Showing posts with label memoir. Show all posts
Showing posts with label memoir. Show all posts

Thursday, May 1, 2014

Memoir & More - New Class in Wilmington!


I love teaching (almost) as much as writing (sometimes more!), so I'm happy to announce my next class, just in time to get summer rolling. 

Memoir and More: Writing Literary Nonfiction


Pomegranate Books, 4418 Park Ave, Wilmington, NC
(910) 452-1107

4 Saturdays - June 7, 14, 21, 28 ~~ 1-3 p.m.
(Limit 8 students) Class fee -- $75.


This class will focus on nonfiction writing: memoir, biography, personal essay, lyric essay. The names don't matter - this is nonfiction that tells a story or reflects on experience through language. This very broad genre includes writing about travel, nature, environment, cultures, people, and much more. Life!

We will spend some time each week looking at a selected piece of nonfiction writing with an eye to surveying the wide range of styles, subjects, and techniques available to us. Students who care to will have the opportunity to share work and receive feedback. (No one is required to share.) We will also spend some time on deep revision, which is where the real work - and fun! - of writing unfolds.

This four-week class offers a safe environment in which generate ideas, to write, to receive feedback from your peers and the instructor, and to read and respond to your classmates’ work. 

There is no required reading, but I will make suggestions, because writers read.  
If you are interested, please call or visit Pomegranate Books to register; seats are limited, and payment in full is required to hold your place. Feel free to tell others who may be interested.
Have a creative May!

Questions? Click here to Email Sheila


Monday, May 27, 2013

In Memory of Our Companions in War

To commemorate Memorial Day, I am rerunning my post from last year. Here are some thoughts about the animals who do not make wars but live, and die, in them just the same. - Sheila


In Memorium: Our Companions in War


My grandmother was a poet. Squarely in the sentimental Victorian tradition, her poems were published in Scottish and Canadian newspapers and small-press collections in the late nineteenth and early twentieth centuries. I have several fat notebooks filled with her poems, handwritten and pasted in from print sources. Years ago I read my way through them as a way to know the woman who had faded a bit in my mind (I was five when she died). I read most of the poems, but honestly, only one stands out in my mind. It began, "Farewell, my noble friend, farewell," and even now I can’t think of it without feeling the tears well up. The copy in the notebook was yellowed and frayed at the edges. On the facing page was a clipping, a picture that had run in the Drumheller, Alberta, paper and, I’ve learned, many others. It immortalizes the death of a war horse and the grief of his soldier at his death.


Goodby, Old Man by Fortunino Matania


This image, long ago burned into my psyche, is a big reason that I have no desire to see the movie War Horse. I didn't know it at the time, but Italian illustrator Fortunino Matania not infrequently focused on the sad deaths of animals, especially horses, in the war.

Today is Memorial Day in the United States. This holiday, celebrated on the final Monday of May each year, is meant to honor those who have served in the American military. Originally May 30 was known as Decoration Day because one tradition of the day is the decoration of the graves of veterans, a practice that began during or just after the American Civil War (1861-65). The first official observation of remembrance was May 30, 1868, when flowers were placed on the graves of both Union and Confederate soldiers at Arlington National Cemetery in Virginia. By 1890, all Northern states had adopted the holiday, but most Southern states refused to do so until World War I, when the holiday was extended to honor the dead of all American wars.

We usually focus our national pageants on the human price of war. Here today, for a few moments, I ask you to again expand the meaning of Memorial Day and give a thought to the millions of animals who have served, suffered, and died in human wars over the centuries. Think not only of the heroes given our attention and honors, but also of the vast majority of animals recruited into military service who did as they were asked and died unsung. Spare a thought, too, for the millions of animals, domestic and wild, who died as "collateral damage" or by intentional slaughter for political or other purposes. (Hitler, for instance, had non-German breeds of dogs systematically exterminated in Europe.)

Books have been written on animals in war, so I won’t attempt any kind of thorough commentary. Instead, I give you a few photos and a few links to more information, and ask that, as we remember our service people, we also remember the animals.

Horses, Donkeys, and Mules

I can't think of an animal more suited by nature to peace than the equines, and yet horses, donkeys, and mules have been used in human warfare since, probably, the first person threw a leg over an equine's back. Without horses for speed and donkeys and mules for stamina, we as a species would certainly not be where we are today, and our history, especially the history of conquest and war, would have unfolded very differently.

"L" Battery, R.H.A. Retreat from Mons
This British Horse artillery unit made a heroic stand against advancing German troops during the retreat from Mons, Belgium on 1 September 1914. Mons stayed in German hands until liberated by Canadian troops on the last day of the war, 11 November 1918. L Battery R.H.A. How our Gunners Won the V.C. and Silenced the Fire of the German Guns in the Face of Overwhelming Odds. Retreat from Mons 1st September 1914. Print by Fortunino Matania. Canadian War Museum


There are many websites and books about horses in war, but a few I've found especially interesting include the following:

Horses, mules, and donkeys naturally became less important to most militaries after World War I, but they aren't out of the service entirely. In fact, they are being used by American forces today in Afghanistan, as shown on Olive Drab's page.

Carrier pigeons

Carrier pigeons have nearly as long a history in military service as do the equines. During World War I, the U.S. Signal Corps deployed at least 600 pigeons in France alone, and Britain used some 250,000 carrier pigeons during World War II. Paddy, an Irish carrier pigeon, was the first pigeon to cross the English Channel with news of success on D-Day. One of hundreds of birds dispatched from the front, Paddy flew 230 miles in 4 hours and 50 minutes. He is one of 32 carrier pigeons to be awarded the Dickin Medal, the highest British decoration for valor given to animals. Another recipient was an American pigeon, GI Joe (below).


To learn more about carrier pigeons who have served, start with these site:


The Dickin Medal

The PDSA Dickin Medal, recognised in Britain as the animals’ Victoria Cross, is awarded to animals displaying conspicuous gallantry or devotion to duty while serving or associated with any branch of the Armed Forces or Civil Defence Units. The Medal has been awarded to dogs, horses, pigeons, and one cat. The citations on the Rolls of Honour are moving tributes to the role animals play in our service during war, and to the courage of the individual animals who have received the medal.



No such medal exists in the United States as far as I know (please let me know if I've missed it in my search). In fact, in 2010 the Pentagon refused the request of military dog handlers to establish an official medal for valorous animals.


You're in the Navy Now

Although we tend to think of dogs and, sometimes, horses when we think of animals in the military, cats have also served in the military, often in the navy, like Pooli (below). For more great photos of cats in the Navy, visit Cats in the Sea Service .


"War Veteran - 'Pooli', who rates three service ribbons and four battle stars, shows she can still get into her old uniform as she prepares to celebrate her 15th birthday. The cat served aboard an attack transport during World War II." Los Angeles, 1959

Dogs, too, have served aboard ship, often as ship's mascots and de facto therapy dogs. Imagine how much fun the sailors on the USS Texas had with this gang in 1915. The Texas is now a museum near Houston and has been designated a National Historic Landmark. It is one of six surviving ships to have seen action in both World Wars. Check out the U.S. Naval Institute's Sea Dogs page for more canine sailors.





Love and War


Not all who serve fight, of course, and just having an animal to touch, to care for, and to love can be vital to a service man's or woman's emotional health.




Marine Pvt. John W. Emmons, and the Sixth Division's mascot dog sleep beside a 105mm howitzer on Okinawa, 1945. The Sixth Division suffered almost 2700 casualties during the battle, with another 1,300 being evacuated because of either exhaustion or fatigue. ( U.S. Naval Institute's Sea Dogs)



"Accepting her fate as an orphan of war, 'Miss Hap' a two-week old Korean kitten chows down on canned milk, piped to her by medicine dropper with the help of Marine Sergeant Frank Praytor ... The Marine adopted the kitten after its mother was killed by a mortar barrage near Bunker Hill. The name, Miss Hap, Sergeant Praytor explained, was given to the kitten 'because she was born at the wrong place at the wrong time'."
Korea, ca 1953 (From "Cats in the Sea Service")


As you prepare for your cookout or whatever else you have planned for the holiday, please take a moment to pause and remember what it's really about, and raise a glass to the all the souls - human, canine, equine, feline, avian, and more - the day is meant to honor.

Then hug your animals.














 



Wednesday, May 8, 2013

Heaven is Rescuing Older Dogs - Guest Author Monica Agnew-Kinnaman

I'm delighted for a whole slew of reasons to welcome author Monica Agnew-Kinnaman to "nonfiction Wednesday" today. First, her book So This Is Heaven: How Rescuing Old or Unwanted Dogs Provided a Touch of Heaven on Earth is about two subjects dear to my own heart -- animal rescue, and "mature" or otherwise unwanted dogs. Beyond that, Monica is 95 years young and, as you'll see when you read her bio, could undoutbedly write another couple of fascinating memoirs of her well-lived life. And just look at these lovely and loving dogs! (More on adopting older dogs below.) I'll leave it there - welcome, Monica.  ~ Sheila



I already have two "rescues" and today I am waiting for another canine victim to arrive. The year is 2009 and my latest guest, the one I am now waiting for, is an aging Old English Sheepdog. I know little about her except that she has spent her life caged in a "puppy mill", giving birth every six months. Countless pregnancies have taken their toll and now, at eight years old, she is no longer able to produce healthy puppies. Consequently, useless to the breeder and taking up valuable space, she was slated to be destroyed. A concerned sheepdog rescue group learned of her fate but their facility, already overcrowded with unwanted dogs, had no room for her. They called me.
 


As I stand at the window, gazing out at the Colorado winter landscape, I think of the many dogs I have loved, now all long gone. Little snowflakes are drifting lazily down, heralding a storm to come, and the van bringing the dog is past due. The long wait is getting tedious and my mind starts to wander. While I reminisce fondly about the past I find myself being transported back in time to another century, another place, another dog.
 
 
 It is now the late nineteen twenties and I am ten years old, standing on the steps of a mansion on Duchy Road, the closely guarded bastion of the super-rich in Yorkshire, England. A tall figure in a butler's uniform is gazing down at me, no doubt wondering what business this small person, who had arrived unannounced, could possibly have with his employer.
 
"I hear you are going to kill your dog. I have come to take him," I blurt out, with no preamble.
From So This Is Heaven, Chapter 1
 
 
Jess, 11 years young, doing what Border Collies do!

More from Monica

 
I have had an assortment of animals all my life, and over the years have taken in many abused and abandoned dogs, but it is only within the last fifteen years or so that I have concentrated on OLD dogs. I found that most people adopting from rescue operations, such as the pound, wanted only young dogs and puppies. The old dogs, however sweet and loving, didn't stand a chance. They invariably ended up being "put down."  So I started to look for old abandoned dogs that no one wanted, and who had never known any love or kind treatment. This was not only at the Humane Society but wherever I found them. That is what "So This Is Heaven" is all about.
 
I hope people will read about these wonderful senior citizens and go to the pound, specifically to adopt an old unwanted dog and shower it with love. Or if they are unable to take a dog, find an abused cat or even a rabbit!
 
 
 
Monica Agnew-Kinnaman was born in England and served in a British anti -aircraft regiment during WW II. She came to America sixty years ago on vacation and met her future husband. They moved to Colorado where she has lived ever since. Monica has a son and a daughter, both married. She has had dogs all her life but after her husband died she decided to take OLD abused and abandoned dogs that were destined be destroyed. She is now 95 and lives with Lilly, an Old English Sheepdog, fourteen years old, and Jess, an eleven-year-old Border Collie. Her e-book can be found on Amazon at So This is Heaven or at the publisher's website at Alpine Publications. A paperback version is currently available only by contacting the publisher, but a link to order the book in paperback will be posted on their site soon.
 
 
 ~~~~~~~~~~~~~~~~~~~~~~~~~~
 
Note: There is nothing like the love of an older dog, and few things quite so uplifting as watching a dog who has gone for years without basic love and affection blossom in a nurturing environment. The same is true for cats, horses, rabbits....all social animals. To learn more, I recommend that you visit The Senior Dog Project, The Grey Muzzle Organization, and your local shelters and rescue groups.
 
Alpine Publications offers a full line of non-fiction books on dogs and horses to help people succeed with their canine and equine activities. If you are interested involved with rescue, or interested in helping in some way, check out my book Rescue Matters: How to Find, Foster, and Rehome Companion Animals, available in paperback and ebook formats from the publisher, and in paperback, ebook, large-print, and Audible formats from amazon.com.
 
I'm Sunny, and I approve this message.
I came to live with Sheila and Roger, and my Lab sister Lily,
last November at 11.5 years. I'm so glad that
Golden Retriever Rescue Club of Charlotte took me in
and, after almost 8 years living with people who ignored me,
found me a home where I have my own bed, lots of tennis balls,
and CHEESE. I might not be here too many more years, but
the love I leave along my path will last forever.
Do something good for your heart ~ adopt or foster an older pet.

 
 
 
 
 
 
 
 
 
 
 
 

Monday, May 6, 2013

The Roots of Writing

This is the story of how we begin to remember
This is the powerful pulsing of love in the vein
After the dream of falling and calling your name out
These are the roots of rhythm
And the roots of rhythm remain

                                                Paul Simon, "Under African Skies"



I was listening to Paul Simon's Graceland album the other day. I'm also teaching a class called "Write Your Memoir," and I recently wrote a reflective "artist's statement" about my own writing career. Perhaps its the timely confluence of the three streams that has kept the refrain from "Under African Skies" (above) flowing through my head as I ponder its meaning.

This is the story of how we begin to remember. It's a story essential to all creativity if not meaningful life itself. Certain forms of writing - memoir, history, biography, for instance - are overtly centered on the past as conjured through memory and research. But that fact is that all writing, even sci fi set in the future and "pure" nonfiction, draw on memory. Unless we have profound amnesia or some other problem, we can't not use memory.

Still, some memories are slippery. Some are only partially formed, while others hide from us. And if you've ever compared your memories of events with those of your family or friends, you probably agree that some memories are shapeshifters, taking different forms for different people. That's because we are by nature story tellers, and "story" is more than a recounting of events. Story gives shape to those events, and the teller of the story selects details to include, omit, expand, pare down, change. But I digress.

So how do we begin to remember? Here are a few ideas that work for me:

  • Freewrite. This is nothing new, but if you haven't let yourself go in a stream-of-consciousness freewrite for a while (or ever?), give it a try. I tell my students that any length of time is better than none, but I find that the magic begins to happen after twenty or thirty minutes for me. This is true whether I'm truly freewriting or I'm composing a piece of writing that I think has a specific focus or form.
  • Walk. Or do something else that involves repetitive physical activity but leaves your mind mostly free. Leave the earbuds, the dog, and the friend/SO at home, turn off the tv is you're on a treadmill. Just move and let your mind go where it will. I've solved many a writing problem while walking. Try it.
  • Look. At pictures. Pull out your old albums (or, if you're like me, the boxes of photos you will someday put into albums!) and see where the pictures take you. Make notes about memories that come to you. If you're trying to conjure a specific time period, go to the library or online and find photos from that period. Both the public images of various media and more private images that you can dig up may stir a lot of memories.
  • Listen. Music is a terrific door into memory. Most of us associate certain songs with specific times, places, people, events. Find "top twenty" lists from the time you want to enter and make yourself a play list. YouTube, by the way, is superb for this - I've spent hours surfing videos of young Elvis and Grace Slick and Boy George and - oh, I could go on and on!
 
There are lots more techniques, of course - brainstorming, mind mapping, and so on - but that should get us started. Have a creative day! I'm off now to dig into the roots of my own rhythms.

~~~~~~~~~~~~~~

Come back Wednesday, when my guest Monica Agnew-Kinneman will be telling us about her book So This is Heaven and a subject dear to my own heart, the joys of adopting older animals.







Wednesday, May 1, 2013

What Do You Skip, What Do You Read?

"I try to leave out the parts that people skip."  So wrote Elmore Leonard, and I have seen that line quoted many times. On the surface, it makes a lot of sense. Like most soundbites, though, it means less the more we reconsider. I mean no disrespect to Leonard. He's a prolific writer, his novels are great fun, and his advice for writers is generally useful. Even this phrase is useful if it helps writers weed out the overwritten and the padded and the just plain dull.

But there are problems with it, too.

The first problem I see is that different people skip different things. I know many people -- including writers -- who swear they never read a preface or introduction or acknowledgements. I'm one of those people who does read all of the above. I like knowing what's behind a book. Knowing who the author thanks and how they do the thanking gives some insight into the author's personality and life, and I'm enough of a voyeur to enjoy that. I also like to learn more about why the book came to be, and that information is often framed in an introduction. One argument against those "peripheral" materials is that the book should speak for itself. I agree. I just think that "the book" is everything between the covers. Come to think of it, the front and back covers count, too.

Even if we stick to the main part of the book, though, the "skippable" parts vary with the reader. My husband skipped the long passages on church history and semiotics in Umberto Eco's The Name of the Rose. As a student of folklore/linguistics/anthropology, I read and reread Eco's novelistic treatment of signs and symbols, and found the convoluted politics of the medieval church fascinating. But then I read "the whale chapter" in  Moby Dick. Several times.

Really, if we think about it, we can't avoid writing the parts that people skip because (and I know this is hard for the writers among you to read) some people will skip everything we write. I have personally skipped every word of quite a few books that simply didn't interest me. I've skipped everything past the first whatever number of pages or chapters in books I found boring or offensive or poorly written or.... I've skipped chapters that didn't interest me. Haven't you?

But back to Leonard. I think the real wisdom in the pearl I've quoted is the directive to consider what we include, to be sure it matters in the context of the story, the essay, the poem, the play. As writers, we have to exercise our critical muscles on our own work, and we have to be willing sometimes to delete. We also have to be willing to stand up for the parts we believe should be there, even if some readers skip them.

~~~

What parts do you skip when you read? What do you read that other people say they skip?

~~~~~

Please come back Friday to see what my guest p.m. terrell has to say about suspense. You won't want to skip any of her post!


 


Wednesday, April 24, 2013

Memoirs and "Memoirish" Nonfiction


My newest Write Your Memoir class begins this afternoon through the Cameron Art Museum's Museum School here in Wilmington, and I'm excited. I love teaching almost as much as I love writing, and the class is full, so I anticipate a rewarding and creative few weeks.

This class is focused on memoir, but memoir writers are everywhere you find writers. Whenever I teach writing classes, attend conferences, or participate in writing groups, there are invariable people present who are working on memoirs, or thinking about it. We (meaning "we humans," not just "we writers") have an abiding interest in our own stories. For a memoir to work for readers other than the author, though, it needs to be about more than me, me, me.



Let's get the confession out of the way: I'm working on two memoirs, too, or as I like to think of them, a "memoirish" nonfcition. Both of them weave my story into bigger stories, one of those about riding long-distance trains through the United States, the other about - surprise! - dogs. Let's talk about the doggy one.

Anyone who knows more about me than my name knows that dogs have been an important part of my personal and professional lives. So there's the core of the thing, the memoir part: me and dogs. And then there's the "ish" that makes it memoirish: the book is about dogs in a larger sense, about the linkages that have existed between our two species since we were both hunkering down in caves to gnaw on bones, which leads us to broader reflections on our place in the world and relationship to the creatures with whom we share it.

All of which prompted me recently to reread (for the fifth or sixth time) Vivian Gornick’s The Situation and the Story: The Art of the Personal Narrative (2001), which I highly recommend to anyone writing memoir and, really, most types of narrative nonfiction. It's a slim book but is not an easy read. In fact, I'm sure I haven’t grasped all the subtleties even yet. Still, Gornick’s main point seems clearly to be that effective personal narrative is neither plot nor setting nor structure nor emotion alone, but a rich amalgam of those elements and more. Nor is effective personal narrative an exercise in self-indulgent navel gazing; the author must, Gornick argues, transcend the self and take on a persona that "is the instrument of illumination."


Structure is essential. To illustrate, Gornick reflects on a eulogy that stood out among several others because the eulogist had imposed structural order on the things she had to say. As Gornick put it, "Order made the sentences more shapely. Shapeliness increased the expressiveness of the language. Expressiveness deepened association....dramatic buildup occurred....This buildup is called texture. It was the texture that...caused me to feel, with powerful immediacy, not only the actuality of the woman being remembered but – even more vividly – the presence of the one doing the remembering."

Structure, the rest of the book argues, is built up of a situation and a story told in the voice of the writer’s persona. Just as a novel has a narrator who is not the author, a well-written memoir has a narrator -- Gornick's persona -- who is not the author. That's a sticky distinction for most of us to make, but it makes sense when we realize that we tell our own stories differently for different audiences. Or, as Gornick might say, we take on difference personae for differing purposes.


Gornick defines "situation" as "the context or circumstance, sometimes the plot," including conflict between the persona and something or someone integral to the situation itself. "Story," in contrast, "is the emotional experience that preoccupies the writer; the insight, the wisdom, the thing one has come to say." It is, in other words, the persona’s complex response to the situation.



It is that persona(l) response to a situation - the situation of the book - that draws us in, but it is the larger meaning of personal story that keeps us there, fascinated by another person's story because, in the end, it is our story, too.

--

What are your favorite memoirs or "memoirishes"? I have a long list, but here are five that stand out for me, and they are all about much more than the authors who wrote them:
  • Refuge by Terry Tempest Williams
  • The Snow Leopard by Peter Matthiessen
  • Desert Solitaire by Edward Abbey
  • Narrative of the Life of Frederick Douglass, an American Slave by Frederick Douglass
  • Dog Years by Mark Doty

I hope you'll come back on Friday, when I will be suggesting some ways that you can help your favorite authors (which of course helps you if you want to read more from them!). You can sign up at the right for reminders, or follow my Facebook page or Twitter - I always post the link when a new post shows up here.

Monday, April 22, 2013

Reading for Earth Day and for Life

 
 
Every time I write a new novel about something sombre and sobering and terrible I think, 'oh Lord, they're not going to want to go here'. But they do. Readers of fiction read, I think, for a deeper embrace of the world, of reality. And that's brave.        ~ Barbara Kingsolver


 
Today is Earth Day 2013. What are you reading? Here is a very eclectic list of suggestions to read, or re-read, today, tomorrow, this year. These are just a few of my favorites - I can't list everything! - so I have also listed some resources for more "to-read" suggestions and other environmental resources.
 
In the coming weeks I will be casting a wider net to include writers from non-U.S. and non-Western traditions. If you have suggestions, or would like to write a guest blog in that vein, let me know.  
 
In the meantime, I hope you will add to my list in the comments. More than that, I hope we will all read at least one serious book about an environmental subject in the coming year. Earth will survive us, but we (and many other living things who share our Earth) may not survive ourselves.
 
~ Sheila
 

Fiction

Prodigal Summer by Barbara Kingsolver
Buffalo Gals and Other Animals Presences by Ursula LeGuin
Dune by Frank Herbert
Tracks by Louise Erdrich
At Play in the Fields of the Lord by Peter Matthiessen
All the Pretty Horses by Cormac McCarthy
The Dragon Keeper by Mindy Mejia
The Lorax by Dr. Seuss
The Sea Wolf by Jack London
Native Tongue by Carl Hiassen
 
 

 

 

Narrative Nonfiction

Arctic Dreams by Barry Lopez
Desert Solitaire by Edward Abbey
Pilgrim at Tinker Creek by Annie Dillard
A Sand County Almanac by Aldo Leopold
Silent Spring by Rachel Carson
The Book of Yaak by Rick Bass
The Land of Little Rain by Mary Austin
The Solace of Open Spaces by Gretel Erlich
The Immense Journey by Loren Eiseley
Entering the Stone by Barbara Hurd
 
 
 

Poetry

Rather than list individual poems, here are ten poets whose work often has an environmental focus.
 
Joy Harjo
Mary Oliver
Ted Kooser
Annie Finch
Walt Whitman
Gary Snyder
Seamus Heaney
Denise Levertov
Wallace Stevens
Elizabeth Bishop
 
 

Resources

The Association for the Study of Literature and Environment - check resources for bibliograhies & syllabi
 
 
 
 

 
 
 
 
 

 

 

Wednesday, April 17, 2013

Writing What's Difficult: Finding the Balance

On Monday, I wrote about handling gritty issues in "cozy" fiction, that is, fiction that is not generally expected to include graphic violence. Emotionally difficult subjects are not, of course, exclusive to fiction. Nonfiction, including memoirs, travel and nature writing, ethnography, history, and more, often addresses painful and ugly subjects. So does poetry. And drama. Writing is, after all, a reflection of life, and as we were reminded again on Monday afternoon, life is filled with joy, pain, inspiration, tragedy, and triumph.

We have all lived through all of these emotions, and in this age of virtually instantaneous information, many people take in not only personal tragedies but those of the nation and the world. The Internet and the broadcast media provide not just news of events, but the opportunity to revisit every shard of pain over and over. I won't dwell here on my opinions about how healthful or helpful that is for us as individuals or member of the human race, but it is a fact of life for everyone who goes online. Me. You.

Writing seriously about events that lacerate our souls is another matter. I'm not talking about "blurt" writing, the knee-jerk posts and blogs and what-have-yous that begin to spout even before the dust has settled or blood has dried. I'm talking about something deeper. I'm talking about writing that comes from the heart and the gut, sure, but also from the rational mind. I'm talking about writing based on research, on checked and double-checked information, on careful reflection, on skepticism and questions.

I recently wrote an essay about corvids - crows, magpies, ravens in particular. They are among my favorite birds, and the essay focuses on encounters I've had with them on the North Carolina coast, the high desert of Nevada, a rocky beach in Ireland. Corvids are brilliant creatures, and fascinating to watch,  but one day I was witness to a Corvid event that left me shaken. I knew for two years that I would have to write about it, but I couldn't find a way to begin.

How do we enter emotional material? And how far in do we go? I have heard it said that when we need to write the thing that we resist writing because that is likely a rich source of material. I think we also need to figure out why we are resisting, because knowing what we fear may lead us in and - if we are not to become lost in the labyrinth - lead us back out again.

In the case of my corvid essay, I realized somewhere along the way that what I feared was not memory of the event itself, horrifying as it was. What I feared was that I would leave readers with a skewed impression of both the birds and of my response to what I saw. So I kept reading about corvid behavior, and about human-corvid interaction, and ultimately I found the key I needed to balance what I wrote.

Perhaps balance is the key to everything. I don't know, but I do know that nothing is simple, and that when we write, especially when we write nonfiction, we have an obligation to be as true as we can be to the worlds we see.

~~~~~~~~~~~~~~~~~~~~~~~~

Here are some examples of superb writing, in no particular order, about wrenching subjects. (Many more authors and works have dealt effectively with tough material - these are just a few that come quickly to mind. Feel free to add to my list in your comments.)
  • Into Thin Air by Jon Krakauer
  • Refuge: An Unnatural History of Family and Place by Terry Tempest Williams
  • Dog Years and Heaven's Coast by Mark Doty
  • Songs from a Lead-Lined Room by Suzanne Strempek Shea
  • Angela's Ashes by Frank McCourt
  • We Band of Angels: The Untold Story of American Nurses Trapped on Bataan by the Japanese by Elizabeth M. Norman
  • Strength in What Remains by Tracy Kidder
  • The Glass Castle by Jeannette Walls