really considered but am beginning to understand. How can we ask them to see writing as "cathartic" if they're still struggling with the language (another question posed by Leki)?
So I was left with this dangling question: if students are not the creative type prone to playing with languages in the first place, do we not bother? Do we focus forever on English for academic purposes and business English and all-things-dry-and-pragmatic? That doesn't really lend itself to flexibility with a language. And that doesn't seem practical either. Hm.
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