Thanksgiving is just around the corner, but in my neck of the woods, some houses are already donning festive Christmas lights, and I’ve seen at least one fully decorated Christmas tree in a picture window, lit from trunk to tip. As Black Friday, Small Business Saturday, and Cyber Monday sail in on the heels of a Thanksgiving not yet arrived, our thoughts begin (already!) to turn to holiday shopping. What to get for that avid reader or writer on your list? What to get for that dog mom or dog dad who already has it all? Well, you’ve come to the right place, because I have an idea for both of them, and both ideas support small business, retreat from consumerism, and feature handcrafted goods.
The Literature Lover
My first idea involves helping you enjoy 20% off your purchase at Literary Book Gifts. All you have to do is use the promo code MindtheDogWritingBlog20 and you’ll get 20% off your purchase. There’s no minimum purchase, and it doesn’t expire! At Literary Book Gifts, you can find men’s and women’s T-shirts and tote bags featuring designs inspired by great works of literature.
Literary Book Gifts is a small business with a big mission: Sparking a love for literature.
Literary Book Gifts is run by Melissa Chan, the company’s owner and sole employee. Her background is in graphic design, but in an informal interview, she told me she loves “literature because it is always there for you, through good times and bad. The stories in the books are the biggest inspiration for the company. The designs are meant to act as a foundation for positive discussion about the books, ideas, and authors who wrote them. I hope that they will spur others to head over to the library and do some reading.”
Melissa Chan, owner of Literary Book Gifts, says, “Books are the biggest inspiration for the company. The designs are meant to act as a foundation for positive discussion about the books, ideas, and authors who wrote them. I hope that they will spur others to head over to the library and do some reading.”
Her company is based in Toronto, but her items ship from printers here in the US. All the shirts and tote bags are professionally printed, and, according to Chan, the shirts are made of “high-quality 100% cotton with some of the heathered colors having some polyester content.”
If you’d like to support a small business with a big mission, as well as give a one-of-a-kind, practical, and personal gift to the writers or bibliophiles in your life, head over to Literary Book Gifts and use promo code MindtheDogWritingBlog20.
The Pet Parent
Please excuse the shameless promotion of my awesome husband for the remainder of this post, but he is pretty talented (and a really dedicated dog dad), and he creates really beautiful stained glass artwork in a workshop in our backyard.
His most recent creation is a hand-drawn and custom-made (by him!), hand-lettered (by me!) dog paw stained glass piece. You can order these in any color, and we can paint any dog name on the bone for you. The dog mom or dog dad in your life is sure to love this thoughtful, personalized, handmade gift. To order one (or several!), find us on Instagram: @creaseyscreationsva, or simply leave a comment on this post and I’ll be in touch!
Recently, one of my free-spirited, creative friends and her equally creative husband spent the weekend with my husband and me at an old house we purchased and are working to rejuvenate. My friend is a talented and passionate teacher with a penchant for languages and writing. Her husband, though he works in the technology field, is a gifted painter. My own husband builds lamps from
re-purposed materials and has recently begun creating beautiful stained glass pieces. And I? Well, I identify mainly as a writer, though I dabble in painting and amateur photography from time to time.
As the four of us painted the front foyer of our 1919 farmhouse, my friend gave me candid feedback on my novel, which I recently asked her to read, giving her free rein to rip it apart if necessary. She gave me some really insightful advice, and admitted she felt relieved that I had taken her constructive criticism so well (granted, she did an excellent job tempering her criticisms with compliments, but I digress).
She followed her critique of my novel with the admission that she had decided she was no longer going to identify as a writer, in part because she needed more validation than she felt writing could offer her, and in part because writing simply offers less tangible and fewer results. When you paint a wall, for example, you can see the effect of your efforts almost immediately–as proven by the way our foyer brightened up with every coat of paint. When you write a story or a novel, the progress is often much slower, and much less noticeable. In addition, while a newly-painted room is sure to get oos and ahhs, a story or novel is likely going to face dozens and dozens of rejections before it ever sees an acceptance (if it ever sees an acceptance).
You can show people a painting, a sculpture, a photograph–and they need only seconds to get at least a cursory appreciation of your work. But someone has to invest a lot of time and energy to read your poem, story, essay, or novel. And lots of activities vie for our time and attention. Writers compete for an audience with TV shows, movies, sports broadcasts, sleeping, errands, etc. We must not only write our story, but then convince people to commit their limited time and energy to reading it. After all, more energy and time are required to read a book than to look at a piece of artwork or watch a film or play.
Plus, producing a tangible product, like a painting or a sculpture, can be satisfying. You can display it. You can sell it. You can hold it, gaze at it, touch it. All of these things are much more difficult, if not impossible, to do with a poem or novel–not to mention the fact that a written work never feels finished. We feel always like we could find a more perfect word, more effectively structure our chapters, more expertly develop our characters or write our dialog or set our scene or or or…. At a certain point, we just have to decide it’s done, whereas other artistic endeavors we can more definitively finish, and that completion is satisfying and fulfilling.
For the first time in my life, I am painting a piece of furniture. So far, so good! While I love writing, and identify as a writer, finding new creative outlets is satisfying.
For the first time in my life, I am painting a piece of furniture. So far, so good! While I identify as a writer, finding new creative outlet is fulfilling.
I understand what my friend is saying. I have often questioned my drive to identify as a writer. Is it really necessary? Why do I care so much? Why do I write? It’s really hard, and I enjoy many other forms of creative expression–painting, singing (though I can’t say I’m any good anymore), sketching, design, photography, and even theater at one point in my life–and these open me up to far less criticism and rejection.
As a writer actively seeking publication, rejections have become routine for me. Getting published is like winning the lottery–just as rare, but just as thrilling. I think maybe that’s one reason I keep writing: It’s hard (really, really hard sometimes), but the sense of accomplishment and elation I experience when a publication accepts my pitch, when I see my work in print or on-line, or when I get that long-awaited paycheck for an idea hatched a year before, far outshines the sense of disappointment that accompanies (yet another) rejection. Maybe I have come to accept that rejections are part of writing–at least for someone who seeks publication. I am no less a writer for having become more familiar with a sense of resignation at another thanks-but-no-thanks than with a sense of validation and accomplishment. In fact, another rejection at the very least means I’m producing enough work–enough writing–to send out into the world. The real fear sets in when I haven’t written anything new in a while–when my list of rejection e-mails shrinks because of a dearth of ideas, a sort of writing drought. My fear of having nothing to write far outweighs my fear of rejection. So, really, maybe that’s how I know I’m a writer.
My fear of having nothing to write far outweighs my fear of rejection. So, really, maybe that’s how I know I’m a writer.
Wednesday, my husband and I hit the road to visit family in Florida, and to help keep us awake and alert during our ten-hour stint on 95 South, we listened to the seven-chapter podcast, S-Town, by Serial and This American Life. It was thought-provoking, emotional, entertaining, and worthwhile. I laughed, cried, and marveled. It’s the kind of podcast that stays on your mind for days–probably weeks–popping up in your day-to-day when something seemingly inocuous inspires a memory of an emotion, thought, person, or question brought up in S-Town. It brings up big questions, like: What is fulfillment? How do different people achieve it? What does it mean to live a meaningful life? How can people achieve meaning in their lives? Do familial relationships trump relationships with friends, though in some cases, the friends are closer than family? Should familial relationships be given legal priority in every case? I could compose an entire post consisting solely of questions S-Town makes me ask myself, but I’ll spare you (listen to it yourself, if you haven’t already, and find out what questions it brings up for you). Besides, this post isn’t actually about the effect S-Town had on me personally; it’s about the connections I can make between it and my career as a writer and English teacher (though to be honest, the personal musings are far deeper than the professional ones).
The Mad Hatter
As a child, I enjoyed the cartoon version of the story Alice in Wonderland. As an adult, in a children’s literature class for my graduate degree, I had to read the full-length book–and I enjoyed that, too. Like me, you’re probably familiar with the story and its characters, including the Mad Hatter. You might also have heard the term, “mad as a hatter.” In listening to S-Town, I learned where that phrase comes from: In the 1800s, hat-makers (hatters) used a dangerous chemical compound to turn fur into felt for hats. Inhaling these chemicals on a regular basis caused many of them to go crazy, and even die prematurely.
“A Rose for Emily” and “The Masque of the Red Death”
One of the short stories I read with my students during our Gothic literature unit is William Faulkner’s “A Rose for Emily,” one of John B. Mclemore‘s (only click that link if you don’t mind a spoiler alert) favorites. The theme song of the podcast, “A Rose for Emily” by the Zombies, which I’d never heard before, alludes to the story and helps elucidate the meaning of the title, and the story, to a degree. I’m currently working on the best way to use it to A) enhance my teaching of the story and B) boost my students’ understanding of the literary device, allusion. In addition, my honors students complete a Literature Portfolio project throughout the course of the semester, requiring them to write short essays (Connections Essays) connecting a work of art, a piece of music, a work of literature, or a current event to the work of literature we are reading in class. Connecting the song “A Rose for Emily” to the story by the same name would perfectly exemplify the expectations for this assignment, as would connecting the short story to S-Town itself.
On a similar note, another Gothic author mentioned in the podcast is Edgar Allan Poe. One of his stories my students and I read is “The Masque of the Red Death,” in which the hourly striking of a large, black clock in a room of crimson and ebony provides a constant reminder to a group of revelers that their time is running out, and their hours are numbered. John B. Mclemore was an antiquarian horologist who built sun dials and restored old clocks. Herein lies more potential for a stellar Connections Essay.
At the risk of spoiling everything for you, I will just say that S-Town also provides an excellent example of paradox: time as both a punishment and a gift. (In addition to spoiling things for you, I risk going way too far into my musings on the concept of a lifetime and time if I continue!)
At least three new words jumped out at me as we listened:
Although some might see the sometimes racist characters in S-Town as the farthest possible thing from anything relating to Zora Neale Hurston, two similarities stood out to me. First, Hurston lived part of her life in Eatonville, Florida, which the earliest residents helped build from the ground up. Janie, the protagonist in Hurston’s novel, Their Eyes Were Watching God(which I read each year with my students), also lives in Eatonville, and is there for its incorporation, her husband having become the mayor and working hard to incorporate the town. John B. Mclemore played an integral role in the project of
putting Woodstock, Alabama (originally North Bibb), on the map as an actual town. Second, Hurston had a deep appreciation for folklore, and for spoken language and culture. While many African-American writers were attempting to create characters and narrators that sounded like, well, white characters, narrators, or writers, Hurston’s characters spoke in the vernacular of the people she knew, to the chagrin of many of her contemporaries, who perhaps saw her as proliferating negative racial stereotypes. Hurston, though, seemed to see herself as advocating for the beauty of these speech patterns, rhythms, and nuances. To learn more about this (and then some!), check out this audio guide by the National Endowment for the Arts. Like Hurston’s characters, the people in S-Town often speak in artful and unique phrases–without even realizing it; it seems to come naturally. They speak in clever metaphors without consciously crafting the comparisons, and use figurative language without even trying or, perhaps, realizing. Consider these two examples:
“He may have had a little sugar in his tank” as a way of saying someone might be gay.
“He’d drank enough Wild Turkey to make anyone gobble” as a way of saying he’d had enough alcohol to make absolutely anyone drunk.
These aren’t direct quotes, but they’re pretty close, and good examples of phrases that stood out me as particularly unique, amusing, or clever. Hurston’s characters, too, often express themselves in equally eloquent and creative terms.
One of the surest ways to support retention and critical thinking is helping students make connections between what they learn in the classroom, and the outside world. I found that as I listened to S-Town, I was experiencing what I hope my students experience when we read, discuss, and write: direct parallels between my own experience and education, and the real world.
For some reason, the confusion between “apart” and “a part” has been surfacing in my professional and personal life with increased frequency over the course of the last week or so. I noticed it in at least a third of the essay tests I finished grading just before winter break began, and it has appeared on my Facebook feed more often than I’d like to remember. Due to its recent, rampant presence, I thought the error merited some attention. Let’s get the difference between “a part” and “apart” all sorted out.
When “apart” appears as one word, it is an adverb that means “separate,” as in, “Take the toy apart” or “His feet were spread far apart from each other” or “He lives apart from his parents.”
When “a part” appears as two words, you have an article (“a”) and a noun (“part”), as in “one piece,” or one involved party.
The most common error I see is the use of the adverb “apart” where what is actually needed is the article “a” and the noun “part.” For example, one might write, “I am so glad to be apart of your special day,” when what one really means to say is, “I am so glad to be a part of your special day.”
If you think of it in this context, “He stood apart from the crowd” means something very different than “He stood, a part of the crowd.” In the former, he stands out. In the latter, he blends in.
I would not say I am facing writer’s block. No, not exactly. I am still writing: blog posts, diary entries, college reference letters, the occasional short personal narrative.
But I cannot seem to type the first word of a novel for NaNoWriMo. I have several loose, underdeveloped ideas, not one of which has coalesced into anything remotely resembling a plot. In the face of this complete (but hopefully temporary) dearth of cohesive ideas for another novel, I had begun to feel tempted to wonder if maybe I’m not, after all, a creative person. The identity crisis this admission would lead to would be nothing short of catastrophic, though, so rather than give in to the temptation to see myself as, well, not myself, I decided to take inventory of my creativity. Essentially, I had to remind myself that while my primary means of creative expression is indeed the written word, I am creative in many other ways, as well: photography, painting, lesson planning, and re-purposing–as well as writing. The resulting morale booster is below. Maybe now that I have reaffirmed my creative ability, I can conjure up an idea for NaNoWriMo…
Novel ideas in any context fall under the umbrella of creativeness.
I admit to knowing absolutely nothing about the mechanical technicalities of photography–I cannot, for example, work a real camera, nor can I develop film, nor am I exactly proficient at photography programs like Photoshop. I do, however, know a bit about the art of actually composing a quality photograph. I am no stranger to concepts like perspective, the leading line, framing, or the rule of thirds, for example–and naturally used many of these techniques before ever learning they were “actually things.”
Though I haven’t taken an art class since middle school, I have always enjoyed art. I rarely get to paint, but when I do, I find the act cathartic and liberating. It is one of the most relaxing, freeing, and expressive activities I have experienced.
When we think of creativity, we tend automatically to think of the act of creating something from scratch, and by default jump to activities like painting, sculpting, writing, singing, jewelry-making. But novel ideas in any context fall under the umbrella of creativeness.Finding a new use for an old item is its own form of creativeness. Both my husband and I excel in this area–perhaps he more than I, as he is actually capable of making new things out of old things, whereas I am only capable of envisioning what new things the old things could become. Our home is full of many of his creations, usually lamps, made of old gears, driftwood, piping, tripods, factory equipment, antique toys, old instruments, etc.
If you’ve ever been to Richmond, Virginia, then you already know: We are a party city. We are the third most-tattoed city in the United States, just behind Miami and Las Vegas. We are fast becoming the craft beer capital of the world. And we throw a festival (or ten) almost every single weekend. This weekend alone, I attended Dominion Riverrock, an outdoor
During my time at the festival, I was privileged to hear readings and lectures from Robert Arthur, the current Poetry Society of Virginia President; Nathan Richardson, a performance poet and workshop teacher for Hampton Roads Youth Poets; Gabriele Glang, a bilingual poet who teaches creative writing in Germany; and Carolyn Kreiter-Foronda, who was the Virginia Poet Laureate from 2006-2008. This post will provide take-aways from the lectures and workshops led by Mr. Richardson, as well as by Ms. Glang and Ms. Kreiter-Foronda.
The Oral Tradition of Poetry, Nathan Richardson
The first lecture I heard focused on performance poetry, and was led by Nathan Richardson, himself a performance poet. One thing he said that struck me was this:
“Memory proved over the history of mankind to be the only fullproof [sic] method of safeguarding the thoughts, history, culture, literature, and law of the human race.”
How right he is, though it’s frightening, given how feeble our memories sometimes seem.
But even more fallible are hard drives that can crash, flash drives that can break or become lost, papers that can tear or burn, ink that can smudge, lead that can be erased. Even pictures carved into rock will someday erode, smoothed out by the work of wind and water. For me, this was something of a wakeup call. I always feel like my creations are far more secure once written down on paper or typed up on the screen. But if I lose that paper, or if that flash drive fails me, I will wish I had committed my own lines to memory.
An additional lesson I took away from Mr. Richardson’s lecture was a definition of the musical genre of rap. I was unaware, as were, it seemed, all the other poets in attendance, that the term “rap” was born of the combination of “rhythm and poetry.” It’s essentially an acronym. I also learned that one “bar” of a “rap” piece is equivalent to one couplet in a poem.
His advice for poets was simple: “In poetry, leave space for the reader’s imagination.”
He also provided guidelines for poets who need to cultivate a poetic voice for poetry readings and slams. While the ratio does not necessarily need to follow this exact formula, Mr. Richardson advises that the poetic voice consists of 33.3% experience, 33.3% vocabulary, 33.3% passion, and .1% divine intervention. What does this imply for you if you want to become involved in performance poetry? It means first, that you must perform poetry–as much and as often as you can. Attend and perform at poetry slams and readings. Get the experience. It implies second that you must increase the number of words with which you are proficient–you must become more fluent in your own first language. Improve your vocabulary. It means also that you must love what you are doing–love what you are creating, love what you are saying. Be dedicated and passionate. Lastly, though, it means that a small percentage of what you are doing as a performance poet is out of your control. The words, the ideas, the rhymes will just come to you through some sort of divine intervention. You just have to do the leg work–the other 99.9%–first.
Ekphrastic and Collaborative Poetry, Gabriele Glang and Carolyn Kreiter-Foronda
One of the foci of Ms. Glang and Ms. Kreiter-Foronda’s workshop was the haiku. Before we began writing, Ms. Glang gave a few guidelines.
Do not mention the season about which you are writing. The image you convey with your words should make clear the season.
Always title your piece, and title it well. Think of a title as a free line with no syllabic restrictions.
Save syllables in the following ways:
avoid articles; use plural nouns instead
replace conjunctions with punctuation
the em dash can communicate change, epiphany, turning points
“ah!” can signify epiphany or surprise
After providing us with these guidelines, Ms. Glang displayed a painting of her own creation, called “A Touch of Spring (Pink-Green),” pictured left, and we were given a few minutes to compose a haiku using the traditional three-line, 5-7-5 structure.
The second exercise we completed in this workshop was writing a Ligne Donnee, or “given line” poem. We were paired up with another poet in the room and provided an art card that displayed one of Ms. Glang’s paintings. The art card my partner and I received is pictured below. Each of us then wrote just the first line of a poem, inspired by the art card. Then, we traded first lines with our partner. From there, we read our partner’s first line, and wrote a poem
based on that initial line.
My first line was:
Quicksilver cold stealing sunlight from the sky, icy, metallic sheen
The final exercise we completed in Ms. Glang and Ms. Kreiter-Foronda’s workshop was another type of collaborative poem, kasen renku. Within this form, the first poet composes a haiku (three lines in the traditional 5-7-5 format). The second poet reads it, and then composes two lines of seven syllables each. A third poet (or the first poet) reads the first five lines, and adds his or her own haiku. A fourth poet (or the second poet) reads what has so far been accomplished, and adds to it another two lines of seven syllables each. This process is repeated until the poem consists of thirty-six stanzas. This, along with the Ligne Donnee form, would make an excellent classroom activity for an English or creative writing class.
I so thoroughly enjoyed the Poetry Society of Virginia’s Poetry Festival and Conference, that I plan to attend future conferences, and am contemplating membership. Attendance allowed me to meet like-minded people, as well as produce a few new pieces of poetry. I also gained exposure to some very creative and productive poets. I learned about resources in my community, and came away with a few new lessons plans for my English classroom.