tag:blogger.com,1999:blog-14641821608366045632024-02-19T02:19:21.986-08:00Beyond The Swinging DoorsNine Months as the Boston Public Library Children's Writer-in-ResidenceAnonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.comBlogger10125tag:blogger.com,1999:blog-1464182160836604563.post-21838854992532895152013-05-08T10:56:00.001-07:002013-05-09T11:13:32.187-07:00Mountain RoadIn 1965 I lived on a one-hundred-sixty-five acre farm, in the foothills of Snake Mountain, in Bridport, a town of less than eight-hundred on the eastern shore of Lake Champlain, in central Vermont.<br />
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In 1965 Bridport had two grocers, a gas station, a farm supply and a hardware. There was a modern Post Office, a Grange Hall, and two houses of worship; St. Berndette's and the Congregational church, (the Methodists and the Baptists having moved on to greener pastures around the turn of the century). The Center School, a one-story, concrete building just south of town, housed grades one through eight. Secondary students had to make the sixteen mile round trip to the regional high school in Middlebury. There was no preschool until my mother started a Kindergarten, a class of no more than a dozen, which met five mornings a week in the Parish Hall.<br />
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There was no library to speak of. No movie theatre or soda fountain. No five-and-dime. But there was a bandstand. There were fourth-of-July parades and church suppers. There were horseshoes, and a sewing club, and dinners at the Halfway House. And always there was baseball and fishing.<br />
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The land was more open then, a patchwork of pastures and cornfields that sloped gently down to the shale and scrub tree shores of Lake Champlain. The Adirondacks mountains rose up out of the water, a series of discontinuous peaks stretching north and south, like some great, lumbering beast.<br />
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In 1965 Bridport was a village of dairy farmers. The stars still shone when the lights went on in the barns in the morning. And in the afternoons, all the planting, or haying, or harvesting came to a stop when it was time to get the cows in. At the time, my father was at Simmons Precision, working on luminescence for the fuel gauging system for the Apollo Project. He was what was known as, "a gentleman farmer," tending, in his spare time, a stand of white pines for the christmas tree market, an apple orchard, and an overly generous asparagus bed, and renting his fields to his neighbors for grazing. He sold the stanchions out of the barn, and the two old silos for the cyprus wood, and did what renovation time and money allowed on the hundred year old brick farmhouse. When my little brother broke every window in the barn, my father extracted a nickle for each smashed pane in penalty, a sum it took a year to raise.<br />
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In 1965, I was nine-years-old. I had an adult sized tricyle that I road up and down on the cement floors in the empty barn. I had a rope swing in the hay-mow, and a pond with catfish and snapping turtles. I stamped rooms in the tall grass, climbed the ledges with my brothers, and got lost in the woods for hours with nothing but trees, and birds, and the sound of stream water for company. Once my father killed a copperhead snake, shearing its head off with garden shovel. Once there were wild dogs. And another time I awoke at dawn to see a whole herd of deer standing out back, the mist of early morning softening the hillside, and trees, and the sloping green fields.<br />
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In 1967, in an upward career move, my father sold the farm, but my grandparents, my mother's mother and father, still lived in the village, in the old parsonage on the town green they'd bought in 1947. We went back every year, and later my parents would retire there, buying 300 acres of meadows and woods on Swinton Road, with a wide view of the mountains, east and west. In the early 1980's I would move to Bridport for the second time in my life, living on a trailer on the their proptery, my first attempt at the writing life. Later, I would set my first novel, <i>The Curve of The World,</i> in the Bridport of the 1940's, a story echoing with familiar voices, in a landscape remarkably similar to the one I knew twenty-five years later.<br />
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The Mountain Road farm house was bought, and sold, and bought again; never as a working dairy farm, but increasinly as a gentrified property, with latest appliances in the kitchen, and upkept, white trim and fences. In the late sixties the house and lands were bought by David McCullough, the writer and historian, who renovated the milk room in the barn to make an office, and went to work on <i>The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge. </i><br />
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He wrote the whole of the story, in the three years he lived in the brick house on Mountain Road. Or so he told me the night we met at the 25th annual <i>Literary Light</i>s dinner at the Park Plaza, in Boston, on April 14th. I had brought a picture, a three-inch square, faded color photograph showing the face of the two story brick house as it was in 1965, with the stone wall by the road, the granite step leading to the front door, and the big maple towering above the roofline. He didn't have his glasses, and there were others eager to meet him, to bend his ear, like me, with stories about the way his life and work had intersected with their own. But he held my hand while I spoke, and he laughed when I told him about the tricyle.<br />
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Later, in his key-note adrdress, he would speak about his work, about the curiousity and joy that fuels his research and his writing, about his love of history and the wisdom of preserving the written record of our past. He would explain how, for him, writing was always a means of discovery. And I would be grateful for that; to hear again, that even the wisest begin the writing journey with only questions to guide them.<br />
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At the end he would speak with love of his family and his mentors, and I'd be grateful for that, too, for a glimpse of the people and places that had inspired him. I'd think of the brick house at the foot of the mountain, and the way our past travels with us, always present. How it takes root in our stories.<br />
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I left the photograph with him. He asked me for my card (I didn't have one). And the ballroom doors slid back to reveal the sparkling chandeliers and the white tableclothes. We took our seats, and at every table, stacked artfully under the flickering candalabras, were the party favors; books written by those being honored that night; Junot Diaz's, <i>This is How You Lose Her, </i>Drew Gilpin Faust's, <i>This Republic of Suffering: Death and the American Civil War. </i>Joseph Finder's <i>High Crimes. </i>A screen play by David Lindsey Adair, Sherry Turkle's, <i>Alone Together: Why We Expect More from Technology and Less from Each Other, </i>and one of Mo Willem's hilarious and touching <i>Knuffle Bunny </i>books.<br />
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David McCullough's newest work, <i>The Greater Journey: Americans in Paris</i><i>, </i>stood on end, behind the water glasses and the butter dish. I slipped it into my bag and took it home.<br />
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<br />Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0tag:blogger.com,1999:blog-1464182160836604563.post-25501951618890752262013-04-05T15:58:00.003-07:002013-04-05T15:58:35.146-07:00The World Is A Book<div class="separator" style="clear: both; text-align: center;">
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You know the debate, the perennial internal argument the writer has about <i>process;</i> the when, where, and how of it all. Hypnagogia versus nine-to-five versus the dead of night. At home in sweats or dressed for the office. A strict two hours daily (more or less) or when the mood strikes. These are the mechanics of the writer's day, and, so the argument goes, the sooner we establish our own, best work habit, the sooner we can get on with it. By that logic, discovering what best serves the muse is essential, the foundation on which our creative house rests. But is the writer forever in the same place psychologically, emotionally, physically?<br />
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As an aforementioned, rolling-out-of-bed, writing-in-sweats type, working in the city was never on my radar, so I've been alert to the effects of commuting on mood, inspiration, organziation, and productivity; all the elements, psychological and pragmatic, that contribute to what Mihaly Csikszentmihalyi calls <i>flow</i>. And all I can say is that somehow, for me, the daily journey, by car, train, and foot, has become symbolic of the larger journey. Making that physical transition from home-place to work-place serves as a kind of pyschological bridge; one of those thresholds that clearly mark the passage from the external, everyday, practical world, to the internal, out-of-time, imaginative world, where the writer spends her days.<br />
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Art is exploration, after all.<br />
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Also, there are the swans. The pair that spend languid mornings between the pump house and the wooded shore, unfazed, apparently, by the passing rail traffic. There is also the bluebird, feeding, of all places, at the base of the chain link fence on the outbound side of the Southboro station. He is early, and alone, and goes from fence, to ground, to fence again, in a flash of cornflower blue, almost unatural in its intensity against the dirty, late spring snow. Then there are the Valentine's Day commuters, who, along with the ususal briefcases, laptops, and pocketbooks, are overburdened with the expression<i>The love train.</i><br />
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of their affections, cellophaned bouquets and heart shaped boxes of chocolate. <br />
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Commute is from the Latin, <i>commutare, "to change often, to change altogether," </i>and in all its multiple meanings there is always this root of transposition, of metamorphosis. On the long ride to and from I think of this, and all the ways the journey itself helps keeps the creative well from running dry. <i>The world is a book, </i>says St. Augustine, <i>and those who do not travel read only one page.</i><br />
<br />Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0tag:blogger.com,1999:blog-1464182160836604563.post-30298020191679451582013-03-05T16:14:00.000-08:002013-03-05T16:26:41.605-08:00Old Friends<!--[if gte mso 9]><xml>
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One
of the many benefits of having an office at the BPL is the
opportunity to spend time with old friends. I give myself time each week
for a good, old fashioned visit with some of my best loved authors and
illustrators, a sure way to stay inspired and motivated. <o:p></o:p></div>
<!--EndFragment--><br />
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<br /></div>
<div class="MsoNormal">
I
love that <a href="http://www.bpl.org/central/childrens.htm" target="_blank">the children's room</a> is named in honor of Margret and H. A. Rey, the
clever humans who brought us <i>Curious George, </i>and <i>the Man in the Yellow Hat. </i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLoO-FCqS5vx3w-uKTKWqhcXZNKX31vA_LObP3NzgsTV98OozA3lovw4rzB8ENB8CQttYMQPuI4M4wKxAEiD0k95m8iZ1FESWIsJ6jnrvAQF1I0njKUF7jkltkuOM-zU7gu1fA2-kNkTM/s1600/IMG_4540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLoO-FCqS5vx3w-uKTKWqhcXZNKX31vA_LObP3NzgsTV98OozA3lovw4rzB8ENB8CQttYMQPuI4M4wKxAEiD0k95m8iZ1FESWIsJ6jnrvAQF1I0njKUF7jkltkuOM-zU7gu1fA2-kNkTM/s320/IMG_4540.jpg" width="213" /></a></div>
<div class="MsoNormal">
<i> </i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of my first books, one
of the first that truly belonged to me, was <i>Curious George Goes to the
Hospital, </i>given to me on the occasion of my tonsillectomy, when I was
seven, in 1966. Luckily (at least for me), Curious George also had a medical crisis that
year, and the Reys were kind enough to write about it, so I had a friend to
help me through. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lucky
also, that Margret Rey became a true friend and supporter of the PBP, giving
generously to support services to children throughout the library system. The
children’s room is a haven for story lovers of all ages, and the kind,
knowledgeable grown-ups that keep it running, like good books and old friends, are always
there when you need them. <o:p></o:p></div>
<!--EndFragment--><div class="MsoNormal">
<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0tag:blogger.com,1999:blog-1464182160836604563.post-76854022685116097522013-02-14T12:58:00.001-08:002013-02-14T13:00:27.587-08:00The Beholder's Share<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIamHjygwBGIs0YlMav-eif2SzHmoRZP5K4dYmjHuXjrZHaB9Ov2byl5rpBALRQ00U0uNRyPWGTMslkh-5fMwKjCBtGIajx64zZF9Y9_SB9SlOwV0g6R3D5lpmhxIap8B8W4n0F-g3r_M/s1600/IMG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIamHjygwBGIs0YlMav-eif2SzHmoRZP5K4dYmjHuXjrZHaB9Ov2byl5rpBALRQ00U0uNRyPWGTMslkh-5fMwKjCBtGIajx64zZF9Y9_SB9SlOwV0g6R3D5lpmhxIap8B8W4n0F-g3r_M/s320/IMG.jpg" width="252" /></a></div>
<br />
<br />
In my MFA thesis, I called it, <i>the voice of silence</i>, Artur Schabel called it, <i>the pauses between the notes, </i>Chekhov called it, <i>the single shard, </i>and Ernst Grombrich, in his seminal work, <i>The Story of Art,</i> called it, <i>the beholder's share. </i><br />
<br />
References all to the role of the observer (reader, listener) in a work of art.<br />
<br />
The more elided a work, the more ambiguous it is, the more the observer must bring to it. Think of Haiku. Think of flash fiction. These are forms that require much of the reader in terms of memory, emotion, and reason. And even the most profusive writers craft with words, and so must manipulate these abstract materials in ways that expand within the reader, creating emotionally resonant, three dimensional fictional worlds. The senses play an important role here, but so does association. Chekhov's idea, that the whole night sky is reflected in a single shard of glass, is a reference to the mind's inclination to create wholes where their are only parts. What the Gestaltist's called the brain's <i>holistic tendencies; </i>we don't see individual geese, we see a V as the flock flies overhead.<br />
<br />
The associative quality of art, the magic of the single shard, is fundamental to our work as writers. It is the element of magic in our poetry, in our prose, and our illustrations, and speaks to the heart of the relationship between artist and observer, between writer and reader, between composer and listener.<br />
<br />
Daniel Levitin, in <i>This is Your Brain on Music, </i>noted that Miles Davis believed his approach to improvisation was similar to Picasso's approach to the canvas; that is was not the objects themselves, but the space between the objects that are critical. Without space, without silence, there is no anticipation, no expectation, no emotion. And music is all about anticipation and emotion.<br />
<br />
The player of the single string Japanese instrument, the Ichigenkin is primarily judged on their ability to convey power and meaning in the spaces between notes. This resonant silence is called <i>ma, "emptiness which is full"... And the listener's ability to hear ma determines the depth of their appreciation. (Musicworks).</i><br />
<br />
As readers (beholders) our associative powers take us beyond the limits and conventions of language. As writers, of course this is the challenge, to relate the experience of being in the world, and even more, the revelation of mystery, all that remains beyond words.<br />
<br />
<br />
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<i><br /></i>
<i><br /></i>Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0tag:blogger.com,1999:blog-1464182160836604563.post-23652348209604525732013-01-09T11:43:00.000-08:002013-02-07T07:19:40.622-08:00Jam to-day<div class="separator" style="clear: both; text-align: center;">
<a href="http://upload.wikimedia.org/wikipedia/commons/7/75/Peter_Newell_-_Through_the_looking_glass_and_what_Alice_found_there_1902_-_page_178.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://upload.wikimedia.org/wikipedia/commons/7/75/Peter_Newell_-_Through_the_looking_glass_and_what_Alice_found_there_1902_-_page_178.jpg" width="204" /></a></div>
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<br />
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<i> Jam to-day<o:p></o:p></i></div>
<div class="Body1">
<br /></div>
<div class="Body1">
<br /></div>
<div class="Body1">
Recently
I listened to an <a href="http://www.onbeing.org/program/creativity-and-everyday-brain/1879" target="_blank"><i>On Being</i> segment</a>
interviewing Rex Jung, a neuropsychologist and creativity researcher, in which
he discusses, among other things, <i>transient hyperfrontality, </i>that brain
state in which we are most apt to make connections between the seemingly
unrelated to innovative effect. He had a useful metaphor for this
brain state, comparing our usual brain function to a super highway, and
transient hyperfrontality or, <i>the down
regulation of the frontal lobes</i>, to the back roads, or even the dirt roads,
where our minds wander freely. This is not <span style="font-family: "Arial Unicode MS";">“</span>knowledge acquisition,<span style="font-family: "Arial Unicode MS";">”</span> but rather a kind of deep, undirected processing that
creates something <i>new and useful</i>
(which, for many neuropsychologists, is the working definition of creativity).
We all have our own ways of getting there, he notes: walking, yoga, napping, driving, rearranging the paperclips on our desk. </div>
<div class="Body1">
<o:p></o:p></div>
<div class="Body1">
<br /></div>
<div class="Body1">
I wrote a
poem about it once<span style="font-family: "Arial Unicode MS"; mso-ascii-font-family: Helvetica; mso-bidi-font-family: "Times New Roman";">…</span><o:p></o:p></div>
<div class="Body1">
<br /></div>
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<b>Tennyson Walked<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the bizarre rituals of the batter<o:p></o:p></div>
<div class="MsoNormal">
I see the writer at her early morning desk<o:p></o:p></div>
<div class="MsoNormal">
Herding the paper clips,<o:p></o:p></div>
<div class="MsoNormal">
Aligning the research stacks, just so<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To create a path perhaps, a sight line,<o:p></o:p></div>
<div class="MsoNormal">
A semblance of a clear-cut open path. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Virginia Woolf cleaned the house first,<o:p></o:p></div>
<div class="MsoNormal">
Tennyson walked.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A rite of order and approach that,<o:p></o:p></div>
<div class="MsoNormal">
On more than one occasion<o:p></o:p></div>
<div class="MsoNormal">
Allowed them to hit it out of the park.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="Body1">
Anyone
immersed in the novel writing process, particularly the research/exploration
end of novel writing, is familiar with the strange, out-of-time, connectivity
that seems to arise from this kind of creative work. Associations multiply.
Dramatic coincidences abound. Jung called it <span style="font-family: "Arial Unicode MS"; mso-ascii-font-family: Helvetica; mso-bidi-font-family: "Times New Roman";">“</span>synchronicity<span style="font-family: "Arial Unicode MS"; mso-ascii-font-family: Helvetica; mso-bidi-font-family: "Times New Roman";">”</span>, <i>temporally
coincident occurances of acausal events. </i> It is an odd state, where unrelated events or
circumstances become meaningful and often symbolic. For the writer deeply
engaged with theme and storyline, it<span style="font-family: "Arial Unicode MS"; mso-ascii-font-family: Helvetica; mso-bidi-font-family: "Times New Roman";">’</span>s a familiar sensation; the
roots and branches of research are endless, and significant connections grow
and multiply. <o:p></o:p></div>
<div class="Body1">
<br /></div>
<div class="Body1">
This is
the way the writer<span style="font-family: 'Arial Unicode MS';">’</span>s brain works, by association,
and it was with great relief that I came to realize that what I considered my
scattered, undisciplined, illogical processing was, in fact, a boon to the
artist, a <i>state of mind</i> to be prized
and cultivated. We are all our own libraries, after all, our psychological and
emotional and intellectual shelves stacked high from birth, in our own quirky
systems, with all we hold meaningful.</div>
<div class="Body1">
<o:p></o:p></div>
<div class="Body1">
<br /></div>
<div class="Body1">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">'The rule is, jam tomorrow and jam
yesterday--but never jam to-day.<o:p></o:p></span></i></div>
<div class="Body1">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">'
'It MUST
come sometimes to "jam to-day,"' Alice objected.<o:p></o:p></span></i></div>
<div class="Body1">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">
'No, it
can't,' said the Queen. 'It's jam every OTHER day: to-day isn't any OTHER day,
you know.<o:p></o:p></span></i></div>
<div class="Body1">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">'
'I don't
understand you,' said Alice. 'It's dreadfully confusing!'
'<o:p></o:p></span></i></div>
<div class="Body1">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">‘That's the
effect of living backwards,' the Queen said kindly: 'it always makes one a
little giddy at first—<o:p></o:p></span></i></div>
<div class="Body1">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">'
'Living
backwards!' Alice repeated in great astonishment. 'I never heard of such a
thing!'
'<o:p></o:p></span></i></div>
<div class="Body1">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">--but there's
one great advantage in it, that one's memory works both ways.<o:p></o:p></span></i></div>
<div class="Body1">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">'
'I'm sure
MINE only works one way,' Alice remarked. 'I can't remember things before they
happen.<o:p></o:p></span></i></div>
<div class="Body1">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">'
'It's a poor
sort of memory that only works backwards,' the Queen remarked</span></i><span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">.<o:p></o:p></span></div>
<div class="Body1">
<br /></div>
<div class="Body1">
<span style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"> Lewis
Carrol, <i>Through The Looking Glass</i></span><o:p></o:p></div>
<div class="Body1">
<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0tag:blogger.com,1999:blog-1464182160836604563.post-63792839337842604342012-12-15T09:21:00.000-08:002012-12-15T09:21:20.370-08:00Local Pioneer<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1cBTxeQ9WTCpPIdav2PnG482r467ZmDv9kc__EopOOBjdaeBi9VFTtHqCCRPbo_VEzr86hiJEc7i6Jr_xQZNPgKZhm_a9-VZHgJYmjrqnPgjkASb4dUoQyJl3PkiMcc9aU6uME5-X7bw/s1600/SouthAfrica2012+(40)+-+Copy.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1cBTxeQ9WTCpPIdav2PnG482r467ZmDv9kc__EopOOBjdaeBi9VFTtHqCCRPbo_VEzr86hiJEc7i6Jr_xQZNPgKZhm_a9-VZHgJYmjrqnPgjkASb4dUoQyJl3PkiMcc9aU6uME5-X7bw/s320/SouthAfrica2012+(40)+-+Copy.JPG" width="320" /></a></div>
<br />
<br />
Not long ago, I had a visit from
Taylor Resteghini from the Pioneer Charter School of Science in Everett,
MA. Taylor is in her final year at PCSS, and is
working on her senior project, which combines her interests in cross cultural connections, children's literature, and art. Recently Taylor completed
another <i>People to People</i> program, which took her to South Africa as a
"student ambassador" to interact with her peers there and experience
the local customs. As every writer and
artist knows, traveling is always fertile territory for the imagination, and so it was for
Taylor, whose experience of the the people, places, and cultures of South Africa inspired an idea for a
picture book comparing the lives of children in the in the townships, to the
lives of American children. Taylor is an
artist as well as a storyteller, and plans to illustrate her text with pencil drawings. She has promised me an illustration from her project soon, if only she can take time away from those college applications and school visits! Good luck, Taylor, and we look forward to seeing the final project!</div>
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0tag:blogger.com,1999:blog-1464182160836604563.post-47432947635108454642012-10-24T07:46:00.001-07:002012-10-24T07:46:33.598-07:00Craft 101This morning I drove in to town before the sun was up to put my mother on the plane home to northern Florida. She had made the trip, despite age and vision problems, to attend the BPL's Writer-in-Residence reception last Wednesday. The evening reception honored the wonderfully talented outgoing Writer-in-Residence, Sarah Winifred Searle, for her work on the graphic novel, <i>Under The Apple Tree, </i>a mystery set in small town Maine during World War II. Sarah talked about her writing process, showed slides of her amazing artwork, and discussed her beloved Kenebunk and the local history which inspired her story. Sarah described her time as WIR as, "pretty much the best year of her life," and it was clear from her work that not a moment of time was wasted as she labored on her story and artwork. Sarah also held workshops at various branch libraries, which were a thrill for both teacher and students, and provided the WIR office with some pretty terrific artwork to boot! To see some of Sarah's work, and find out what she is up to now, visit her website at http://www.swinsea.com/ .<br />
<br />
The reception was also a lovely welcome for me, and chance to read a bit from the work in progress, <i>Saved, </i>surrounded by the grand murals of the Abbey Room and my family and friends (old and new). I was able to thank the Associates not only for the gifts they've given me, of time (every writer's dream), of space (my beautiful office beyond the swinging doors and this amazing building full of treasures), and of support (financial and spiritual). But also for the message the program sends to the wider world about the importance of children's literature and the work we do as writer's for children.<br />
<br />
In true Oscar Night fashion, I had a few other thank you's as well. Especially for my mentors, the wonderful writers, Liza Ketchum, and our dear, dear Ellen Levine, friend and advocate extraordinare, whom we just lost this past spring. The gifts they've given are too many to count.<br />
<br />
And there was one other to thank...<br />
<br />
My first stories were from my mother. She was a nursery school and kindegarted teacher for many years, first in her own school, in the the little town of Bridport, Vermont (where my first novel,<i> The Curve of The World, </i>is set), and then at the Brook School, in Concord, Mass, where I grew up. She made books come alive for all of us, but my favorite stories were those she created herself; "The Holly Stories," about a very tiny, elf-like girl, who is found in the woods and adopted by a large, noisy family not unlike our own. Of course she gets into all kinds of trouble, falling into the cake batter and dodging cats, that sort of thing. But she has her own dollhouse to live in. And she saves herself and the day more than once. I was entranced by that Holly; the brave one who has many adventures and overcomes many obstacles, despite her poor impulse control and very diminutive size.<br />
<br />
From that Holly, and the woman who created her, I learned that good stories (like life) are about overcoming obstacles, or at least coming face to face with them.<br />
<br />
For that, my first craft lesson, I thank you, Mom. <br />
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<br />Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0tag:blogger.com,1999:blog-1464182160836604563.post-4685478141555159062012-10-04T10:36:00.000-07:002012-10-04T10:36:46.293-07:00Bright Lights<br />
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On Sunday, the Associates of the BPL hosted their annual <a href="http://www.bpl.org/general/associates/literarylightschildren.htm">Literary Lights for Children</a> event honoring four outstanding authors in the field of Children’s Literature. This year, the honorees were Gary Schmidt, Kevin Hawkes, Christopher Paolini, and Mitali Perkins. The <a href="http://www.bpl.org/central/bates/bateshall.htm">Bates Reading Room</a>, upstairs at the BPL was transformed into a resplendent dining room, not unlike the great room at Hogwarts at Christmas, complete with dragons, and white table clothes, and mysteriously replenished delicacies. Gregory McGuire was the warm and welcoming master-of-ceremonies, and the authors were all those things you would expect from such talented writers and artists; witty, thoughtful, and inspiring, a delight to children and adults alike. Gary Schmidt took us by the hand, and walked us through his writing day, his very sensible Yorkies scrambling around his feet. Mitali Perkins reminded us that the readers job is just as important as the writer’s in creating story. Christopher Paolini showed us that what we are most passionate about usually makes the best stories (and, hey, writing is better than digging holes in the backyard anyhow). And Kevin Hawkes explained how and why the landscapes of his childhood are still his favorite places to visit for inspiration. (He also wowed us by sketching <i>on the spot;</i> a wizard-like face, with a bit of glare and a chicken for a hat.)</div>
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I don’t think these authors would mind me saying, however, that the real stars of the afternoon were the four presenters; the four Boston area school children chosen to present the authors with their awards. I was humbled, in awe, of these middle schoolers who stood up before nearly 400 people to talk about their favorite authors and their work. More than one wanted to become writers themselves, and all were passionate readers who talked about the value of story in their own real time, real life worlds. It was a magical afternoon and a reminder of why we writers spend our time and lives stumbling around in the world of story in first place; for the lantern raised over the top of the hill, for the fellow traveler well met, for the connection. </div>
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Bright lights indeed. </div>
Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0tag:blogger.com,1999:blog-1464182160836604563.post-87542268792153300362012-09-17T18:22:00.000-07:002013-01-09T11:49:54.050-08:00Sound is the Freedom<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxpjZeqvp1ds5Ev8dLw_Mn5GubALX2P8OcIBrMi3gFASU2oACn8eJ2I7VHo1IL5VJ8JqanTGQ5d6fzrvypcmnsrzWI-n5IWJdxrbn5B6FZtEvvVczl2AzivW1WGEvL9_zHKd1gliy4xM/s1600/Music++NZ+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxpjZeqvp1ds5Ev8dLw_Mn5GubALX2P8OcIBrMi3gFASU2oACn8eJ2I7VHo1IL5VJ8JqanTGQ5d6fzrvypcmnsrzWI-n5IWJdxrbn5B6FZtEvvVczl2AzivW1WGEvL9_zHKd1gliy4xM/s320/Music++NZ+cover.jpg" width="320" /></a></div>
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There is moment in the the beginning of Andrew Zuckerman’s documentary, <i>Music, </i>in which Iggy Pop, Clint Black, Dizzee Rascal, and Eve, to name a few, search for a definition music; a thoughtful, telling moment, wherein the essential mystery of the art form is perfectly exposed. Words, after all, are a pitiful substitute for the musical experience, which, as these artists describe it, bypasses the intellect and directly addresses the soul. The mystical, in the creation, performance, and enjoyment of music is a theme returned to again and again in this film. The artists refer to themselves variously, as <i>conduits, translators, channels. </i>Itzhak Perlman argues that at some point, the musician should stop<i> playing </i>his instrument (because, of course, we can all <i>play</i>), and start <i>talking the music. </i>The idea that the music is something beyond the composer, performer, and audience; a <i>nexus of connections</i> (to use John Williams’s phrase), goes a long way toward explaining the musical transaction, and acknowledges the role of the listener in its more expansive, protean qualities. As Ornette Coleman tells us, “Sound is the freedom; it’s you that change the music.”</div>
Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0tag:blogger.com,1999:blog-1464182160836604563.post-38523433654469358252012-09-12T13:45:00.002-07:002012-09-17T19:29:55.396-07:00Room 419<br />
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Room 419 in the Boston Public Library is a small, paneled, ornamented space, just off the wondrous <a href="http://www.bpl.org/central/walkmckim.htm">Abbey Room</a>, (beyond the swinging doors), on the second floor of the McKim building. The room has had many uses since its construction in 1895. It once housed the core of the library’s manuscript collection, known as the <i><a href="http://bpl.bibliocommons.com/item/show/1200020042_a_brief_description_of_the_chamberlain_collection_of_autographs_now_deposited_in_the_public_library_of_the_city_of_boston">Chamberlain Autograph Collection</a>, </i>containing such historical gems as the letters of Dorothea Dix, John Hancock, and one William Dyer, who, poor man, begs for the life of his wife, on trial for witchcraft in Salem. The room has served as a lobby. It has served as an office for secretaries and assistants. But its most recent function may be its most progressive; providing a “room of one’s own,” to an emerging writer of children’s literature. For the past eight years, <a href="http://www.bpl.org/general/associates/index.htm">the Associates of the Boston Public Library</a> has offered this nine-month, <a href="http://www.bpl.org/general/associates/childrensres.htm">Writer-in-Residence fellowship</a>, which provides a generous stipend and a quiet oasis in the heart of one the world’s great libraries. The Associates underwrites many programs in service of the BPL and its community, including Literary Lights, Literary Lights for Children, a retroactive, 100 year National Book Award, and many other noteworthy exhibitions, musical performances, readings, and curatorial events. The heart of the Associates, however, is its mission to conserve and promote the inestimable treasures of the BPL’s special collections. (Just last week, I stood <i>this close</i> to a recently restored book once held in the hands of Benjamin Franklin, and did you know that the library of John Adams resides here?) This important work is devoted to connecting writers and readers across time.<br />
With the gift of room 419, the work continues.<br />
<br />
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. </div>
Anonymoushttp://www.blogger.com/profile/06221709835779822439noreply@blogger.com0