Today we are happy to announce the news of past contributor Tania Katan! Tania’s instruction manual for inserting creativity into your work and personal life, titled “Creative Trespassing,” was just published in February by Penguin Random House. Creator of the viral campaign #ItWasNeverADress is no stranger to integrating feminism, power and creative strength into everyday life. The book is full of her own incredible stories and encourages all readers to make their own opportunities and fun.
More information about Tania’s book can be found here, her non-fiction short story from Issue 4 can be found here, along with her interview from the same issue.
Date: 03/09/2019 Time: 10:30 AM – 12:00 PM Location: Library Meeting Room B, Tempe Public Library, 3500 S. Rural Rd., Tempe, Arizona 85282 Cost: Free
Learn to use strategies and resources for writing autobiography and memoir to tell your family’s story. Participants will write about a life event, so please bring paper and a pen or a laptop computer.
Today we are happy to share news about past contributor Paul Lisicky. Paul will be presenting his forthcoming novel LATER at the Tin House Writer Workshop in Oregon this March, the novel will be published a year from then (March 2020) by Greywolf Press. His sixth book, LATER recounts Paul’s life in the early 90s during the AIDS epidemic as he explored the artistic and real world.
Information about the workshop can be found here, refer to Paul’s website for updates on his book here.
Today we are happy to share news about past contributor photographer Emily Matyas. Emily has a new book releasing this spring titled “Sol y Tierra: Views Beyond the U.S. – Mexico Border, 1988-2018.” The collection of photographs explores life just south of the border, beginning a conversation between the two countries. Along with the photographs, journalists Linda Valdez and Sergio Anaya have included essays and one of the photographic subjects have included a short memoir.
Some more of Emily’s work, published in our 14th issue, can be found here. Be sure to look out this spring for more information on the book and events!
Today we are happy to share the news of past contributor Pam Houston. Pam’s memoir “Deep Creek: Finding Hope in the High Country” was just published by W. W. Norton & Company in January of 2019. Reminiscing about her life living in the Colorado Rockies, Pam discusses the beauty and pain of human life and her ties to the earth, specifically her 120-acre ranch. The memoir not only includes her essays but also 12 of the author’s own black and white photographs.
The book can be purchased here, and information about her signing event at Bookshop Santa Cruz can be found here.
Editor’s note: This piece contains discussion of sexual assault and rape.
I’m interested in lies. I’m interested in truth. And in memory. How accurate are my memories? Do I trust that what I remember is true?
A few days ago I had coffee with a friend I see only every couple of years. Rebooting our conversation from when we last met, he wanted to know if he correctly remembered the story of the end of my marriage. “You were on a weekend get-away with your husband in San Diego,” he said. “He told you as you were unpacking your suitcases that the marriage was over, he was in love with someone from the office, she was pregnant, they were getting married, and he wanted to keep the house so he could raise his new family there.” Except for the weekend in San Diego and the pregnancy my friend’s memory had served him well.
It’s easy to explain the insertion of these two erroneous details. I had probably told my friend that only a month before our end-of-marriage conversation, my husband and I, and our children, and grandchildren had gone to San Diego for a family vacation. As for the pregnancy, in the fractured aftermath of learning that the life I knew was over, I concocted a scenario for my own survival. My husband didn’t want to end our marriage, but he was in a tough spot. Yes, he’d slept with her. Once. Maybe twice. She was on the pill, she’d told him, but that was a lie. Now she was pregnant. Or said she was. She wanted the baby, but her parents would be devastated that she was unmarried. They’d been saving and planning for her wedding since the day she was born. After much angst, my husband promised her that he’d leave me. They announced their engagement to her parents, and then she had a “miscarriage.” My husband had been duped, but he didn’t know it.
This tale helped me get out of bed in the morning. It was the story I told myself in the dark, alone. But as far as I recall, I hadn’t shared it with anyone. Then again, where did my friend come up with the idea of the pregnancy? Had I recounted my byzantine fake pregnancy, fake miscarriage theory to him? Was I so unhinged that I uttered it aloud? Maybe. And maybe, in the course of my ramblings, my friend was paying more attention to how I was negotiating the wreckage of my life than to the parsing of theory and fact. Regardless, the heart of the story as my friend remembered it was true.
Forty-two years ago I was raped by a business associate. I don’t remember his last name. I don’t remember if it happened in Indianapolis or South Bend. A couple of years earlier an acquaintance attacked me and nearly strangled me. I don’t remember his last name either. In fact, I don’t even remember his first name. What I remember is how swiftly he pinned me to the front seat of my car. What I remember is the pressure of his thumbs against my throat.
I write both nonfiction and fiction, and sometimes when there are details I don’t recall while writing an essay or memoir, I ask myself if it might be better to use my idea as a jumping off point for a short story. How can I write the piece as nonfiction when there are so many things I don’t remember? How do I flesh out the missing pieces of a true story? Is it even necessary to do that?
Since watching the Senate testimony of Christine Blasey Ford, I feel stronger than ever that the bones of a personal essay can stand on their own, sans padding. Those exposed bones, like a skeleton hanging from a porch on Halloween night, are more dramatic without additional detail. The bareness delivers commonality. My skeleton, in so many ways, looks just like yours.
There’s power in forgetting. Sometimes forgetting saves us. What we don’t remember is what we want to forget. The details that stay with us, in combination with the details that lay submerged beyond the access of memory, combine to render a story woven with complexity. There’s no need to embellish or invent. There’s a whole story lodged in our bones. Negative space is part of the picture. The erasure wrought by trauma tells its own part of the story. Just as sensory detail can engage the reader, the writer can draw the reader into the emptiness. I cannot recall a single feature of my attacker’s face. I can’t see his eyes, or whether or not he had a mustache, or freckles, or any type of a scar. He was quite pale, I think, or maybe just seemed so there on the dark street where he’d offered to walk me to my car.
The emptiness unites writer and reader. We struggle together to make out that pale face in the dark car. You are with me, clawing back your own memories just as I am with Dr. Basey Ford, running down the stairs and out the door of a house on a street with no name—a street that led us back home without knowing how we got there. Our memories can fail us. That failure is part of the story.
Novelists don’t have to use their families’ real names.
Agents don’t wear a cheesy smile and declare that a novelist’s true-life narrative “cannot be differentiated from others in the market.”
By creating names, places, people and events (and, well, whatever they want), novelists build a bulwark of invention to keep their agonizing, lived experiences at bay while concealing them in their fictions.
Novelists don’t create in a genre tagged with terms like “naval gazing” or paired with adjectives like misery as in misery memoir.
Agents don’t shake their heads and explain that novelists’ life stories don’t have enough of a “hook.”
Novelists don’t workshop their manuscripts in mixed-genre groups only to be neglected—
“I couldn’t really write my opinions or leave comments. I just wasn’t comfortable. After all, yours is so personal.”
When someone asks, “Come on, did that really happen?” Novelists answer, “Of coursenot.” (Whether it did or not.)
When novelists compose outrageous fictitious scenes, readers don’t flinch. When a memoirist records an outrageous real-life scene, readers complain—
“No way this happened!” “I don’t believeit.”
Novelists don’t confront questions like—
“What is a memoir, again? Okay, and who wrote it? But, who is it about? Shit, you must have had a really amazing life!”
After their books are published, novelists aren’t in jeopardy of family and friends ostracizing them or of being disowned. They don’t witness their families and friends sob and dodge others when their lives are exposed.
FREE EVENT. Artist and bestselling author Jonathan Santlofer visits with his powerful new memoir THE WIDOWER’S NOTEBOOK, the portrait of a marriage, an account of the complexities of finding oneself single again after losing your spouse, and a story of the enduring power of familial love. (Event co-presented by Hospice of the Valley and Temple Chai.)
ABOUT THE BOOK
On a summer day in New York, Santlofer discovers his wife, Joy, gasping for breath on their living room couch. After a frenzied 911 call, an ambulance race across Manhattan, and hours pacing in a hospital waiting room, a doctor finally delivers the fateful news. Consumed by grief, Jonathan desperately tries to pursue life as he always had—writing, social engagements, and working on his art—but finds it nearly impossible to admit his deep feelings of loss to anyone, not even to his beloved daughter, Doria, or to himself. As Jonathan grieves and heals, he tries to unravel what happened to Joy, a journey that will take him nearly two years.
ABOUT THE AUTHOR
Jonathan Santlofer is a writer and artist whose work has ben translated into seventeen languages. His fourth novel, Anatomy of Fear, won the Nero Award for best novel of 2009. His short stories have appeared in numerous anthologies. He is also the creator and editor of several anthologies including It Occurs to Me That I Am America, a collection of original stories and art. His paintings and drawings are included in many public and private collections. He lives in New York City.
Author and activist Elizabeth Smart—who first gained national attention at age fourteen when she was kidnapped from her home by religious fanatic Brian David Mitchell and his wife Wanda Barzee—will be at Changing Hands Tempe (6428 S McClintock Dr, Tempe, AZ 85283) on Thursday, March 29 with her new book Where There’s Hope: Healing, Moving forward, and Never Giving Up.
About the book
Author. Activist. Victim—no more.
In her fearless memoir, My Story—the basis of the Lifetime Original movie I Am Elizabeth Smart—Elizabeth detailed, for the first time, the horror behind the headlines of her abduction by religious fanatic Brian David Mitchell and his wife, Wanda Barzee. Since then, she’s married, become a mother, and traveled the world as the president of the Elizabeth Smart Foundation, sharing her story with the intent of helping others along the way.
Over and over, Elizabeth is asked the same question: How do you find the hope to go on? In this book, Elizabeth returns to the horrific experiences she endured, and the hard-won lessons she learned, to provide answers. She also calls upon others who have dealt with adversity—victims of violence, disease, war, and loss—to explore the pathways toward hope. Through conversations with such well-known voices as Anne Romney, Diane Von Furstenburg, and Mandy Patinkin to spiritual leaders Archbishop John C. Wester and Elder Richard Hinckley to her own parents, Elizabeth uncovers an even greater sense of solace and understanding. Where There’s Hope is the result of Elizabeth’s mission: It is both an up-close-and-personal glimpse into her healing process and a heartfelt how-to guide for readers to make peace with the past and embrace the future.
This Particular Happiness follows Hollis’s experiences such as marriage and decisions about having children. Laura Stanfill, a Forest Avenue publisher, stated in the release that ” [it] would resonate deeply with readers. . . a guide for the heart when two people who love each other want different things.”
Jackie was interviewed in Superstition Review’s Issue 7. During the time of interview she was working on her first novel, At the Wheat Line. Jackie’s interview has some wonderful discussion about her works and writing choices, covering topics such as knowing when a story ends.