October 08, 2013

5 AM Thoughts, North Carolina (& Back Again)

*Before I forget: I am hosting a kickass fiction event at the Arts Club of Washington this Wednesday (October 9; full description here) with novelists Mary Kay Zuravleff and Lisa Gorman, and journalist Judith Warner. Please come if you're in DC! And if you're in New York, perhaps I'll see you at the Center for Book Arts reading this Friday (October 11). It'll be my first chance to hold this brand-new chapbook... 

A confession: I was going to to write here about Miley Cyrus and the anguish-porn of talented twenty-something girls. (The ambiguity of "of," because that is something both put upon them and championed within.) I took screen caps from the "Wrecking Ball" video and everything. But that story is moving too fast. Anything I write today might be contradicted tomorrow. I'm keeping an eye on it. 

Also: I'm going to devote a post to this in the future, but for now I want to share the news that I've joined the faculty of the University of Tampa's low-residency MFA program (which, thankfully, I can do from D.C.). I'm taking the leap because my experiences at the Writer's Center and elsewhere have been deeply rewarding--but there's such a great opportunity to develop a philosophy of craft that works best with a serious, longterm commitment from students. If you're interested in hearing more, and would even consider enrolling in the program, feel free to email me. We will not talk about Miley Cyrus, I promise. Unless you specifically request it. 


The other week, we drove down to Raleigh, NC, for the annual International Bluegrass Music Association award show. It was a stunning three days of music. Tony Rice was inducted into the Hall of Fame, which was important for all kinds of reasons to be elaborated on at a later date. I attended a live WAMU recording, which gave me a bit of hometown pride. I got to hear Frank Solivan & Dirty Kitchen; congrats to Mike Munford, their banjoist, for his IBMA award. If you're ever looking for a great night out in Raleigh, next door to The Pour House Music Hall is Bida Manda, an authentic Laotian restaurant. We managed to snag the last two seats at the bar for dinner one night and I had the Mee Ka Tee, a pork belly & rice noodle soup, which was just as indulgent as you would imagine. 


We trekked over to Durham, which I'd never visited before. The Scrap Exchange is an amazing nonprofit "creative reuse center," a warehouse space filled with wallpaper remnants, plastic bits, feathers, discarded TVs and radios, boxes, yarns--all the quality junk that can inspire an artist, priced to be bought with the coins out of your pocket. Later, along Duke's college corner, my love shopped for records and I shopped for dresses; we both found something that suited us, then headed to Geer Street Garden for dinner, and from there to a friend's art opening in Chapel Hill. I'm hoping to get back to do a reading at The Regulator Bookshop with Count the Waves. While there I bought a copy of Scott McClanahan's Crapalachia: A Biography of Place, and when I introduced myself to the bookseller he turned out to be the son of author John Dufresne. The day just had that kind of serendipity to it. 

Our last afternoon in town we explored the North Carolina Museum of Art. Wow. Though I loved Hickory, this was the more revelatory trip in terms of North Carolina's contemporary, edgier sensibilities.

Every nook was an opportunity for sculpture; we almost missed the Rodin garden.


Inside the museum, there were intriguing works by everyone from Joseph Cornell to Kehinde Wiley. The sculpture Tar Baby vs. Saint Sebastian, by Michael Richard, would have been mesmerizing by any standard in its tribute to the Tuskegee Airmen. But the image--cast from the artist's body--is especially haunting knowing that he was killed while in his New York studio, located on the 92nd floor of World Trade Center's Tower One, on September 11, 2001.

Beyond the museum is a sprawling park, which houses many more large-scale artworks. There was a nice mix of seclusion and open expanse. We hunkered down in Chris Drury's "Cloud Champber for the Trees and Sky." Vollis Simpson's "Wind Machine" was a-spin. I'm not going to wax poetic. I'm just going to let you gawk over my shoulder at Thomas Syre's "Gyre."



We made it back to DC and promptly collapsed into sore throats and grumpy unpacking. We rallied enough for this past weekend's (e)merge art fair, at the Capitol Skyline Hotel--right by the Nats baseball stadium--which belongs to the Rubell family. On Sunday we armed ourselves with bloody marys, and set to wandering. In the lobby Andrew Wodzianski was enacting a "Self Portrait as Jack Torrance," typing All work and no play makes Jack a dull boy over and over on a manual typewriter. Setting a different tone, the lovely Holly Bass was conducting an "Art Baptism" out by the pool, under a wind-whipped canopy, complete with community music.



A half-dozen followers stepped up to announce their artistic ambitions, and to invoke the names (privately, as scribbled on a slip of paper) of three people who sustain their spiritual selves.  Then Holly baptized them in the Skyline's pool. It felt like I was back in Miami for a minute, in the best of ways. I felt refreshed. I sang loud.


Things are a little frantic in Sandra-land right now. So this is the last you'll hear from me on the blog for a couple of weeks, until I'm in IOWA. Iowa! Where I'll live all November thanks to Cornell College, teaching creative nonfiction and, y'know, frolicking in corn fields. But maybe I'll see you, in DC or New York City? Until then~

September 24, 2013

A Minor Manifesto on Readings



This photograph is from a wonderful evening I had with the Poetry Society of South Carolina, during a 2011 reading in Charleston. I've had a few conversations lately about literary tours, and it reminded me of a piece I wrote for SheWrites, "On Arranging Readings," as part of my 2010 "Countdown to Publication" for I Was the Jukebox. I used the same philosophies in touring to support Don't Kill the Birthday Girl. When I find myself demoralized, or a reading goes poorly (I have those nights too) it is usually because I've violated one of these tenets:

1) Don't fixate on a cross-country "book tour," or multiple stops in the same city.  
2) Embrace the idea of a "book stop" in tandem with non-literary travel. 
3) Reach out to friends--but forgive them if they do not help. 
4) If you hope to feature in a series with an open mic, take part in the open mic some earlier week.
5) If no one shows up to your reading, it doesn't mean you're a bad writer. 
6) Be prepared to be your own cashbox; carry small change. 
7) For particularly young or elderly audiences, be prepared to mix in the work of famous authors.
8) Don't go past your allotted timing just because you came a long way. 
9) Use your curriculum vitae as the basis to brainstorm reading venues. 
10) Don't give away a copy of your book just because you want someone to host you.

If any of those seem strange, or need further explaining, check out my original post. But in thinking about my subsequent experiences, I would add this:

Take the word "favor" out of your vocabulary. 

This feels counterintuitive, because we think of the poetry world as a close (some say incestuous) community that constantly trades on favors. This dictate is not meant to negate generosity. We're all doing this on limited budgets, usually volunteering our time. We do these things for pleasure, and because we're part of a social pact. And yet.

When it comes to the practical details of your event, nothing corrodes a reading experience faster than the belief that someone is doing someone a favor. If you can't approach the event in good faith and true enthusiasm, it's not gonna fly.

The guest who thinks he is favoring the series with his presence often reads too long (or occasionally, too little) and fails to engage the audience. 

The host who does the author a favor by fitting her in, after the umpteenth query, tends to do a lackluster job promoting. (One thing I've learned: when I have to pound down the door of the bookstore or club, it's rarely worth it. Even a great or fabled venue is no fun, if you don't feel truly welcome or championed.)

When you're doing someone a favor, you're not acting in a professional mode. That's when the requested bio, hi-res headshot and cover art, and contact for book stock comes in at the last minute or, though sent in promptly, is never used. That's when people get frustrated because it's unclear who is processing sales, or collecting emails for the list, or where the suggested cover donation is actually going. 

Sometimes there's this queasy moment at the end of the night. Maybe you've seen it. The reader and the host are standing together. The reader is thinking Dammit, I owe the host a copy of the book--though, between gas and time off from work, he's already losing money on this gig--and the host is thinking Dammit, I need to buy his book--though, between dinner and time off from work, he's already losing money on this gig--and whether money changes hands or not, the poor book gets handed over like a sprouty potato. 

That's what gets to people, when their work is bargained down to nothing more than a token. Resist. Dinner or a couch to crash on; these can be favors (and hey, if you're the guest, buy your host a drink). But your reading or series--that audience, your time, your stock--these are not to be offered up as favors, or treated as such. The trick is to conserve precious resources, on both sides, while keeping one's ego in check. 

I'm not saying I get the balance right all the time. But I'm trying.

September 17, 2013

For Your October Consideration

I am ready for fall. I am ready for three-quarter sleeves, bowls of bean soup, and hot drinks spiked with bourbon. I am ready for the air to sweeten with chimney smoke. 

I want to send off this dang manuscript, for better or for worse. I already have the next poetry project in mind. And I'm even ready to be on the road again. 

October will bring some lovely happenings, and I want to be sure they're on your radar.

"House of Suffering American Tour"
with Beasley, Dove, Schoonebeek, Schweig, and Zingg
Sunday, October 6 - 7 PM - The Black Squirrel (2427 18th St NW)
in WASHINGTON, DC 
Free & open to the public

I'll be reading as part of the fifth stop of Danniel Schoonebeek’s tour ("so come on out and bring him an extra pair of socks"). The other writers include:

Michelle Dove, whose fiction appears or is forthcoming in New South, The Southeast Review, Passages North, Barrelhouse, PANK, Pear Noir!, and elsewhere. Her work received the John Steinbeck Award for the Short Story and the Fiction Prize from Style Weekly. She lives in Washington, D.C.

Danniel Schoonebeek, whose first book of poems, American Barricade, will be published in 2014 by YesYes Books. A chapbook, Family Album, is forthcoming from Poor Claudia this fall. His work has appeared or is forthcoming in Tin House, Boston Review, Fence, Guernica, Denver Quarterly, Gulf Coast, jubilat, BOMB, Verse Daily, Drunken Boat, and elsewhere. He writes a monthly column on poetry for The American Reader, hosts the Hatchet Job reading series in Brooklyn, and edits the PEN Poetry Series. Find him at dannielschoonebeek.tumblr.com.

Sarah V. Schweig, author of the chapbook S (Dancing Girl Press). Her poems and reviews have appeared in Black Warrior Review, BOMB, Boston Review, Gulf Coast, Painted Bride Quarterly, and Verse Daily, among others. A graduate of the University of Virginia and Columbia University, she lives in Brooklyn. Find her at sarahvschweig.blogspot.com. 

Matthew Zingg, whose work can be read in The Awl, Sink Review, The Madison Review, Muzzle, Blackbird, HTML Giant, The Paris-American, and The Rumpus, among others. He received his MFA from Adelphi University and currently lives in Baltimore where he curates the Federal Dust Reading Series.

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"Shrinks On the Page, Pen in the Hand": Readings and Conversation with Mary Kay Zuravleff, Lisa Gornick, and Judith Warner
Wednesday, October 9 - 7 PM - Arts Club of Washington (2017 I St NW)
in WASHINGTON, DC 
Free & open to the public

I'll be hosting this, in a welcome return to co-chairing Literary programs at the Arts Club. Novelists Mary Kay Zuravleff and Lisa Gornick read from their latest books, and talk with journalist Judith Warner about their work and the writing life.


Two new books by noted fiction writers trace the effects of trauma on contemporary families. In Zuravleff's MAN ALIVE!, all it takes is a quarter to change pediatric psychiatrist Dr. Owen Lerner’s life. When the coin he’s feeding into a parking meter is struck by lightning, Lerner survives--except that now all he wants to do is barbecue. What will happen to his patients, who rely on him to make sense of their world? What will happen to his family? 

In Gornick's TINDERBOX, Myra is a Manhattan psychotherapist who hires a new nanny, Eva, who cleans like a demon and irons like a dream. Eva forms an immediate bond with Myra’s grandson. But once Eva, a Peruvian immigrant, settles into Myra’s patient chair to share her story, their relationship intensifies. Myra soon learns that even a family as close-knit as her own can have plenty to hide.

Each writer will share a brief passage from their books, before being joined by Warner for a moderated conversation. Warner, the author of We’ve Got Issues: Children and Parents in the Age of Medication, will explore how each came to center a book on a psychologist as protagonist, and other common themes. The three will also discuss the realities of being modern writers, particularly as women navigating the publishing industry. 


Mary Kay Zuravleff is the author of Man Alive! as well as The Bowl Is Already Broken, which The New York Times praised as “a tart, affectionate satire of the museum world’s bickering and scheming,” and The Frequency of Souls, which the Chicago Tribune deemed “a beguiling and wildly inventive first novel.” Honors for her work include the American Academy’s Rosenthal Award and the James Jones First Novel Award, and she has been nominated for the Orange Prize. She lives in Washington, D.C., where she serves on the board of the PEN/Faulkner Foundation and is a cofounder of the D.C. Women Writers Group.


Lisa Gornick is a clinical psychologist and writer living in New York.  She is the author of two novels, A Private Sorcery (Algonquin) and Tinderbox (Sarah Crichton Books/ Farrar, Straus and Giroux).  She earned a doctorate in clinical psychology at Yale, and is a graduate of the writing program at N.Y.U. and the psychoanalytic training program at Columbia.  A collection of linked stories, Louisa Meets Bear, is forthcoming with Sarah Crichton Books/ Farrar, Straus and Giroux.

Judith Warner is best known for her New York Times bestseller, Perfect Madness: Motherhood in the Age of Anxiety (Riverhead, 2005), and for her New York Times column, “Domestic Disturbances.” She is a contributing writer for the New York Times Magazine, an opinion columnist for Time.com, and a Senior Fellow at the Center for American Progress. Her latest book, We’ve Got Issues: Children and Parents in the Age of Medication (Riverhead, 2011), received an Outstanding Media Award for Science and Health Reporting from the National Alliance on Mental Illness.

A signing and light reception will follow, with books available for purchase.


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Annual Chapbook Reading 
Friday, October 11 - 6:30 PM - Center for Book Arts (28 West 27th Street) 
in NEW YORK CITY
Suggested donation $10/ $5 members

A reading to celebrate my 2013 chapbook, "None in the Same Room: Poems from the Traveler's Vade Mecum," winner of the annual contest, with judges Sharon Dolin and Harryette Mullen, and Honorable Mentions Sheila Carter-Jones and Alexandra Regalado. Chapbooks and broadsides will be available for purchase.


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"Make Lit Happen: Journeys Through the MFA and Beyond"
Saturday, October 12 - 10 AM-3 PM - The Writer's Center (4508 Walsh Street) 
in BETHESDA, MD
Registration is $50, $35 for TWC members, $20 for full-time students

I'll still be in New York, unable to attend--but this should be great! 

This one-day seminar will examine the value of MFA programs, the differences between low-residency and traditional MFA programs, and alternatives to the MFA. The seminar will include two panels focusing on MFAs and alternatives. Panelists include Kyle Dargan, David Everett, David Fenza, Joshua Weiner, Jill Leininger, Marie Pavlicek-Wehrli, Sara Taber, Tim Denevi, and moderator Nicole Idar.

The first panel, "MA and MFA Nuts & Bolts"–consisting of directors of local MFA and MA programs–will meet from 10 am to noon. The second, "Personal Journeys," from 1 to 3 p.m., will consist of individuals who’ll relate their particular journeys as writers and the role the MFA played, or did not play, in the process. 

The day includes a 1-hour break for lunch between the two panels, and a wine and cheese reception after the second panel. There will also be light refreshments (muffins, orange juice and coffee) at 9:30 a.m. before the first panel meets.

Morning Panel:

Kyle G. Dargan is the author of three collections of poetry, most recently Logorrhea Dementia (UGA, 2010). His debut, The Listening  (UGA, 2004), won the 2003 Cave Canem Prize, and his second, Bouquet of Hungers (UGA, 2007), was awarded the 2008 Hurston/Wright Legacy Award in poetry. Dargan’s poems and non-fiction have appeared in publications such as Callaloo, Denver Quarterly, Jubilat, The Newark Star-Ledger, Ploughshares, TheRoot.com, and Shenandoah. He is the founding editor of Post No Ills magazine and was most recently the managing editor of Callaloo.

David Everett is the academic director of the Writing Program at Johns Hopkins University and is responsible for the day-to-day direction of students, faculty, and the curriculum. He teaches nonfiction, science-medical writing, and the program's thesis course, and has been involved in the design of nearly all program courses. His reporting and writing have won many awards, including the highest honor for Washington Correspondence from the Society of Professional Journalists; investigative awards from the University of Missouri, the Associated Press, and various other organizations.

David W. Fenza, Executive Director of Association of Writers and Writing Programs, has taught creative writing, literature, and composition at Johns Hopkins University, Old Dominion University, Essex Community College, and Goucher College, and he has served as editor for numerous literary magazines. He is the author of a book-length poem, The Interlude. A graduate of the writing programs at Johns Hopkins University and the University of Iowa, he earned his Masters in Public Administration at the Harvard Kennedy School of Government. His poetry and criticism have appeared in The Antioch Review, Poet and Critic, and many other publications.

Joshua Weiner is author of three collections of poems, The World’s Room, From the Book of Giants (2006), which received the Larry Levis Award from Virginia Commonwealth University, and The Figure of a Man Being Swallowed by a Fish, all published by University of Chicago Press. He is also editor of a book of essays, At the Barriers: On the Poetry of Thom Gunn.  He is on faculty of the MFA Program in Creative Writing at the University of Maryland. 

Afternoon Panel:

Tim Denevi received his MFA from the nonfiction workshop at the University of Iowa.  His work has appeared in Arts & Letters, Hawai’i Review, Wag’s Review, Denver Syntax and Hobart. He currently teaches in the Professional Writing Program at the University of Maryland and at The Writer’s Center. His first book, Freak Kingdom, a memoir/history of ADHD, will be released in 2014 by Simon and Schuster. 

Jill Leininger earned her MFA in Poetry in 1999 from The University of Oregon, where she was also an instructor of poetry and an associate editor of the Northwest Review. Her second poetry chapbook, Sky Never Sleeps, was selected by Mark Doty in the Bloom Chapbook Contest.

Marie Pavlicek-Wehrli is a graduate of Seton Hill University (B.A., Studio Art) and Warren Wilson College (MFA, Poetry). She has been a Fellow at both the Virginia Center for the Creative Arts and the Ragdale Foundation. She is a recipient of a Maryland State Arts Council Individual Artist's Grant in Poetry and is a poetry workshop leader at the Writer’s Center.

Sara Mansfield Taber is the author of Born Under an Assumed Name: The Memoir of a Cold War Spy's Daughter (Potomac Books), as well as two books of literary journalism: Dusk on the Campo: A Journey in Patagonia (Henry Holt) and Bread of Three Rivers: The Story of a French Loaf (Beacon). She was a past William Sloane Fellow in Nonfiction at the Bread Loaf Writer’s Conference, and has been awarded residencies in creative nonfiction at the Virginia Center for the Creative Arts.

Moderator: Nicole Idar's stories have appeared in World Literature Today, Rattapallax, and The New Ohio Review, where she was as a finalist for the 2009 Fiction Prize. She holds an MFA in Fiction from George Mason University and a bachelor’s degree in English from Harvard University. She was an Associate Artist at the Atlantic Center for the Arts in Florida spring 2012, and was in residence at the Virginia Center for the Creative Arts in the fall of 2012.


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Mark your calendars, friends--lots of exciting things coming up. I'd love to see you.