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Chickens! Chickens!
Last night, I spoke at Boston's Museum of Science about backyard chickens. I shared the stage with five chickens -- two Polish, two New Hampshire reds, and a little bantam Leghorn -- and I learned a few valuable pieces of information:
1. Animals always steal the show.
2. Chickens are a lot noisier than most people think.
3. If chickens are on stage in a pen that doesn't have a netting over it, they will hop out of it and squawk and kick the sawdust around and squawk some more. It's pretty funny. If you are the person giving the lecture, the best thing to do is to cede the floor to the chickens and let them carry on.
4. People love chickens.
The Wall Street Journal did a little piece about the event here: Author Susan Orlean Becomes a Chicken Person
The whole evening was a blast. I might have to include chickens in all future appearances.
Martha Stewart
The perils of television: Yesterday, I was on MARTHA STEWART, talking about travel. In one segment, I showed a pair of handmade scissors and a bell I got from an elderly farmer in Bhutan. I talked about how I had traded him one of my business cards for the items. I'd like to clarify something: I misspoke on the show -- I paid the gentleman for the scissors and bell, and then also gave him my business card. The point I was trying to make is that giving someone a personal item, such as a photograph or business card or personal object of some kind, is a meaningful exchange that goes beyond giving money. As I said later in the show, when you travel you ask people to allow you to observe their lives, and it seems fair to offer them a way to observe your life a bit too, rather than only giving money. I regret that I spoke in a way that made it sound like I didn't even give him some payment for those objects -- it was the sort of misstatement that occurs when you're on television, a little nervous, and talking with the awareness of having almost no time at all.
I've spent my entire career working to bring humanity and empathy to my subjects. When I travel, I keep those principles not only in mind, but the very front of my mind. Not only do I pay fairly (and happily) for any goods or services I use, I also try to offer something beyond that -- a connection that is more personal. When I write, my entire goal is to illuminate and celebrate the people I've met -- especially the not-famous, not-wealthy, not-celebrated. I really regret saying anything that seemed to contradict that, especially because it was inaccurate.
Works in progress
I've decided to try something new -- a works-in-progress e-newsletter that I'll write on an irregular schedule and send out to whomever is interested. Why? Well, I have begun to realize how curious people are about the writing process, and also how much I like to talk about what I'm working on as I'm working on it -- partly to gauge the way it's being received, and partly just because I get excited about my work. I could blog here but decided I'd like to do the e-newsletter to connect more specifically with people who are interested in watching this unfold. I might also be posting the news on Newyorker.com -- I'll let you know when and how that is going to take place. In the meantime, I'm just putting together my list of interested parties, so if you'd like to get this newsletter (still in the formative stages), click on my "contact me" page and send me your email. I can assure you this is ENTIRELY AND TOTALLY free of any nasty possibilities like spam, or being passed along to anyone; it's just for me to build my list of folks who want to get these newsletters. Also, there will be a built-in easy way to unsubscribe, so don't think you're signing on for a lifetime of emails. Looking forward to trying this out!
NYU
I'm teaching a Master Class in Creative Non-fiction at New York University this semester. Here's the syllabus, in case you'd like to follow along:
What is a non-fiction essay? Is it a written inquiry? A meditation? A memoir? Does it concern the outside world or just probe the writer's interior world? Can it be funny? Does it have answers or does it just raise questions? Does it argue a point or is it an impartial view of the world?
As near as I can figure, an essay can be all of the above -- a query, a reminiscence, a persuasive tract, an exploration; it can look inward or outward; it can crack a lot of jokes. What is important is that it take its tone and momentum from the explicit or implied presence of the writer and the distinctiveness of the writer's individual perspective.
This workshop will focus on hearing voices -- that is, hearing our own voices as writers, hearing the voices in the great examples of non-fiction that we'll look at together, and hearing the voices in our subjects as we try to bring them to life. While the first-person narrator is an important part of our examination, I will emphasize writing that reaches beyond the personal memoir and considers subjects out in the world, while at the same time having a strong sense of the writer's vision. Be prepared to write not only about your own experiences, but to write essays about reported subjects.
Each week, we will discuss the work of writers such as Joseph Mitchell, John McPhee, and Joan Didion, examining each one's distinctive style and authority. We will also read my own work, and I will be able to give you a detailed understanding of the process behind the pieces we read. Through in-class exercises, assigned essays, and class discussions of each other's work, we will work to develop the skills of non-fiction writing. We will also be reading and discussing some of my work, with the goal of understanding in detail the process behind them.
REQUIRED TEXTS:
The Literary Journalists by Norman Sims
Literary Journalism by Norman Sims and Mark Kramer
The Bullfighter Checks Her Makeup by Susan Orlean (selections)
The Year of Magical Thinking by Joan Didion
In Patagonia by Bruce Chatwin
Great Plains by Ian Frazier
The Orchid Thief by Susan Orlean
Up in the Old Hotel by Joseph Mitchell
COURSE REQUIREMENTS
Attendance and Participation:
Because this is a workshop, your presence and timeliness is essential. Please come fully prepared to write, read, and discuss; when we analyze each other's work, please be thoughtful and respectful of each other.
Writing:
You will be keeping a personal journal of observations and snippets -- the stuff of everyday life that might find its way into an essay you'll write or lead to a topic you want to explore. We will review these regularly and discuss how to go about collecting details and anecdotes as well as inspiration for essays. In addition, you'll be writing three five-page essays -- one topical, one observational, and one personal. Those will be shared with the class; bring copies on the days they are due. You will be expected to do a serious revision, incorporating the discussion we will have, and to resubmit the pieces to me. The ability and willingness to improve your piece will be an important part of our work together, and of your grade.
Each of you will be assigned to lead one of the critique/analysis of the pieces we will read together and submit a summary of your critique to me in written form.
Late work will not be accepted.
Conferences:
Please meet with me at least once during the semester to discuss your work in progress, your proposed essay ideas, and your experience in the class. I will also be happy to meet with you anytime during my office hours and I'm happy to weigh in as your work progresses.
Grades:
Your writing -- the three essays and your journal -- will count for 60% of your grade. Your class participation will count for 20%, and your critique and analysis of the assigned material will count for 20%. I will not be grading you on your innate raw talent as much as your effort, your diligence, and your thoughtfulness in your work.
Plagiarism:
Referring to or paraphrasing someone else's writing, with proper, clear credit given, is fine. Anything else is totally unacceptable, and any suspected plagiarism will be passed along to the head of the department. I will also be relentless in emphasizing the non-fiction part of this endeavor; do not present anything in your work as true if it didn't really happen. This is essential!
CLASS SCHEDULE
Week 1 (January 19) To Begin
Introduction
Discussion of personal journals
Reading and discussion: The Literary Journalists -- introduction, McPhee, "Travels in Georgia", Didion "Salvador". Please come prepared to discuss these at the first class
Week 2 (January 26) Channeling Voices
The writer's voice versus the voice of the subject: Hearing well and writing what you hear. In-class exercise of capturing voice.
Reading and discussion: "American Man Age Ten" (Bullfighter), Jane Kramer, "Cowboy" (Literary Journalists), "The Rivermen", Joseph Mitchell.
Writing assignment: First short essay capturing another voice, due Week 3.
Week 3 (February 2) Where to Start?
Structure of an essay, and the essential question of how to begin.
Reading and discussion: Great Plains (chapter 1 - 3), Sara Davidson, "Real Property" and Mark Kramer, "Invasive Procedures" (Literary Journalists). Workshop/revise six of the class essays (Group A).
Week 4 (February 9) In and Out
The vexing question of first person. Where is the writer in the piece? How to negotiate the first-person perspective.
Reading and discussion: The Orchid Thief (first half).
Workshop second group of the class essays (Group B). Revisions are due Week 7.
Writing assignment: Second short essay, first person but not personal, due Week 5
Week 5 (February 16) There But Not There
Personalizing material learned from afar: how historical and reflective essays can convey the writer's voice.
Continue discussion of The Orchid Thief.
Reading: Bill Barich, "Magic" (Literary Journalists)
Workshop Group A essays.
Review of personal journals
Week 6 (February 23) Becalmed
The dangerous middle section of essays, where the going gets slow. Structure, momentum, pacing, rhythm.
Reading: Mark Singer, "Court Buff" (Literary Journalists). Bruce Chatwin, In Patagonia (first half)
"The Bullfighter Checks Her Makeup" (essay)
Workshop Group B essays. Revisions are due Week 9.
Week 7 (March 2) Nuts and Bolts
How to immerse yourself in a subject, how to choose a subject, how to understand what you are trying to write.
In class discussion of how and what makes a story worth pursuing.
Reading: "The Lady and the Tigers" (from Bullfighter)
Review and sharing of personal journals
Week 8 (March 9) Emotions
The dispassionate writer, the cool essay, the deep feelings -- and how they can learn to live together
Reading: Joan Didion, The Year of Magical Thinking
In-class writing exercise
> > > SPRING BREAK – NO CLASS ON MARCH 16 < < <
Week 9 (March 23) Anybody Out There?
Imagining the reader. Who are you talking to? How do you address them?
Reading: "Lifelike" (Bullfighter), "Trina and Trina" by Adrian Nicole LeBlanc (Literary Journalism)
Writing assignment: Third essay, writing about the unfamiliar, due Week 11
Week 10 (March 30) Drawing It Together
Discussion: The Orchid Thief (second half)
Review of personal journals
Exercise and further discussion on revision
Week 11 (April 6) And in the End...
Working on conclusions -- how to bring a piece of writing to a peaceful ending.
Reading: In Patagonia (second half).
Workshop Group A essays, revisions due Week 13
Week 12 (April 13) Word Love
Language choices and polishing sentences: Refining the details in your writing
Reading: TBA
In-class writing exercise
Workshop Group B essays. Revisions due Week 14
Week 13 (April 20) First Curtain Call
Reviewing personal journals as complete collections; what did you hear and what did you miss? What did you learn about listening?
Reading: Up in the Old Hotel, Joseph Mitchell
Group A -- come prepared to read one of your essays out loud
Week 14 (April 27) Ask the Author
Come prepared to ask me final questions about process and choices in the remaining pieces of The Bullfighter.
Group B -- come prepared to read one of your essays out loud.
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