Taking Initiative

It's the first day of 2017, and it's a bright, quiet afternoon in Oakland. 2016 was a year of unexpected educations. My son was born, and I learned about myself that I can act only in his interests without feeling like I am gone or utterly changed. I took an ambitious job, and I did not succeed in it, closing down an avenue I thought was going to define my life.

December of 2013, December of 2015, December of 2016 -- all years in which I left positions, variously despondent and hopeful. Januaries are quiet winter mornings that open up possibilities.

What I would like for myself in 2017 is to move from possibilities to acting. From dreaming and ideas to purposeful action.

Taking initiative, not waiting for permission or approval. Being bold. I crave structure, but perhaps in the end that sense of making and completing checklists makes me complacent.

Moving from idea to action will be 2017. Whether in the political arena, or moving from to-do list to completing tasks, to pitching interviews and reviews and articles -- and then actually writing them.

To be a writer, you have to write.

And then, I am a mother -- and this year, with fewer barriers, a much more present and engaged mother. An engaged and active partner.

This will involve challenging myself to make plans, to look ahead, to strategize. To try to anticipate the unknowns, or at least build in buffers. More than just the "swallow the frog" of doing the hard thing first, this needs to be trusting myself to spearhead and develop ideas, to plan out and follow up.

This is more than informational interviews and gathering facts and knowing about things. It's synthesis and action and invention.

A little backpedaling

[I edited this when I realized I had missed an entire person!]

I was at dim sum on Sunday with a bunch of Wellesley alums, most of whom were fairly recently graduated. And I start going into my bitter spiel about "don't go to graduate school, it just drains your twenties away and leaves you no better off, etc etc..."

Which, in many ways, was true for me.  But was that graduate school, or me?

In Which I Have Thoughts about Irish Publishing

Responding to Publishing Perspectives: Ireland's Tradition of Small Presses

This came out in July, but I was busy writing, editing, and prepping for my course this fall (in which I taught a novel by Colm Tóibín, another lauded  Irish writer who has moved to the US and who is not published by an Irish house [though a quick search indicates that his first two houses were now defunct small Irish presses Raven Arts and Pilgrim Press, back in the '80s, before he moved to being published in England].)

I did an MA at UCD on Irish lit and a PhD on Irish poetry at UC Santa Barbara (so there are my bona fides), and one thing I became entirely fascinated by was the role of the publisher in Ireland. I can't recall the exact numbers off the top of my head, but the arts council report during the boom years showed that about 30% of what was in Irish bookstores was from Ireland, and that only about 30% of Irish authors were published in Ireland.

I spoke with the publisher of a great poetry press back in 2006 about this, and I remember that he -- and later, others -- told me that he felt the problem was not lack of demand, but lack of distribution for Irish titles in Ireland.

Conceptual Memoir -- is this a thing? In France, apparently

Recently ventured back into literary criticism a bit for the Two Lines blog.

Since my dissertation discussed constraint in poetry, and that meant lots of reading in the conceptual poetry arena, I was pretty familiar with the approaches and goals of Georges Perec and Édouard Levé as conceptual writers. I'm very intrigued by the question of how one disrupts expectations of litrary grandeur and meaning, and uses ordinary things instead to create art, playing with audience expectations of entertainment or enlightenment (blame Beckett and Joyce for dragging me down this road). Perec's I Remember came out this year from the beloved small press David R Godine, and Levé clearly saw himself in a line of descent from Perec's experiments with narrative forms in prose. So I proposed writing a blog post on both in anticipation of our November event as a way of contextualizing Levé's work and responding to a book newly available to American readers.

Also, I'm SO excited that the Center for the Art of Translation's Two Voices events program is hosting Lorin Stein of The Paris Review in conversation with our marketing/online editor Scott Esposito (also an editor and critic in his own right) and the talented translator Jan Steyn on Wednesday 10/5. Both Steyn and Stein translated Levé for the Dalkey Archive, and Scott's written a ton about Oulipo's influence on literature. I'm just squealing in girlish nerd joy (on the inside) that I get to meet the editor of one of the foremost, most canonical literary journals in print.

So, here's the link to my brief essay (about 1200 words) about the connections and differences between the two authors: "Connecting the Dots"

***

I also conducted an interview with Margaret Jull Costa this summer that was posted on the Two Lines blog -- she's quite the force (translated any and every important Portuguese or Brazilian author you've heard of [Saramago ahem ahem]) -- and has been given an OBE for her service to English literature!

A Cautionary Tale? Or an Inspiration? Both?

I was asked to discuss my career path by the career center at my undergraduate institution.  Since I feel like a scrambler more than a planner at this point, I found that quite funny, but tried to answer their questions truthfully (if optimistically).

Here's the result! 

My goal for 2014: Write and Submit Weekly

In order to challenge myself to write, and set deadlines, and then abide by them, I am using stickk.com to hold me to my promises, as well as friends in charge of checking on me.

One of my goals is to write and submit SOMETHING every week. I need a fire lit under my butt, and I also need to get my confidence back. And the fun I used to have writing.

So I decided to give Medium a try (despite my reservations), to see what happens, after a fun writing prompt asked for flash fiction and I came up with a raging set of lies about journalist Joel Stein. 

See the 1500 word story (7 minute read, according to Medium) here! It was too long to submit to the contest, but I am going to try to go shorter and sweeter for the next one, due in three days.

[ETA: So yeah, only wrote the one, but it was chosen as an editor's pick! Got the taste of what 1.5K views feels like. "Exposure," they say these days, when you ask folks what they pay for material, but I can see the lure of that kind of attention. Almost feels like money.]

There's also a flash fiction writing contest at To The Best of Our Knowledge asking for "Three Minute Futures" -- short hard sci-fi. I'd like to try my hand at that!

Writing for Free, Reading for Free: The Economics of Academia and Publishing Today

Academics entering the media world tend to move from one exploitative arena (low-wage academic work) to another (unpaid freelance writing). But writing must never be an act of charity to a corporation. Ask for what you are worth—and do not accept that you are worth nothing. Insisting on payment for your labor is not a sign of entitlement. It is a right to which you are entitled.

-Sarah Kendzior, "Should Academics Write for Free?" 

Medium -- a new iteration of publishing/sharing writing/writing for free. Medium offers us all an audience because praise should be pay enough (though now, apparently, they are paying some writers decently). Medium was founded by Evan Williams (also, a liquor), who also founded Blogger (write for free -- for yourself and your friends), and has been in charge (possibly a founder? multiple stories abound) of Twitter (write for free, briefly, to the world, your friends, and clients). On Here and Now recently, Williams was asked about his new venture, and he described the year-old platform as providing journalism and stories to a wide audience who just can't find it elsewhere, apparently. He also emphasized the ability to share one's writing with the world, which writers just can't do elsewhere, apparently. Those darn editors and gate-keepers -- I thought that the internet was supposed to have knocked them down already? Williams evaded the interviewer's question of what void he was trying to fill, explaining that, really, this was a longer twitter. However, what he is actually replacing is the curated, edited magazine.