Thursday, October 28, 2010

Hint Fiction: a "flash" version of flash fiction, AND a contest!


Never mind 1,000 words or fewer--how about 50 words, 30 words, 25 words or fewer for a short story?

Author and anthologist Robert Swartwood has coined hint fiction as an ultra-short fiction--25 words or fewer, as a matter of fact.

In his article at Flash Fiction Chronicles (linked above) he states:
Me, I want to coin a term, so I’m going to do it here and now: those very, very, very, VERY short stories should be called Hint Fiction. Because that’s all the reader is ever given.  Just a hint.  Not a scene, or a setting, or even a character sketch.  They are given a hint, nothing more, and are asked — nay, forced — to fill in the blanks.  And believe me, there are a lot of blanks.
  He is the editor for the anthology Hint Fiction: An Anthology of Stories in 25 Words or Fewer, published by W.W. Norton and Co. From the publishers webpage blurb:

A story collection that proves less is more.
The stories in this collection run the gamut from playful to tragic, conservative to experimental, but they all have one thing in common: they are no more than 25 words long. Robert Swartwood was inspired by Ernest Hemingway's possibly apocryphal six-word story—"For Sale: baby shoes, never worn"—to foster the writing of these incredibly short-short stories. He termed them "hint fiction" because the few chosen words suggest a larger, more complex chain of events. Spare and evocative, these stories prove that a brilliantly honed narrative can be as startling and powerful as a story of traditional length. The 125 gemlike stories in this collection come from such best-selling and award-winning authors as Joyce Carol Oates, Ha Jin, Peter Straub, and James Frey, as well as emerging writers.
Swartwood will be the judge for a hint fiction contest, too, sponsored by Smokelong Quarterly. Celebrating their 30th issue, the SQ will choose the perfect hint fiction of exactly 30 words--so submit during the thirty days of November.

Monday, October 25, 2010

"Mark Twain, His Mother, and Slaves: an Excerpt from Autobiography of Mark Twain, Volume 1, via delanceyplace.com [Guest Blog]

The below excerpt is from Mark Twain's autobiography, finally published 100 years after his death (the wait honored his instructions.) I wrote an earlier blog entry on the autobiography, which is available here.



"Delanceyplace is simply a brief daily email with an excerpt or quote we view as interesting or noteworthy, offered with commentary to provide context. This blog lists the content of the daily emails distributed to our subscribers. There is no theme, except that most excerpts will come from a non-fiction work, mainly works of history, and we hope will have a more universal relevance than simply the subject of the book from which they come. You can sign up for the email at delanceyplace.com."

Title: delanceyplace.com - mark twain, his mother, and slaves
Date: 10/19/10

In today's excerpt - Samuel Clemens attempted to write his autobiography over several decades but never finished, and instructed that the draft not be made available for 100 years. In just-released manuscripts, Clemens wrote of his early schoolboy friendships with black slaves, including characters that appeared later in his most famous fictional works:

"All the negroes were friends of ours, and with those of our own age we were in effect comrades. I say in effect, using the phrase as a modification. We were comrades, and yet not comrades; color and condition interposed a subtle line which both parties were conscious of, and which rendered complete fusion impossible. We had a faithful and affectionate good friend, ally and adviser in 'Uncle Dan'l,' a middle-aged slave whose head was the best one in the negro-quarter, whose sympathies were wide and warm, and whose heart was honest and simple and knew no guile. He has served me well, these many, many years. I have not seen him for more than half a century, and yet spiritually I have had his welcome company a good part of that time, and have staged him in books under his own name and as 'Jim,' and carted him all around - to Hannibal, down the Mississippi on a raft, and even across the Desert of Sahara in a balloon - and he has endured it all with the patience and friendliness and loyalty which were his birthright. It was on the farm that I got my strong liking for his race and my appreciation of certain of its fine qualities. This feeling and this estimate have stood the test of sixty years and more and have suffered no impairment. The black face is as welcome to me now as it was then.

"In my schoolboy days I had no aversion to slavery. I was not aware that there was anything wrong about it. No one arraigned it in my hearing; the local papers said nothing against it; the local pulpit taught us that God approved it, that it was a holy thing, and that the doubter need only look in the Bible if he wished to settle his mind - and then the texts were read aloud to us to make the matter sure; if the slaves themselves had an aversion to slavery they were wise and said nothing. In Hannibal we seldom saw a slave misused; on the farm, never.

"There was, however, one small incident of my boyhood days which touched this matter, and it must have meant a good deal to me or it would not have stayed in my memory, clear and sharp, vivid and shadowless, all these slow-drifting years. We had a little slave boy whom we had hired from some one, there in Hannibal. He was from the Eastern Shore of Maryland, and had been brought away from his family and his friends, half way across the American continent, and sold. He was a cheery spirit, innocent and gentle, and the noisiest creature that ever was, perhaps. All day long he was singing, whistling, yelling, whooping, laughing - it was maddening, devastating, unendurable. At last, one day, I lost all my temper, and went raging to my mother, and said Sandy had been singing for an hour without a single break, and I couldn't stand it, and wouldn't she please shut him up. The tears came into her eyes, and her lip trembled, and she said something like this -

" 'Poor thing, when he sings, it shows that he is not remembering, and that comforts me; but when he is still, I am afraid he is thinking, and I cannot bear it. He will never see his mother again; if he can sing, I must not hinder it, but be thankful for it. If you were older, you would understand me; then that friendless child's noise would make you glad.'

"It was a simple speech, and made up of small words, but it went home, and Sandy's noise was not a trouble to me any more. She never used large words, but she had a natural gift for making small ones do effective work. She lived to reach the neighborhood of ninety years, and was capable with her tongue to the last - especially when a meanness or an injustice roused her spirit. She has come handy to me several times in my books, where she figures as Tom Sawyer's 'Aunt Polly.' I fitted her out with a dialect, and tried to think up other improvements for her, but did not find any. I used Sandy once, also; it was in 'Tom Sawyer;' I tried to get him to whitewash the fence, but it did not work. I do not remember what name I called him by in the book."

Author: Samuel Clemens
Title: Autobiography of Mark Twain, Volume 1
Publisher: University of California Press
Date: Copyright 2010, 2001 by the Mark Twain Foundation
Pages: 211-212
Tags: Slavery, Authors

For an earlier blog post about Mark Twain's autobiography: click here.

Thursday, October 21, 2010

Writing Outside "the Box": Flash Fiction as a Process

For me, the novel is a "box."

A very nice box, thank you--but a 100,000 word structure that has needs and issues that must be addressed . . . and addressed again. A novel is an investment, a dream, a journey, a lifestyle. A novel is the horizon I've been chasing, if I may allude to Stephen Crane's poem.

Flash fiction is one percent of a novel in length (in round figures), yet the final project can eyeball a novel with equal dignity--a complete, self-sufficient work of art. Consider Ernest Hemingway's famous six-word short story: "For sale. Baby shoes. Never worn." It's all there: characters, conflict, setting, climax, resolution.

Flash fiction allows me to climb out of the jumbo, novel-sized box I live in, my paper tortoise shell, and to stop and smell the flowers. In fact, I'm doing that just by thinking about flash fiction--the previous sentence includes three metaphors (four if you want to consider flash fiction a nascent metaphor).

Here are some characters I've included in recent flash fiction stories:
  • a ninety-year-old retired English teacher who decides to "cull" a neighbor (published)
  • a grandmother who tells the story of how she once found a head in her bread dough 
  • a man arrested for public nudity on St. Patrick's Day
  • a sci-fi Adam and Eve story
  • a family that makes a Saturday high school detention a picnic opportunity
  • how insanity and spiders do not mix
  • how an Alamo car-rental agent plays Cupid
  • a gambler who bets his jackpot against a job as a farmhand--and hopes he loses
Even assuming that I could finish a novel every six months (presumptuous!), four years of commitment are seeded in those stories--probably more like 8-12. And they'd be good novels, I think--but I don't want to write them. I've got a number of dandy cardboard boxes already waiting in the attic.

The process of writing those flash fictions has enriched my writing life. I'm proud of my babies. I find more opportunities now for tighter writing. I see more opportunities to include and develop interesting and colorful characters in my writing. I have more compassion or insight into the antagonists of my stories.

I'm a better writer, I'm a flash fiction writer. You can bet the farm on it.

Hemingway's Royal
Copyright 2010 by Thomas L. Kepler, all rights reserved

Monday, October 18, 2010

David Lynch Following His Master's Footsteps: a review


First of all, the truth: I am a teacher of the Transcendental Meditation Technique, and the material of this film was familiar to me. There was a personal connection to the sites and subject matter of Richard Beymer's film.


On October 9, David Lynch Following His Master's Footsteps had a special showing at Maharishi University of Management as a fund-raiser for Maharishi School for the Age of Enlightenment, Fairfield, Iowa.

Here is the blurb from the website Peacetown, USA:
In December 2009, David Lynch retraced Maharishi Mahesh Yogi’s travels across India in the years before Maharishi inaugurated his Spiritual Regeneration Movement in 1957. Richard Beymer’s stunning new documentary follows David up into the Himalayas, to Jyotir Math, where Maharishi spent much of 13 years with his teacher, Guru Dev; and to Uttar Kashi, where Maharishi spent two years in silence following the passing of Guru Dev in 1953. We go with David to Jabalpur, near the birthplace of Maharishi; and to Ramashram, Kanyakumari, and Trivendrum–all rare and special sites integral to the founding of Maharishi’s movement. Richard’s filmmaking is artful, magnificent, and captures the behind-the-scenes look and feel as David and his traveling buddy, Bob Roth, make their way with awe, humor, and dogged persistence to each new destination. See David Lynch at his best: wise, funny, insightful, and inspired.
 Richard Beymer had a real challenge for this documentary--and it took two hours to do the job:
  • capture visually the incredible and diverse geography and cultures of India, north to south
  • document Maharishi's immense journey, traveling by himself, with no money and only a cloth bag to hold a small blanket, a change of clothes, and little else.
  • develop a rapport with the movie's principle individuals, David Lynch and his sidekick Bobby Roth
  • reveal David Lynch, the filmmaker, at work
 

 Before the backdrop of  Himalayan immensities; colorful villages and city streets; ashrams, holy sites, and temples--we see David Lynch awed and rapt in meditation, and then searching for a match for a cigarette. A unity of opposites, a contradiction of values, the universal smudged by the specific: David Lynch.


Richard Beymer's choice to include a three-dimensional portrait of Lynch is admirable--and was a task he accomplished with humor and tact. The great, beautiful glory of a painted, sculpted temple ceiling, or the simple pleasure of the travelers as they enjoyed a meager meal of cookies and Coca-Cola; birds singing in the limbs of trees outside an ashram, Bobby being duped to call hotel management about their non-existent spa; hairpin turns and a view of sea extending to infinity: life as Lynch is diverse, and this film captures that.

When David Lynch Follows His Master's Footsteps hits the theaters, try this work of saffron silk rather than blue velvet. If your experience is anything like mine, you will leave having made closer acquaintance with a unique land, a saintly life, and an artistic genius. You sort out the images with the honorifics. Just make sure you include Richard Beymer in your praise.

Copyright 2010 by Thomas L. Kepler, all rights reserved

Friday, October 15, 2010

On "pla(y)giarism versus plagiarism"

I have recently read an online article by writer Lily Hoang about "pla(y)giarism versus plagiarism," and what happens when the concept of "pla(y)giarism" is taken to an extreme.

Here are the definitions, according to Lily Hoang:
"OED says plagiarism is: The action or practice of taking someone else’s work, idea, etc., and passing it off as one’s own; literary theft."
 "Lance Olsen coined the term pla(y)giarism, which he’d playgiarized from Raymond Federman, but whatever way it’s spelled, it’s basically a clever name for appropriation. Back in the day, I used to teach pla(y)giarism to my fiction workshops. I used to make them appropriate texts."
The new term used is appropriation: for literary purposes, the act of taking the writing of another and creatively using it as a (playful, inventive) basis of reinventing the original--a sort of "mega" writing prompt in which the written product still may retain much of the structure, flavor, or substance of the original.

Hoang:
"Appropriation is: Art (orig. U.S.). The practice or technique of reworking the images or styles contained in earlier works of art, esp. (in later use) in order to provoke critical re-evaluation of well-known pieces by presenting them in new contexts, or to challenge notions of individual creativity or authenticity in art."
 In literature, I can see where taking the work of a great writer and rewriting it to create a new vision could be not only educational but also inspirational. One would have to climb into the skin of the original author. Any transubstantiation would begin first with the absorption of the original.

Some writers use "appropriation" to create a new story--and then publish that story with acknowledgments to the original writer, a sort of literary citation: a nod and tip of the hat to original genius. Some writers forget (to use a forgiving word) to tip the hat. In its truest sense, appropriation should not only lead to a new, lively piece of writing; it should also in some manner provide or provoke new insights into the original.

In art there is also the concept of the "master copy," an exact reproduction of the master's original. What better means to gain insight into a painting than to reproduce it brush stroke by brush stroke? But to sell that reproduction as an original? Tsk, tsk!

"Appropriation" or pla(y)giarism is one step from the master copy, and in order to publish an "appropriation," one would need to credit the original and to bring, in my opinion, equal creativity to the new writing. Otherwise, according to Lily Hoang, one would be "a hack. That’s about as generous as I can be." Writing appropriation that "appropriates" too much and contributes too little is unfair to both the original work and also to the publisher, both theft and fraud--to use extreme words for extreme "appropriations."

To move from all things literary to a more hands-on topic, the crowbar is a very useful tool in the field of construction. However, it also has great utility in the field of burglary.

Appropriationists! Don't burgle the verbal.

Copyright 2010 by Thomas L. Kepler

Tuesday, October 12, 2010

Late in Life: a flash fiction story

Today I'm leaping off the precipice--a leap of trust.

Sometimes I wake up in the early hours of the night with an idea, and sometimes I get up and write that idea. That is the genesis of a file in my documents named "Drafts Night Stories." These are stories that wake me up and command me to write them--no matter what the time. They are different stories, some strange and some bathetic (although perhaps I should plead guilty to the lesser charge of sentimental).

This last Sunday, 10/10/10, was the birthday of my first wife, who passed away in 2003. This story below was my first "Night Story," and I opened the file this last weekend for the first time since writing the story. I'm posting it today, after some revision.

It's odd how a story can take so much from a writer's life yet still not be autobiographical. I am not the person speaking in the story; "Gloria" is not my first wife. What can I say? The experience of two people is in the story, but not the actual people? Details yet not the wholeness?  Here is the story, anyway, less scholarly and more personal than usual. A fiction--truth garnished with a light sprinkle of fact.

Late in Life

We married late in life, Gloria and me, everyone surprised because we were so set in our ways. The thing is, those ways matched so much we didn’t have to change, not important things, anyway. We just kept on, comfortable together.

No children, not to say we didn’t try, I’ll tell you that right now. But mostly we spent our days doing, side by side. Never mind the Gaudy Gras, just earth tones and a joy in the eyes.

And then Gloria was sick and then thinner and then didn’t want to walk so far. Fool that I was, I didn’t see a thing till she asked to see a doctor. She didn’t fuss about it, but she knew, and knew I didn’t know. So we went on about our business, except I got the tea and dusted the house, our walks shorter, Gloria leaning on my arm. She never wanted a walker or a cane; my arm was better. Finally she had one beside her—a cane, that is—used it when I was gone to work.

The neighbors helped during the week—five ladies, Gloria’s Monday-through-Friday Angels, she called them. Alone, all of them, widows or never-married, but comfortable. Some on pension and some with a bit and helped a bit by family (moved off to a good job in Colorado) and one her own money, thank you very much. They'd come over and sit in my chair and later beside the bed. Washed her, cleaned the house. Oh, I did my part and more, as some told me, but they’d come over, sometimes two together “just for a chat.” I knew what they were up to, but that had nothing to do with us. Gloria, we always supported each other: sick in bed, the other helped, hand and foot. I remember the flu one year, how she bathed my face and brought me broth when I could keep it down.

Then Gloria asked me to take her to the hospital; she could tell, even with the pills. I called next door, and we lifted her to the wheel chair and got her to the car. After she couldn’t move, the doctor had told us how to keep an extra sheet on the bed. We could lift her up like a hammock or a sausage rolled in a piece of bread—lift to the chair, wheel her to the car, lift her again, and off to the hospital. Why not call the ambulance, you might ask, but two-mile ride cost hundreds, so we did it ourselves, even with insurance. I cleaned her myself at the end, always me. She wanted it that way. Massaged her cold, pale feet, calluses peeling off because she couldn’t walk, couldn’t move. I never told the ladies, and they never brought it up. We had our ways of making it easier, they thinking of me, me thinking of Gloria—nothing wrong with that.

My routine was work what I could and then walk to the hospital. It was spring and the walk across town eased the tension—that’s how I felt about it. The oaks were budding and the grass was green, daffodils and hyacinths in bloom. Gloria never could stand daffodils in the house, too much onion smell, but she loved them outside, so bright and cheerful. I’d sit by the bed, and she’d make sure I poured myself some tea from the Thermos. Then we’d sit and talk, or just sit. I was sitting, anyway. She’d ask me what was blooming and budding, what smells were in the air. She told me to change my shoes before walking, checked if I’d watered her philodendron and fed the cat. I kept my routine—had to—people don’t figure it, but dying doesn't kill a routine, just changes it. She kept a close eye on me. That’s how she lived, some through me. Otherwise, it was just hospital stainless steel and what the nurses did. I was her feet, tired as they were. I talked about whatever, did anything, just a garden tool that fit her hand, there in reach. I left behind who I was in a good way: woke up and thought, what needs to be done? Never considered what I wanted to do, didn’t want anything, just stuck to the routine and did what needed doing.

She passed one evening in May when I was walking. Robins were flying, twigs and grass in their beaks, starlings enjoying their arguments. Tulips cupped bold colors in their hands, a lawnmower growled. Sam Jenkins’ garden was a beautiful sight, raised beds straight and clean, four by twenty feet, the spinach and chard up, peas on the trellis. The Franks’ dog was loose but knew how to get home. We knew it could happen anytime, but never thought it would. Not me, anyways, not really. She’d gotten by and through it for so long—damn if I didn’t think she’d get through this one too. It’s strange she didn’t, and just plain odd I didn’t see it.

I still hear her voice, change my shoes. Small steps, maybe, but I’m on my feet, I’m walking.
Copyright 2010 by Thomas L. Kepler, all rights reserved

Saturday, October 9, 2010

The Paris Review Interviews Online

The Paris Review began publishing in 1953 with the aim "to emphasize creative work—fiction and poetry—not to the exclusion of criticism, but with the aim in mind of merely removing criticism from the dominating place it holds in most literary magazines and putting it pretty much where it belongs, i.e., somewhere near the back of the book" (from the About online page).

During these years, the magazine also interviewed noted authors, including the greats such as Hemingway, Faulkner, Pound, Steinbeck, Frost, Neruda, Sexton, Carver, Bishop, Williams (both William Carlos and Tennessee), Baldwin, Angelou, Bly, Mailer, and Bradbury--to name just a few of more than three hundred interviews.

The list is truly staggering in its stellar comprehensiveness.

From Faulkner:
"All of us failed to match our dream of perfection. So I rate us on the basis of our splendid failure to do the impossible. In my opinion, if I could write all my work again, I am convinced that I would do it better, which is the healthiest condition for an artist."
"I'm a failed poet. Maybe every novelist wants to write poetry first, finds he can't, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing."
 William Carlos Williams:
"I would gladly have traded what I have tried to say for what came off my tongue, naturally.  "
 James Baldwin:
"I remember standing on a street corner with the black painter Beauford Delaney down in the Village, waiting for the light to change, and he pointed down and said, “Look.” I looked and all I saw was water. And he said, “Look again,” which I did, and I saw oil on the water and the city reflected in the puddle. It was a great revelation to me. I can’t explain it. He taught me how to see, and how to trust what I saw. Painters have often taught writers how to see. And once you’ve had that experience, you see differently."
 Maya Angelou:
"It’s myself . . . and my reader. I would be a liar, a hypocrite, or a fool—and I’m not any of those—to say that I don’t write for the reader. I do. But for the reader who hears, who really will work at it, going behind what I seem to say. So I write for myself and that reader who will pay the dues. There’s a phrase in West Africa, in Ghana; it’s called 'deep talk.' For instance, there’s a saying: 'The trouble for the thief is not how to steal the chief’s bugle but where to blow it.' Now, on the face of it, one understands that. But when you really think about it, it takes you deeper. In West Africa they call that 'deep talk.'”
The magazine also has close to fifty audio interviews online.

Enjoy.

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Copyright 2010 by Thomas L. Kepler, all rights reserved

Wednesday, October 6, 2010

Online Fiction Review: a Review of an Online Flash Fiction Magazine

I'm thinking of something like the paper-printed magazine the North American Review, which was founded in 1815 and is "the nation's longest-lived literary magazine and among its most distinguished."

Thomas Jefferson was one of  NAR's early subscribers; I am one of Flash Fiction Online's early subscribers.

(And now, I suppose, it's time to get down to business.)

Flash Fiction Online casts a dignified shadow on the virtual literary world, publishing 2-3 new stories a month in addition to commentary and/or "classic flash," short fiction by our venerable predecessors, now out of copyright. 

Quality is an item Flash Fiction Online must focus on, since it has cast aside the concept of quantity. Longevity is also a fragile term for the internet; Flash Fiction Online has been around since 2008, not quite as long as the North American Review.

Published monthly, the "front page" features six sections: the "In This Issue" in the upper right hand corner, and the hooks of the other five features. The arrangement works well, once I realized the logic. On the left is a sidebar for navigation to previous issues, and "about" section, and other traditional pages.

From the "About Us" page:
At a high level, our goals are pretty simple.
  • To serve flash fiction readers and writers with a professional, sustainable market for flash fiction stories.
  • To promote the general population's reading of great short stories in general and of great flash fiction in particular.
That implies a variety of sub-goals:
  • Provide fiction readers with accessible, interesting flash stories that have a plot, characterization, and, to the extent possible, setting.
  • Meet the SFWA requirements for being a pro market: 1000+ consistent subscribers, $.05 / word, non-vanity press, and consistent publishing for a year.
  • Provide fiction writers, and especially flash writers, with links and information about writing.
  • Promote the short story form to a general audience.
  • Provide new writers with an additional shot at professional publication.
Magazine staff are from the United States: a retired commercial nuclear power industry guy, a father (8 kids from the same wife), former elementary school teacher, and software engineer. Slush readers are journalistic, tree-hugging, car-pooling, dermagraphic artistic (think tattoo), Utahan Wyomingistic fantasists--the usual mix.

I found the flash fiction story in the August 2010 issue, "Is, Not Mighta Been," by Dave Hoing, a very powerful story.
"Some folks see the hand of the Lord in happenings that nothing but dumb chance. They say He separate people or bring them together by His own plan. Well, I say God don’t bother Hisself with our daily affairs, so if you see a man in a place you don’t expect, then that just one of them things. Ain’t no beam of light breaking through the clouds or angels singing hallelujah. Just is, is all."
An "Author Page" lists some of the zine's writers; it has a formal look with photos of just the authors' eyes--cool concept. The magazine also hosts a flash forum that is fairly active, judging from the number of topics and posts. There is a useful arrangement of posts: for readers, for writers, for art, and a place to introduce yourself or add something "general."

If you like to sip and savor your fiction, try Flash Fiction Online. As a writer, if you can write "a complete story in one thousand or fewer words," then submit. Remember, though: Stories have characters. Stories have plots. Stories have settings. (And this magazine is looking.)

Along with all our venerable predecessors.


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Copyright 2010 by Thomas L. Kepler, all rights reserved

Monday, October 4, 2010

George Hitchcock: Poet and Publisher (1914-2010)--a few memories


It was my senior year in college in 1973, and my poet friends and I were traveling from Davis, California, to Santa Cruz, where our mentor Karl Shapiro (1944 Pulitzer Prize winner for poetry) was giving a poetry reading.

What I remember most about the reading was three white-haired men: Karl Shapiro, William Everson, and George Hitchcock. Shapiro read, Everson and Hitchcock gave him a "Hail and well-met, good fellow," and we students stood back and respectfully gave the gentlemen some distance.

(My main memory of the evening, actually, was that I was falling in love with a young poet-friend named Katie--not that she ever realized that--I was rather flighty in those days.)

Years later, I did submit to kayak, Hitchcock's poetry magazine, and received a nice letter saying he was "hanging it up" and not printing more--but that he liked one of my poems and wished me luck with it elsewhere.

I never hob-nobbed much with poets such as these men--I was just a kid, really, who liked to write poetry and took it seriously--but men such as Shapiro, Everson, Hitchcock, and later Kenneth Rexroth, whom I met at a U.C. Davis poetry reading, were individuals who had dedicated their lives to words and literature. That impressed me mightily.

I look back now and see men who lived through huge events and did so with dignity.

Karl Shapiro was in the Pacific during World War II, in 1944 publishing V-Letter and Other Poems, which earned him the Pulitzer Prize. He is most famous (in my opinion) for being the "Bourgeois Poet," the everyman's poet.

William Everson was a Dominican monk for eighteen years, publishing under the name Brother Antoninus. Shapiro told the story of when Everson finally renounced his status of a monk. During a poetry reading, Antoninus made the decision, "and when he removed his crucifix, it hit the microphone, making this eerie ringing sound that echoed in the hall." Everson set type and printed unique copies of some of his books.

George Hitchcock (NY Times link) lived through interesting times as an intensely independent man. From The New York Times article:
During the Oregon Shakespeare Festival in 1957, the House Un-American Activities Committee summoned him to testify in San Francisco, where he delivered what may well have been his finest performance.
When asked to state his profession, he answered: “I am a gardener. I do underground work on plants.” He then refused to answer questions about membership in the Communist Party, “on the grounds that this hearing is a big bore and waste of the public’s money.”
In his 59th issue of kayak magazine (out of an eventual 64 issues), Hitchcock wrote:
AS YOU WILL HAVE NOTICED, the cover price for a single issue of kayak is now gone to $2 -- our first raise in the 17 years of publication. Subscriptions will still be $5, but for one year of three issues. Certain other economies have been introduced as well, principally in typesetting. kayak remains one of the very few journals utterly unfunded by the NEA or any institution. It's a question of principle, and one which we hope you will support through your subscriptions . . .
 The New York Times mentions this about Hitchcock's independent publishing:
Kayak operated outside the world of foundation grants and government support, although the National Endowment for the Arts, unsolicited, gave the magazine two grants. Mr. Hitchcock used most of the money to publish books by Mr. Simic, Carver, Carruth and others. He used $500 to create a prize for the best poem about Che Guevara.
As the world moves into the world of effortless, easy, instant publishing, I believe we should learn from those before us who lived independence and accepted the price of that. Along with the freedom to publish comes an equal responsibility.


Copyright 2010 by Thomas L. Kepler, all rights reserved
Hitchcock image from the Santa Cruz Sentinel

Friday, October 1, 2010

An Excerpt from Teach Like a Champion via delanceyplace.com: Guest Blog



"Delanceyplace is simply a brief daily email with an excerpt or quote we view as interesting or noteworthy, offered with commentary to provide context. This blog lists the content of the daily emails distributed to our subscribers. There is no theme, except that most excerpts will come from a non-fiction work, mainly works of history, and we hope will have a more universal relevance than simply the subject of the book from which they come. You can sign up for the email at delanceyplace.com."

Title : delanceyplace.com 9/17/10 - making mistakes is normal
Date : 2010-09-17


In today's excerpt - error is normal, and making mistakes is a necessary part of learning. In Teach Like a Champion, Doug Lemov's brilliant distillation of forty-nine techniques for teachers to use to improve student performance, he writes that teachers should normalize error and avoid chastening students for getting it wrong. (Lemov's book has application far beyond the classroom):

"Error followed by correction and instruction is the fundamental process of schooling. You get it wrong, and then you get it right. If getting it wrong and then getting it right is normal, teachers should Normalize Error and respond to both parts of this sequence as if they were totally and completely normal. After all, they are.

WRONG ANSWERS: DON'T CHASTEN; DON'T EXCUSE

"Avoid chastening wrong answers, for example, 'No, we already talked about
this. You have to flip the sign, Ruben.' And do not make excuses for students
who get answers wrong: 'Oh, that's okay, Charlise. That was a really hard one.'
In fact, if wrong answers are truly a normal and healthy part of the learning
process, they don't need much narration at all.

"It's better, in fact, to avoid spending a lot of time talking about wrongness
and get down to the work of fixing it as quickly as possible. Although many
teachers feel obligated to name every answer as right or wrong, spending time
making that judgment is usually a step you can skip entirely before getting to
work. For example, you could respond to a wrong answer by a student named
Noah by saying, 'Let's try that again, Noah. What's the first thing we have
to do?' or even, 'What's the first thing we have to do in solving this kind
of problem, Noah?' This second situation is particularly interesting because it
remains ambiguous to Noah and his classmates whether the answer was right or wrong as they start reworking the problem. There's a bit of suspense, and they will have to figure it out for themselves. When and if you do name an answer as wrong, do so quickly and simply ('not quite') and keep moving. Again, since getting it wrong is normal, you don't have to feel badly about it. In fact, if all students are getting all questions right, the work you're giving them isn't hard enough.

RIGHT ANSWERS: DON'T FLATTER; DON'T FUSS

"Praising right answers can have one of two perverse effects on students. If you make too much of fuss, you suggest to students - unless it's patently obvious that an answer really is exceptional -that you're surprised that they got the answer right. And as a variety of social science research has recently documented, praising students for being 'smart' perversely incents them not to take risks (apparently they worry about no longer looking smart if they get things wrong), in contrast to praising students for working hard, which incents them to take risks and take on challenges.

"Thus, in most cases when a student gets an answer correct, acknowledge
that the student has done the work correctly or has worked hard; then move on: 'That's right, Noah. Nice work.' Champion teachers show their students they expect both right and wrong to happen by not making too big a deal of either. Of course, there will be times when you want to sprinkle in stronger praise ('Such an insightful answer, Carla. Awesome'). Just do so carefully so that such praise isn't diluted by overuse."

[Editor's note: We were reminded of this principle recently when touring the Franklin Institute's nationally recognized Science Leadership Academy and finding that the powerful learning mantra of the engineering department was "fail early, fail often."]

Author: Doug Lemov
Title: Teach Like a Champion
Publisher: Jossey-Bass
Date: Copyright 2010 by John Wiley & Sons, Inc.
Pages: 221-223