I am a writer. I can’t help it. Don’t judge.

I just can't quit E. Annie Proulx.

I fell shamefully in love with The Shipping News this spring. My husband watched the movie when I was at the winter MFA residency and then we watched it together when I came back. Then I found it at a used book sale and found a reason to add the book to my reading list for the spring semester. It is a beautiful novel, and I can’t wait to get my hands on Proulx’s other  work: Postcards, and Close Range: Wyoming Stories. That last title contains the short story which was the basis for Brokeback Mountain.

Below the break is the craft essay I wrote about The Shipping News for grad school.

Read more

I’m sitting here, trying to work on my third semester project and I’m amazed at how – even with a stack of index cards, even with an outline, even with a pile of relevant overdue library cards – it is so hard to write one coherent thought.

That’s all I got. Back to work.

After last week, I am so pumped up about my work.

In the last seven days, I made several positive steps on my novel.  I’ve been working on two novels and in the last several days, I made a difficult decision about which of the two novels I’m working on to pursue. I made some contacts who will help me with that novel. I Netflixed material to help me research the novel and I wrote like a madwoman.

I am so excited about the novel that anyone within earshot has been assaulted with my plot. I haven’t been this excited about a piece of fiction since high school.

So of course, it’s worked out that this is the week when I have to put the novel aside to write the first draft of my third semester project. This is annoying, because a few weeks ago I was so excited about my thesis that I would have gladly tossed the novel by the wayside to work on the project.

Ah well. I have no choice. I have a deadline, and I’ll be able to write both my novel and my project, but I’m irritated that I have to split my time between the two.

I am so sick of reporters. Not real, live, actual reporters; I’m talking about this guy:

Jay, I'm sick of your whining, and FYI, so is she.

And this guy:

Settle down, Raoul. No one cares if this is bat country.

I’m talking about fictional reporters and all their ilk. My third semester project is about authors who were once reporters and, since most of those authors write about what they know, I’ve read a lot about newsrooms and reporters in the last two months.

I  feel like I’ve been working in a big, make-believe newsroom with Kipling, Dickens, Hemingway, Thompson, and a bunch of contemporary authors. That can be cool, because in their non-fiction about journalism, each personality becomes pretty clear.

Read more

There are lots of reasons to like T.C. Boyle. He’s a prolific writer. He produces novels and short stories and succeeds at both. His prose is crisp. His worldview is unapologetic. His humor is dark. His observations on human behavior are visceral. He uses his initials instead of his first name. He looks like a lost member of the Pogues. All redeeming qualities, I know.

The missing Pogue?

But I like T.C. Boyle for a very basic reason; I recognize his world.

Boyle writes about people I know, or have known. He writes about a time period in which I have lived. He writes about places I know, about Connecticut’s Georgetown area, and about Peekskill, New York and the sorts of people who live there.

In the past year I’ve read many books. Most were written before I was born. Some were set in Connecticut. Most were set elsewhere. Some explored different racial groups, different geographies, other times and other countries.

Boyle writes about the ’90s, my country, and the people I see every day. And he writes beautifully. To be honest, until this year, I never thought my own ethnic/economic group was interesting enough to merit such polished prose. I’m a white, middle-class, third-generation Irish American living in Connecticut at the turn of this century. What is duller than me? Maybe a box of rocks. No, maybe concrete. But Boyle takes that, and elevates it a little, so that I feel that I’m looking at a museum exhibit of myself and the people I know. Below the jump is the essay I wrote last semester about his collection Tooth and Claw.

Read more

I’ve done it.

After almost nine years as a reporter, I’ve quit my job at The Hour. I started there as education reporter in 2001, the week before Sept. 11. I remember telling my mother, arrogantly, that I was just going to be there a year. Maybe two years, at the most. It’s been eight and a half. And I’ve covered schools, business, politics, features… almost everything in the paper’s coverage region in that time.

And I always said I wanted to leave and write my fiction. I even threatened to quit once. And I went part-time a year ago, when I went back to grad school. And all year, I thought, okay, it’s time. I’m going to quit. And this Wednesday, I did it.

Boy, was it hard. Read more

Ann Beattie’s writing evokes an idea of the ’70s for me.

Ann Beattie in 1980, recovering from the '70s.

I say that because I don’t remember much of the decade itself, but there’s an idea I get about the ’70s; a sort of feeling that makes me think of straight hair parted in the center, fondue pots, and kitchen appliances painted pea-green, orange and chocolate brown.

I don’t know why, but when I think of the ’70s, I also think of depression. Maybe  it’s the color schemes I’ve seen in pictures, or the disillusionment

following Watergate, or maybe I somehow think that ’70s represent a post-Summer of Love hangover. But I get a sense of depression from the ’70s in the same way I think of cheesy euphoria when I think of the ’80s. When I look at photos from the ’70s its always hard for me to believe that only 10 years earlier many of these same folks were wearing flannel suits and day dresses. It’s almost like everybody stopped trying.

Now, I know this is not fair or true,

but Beattie’s writing reinforces these ideas for me. I’ve read two of her books this semester, Distortions and Chilly Scenes of Winter. Her writing is bleak and spare. She doesn’t give us more than we need, and, in fact she doesn’t even tell us what people look like. Which is what my essay, below, is about.

Read more

It’s been a long time since I’ve posted to this blog.

Actually, I don’t know why I bother to write that last sentence, because I’m not really sure that anyone reads this blog. But in the name of continuity, I think it’s important to note that I’ve been blog-delinquent in the last several months.

In that time a lot has happened. I got married, for one thing. And I went away on my second residency for the Fairfield University Masters of Fine Arts Program. And I was made a full adjunct professor at Norwalk Community College, where I teach. I got to interview some celebrities for my job as entertainment reporter at The Hour. I wrote some short stories. I did some yoga. I fell right off my pre-wedding Weight Watchers diet into a vat of chocolate.

And all of this has been fantastic – particularly the whole “being married” thing – but there’s been a big, blog-shaped hole in my life. So to rectify that, here I am again, trying to make a go of this.

But my triumphant return to WordPress brings me back to the fundamental question I had when I stated this blog: What, exactly, am I trying to do here?
I’m a writer; am I going to write about writing? Isn’t that an awful lot like writing a song about rock and roll? Because while there are many good, valid and popular songs about life as a rock star, I just don’t want this to be the writer’s blog equivalent of Boston’s “Rock ‘N’ Roll Band.” Nobody needs that.

So this is my plan. As part of the MFA program, the students have to respond to fiction every month with craft essays. That is, we have to write two to four page essays about a specific element of craft in a work of fiction (i.e. use of punctuation in Dick and Jane books). I plan to post some of mine here, interspersed with other posts, of course.

I don’t know if anyone’s going to want to read my homework, but that’s another matter. At the very least, maybe my mother can print some of them out, ink an “A” on them, and stick them to the fridge.

This is the blog post that launched my new-found bloggin’ career. Matthew Dicks, the author of “Something Missing” asked me to blog about the most awkward date of my life after I tweeted this:

“It’s been two years since the most awkward date of my life. And we’ll be married in two months. Bring on the lobster.”

Not having my own blog at the time, I guest-blogged on his site. And then I became addicted. Here is what I wrote:

The Most Awkward Date of my Life

Two years ago I went on the most awkward date of my life.

Telling you this date was awkward is saying something, because I have had some awkward dates. There was the guy who picked me up in a Cambridge, Mass. coffeehouse with an invitation to stroll across Boston. “I’m in a band,” he confided. It was only when he got outside and started walking that I learned that his primary instrument was the accordion. (“My fans! My fans!” he yelled, bowing to an appliance store’s window display during our date.) There was the time I went for coffee with a guy I’d met through his massive group of friends. Four hours in, all of those friends showed up, pulled up chairs and joined the getting-to-know-you conversation. And then there was the college boyfriend I met at our mostly-white school’s attempt at a drag ball. We were both serving very bad drag and his first words to me were “I’m the woman your mother always warned you about.” (She hadn’t, but after spending the better part of year in that relationship, I remember wishing she had.)*

What I’m trying to say here is that I know awkward. Still, nothing measures up to my September 3, 2007 trip to the museum with the man called Cowboy. He was fourteen years my senior and I knew him only from a local bar, where the other patrons referred to him only as “Cowboy.” We were meeting at the American Museum of Natural History in New York City on Labor Day morning. Thanks to a night of carousing in the city with my friend Beth, I was suffering an immense hangover that day, but I was nursing an unholy crush on the Cowboy, and I thought maybe this outing would rid me of it. It didn’t.

I accepted the date on a Friday in a fit of nerves, and spent the next two days feeling like I’d eaten jumping bean salad. When Labor Day rolled around, I was up early, running on no sleep, so excited I left my cell phone charger in Beth’s apartment. I realized my mistake two blocks away from the museum and had to sprint back to her place, then taxi to the museum. When he arrived, I was soaked with sweat and lugging an overnight bag.

It was the first time I’d seen him in daylight. There were two things we wanted to see, we decided, as we stood around waiting to make our $20-an-adult “donation.” He was looking for the medieval armor. I wanted to see the giant whale I remembered from a childhood trip to the museum.

We made small talk as we continued through the line, into the museum and into the exhibit in which to-scale models of protons and electrons hung in a room made completely of plate glass, which was, incidentally, too bright for anyone recovering from a night of cheap beer and ‘80s music. The pain of my headache pried my attention from the electrons and the conversation. I was gazing out of the glass wall when I realized that the small talk had taken a wrong turn. I tuned back in, and then tried to tune out again immediately, but it was not possible.

He was standing there, near a neutron, confessing family secrets. These were not garden-variety family quirks. These were major sins-of-the-father skeletons in the closet; the sort of ancestral horrors that a significant other tends to learn about gradually; the kind of revelations that take root as a suspicion, and finally explode years down the line when a family member gets drunk at Christmas. The tamest one involved a cousin, a dwarf from Texas, who chased his mother around the graveyard at his father’s funeral.

My first impulse was to wonder what that could do to a child; my second was a fight-or-flight response. The headache began to fade, and I remembered, as I searched for an exit, that two days before Cowboy told me he hadn’t had a proper first date since the ‘80s. When I relayed this information to a girlfriend, she stared at me and said, “Run.” Standing there, listening to him go on about his inappropriately horny Texan cousin, I readied myself for flight.

Then my phone rang. It was my mother. I tell my mother almost everything, but this date was on the short list of items I’d decided not to share.

“Hi honey.”

“Hi Mom. I can’t talk. I’m in the city with Beth.”

“Oh! I didn’t know you were visiting Beth. Where are you?”

“The Museum of Natural History,” I muttered. There was a pause as my mother sniffed the air for lies.

“With Beth? You’re at the Museum of Natural History with Beth?”

“She loves culture. You know Beth.”

My mother did know Beth. She also knew that after a night out in the city, we were more likely to be swanning around behind dark glasses than inspecting arrowheads and stuffed antelopes.

“Okay,” she said in her we’ll-talk-later voice. “Have a good time. And say hi to Beth.”

I turned back to my date.

“That’s my mother. She’s psychic when it comes to the phone. She always calls exactly when she shouldn’t.”

“She knows,” he said, smiling.

My mother’s well-timed intrusion saved me from any more horrific revelations but it did not break the ice. He walked a few steps behind me as we cruised through the exhibits. I could hear his boots echoing off marble floors and the dinosaurs’ glass display cases, each step accompanied by a jingle, which made me wonder if he’d taken his nickname one step too far and worn spurs.

Rejuvenated by a lunch of street-vendor hot dogs, we realized we had found neither the suits of armor nor the whale. We charged back inside only to be told by a sour old lady in a museum vest that there were not suits of armor in this museum. European history – unlike the history of every other continent – was housed down the block in the Met, with fine art. Ignoring for the moment the ethnocentric policies that shaped the collection of the American Museum of Natural History, we plunged into the heart of the building, searching for something that should have been unmissable – a gigantic whale, suspended from the ceiling.

“How do you hide a whale?” lamented Cowboy as we careened through the halls, led astray by maps that looked simple enough for a child to follow, passing the suspended Viking boat for the fifth time. We found it at last, by accident and it was exactly as underwhelming as I hoped it wouldn’t be. Left with nothing else to do, we left the museum and took the train back out to the Connecticut, making stilted conversation. I haltingly tried to kiss him good night in the train station parking lot, and missed when he turned his head, hitting him somewhere east of the corner of his mouth. He looked shocked, I felt stupid, and we went home — separately.

That was two Labor Days ago. In two months the Cowboy and I will be married. Last Labor Day, we went back to the city to find the suits of armor. They are indeed at the Met. I can confirm he does not wear spurs, although he does have the loudest car keys I have ever heard. Our local bar closed, but we still see the other patrons and everyone still calls him Cowboy. But I don’t. Now, I just call him Honey.

*Editor’s note, 2019: Some of this paragraph has been rewritten because I know more today about gender and ballroom culture than I did in 2009.

So, about two weeks ago one of my profs from F.U. had he administrator of our MFA program blast an email out to all the students in the program. The message was essentially this: “NPR has a short fiction contest. The deadline is in six days. Get on it.”

The contest, “Three Minute Fiction,” required writers to produce a story less than 500 words long. The first seven words of each piece had to be “The nurse left work at five o’clock.” The entries will be judged by James Woods of the New Yorker, but until then, NPR is posting a favorite story on its site each week.

Mine was posted this week. I don’t think I’ve stopped grinning.