Art, Movies, Lit, Theater, Backstory

The Time Travel Dating Machine

No Comments 29 September 2011

By Martin Jardon

I watched as my white down comforter began to move and writhe and a humanoid form began to take shape beneath it.  This is what I had wanted from the beginning. It had taken six months, 10 Mac hard drives, and some incidental medical tubing I’d scored from the local hospital, but now my wish had come true.

As I watched the tussled pink hair lengthen from beneath the edge of the covers, I knew it couldn’t have worked out more perfectly. In less than five minutes, I was going to be reunited with the woman of my dreams, and I was going to crack the online dating world wide open. Eharmony, you just opened a can of complete chaos; Match.com, you’ve met your match; Plentyoffish, you can’t top this catch.

My mate was straight from 1987, my favorite year, plucked right from the front row of an R.E.M. concert in Chicago. I picked the ideal moment in our romantic history: twenty-four hours after we met and just seconds before she would be lost to me forever.

As a green solution flowed through the IV tubing and ballooned her tattooed forearm to full size, I sighed as I remembered what a die-hard she was for alternative music. She was exactly as I remembered her, plus I could fill her in on the ten or so albums R.E.M. hadn’t even written, yet. My system was so perfect it was scary.

As my dream girl continued to complete the rough transition into the year 2011, I heard a groan from down the hallway. I looked out. It was my roommate Ben, who was just getting home from a night of partying without meeting someone — as usual. Now was the perfect time to break the news.

“Hey man,” I called to him. “No luck last night?”

“Yeah,” said Ben. “It’s just so hard to meet women, these days.”

“Well, you’re gonna love this,” I angled my head back toward the bedroom door.

Ben rubbed his eyes with his palms, as though suddenly plagued by a headache.

“Not that time travel dating machine, again,” he groaned.

“No, it’s really working. In fact …”

He waved me away with his hand. “Just leave me alone and let me get some sleep,” he said.“You don’t understand,”

I lowered my voice and pointed to the bedroom. “She’s in there.”

Ben squinted at me, trying to grasp my words. “Who’s in there?”

“Miss R.E.M. 1987,” I whispered.

“You mean that nameless chick you took to the concert and have been trying to track down for two decades?” Ben laughed.

“How’d you find her after all these years?”

Just then, a woman’s voice broke the air. “Where the hell am I?” she called, her voice thick, almost inhuman.

I looked at Ben. “No, I’m serious. She’s really from 1987, 29 years old, and as beautiful as the day I met her.”

Ben stood frozen. “You’re really starting to freak me out. Is this some kind of joke?”

Suddenly, the walls of the apartment reverberated, as though being slammed with a large object.

“What freaking thing did you create?” asked Ben, his voice shaking as he backed toward the door.

“Now hold on, I didn’t create anything, just a little alternative transportation, that’s all …” I put my hand out to his shoulder reassuringly.

Uneven footsteps began to echo down the hall, as something in my room began to lumber toward the doorway. Ben moved back fast, dodging my hand completely.

“Whatever that is, it’s far from natural, and it sure as hell isn’t human.”

“Just give her a chance,” I said soothingly. “She’s just trying to get her bearings, that’s all.”

The footsteps grew louder as they neared the hallway. A twisted leg, cupped by a lime green high heel, stomped out onto the wooden floor.

Ben grabbed me by the shoulders, holding me fast as he spoke.

“You never read The Monkey’s Paw, did you Dave? You never read The Monkey’s Paw!”

With that, he fled, stumbling through the doorway as he tried to look back at the apparition in the hallway and down the stairs in front of him at the same time.

Once I saw Ben had made it safely to the ground floor, I turned back toward Miss R.E.M.

“Sorry if I scared your friend,” she said, clearing her throat and bringing back its human resonance. “I lost a shoe at the concert, last night. Must have sounded like I was walking funny.”

She shielded her eyes, trying to perceive my form in the silhouetted dawn. “I must have been really drunk. I could have sworn you had more hair.”

“Strange,” I ran my hand over my forehead, elongated by time.

“We can see R.E.M. again tonight, if you like,” I said, quickly changing the subject.

“That would be awesome,” she said smacking her gum.

I hesitated, then took her hand, leading her back to the bedroom.

“Just so you know, Michael Stipe had a rough night, too, so don’t be surprised if he looks a tad older.”

*No part of “The Time Travel Dating Machine” may be used without the author’s express written permission.*

Art, Movies, Lit, Theater, Backstory

The Heat And Being Watched

No Comments 25 August 2011

Backstory: Aug. 25

Nature as constant summertime companion

This summer in Northwest Arkansas is a time for squinting. Deadly hot, leaves prematurely dropping from branches, creeks low and pebbly. We start all our conversations with questions about how we’re holding up in the heat, chatter that would seem boring except that it is bona fide. Unless it is dawn or dusk, or we are inside, or we have just come out of lake water and are seated under a tree, we have a hard time focusing on the details of the living creatures around us.
But we are always being watched. My neighbor puts food out for stray cats. In this heat, he sets out dishes of ice. Three have somehow befriended his tom, so they hole up inside during storms. They are strays at heart, though.
When I pull into my gravel drive (which used to be pocked with mud but is now just tan and lumpy), I don’t see them at first, even if I squint. Then they appear, crouched under the oak, snaky under the rock bench. They’ve caught sight of me long before I see them. If my big dog’s in the back seat I have to get out and swing my arms wildly to make them scramble off so he won’t drag and topple me in pursuit.
Squirrels and other rodents keep us in their sights in the midst of their circus acts. Once, when I lived by the university, I walked from my porch to my old, low-riding Lincoln, and sitting in front of the house next door was a beaver. It was larger than I thought they were, and it had a tail like a furry brown dinner plate. We stared at each other.
Frogs and armadillos, unfortunately for them, don’t spot us as quickly as they should.
Then there are birds. Everywhere. Where I live now, south of the square, it’s mourning doves, whose hoohoo-hoo call I’ve loved since I learned it as a teenager in Los Angeles. There, where I lived in a Mexican neighborhood near Dodger Stadium and where there were still dirt roads and nopal cactuses covering hillsides, sparrows hid behind sparrow-size leaves, jays jetted from limb to rooftop, and mourning doves hoohoo-hooed and swirled in the air and often landed on the ground. They seemed relaxed, like fear wasn’t part of their relationship with humans.
Regardless, they — all the birds — watched us. Their tiny glinting eyes scanned our movements, and their heads jerked in response, readying themselves for flight.
I thought about our being watched last week in workshop. I wondered what people would come up with if they imagined themselves in the position of a watcher. Joy Caffrey wrote this piece from the point of view of a bird:

By Joy Caffrey

I like that you notice me when I sing the sun awake. I hear your footsteps as you flick on the lights, then tap on your keyboard. The running water changes sound as you fill the teapot and then make it sing. The teapot and I both serenade you.
I wait close by as you swing open the screen door, take in the morning and peruse the deck. Your eyes stroke your flowers. I never know if you will water the containers or the garden bed first. I turn towards you as I hear the first burst of rushing water out of the garden hose. My eyes dart to the water droplet’s sun catching display. I flutter from tree to tree to be a part of the morning dance.
You go inside and come out with your daughter. You both sit at ease, no words at first, slowly a few tumble out mixing with the morning air. The cat too knows your rhythm and adds her own feline sleek movements.
After you linger, you are up. The screen door screeches open and thumps closed, open and closed. Eventually you two, mother and daughter, leave together. Shifting into reverse, the white beast rolls down the steep driveway. Sometimes there’s a scraping noise where metal meets street, other mornings roll on soundless, smoother.
The boxy beast brings you back and forth repeatedly as the sun crosses the sky. Each time you return you touch and whisper to the plants before the screen door opens then thumps closed.
In the evening your pace is firmer on the deck. Your body more coordinated. Busily the dinner aromas then dishes come through the screen door and set on the eucalyptus wood slated table. Conversation is livelier, words more complete; silverware to dish clangs punctuate the day’s tales.
At the end, you and I both linger, tree gazing. We watch the air settle and greet the evening sky. And listen one for the other, song to heart, heart to song. I am here, I am here.

No part of Joy Caffrey’s piece may be used without her permission.

Christ And A Woolly Mammoth God

Art, Movies, Lit, Theater, Backstory

Christ And A Woolly Mammoth God

No Comments 21 July 2011

Backstory: July 21

Putting real people in unfamiliar territory

Last week in workshop, to deepen our understanding of character, we wrote character sketches of folks we knew well: real people in the real world. Then, we put these people in completely unfamiliar settings.

I had participants visualize environments in detail — buildings, city or country, weather, indoors or outdoors. The idea was to see the ways characters respond to situations, what triggers them, where they have edges and where they blossom. Writers could take these renderings of actual people and use the skills when writing fictional characters.

In his piece “Mammoth,” Tom Wilkerson approached the prompt this way:

‘Mammoth’ By Tom Wilkerson

Dawn crept through vertical blinds and threw shadows on the wall. The shadows looked like bars of a jail cell. Monitors beeped, and every 15 minutes, the blood pressure cuff tightened mercilessly above his
elbow.

There were people asleep in his room. God, they looked awful. Linda slouched in a green recliner, her arms crossed over her chest. Kenny lay on a cot beside the bed snoring like a coffeemaker. Then, as though it was nothing at all, no big deal, he stopped breathing. It grew suddenly dark, and everything was sucked away. He tumbled from side to side like a small toy in a large box. He threw his arms out looking for something to hold onto but then the lid came off and he was shaken — that was the only word for it — shaken from the box onto the ground. He felt something like grass under his fingers. He waited to open his eyes until he was ready for the unimaginable.

The first things he saw were clouds the color of grapes. There was sky, too, an infinite white sand beach. There was the sun; no, there were two, three, no, four suns, all glowing in a perfectly normal, perfectly yellowish way. Something came into focus. It was a large woolly beast with two large eyes and one ivory tusk on either side of its gargantuan nose. The mammoth sat in a thronelike mesh of saplings and green leaves. It appeared to be giving itself a manicure.

“Um, hello,” Robin said, with some hesitation.

The beast looked up and directly at him. “Oh. Hello there. What’s your name?”

“What’s my name?” said Robin. “Don’t you know?”

The animal gave what might have been a smile and said, “Well, I meet a lot of people on any given day. Help me out. Are you Bob?”

“No. That was my father’s name.”

“Hum,” said the mammoth. “Well, I haven’t got all day, sonny. Why don’t you just tell me who you are?”

“I’m Robin. Michaels. From Atlanta. Who are you?” he asked, a wee bit impatient.

The large woolly animal snorted. “Who do you think I am? Santa Claus?”

“Are you God?” Am I in heaven?”

“That would be correct on both counts,” said the mammoth.

“But you don’t look anything like I expected,” said Robin, thinking of long ago Sunday schools.

“My job is not to live up to your expectations,” said God, “so don’t start in on me.”

To say that Robin never expected this — or anything — after he died would be an understatement. There was no heaven. Or hell. Or afterlife. And there was certainly no God. He looked around. As far as he could see, and that seemed a very great distance, he saw lush grape arbors tended by people dressed in white robes. Was heaven a winery? God the vintner?

Not far away he saw a swimming pool-sized wooden vat. It was filled with deep purple orbs and naked women, waist deep, bouncing up and down. They giggled and laughed merrily, the purest ringing of fine crystal toasting life everlasting.
Robin turned back to the woolly mammoth who called himself God. Next to him stood a man dressed in a white linen suit. He had long, reddish brown hair and a sparse beard. Robin couldn’t help but stare. It was a face he’d seen in hundreds of paintings.

“Care for a glass of wine?” God asked. “It’s the first press of the season. Kind of Beaujolais-like, you know? Young. Unpretentious. Impertinent.”

“Yes, thank you,” said Robin, taking the proffered glass. He tasted the wine and found it perfectly acceptable.

“It’s very good,” he said. “For a Beaujolais.”

“Of course it is, you ninny,” said God, laughing a laugh that made the ground tremble. “So, have a sip and let’s get down to business.”

“Uh, OK,” said Robin. “May I ask a question?”

“Of course, son. What’s your question?”

Robin nodded to the man standing beside God’s throne. “Who’s this?”

“I’m Jesus,” the man said. “Jesus Christ.”

“No shit?” said Robin.

“No shit,” said Jesus.

Robin downed his wine. They got down to business.

▲  No portion of “Mammoth” may be used without the consent of the author.

Art, Movies, Lit, Theater, Backstory

Focus Your Obsession

No Comments 15 July 2011

Backstory: July 15

Looking at something until it becomes real

 

We are all obsessed. There’s no denying it. One thing or another grips us and we cannot shake loose … for years, maybe. Maybe for a lifetime.

Last week in workshop I asked participants to make a short list of the things that obsess them, and then to choose the one that interested them most. One participant chose heaven. One chose peace. Each abstract concept was then whittled into a place, person or event in the physical world that a character (autobiographical or fictional) would strive for, with a villain thrown in for complications.

A rabidly obsessed participant wrote about her thrift store hunts for useless but compelling objects with a villain who seems to show up everywhere she shops and beats her to the same inexplicable chrome spirals. Isabella Orion, whose nemesis was “time,” responded this way:

 

By Isabella Orion

 

Lillian never cried — she was of the firm stock carved out of the rocky hills of Missouri. And not only did you have to show her, you had to show her twice before she believed you. That is why when her brother told her that the old family farmhouse had finally been emptied and no family belongings remained, she had to go to see for herself. And she would look 10 times if that is what it took, before she would believe it.

The mailbox of the family’s farm sat on a dusty road, and the drive into the farm was a pitted path of cemented mud, finally hardened by long seasons of drought following drenching rains. This was good for the fields of clover and acres of corn, but hard on the axles of the old trucks and wagons and now the car that had made its way along the route up to the base of Tator Hill, around it to the west and up to the old farmhouse.

As Lillian opened the door of the car, she could see that no windows remained in the two-story grey shack that had once been her family home. The yard had disappeared into clusters of tangled brush with blackberry vines woven through them creating large thickets of green with the purple/black berries sprinkled generously throughout, utterly impassable without a machete.

The old barn, so huge and orderly when her father ran the show, had long since begun its exhausted lean towards the middle where once the tractor had parked, so that now, large wedges of sunlight testified to the absence of piers in the foundation and supporting beams above. The structure had given up and was now resigned to defeat by the next Blue Norther with its gale force winds — just a matter of time and not much more of that.

It was a shocking sight taken in all at once and not observed over the decades since her last visit, and the disbelief of her own eyes was overwhelmed by the sure vision of her past.

Lillian stood, leaning against the closed door of the rental. She stood there so long and still, that observing her, anyone would have thought that she was waiting for someone or something — an arrival of some sort — but that was not the case. Lillian was waiting, taking in the last visions of these places, these memories as they played back before her. The old pump well, the helpless fence, the missing gate that had kept the cattle out and the chickens in. The old smokehouse where she would play as a kid as the meats were prepared and dried and aged — and she could taste those meats even as her eyes rested on the pile of wood that remained.

After what seemed like hours, Lillian opened the trunk and took out a machete she had bought at the local hardware store on the way through town. She purposefully whacked a path to what had been the front door, feeling the prickles of the berry vines as they tangled against the tool, scratching her hands, scraping her arms as she progressed toward the opening.

Once there, she saw that there was almost no floor left, but some beams remained leading over to the old staircase, so narrow, but standing still. Her eyes counted the steps she could see and there they were, one, two, three at least remained, very warped, but intact. Carefully, slowly, she crossed the beams, using the machete to support her now against the wall, against the boards lying in chaos around her. Once to the stairs, she bent and used the sharp tip to wedge open the top of one step. There in the burlap bag she had used to hide it from her siblings, lay the wooden box inlaid with mother of pearl flowers and a little brass hook lock to close, that her father had given her.

Lillian felt her eyes water and knew these must be tears, tears of relief, sadness and joy. She closed her eyes and looked again because, after all, it always took her at least two times to believe anything.

 

* No part of Isabella Orion’s piece may be used without her permission.

On The Clock

Art, Movies, Lit, Theater, Backstory

On The Clock

No Comments 26 May 2011

Backstory: May 26

10-minutes to clean out mental clutter

Each week in workshop, we begin with a 10-minute warmup exercise to help participants shake loose of the mental clutter of their day, to turn off the critical part of their brains and open up the awareness that comes from a deeper place. A teacher of mine called it the inner-omniscient — that part of ourselves that knows more than we know. Call it the unconscious or the aspect that taps into archetypes. The goal is to create room for it to emerge on the page.

Often, workshop members write surprisingly complete pieces in 10 minutes. Generally there isn’t enough time to create a work of flash-fiction (a short-short story), but writers can come up with glimpses of life from unique angles.

Last week, we began with the prompt to write about a time when you experienced physical closeness. Responses were diverse. Iris Shepard responded to the warmup this way.

By Iris Shepard

The house is pre-dawn quiet. A cat or two sidles past me through the screen door I’m holding open for them. Once it bangs closed, the silence really settles in.

Hot water for the French press, three morning pages to write, a brief meditation. I mix a batch of poppy seed muffins and then start the morning ritual of slowly waking up the house. I open the blinds, unlock the front door, turn on the light in the fish tank.

The boys are still submerged in a sleep so impenetrable that the warm smell of baking muffins, the thin morning light, the bird songs don’t reach them, but it’s past seven — less than an hour until they need to be in school. I cannot imagine how my sleep-rumpled son, Robin, cocooned in his covers will be dressed, fed, teeth-brushed, hair-slicked back smooth, and smiling in his blue chair at his table in his kindergarten classroom. It’ll take a feat of magic.

I stoop and lift him out of bed; he’s a little sweaty, smells a little sour. Sleep has plumped his cheeks, his arms. He’s still asleep when he wraps his arms around my neck and lays his hot, pink cheek damply against mine. I cradle him, this boy who used to be my baby, and walk from his room towards the bathroom. That sleepy morning hug can’t last more than five seconds. He wakes a little as I walk through the kitchen. He pulls his arms away from around my neck, angles his head back, away from mine. And it’s over, that delicious, sleep-infused hug. He won’t get that close again until tomorrow morning.

Ten-minute Prompts

Ten-minute prompts can be very useful for waking up the inner-omniscient, whether for writing or for other creative endeavors — or to bring your day alive.

Writing practice guru Natalie Goldberg (”Writing Down the Bones,” “Wild Mind”) teaches a kind of time-compressed freewriting that involves keeping the pen moving on the page without ceasing and simply allowing the mind to spill forth every thought, image or idea. She provides specific prompts and asks writers to approach writing the way they might approach Zen meditation, allowing the mind to chatter while deeper awareness surfaces.

That technique can be terrific for helping writers gain confidence in their voices and give up the goal of perfection. Powerful material, including whole and substantive stories, can come out of such freewrites.

Writing for a very short period of time while allowing pauses, scratching-out of passages, chewing on the pencil, and other acts that happen when writing a longer work, can make for a different kind of product: a verbal snapshot. Here are some prompts that might work well if you’d like to write under pressure of time:

• Write about the first time you were aware of yourself as a female or male.
• Write about being shocked by an incident.
• Write about a revolution (defining revolution in any way that works for you)
• Write about a coincidence.
• Write about something that happens under the covers.
• Write a piece that includes rain and a visitor.
• Write about a sunset without being schmaltzy.
• Write as though you were flying.

If you take on any of these prompts, I hope they help you to feel energized and connected to a part of yourself that you don’t normally encounter.

*No part of Iris Shepard’s piece may be used without the author’s written consent.

Letting Go On The Journey

Art, Movies, Lit, Theater, Backstory

Letting Go On The Journey

No Comments 13 May 2011

Backstory: May 13

Roles reverse when the leader becomes lost

Sometimes in workshop we just do writing that’s fun. Most of the time we work on craft — structure, characterization, etc. — but sometimes we take a break and have a good time without thinking too hard about the ways stories are constructed.

This past week we wrote about road trips. I asked participants to unfurl their stories in a cinematic way, imagining their written scenes as movie scenes. We talked about road trip movies: “Easy Rider,” “Thelma and Louise,” “Badlands,” “Oh Brother, Where Art Thou,” “Sideways,” others. In all of these stories there is a sense of freedom that can only come from being in a car (or on a bike), speeding down a highway, passing fields and towns and stands of trees, maybe having run-ins with the law.

The pieces that emerged from the prompt were highly varied — some gleeful, some emotionally complicated, some not so cheerful. We got rid of the story arc, the upward diagonal plotting that begins with a character’s need or desire and increases in intensity until a climax takes place. The road trip stories possessed the archetype of the journey, the longitudinal motion in which obstacles are encountered and strange occurrences show up suddenly.

Last year around this time, my niece and I took a road trip and saw a rain-sheathed tornado close up, an abandoned Dodge City, a frothing river with sage erupting from boulders, a hidden mountain town called Salida, which seemed like what Taos must have been before tourists discovered it, and the real tourist Mecca, the Grand Canyon, which was so dense with people you had to shove yourself between shoulders to look down at the mammoth vermilion cliffs. What we thought would be the highlight was not, and what we imagined would simply be the “getting there” turned out to be the heart of the journey.

This piece about getting there — and arriving — by Tanya Knudsen, came from this past week’s prompt.

By Tanya Knudsen

The blue lights flipped on and her sister yelled “Oh my God, Julene,” in her New York drawl. This had been quite a trip with just a few miles left to return to home and finally to bed. The adventure was on again with the introduction of this tall, Southern hunk of a law man approaching the car.
“What were you thinking pulling over before he even turned on the lights?!”
“We all knew he was coming after me.”
Julene was the sweet one, the true Southern lady of this rowdy bunch of girlfriends. That’s why she was behind the wheel. Katie offered to show some skin to help get out of the ticket, and that’s all they needed to be off and running with their comfortable comedy they had perfected between them. They all knew the laughter, raunchy remarks and quick wit were there to serve as a balm for what this trip was really about. So, the entertainment began of watching Julene use her Southern charms on their new roadside companion.
The officer didn’t seem as enchanted with the stack of expired insurance cards that poured from the glove box as the passengers were. Julene was polite, but they all knew of the ace she might play. And then it came. “Sir, we have been traveling 10 hours today to be with our friend who is dying of cancer.” Roxy sat in the back seat, and the sting of the words pierced her chest. Could this man possibly imagine the events that had occurred that day? The car had served as a small chapel for this band of sisters. They were losing one of their own.
Melanie had come out to greet them earlier in the day with such effort to be just herself. She wasn’t herself. What was the gap that rested between them, impossible to fully cross? The gap was visible through the hollow look in Melanie’s eyes. She invited the rowdy bunch to sit on her patio. Gifts and compliments were exchanged at a hearty pace. While she sat, still holding the travel watercolor case they gave her to take to chemo, she declared “You know, you guys, I’m not going to die.”
So the gap became a little wider and the loss of words a little greater. The friends would be nothing but supportive and chimed in like a lovely chorus of how they knew she would beat this thing. Their minds silently raced, knowing what stage 4 metastatic cancer meant. Melanie was their leader and had introduced each to the other. She was the one who had taught each of them about the adventure of life! To see life itself leak slowly out of her was not their greatest pain. Where was their leader at the moment they needed her to show them the way? She was lost herself, and the roles were being reversed. Their fearless leader was looking back at them with fear-filled eyes, looking for someone to assure her they knew the way.

*No part of Tanya Knudsen’s piece may be used without written permission from the author.

The Power Of Places

Art, Movies, Lit, Theater, Backstory

The Power Of Places

No Comments 21 April 2011

Backstory: April 21

The think, loamy mystery of Louisiana


When I think about my early life, my memories are suffused with setting. It is as if the environment in which I lived were another part of my tangled and stranded family, a vast component from which we couldn’t be separated.

I lived in a part of LA so thick with smog it seemed sepia tinted. We were in the foothills, looking out over the LA River — a concrete basin — miles of shabby bungalows and the dingy and mammoth County General Hospital, where my father later died in the prisoner’s wing.

On Fourth of July we could see the fireworks explode over the top of Dodger Stadium, the ballpark that mowed down a Mexican-American enclave called Chavez Ravine. On Cinco de Mayo the neighbors cooked huge pans of flautas, and on Christmas they brought over tamales. There were shootings and cholos and dogs on chains. Once, sneaking out at night, I was chased by a pack of strays.

In the hills above us, mustard seed blooms and fennel swayed in the breezes, and the occasional live oak stretched out its limbs. A dirt trail threaded through, and if you didn’t look down and you listened to my father’s stories about growing up in Baltimore, you could pretend you were in that Norman Rockwell past — milk cows and the ice wagon and the blaring thrill of the Pimlico racetrack.

A couple of weeks ago it struck me that setting can indeed be a kind of character in a story. Probably not the first time that thought came across someone’s mind, but I wanted to see what would happen if group participants drew from their experience or came up with fictional environments and treated those places with as much focus as they would people. The following piece, “Home,” comes from Tom Wilkerson in response to the prompt “Write about setting as a character.”

‘Home’

By Tom Wilkerson

Thousand-year-old river bottom holds mystery — corpses and catfish, bones and beer bottles and boats lie below the surface, below the cotton fields and conjure a cocktail of biscuits and sausage gravy.

When Daddy and I liberated the Paw Paw chairs, I borrowed Blackwood’s GMC and drove south on Highway 71 after work Friday. The Jimmy and I wound through the Boston Mountains with windows rolled down, suffused with the sweetness of spring twilight.

Then, about 10 o’clock, I pass through Texarkana, home to an Arkansas Department of Corrections facility, electroplating, abundant oil and gas production, and a few miles south of the city, a paper mill that emits a paint-peeling stink so strong even rolling up the windows doesn’t help.

But farther south you are released as you drive through cotton fields and there is only a freshly plowed greenness in your nose, and when you cross the border into Louisiana, you know you’re someplace very different. The first thing you notice is the dirt aroma — not dirty at all but earthy and rich, like the delta it is. Thousand-year-old river bottom holds mystery — corpses and catfish, bones and beer bottles and boats lie below the surface, below the cotton fields and conjure a cocktail of biscuits and sausage gravy.

The farther south you drive, the deeper is the smell of the land and the stronger is its power to turn your mind back in time to sunshine, Saint Augustine and loose, loamy soil perfect for gardens and caves and hog-nosed snakes and cemeteries. In high school I parked in these fields with girls, in rutted roads between cotton rows where cotton picking machines rolled, where slaves trudged and sweat and sang and died. I remember those smells — slightly acidic, probably fertilizer — and something sweet and sticky, the feast of teenage love, are the same now, exactly. They all rocket into my brain from someplace not very far away, and I am transported back and forth, back and forth, not quite knowing where I am yet knowing without doubt because nothing has changed, not really.

I am still 16, still alive and wondering what’s next, still frightened by what I don’t know but plenty ready to be scared to death, just for the fun of it. Louisiana air is thick with juju, a nuance that creeps into your body, your voice, hell, into your religion. In Texas it is dry. In Arkansas it is clear. In Louisiana, it is dark magic that twists and rolls time into deep-fried hushpuppies you can’t stop eating. It is home.

Writing Workshop


Next week, we will look closely at relationships between characters, either real or imagined.

*No part of “Home” may be used without written permission from the author.

Mysterious Actions

Art, Movies, Lit, Theater, Backstory

Mysterious Actions

No Comments 13 April 2011

Backstory: April 14

Adding the surprising or inexplicable

In workshop this past week we explored mystery in character.

Participants developed characters that acted one way and made choices that were surprising or inexplicable. Writer Susan Bull wrote a piece that introduced elements of mystery, but she was cut off by the time limit. This is sometimes a challenge in class, but participants have material to continue with at home, at least! What follows is her draft. I like that we don’t know where it’s headed.

By Susan Bull

He called the answering service for Methodist Hospital.
“Hey, Louise, it’s Dr. Day. Any calls for me?”
“No, Doctor. All’s quiet on the home front.”
“Great. How are you, Louise?”
Dr. Day always asked how she was doing. He was by far the friendliest physician that Louise answered calls for. Louise felt as if they were friends because she had been taking his messages for over 20 years. He was always personable and kind. Just last week he had given Danny a pair of expensive cowboy boots. Danny was the housekeeper that did the cleaning for both Louise’s switchboard and Dr. Day’s pathology lab. Danny had six kids and could never have afforded such a beautiful pair of rust colored leather boots.
“I’m A-OK, Doctor. What do you have planned this sunny day?”
“As a matter of fact, I am going to let Dr. Keffler take my calls for me. I am headed for the lake.”
“Roger that. I will spare you and torture him for the rest of the day.”
“Sounds good, Louise. I will call you when I am back on.”
“Good-bye, Doc.”
“Bye-bye, Louise.”
He hung up the phone and took the next hour to clean off his roll-top desk. After organizing all of his insurance papers, bills and investment notices into separate piles, he placed five photos into a neat stack. The first photograph was of his wife, Kathy. She had finished her bachelor’s in nursing a few years before when she was 45. She looks happy with her white nursing cap and uniform contrasting with her black hair and red lipstick. Next, he stared at a small picture of Andrea, his oldest daughter. Her eyes are blue against the blonde of her hair. She is in a fitted bridal gown at her wedding to a man she will divorce in a few years, but he doesn’t know this now. Julia, his second daughter is in the third photograph; she is riding the brown and white pinto that he bought for her 25th birthday. Sarah, his youngest daughter, is standing in line with the ice skaters pictured on the front of the program of the Broadmoor Ice Revue. He had paid for her training in Colorado Springs when she had taken lessons from Peggy Fleming’s pro. This photo marked her success. His only son and namesake, John, is standing next to the red Porsche that he had purchased for his son’s 17th birthday. He gingerly placed a rubber band around the photos and deliberately placed them into the top left-hand drawer.
His boat was already hooked to his van as he had been planning this trip to the lake for quite some time. He climbed into the driver’s seat and opened a small package of Little Debbie powdered-sugar donuts. Alternating between bites of donuts and sips of hot coffee from his thermos, he managed to back out of the driveway. Kathy wasn’t home; she had picked up an extra weekend shift at the psyche hospital in order to help out a co-worker. He thought back to their last conversation.
“Have you heard from the kids?” he had asked her while she was brushing her teeth.
“Nope, not a word. I’ll have to make the rounds and call everyone on Sunday.”
He had patted her on the butt and she had jumped away laughing.
“Not now, John, I’m late for work.”  She kissed him on the lips. “Maybe we can have a quiet dinner.”
“That would be nice.”
He hadn’t told her he was going to the lake. He just felt better not bringing it up, as he wasn’t sure what he would have said. And now as he drove out to White River Lake, he thought about how much he loved west Texas. The sunrises and sunsets were gorgeous, so much sky and nothing blocking the view. He didn’t even mind chewing dirt after a dust storm. The sky was massive and the clouds full of shapes and hope. Driving down the highway was always a straight shot; hills and curves in the road did not exist in west Texas. Not much was the color green.
After arriving, he backed the van with the boat leading into the lake. He put on the emergency break and stepped out to unhook the boat and lower it into the water. He had practiced doing this by himself for the past three months and had become quite proficient.

No portion of Susan Bull’s writing may be reprinted without express permission from the author.

Mission Statement

Art, Movies, Lit, Theater, Backstory

Mission Statement

No Comments 06 April 2011

Writing Specific And Unusual

I love mission statements. A friend of mine thinks they’re dreadfully boring, but I love them. The good ones. The ones that don’t drone about how they aim to support a bland X in their struggles to achieve a bland Y. The quirky ones that are specific enough that they tell you something real.

There’s a book by Miranda July and Harrell Fletcher called “Learning To Love You More.” July made the independent film “Me and You and Everyone We Know” (Netflix it!). Fletcher is an artist who has worked on a variety of collaborative projects. Both work in multiple genres.

The book is a hard copy of material from their website, which presented ordinary people’s responses to unexpected prompts such as “Take a picture of your parents kissing,” “Make a flyer of your day,” “Interview someone who has experienced war” and “Make a constellation from someone’s freckles.”

On the first page of the book, Fletcher and July offer an introduction, but the language in it might just as well work as a mission statement. I’ll link segments here: “Sometimes it is a relief to be told what to do. We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people’s instructions … Sometimes it seems like the moment we let go of trying to be original, we actually feel something new — which was the whole point of being artists in the first place … We hope [this book] describes the complex world of ‘Learning To Love You More,’ and the frequently wild, sometimes hilarious, and quietly stunning creative lives of a few people living on Earth right now.”

When I worked with homeless teenagers, as I have written about before, the staff was driven by the organization’s mission to “[reach] out to homeless and disenfranchised youth of New York City, offering them respite from hunger, cold, loneliness and fear and the opportunity to reclaim for themselves a sense of dignity and self-worth.”

Every day, we took stock of whether and how we had met that goal. On Wednesdays, we spent the day challenging ourselves to clear the clutter in our own psyches so that we would be of greater use to our vulnerable clients. Our meetings happened in the context of the organization’s mission and kept us on track. As a result, the young people got their meals and donated clothes and time to relax while handled with deep respect.

Organizations have to come up with mission statements, but what if we wrote our own mission statements, proclamations that cemented what we believe in and seek to do? I plan to have my college students do this next semester. I want them, at their juncture from parental and K-12 control to autonomy, to think about what it is that they wish to dictate their actions. I will require unusual language. There will be no “Be kind and honest.” Each student must come up with a statement written in his own voice, her singular way of framing ideas and passions. I’ll let you know how it goes.

In workshop this past week, I asked participants to write mission statements. They were to finish the phrase “I want to be a writer who …” with whatever came to them in 10 minutes. The first piece below came from a participant who startled herself by even announcing that she wanted to be a writer. She comes to workshop regularly and has so far treated it strictly as a one-night jolt that engages her with her feelings and takes her out of her daily life. The second piece below came from a committed writer who said this passage was one of her favorites thus far.

No. 1: I want to be a writer who SURPRISES a reader by going to unexpected places, by introducing characters that fascinate and by maybe even telling the secrets the reader believed belonged only to them.

No. 2: I want to be a writer who writes. That’s the hardest part. There are plenty of people out there who can read your stuff and tell you what they think. There are editors galore. But they have to have something on the page in front of them to edit.

They can’t pry you open and see the characters and shades of characters slipping between your skin and your bone seeking a way out, hunting for the page. The characters wait behind my eyes and at the back of my tongue, remembering the big, cold porcelain tub their grandmother washed them in. Craving the foam on the surf. Always walking over the threshold into the cool green hallway.

Upcoming Workshop

Next week we will be examining character with a magnifying glass, looking closely at what makes up a human being.

*No part of these excerpts may be used without consent of the author of this column.

Old Friends Rediscovered

Art, Movies, Lit, Theater, Backstory

Old Friends Rediscovered

No Comments 31 March 2011

Backstory with Gabrielle Idlet

About a month ago, my friend Carmen from second grade found me on Facebook. She said she’d been trying to find me for a long, long time.

When I met Carmen, my family was living in a Mexican neighborhood in northeast LA. In the mornings at my local primary school, half the classes were given over to busywork so the rest of the student body could attend English as a second language. My father was concerned that I wasn’t getting an adequate education.

Integration bussing arrived, and I was sent to a white school in the foothills of the San Gabriel Mountains. The bus scooped up Mexican kids from all over east LA before hitting the freeway, the blond driver tuning the radio to FM rock ’n’ roll as we rose in altitude to the tan elementary with its sharp wind and bright skies.

We were foreigners, and we and our new classmates knew it. I was white with a faint Chicano accent, not a fit for either group. I had no friends.

Except Carmen.

She took me home to her family, which was bursting with warm, teasing brothers and a delighted mother I wished was my own. Carmen and I both had glasses and chubby cheeks, and our corduroys dragged in the mud. When she found me on Facebook, she said, unprompted, that she was still goofy. How reassuring, at 40, that that could be true.

A couple of weeks ago in workshop, participants wrote about reconnections with people from the past. Barbara Jaquish’s “Good-bye Vacation” is a response to that prompt.

‘Good-bye Vacation’ By Barbara Jaquish


Oh, the stories she had told me! Of clearing out her mother’s house after the funeral and finding a stockpile of thin communion hosts her mother had hidden for what possible contingency. Of coming home after hours at the bar on a hot Philly night and stripping bare to feel the breeze. Looking down, she saw something dark sitting among her pubic hairs. Crabs! She set down the wine glass, stuck her cigarette between her lips and took up the razor. She was halfway done shaving when she realized the small dark invaders were cigarette ash. She laughed then, and laughed when she told me, and left herself half-shorn.

When I told her I was leaving, she said good-bye in a final kind of way. We’ll write, I said. That never works, she said. When I say good-bye, it’s good-bye.

That was almost 20 years ago. I didn’t know I’d be back until the job posting showed up on a professional website. Reference librarian. At my old university. It was the right job. I was the right person. In six weeks, I was back in center city, just a few blocks from City Hall and William Penn. I’d settled in to my sunny apartment and my not-so-perfect job by the time I saw her just off South Street, squeezing oranges and arguing with the Italian vendor.

Sure she was grayer and stouter, but there was no mistaking the voice with its metallic Easter Shore tones overlaid with a touch of Philly.

“Nancy? You’re Nancy, aren’t you? It’s me, Margaret Robbins. Remember? From Pine Street? 1972?

She looked at me, flat and uncomprehending, still grasping the orange. Her eyes, always small and blue, had sunk into the sag and wrinkles of a 50-year-old face. She squinted. Then her face cracked open in a big-mouthed smile and she pulled me into a tight hug.

“Of course! It’s you! You’re grown up and …” she fumbled. “Groomed! You look like some kind of university professor.”

“Librarian,” I said. “Some kind of university librarian. Back where I started. Are you still there?”

“No no no. They folded the student health center into the hospital, and that hellhole is no place for a sane person to work. Hey, I’m done here. Are you? Let’s get coffee.”

South Philly seemed to be one of the few places in the hemisphere that hadn’t been invaded by Starbucks. Next to the cheeses shop — the same one from the ’70s! — was a storefront with a few tables and a coffee roaster tumbling. We fussed with our coffees, sat and were quiet for a moment.

“So. Where are you working now?” I asked.

“The HIV clinic over by Jefferson. What a world. You see it all there. Little kids. Old people. Even a few gay men. But believe it or not, they’re the minority, thanks to drugs and needles, you know. Drugs and needles and little kids born with that disease hanging over them and the same mothers who gave it to them in the first place die themselves or are too fried to help their babies. So you got grandmas and foster parents bringing in carloads of kids that take boatloads of drugs and get their blood drawn and checked every week …”

I faded out a bit. Nancy was still talking, words tumbling over each other, thoughts straddling other thoughts, cutting them off. Who was the “Craig” she referred to? Another nurse or a patient?

It was like I had only been away on a short vacation. I was back in her chaotic, jumbled world.

Writing Challenge

Find someone you haven’t seen for a long time, and then write about the experience.

▲ Gabrielle Idlet supports writers at every stage in their creative process. She works privately as a consultant and holds weekly drop-in writing groups. gidlet@gmail.com

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