On March 21, I’m teaching a special one-day Hugo House class at the Henry Art Gallery. As I mentioned in a recent Ploughshares blog post, I’ve been helping out with the literary component of Ann Hamilton: the common S E N S E, the exhibit that has taken over all of the Henry from October to April. The show explores the sense of touch and our relationship to nature as well as being touched–emotionally, intellectually–through the private act of reading.
The exhibit has filled the galleries with scanned images of taxidermy animals from the Burke Museum of Natural History, with children’s ABC primers and bestiaries from the University of Washington’s Libraries Special Collections, and with clothing made from animal products both from the Burke and from the Henry’s collections. Throughout the galleries, at different times, chorale singers sing to the objects. And, reader/scribes read aloud to objects of their choice, like a bedtime story, from a common text that will change over the course of the show–the first is J.A. Baker’s The Peregrine, a beautiful book. These reader/scribes, when particularly moved by a passage in the text, record that passage into a log book. These log books will accumulate over time, becoming a record of a collective reading experience.
There are a number of ways to participate in this rich exhibit:
- Submit a fragment from your own reading that deals with the sense of touch (literally or intellectually) to this tumblr site; your submissions may be included in the exhibit!
- Volunteer to be a reader/scribe. I’ve done it four times so far; it’s a powerful experience, and I’m writing about it now and hope to share it with you soon. Perks: free admission, a free pass to return to the exhibit, and an invitation to participate in a discussion of the experience with other reader/scribes and facilitated by a member of the literary community (including me!).
- Take my Hugo House class Senses at the Henry on Saturday, March 21, 12-3 pm. We’ll do the reader/scribe activity, contributing to the exhibit itself (exciting!), discuss the experience, and then dive into creative writing in response to the show. Member registration begins on December 9 and general registration opens on December 16.
Hope to see you around the Henry in the coming months!
This winter, I’m teaching Intro to Fiction: Writing the Short Story, a six-week class at Hugo House laying out crucial elements of story. Here’s the course description:
This class will zero in on the three-part backbone of story: character, plot, and landscape. Who is your main character? What do they want? What keeps them from getting what they want? Readings and discussions will include canonical and contemporary stories from James Joyce, Anton Chekhov, Mavis Gallant, Jamaica Kincaid, Louise Erdrich, and others. Writing exercises will focus on crucial craft elements as well as generative exercises to get started.
I’m also teaching a special one-day class at the Henry Art Gallery in conjunction with Ann Hamilton’s show the common S E N S E, which I’ll write more about in a separate post. Registration for Hugo House members begins on December 9 and for the general public on December 16. Hope to see you there!
My latest blog post for Ploughshares explores the sense of touch in writing, with wisdom from Aristotle, Ann Hamilton: the common S E N S E at the Henry Art Gallery, Natalie Goldberg, Diane Ackerman, and John Edgar Wideman, and with a bit of inspiration from Hieronymus Bosch. Here’s how the post begins:
Touch is the sense common to all species. So wrote Aristotle in Historia Animalum and De Anima. And so is the premise for the art show Ann Hamilton: the common S E N S E, which I’ve been helping out with here in Seattle, and which explores the sense of touch and our relationship to nature, as well as our ability to be touched, emotionally and intellectually, through the private act of reading.
This got me thinking about the importance of touch in writing. Like the sense of smell, touch is a tad neglected when compared to the senses we gravitate toward first: the visual and the auditory. But think about how connected you’ve felt to a text when the author captures a particular tactile sensation or visceral reaction? How do those moments create emotional and intellectual resonance?
“Harush” by John Osgood, painted during the 24-hour art marathon at CoCA (text painted by yours truly).
I’m very happy that my story “Skitter,” first published in The Massachusetts Review and previously only available in print, is now online at LitRagger. I love their project of reprinting stories, poems, and essays so that they have an online presence. Here’s how “Skitter” begins:
Another tooth plinked into the tea glass and Harush blinked at it twice.
My latest blog post for Ploughshares offers suggestions for inserting and escalating conflict in fiction, with advice from Stephanie Kallos, Janet Burroway, and Merrill Feitell. Here’s how it starts:
In fiction, only trouble is interesting. For the conflict averse, instilling a story with juicy conflict may take some practice. Someone who has read many drafts of many of my short stories once dubbed me “Anca Did She Forget the Conflict Szilagyi”–a moniker that has become helpful as I work on second and third drafts of stories. As is often the case in learning something, I was aware, theoretically, that I had this problem. But how to proceed?
My twelfth set of writing prompts for the Ploughshares blog explores writing from the perspective of characters unlike yourself, with insight from Jodi Angel, Chris Abani, and Keith Ridgeway’s great short story “Rothko Eggs”. Here’s how it begins:
A crucial lesson I learned early on in my attempts at writing fiction is that every character is you–and not you. Characters have parts of you inside of them because you wrote them. But they are still not you. Chris Abani once said in a workshop that readers will always wonder if your characters are you–even if your main character is a Chihuahua. There’s not much to do about this wondering except write the characters you want to write with complexity and empathy.
Over on the Hugo House blog, my Classy Talk interview sheds a bit more light on my upcoming fiction workshop. Take a look, sign up, and help me spread the word about it! Class meets Wednesday nights, 7-9 pm, starting October 29. I’m already excited about the story we’ll read on the first day, a short-short by Angela Carter, which will be atmospheric and fairy tale-ish and spooky.
In the spirit of back to school season, I wrote a blog post for Ploughshares on rolling up your sleeves and learning by imitating the writers you admire. I’ve done the prompt on structure a couple of times now with Chekhov stories; one of the stories that came out of that exercise ended up in Propeller Magazine last December. As always, do let me know if you try out the prompts and if they’re helpful!
My latest blog post for Ploughshares offers writing prompts inspired by abstract art, with wisdom from Jeanette Winterson, and features a fantastic, electric illustration courtesy of Amy Frierson.
Back when I was slogging through the first draft of my first novel, I looked to visual art every morning as a prompt. I had a big stack of Dover art stickers that I would randomly choose from, and stick in my journal, and over time, I found that Kandinsky helped me write my protagonist. I have no idea why. But when you’re focusing on just getting words on the page, you do whatever works, right? Now I’m working on a couple projects dealing with art more deliberately, one of which I’ve written a bit about in these posts; the other is a bit too embryonic, but I’m excited about it and look forward to telling you more here when the time is right.