Tuesday, July 12, 2016

Working on a Novel?

Consider this year-long class at the Writer’s Center (in Bethesda) to help you finish that draft. Susan Coll will guide your efforts in this workshop dedicated to novels and the novel biz. I know she’s one of my friends, so perhaps I’m not entirely unbiased, but she is smart and compassionate and organized and generous…in short, everything I would want in a teacher.

Here’s the write-up, followed by the link for pricing information and registration:

Time: 7:00-9:30
Dates: 9/15/2016–8/31/2017
Location: Bethesda
Genre(s): Fiction

Workshop Leader: Susan Coll
Fall: September 15 - December 8
Winter/Spring: January 12 - April 13
Summer: Individual monthly check-ins with instructor, June – August

This twelve-month program is intended to support serious novelists looking to revise and pitch their novels. Novel Year participants will experience the rigor and structure of an M.F.A. program, but with less of an expense and time commitment. 

Working with a published novelist, ten participants will workshop their entire novel-in-progress. Other benefits include:
•Consistent writing deadlines, studying aspects of craft, and being part of a supportive community •Panels and Q&As with experts in the industry, including literary agents and visiting writers •Free access to the Studio at The Writer’s Center during the full year (valued at $1,000) •Free admission to literary events at the Center •Being a featured reader (reading works-in-progress) at the 2017 Bethesda Literary Festival


Participants must have completed at least 150 pages of a novel before enrolling. To be admitted into the program, potential candidates will need to submit:
•A one-page cover letter detailing their interest in the program. •A twenty-five page writing sample from their novel in progress. (Submissions must be double spaced and use a standard font.)
Admissions will be on a rolling basis, and the number of participants will be limited to ten, so participants are encouraged to submit early.


Susan Coll’s website: http://susancoll.com/




Tuesday, July 5, 2016

Link Corral: The Business Side of the Writing Biz

Link Corral: The Business Side of the Writing Biz

I’m sharing three links to recent pieces I read and FBed, each about some important aspect of the business side of the writing life.

Everything You Wanted to Know about Book Sales (But Were Afraid to Ask)
An In-Depth Look at What/How/Why Books Sell

…Earlier this year, there was a round of excited editorials about how print is back, baby after industry reportsshowed print sales increasing for the second consecutive year. However, the growth was driven almost entirely by non-fiction sales… more specifically adult coloring books and YouTube celebrity memoirs. As great as adult coloring books may be, their sales figures tell us nothing about the sales of, say, literary fiction. This lack of knowledge leads to plenty of confusion for writers when they do sell a book. Are they selling well? What constitutes good sales? Should they start freaking out when their first $0.00 royalty check comes in? Writers should absolutely write with an eye toward art, not markets. Thinking about sales while creating art rarely produces anything good. But I’m still naïve enough to think that knowledge is always better than ignorance, and that after the book is written, writers should come to publishing with a basic understanding of what is going on. …

BUILDING UP TO EMERGING: TIPS FOR APPLYING TO FELLOWSHIPS, RESIDENCIES AND WORKSHOPS

The first time I applied for a fellowship was in spring 2009. I was about to finish grad school, and I sent out a slew of applications like I was applying for a PhD. I figured it was the next logical step as I readied myself to move beyond my MFA program, and I had the mentors close by to help. I gathered transcripts and letters of recommendation, curated samples of work and wrote project proposals. I remember one mentor agreed to write a letter with what I perceived as little enthusiasm. When all the rejections came in that summer, I read the bios of those who won and took notice of all their previous awards and accolades. I thought back to that mentor and considered her lackluster support the response of someone who understood the literary world better than I did at that time. 
See what I learned from this experience was that “emerging” doesn’t mean new like I thought it did, but more as the Merriam-Webster dictionary defines, “becoming widely known or established.” …..


13 QUESTIONS TO ASK BEFORE SUBMITTING TO A LITERARY JOURNAL

A writer friend recently asked me a brief but not-so-simple question: How do you decide where to send your work?
 In other words: Faced with seemingly infinite lists, calls for submissions, classified ads, databases, and fair-and-festival tables, how do I select which journals and magazines to send my work to with the hope that, after editorial review, my pages may indeed find proverbial “homes” online and/or in print?...





Friday, July 1, 2016

WHAT WE TALK ABOUT WHEN WE TALK ABOUT CREATIVE WRITING: New Book on CW in the Academy

It’s a pleasure to announce an important new academic book that focuses on the role of creative writing in the academy. [Disclosure: I know the editor, Anna Leahy. Further disclosure: I am featured in one of the essays on the book, talking about different approaches to graduate creative writing program, using the Converse low-res MFA as my model.] Beyond all those disclosures, however, is the serious issue of where creative writing fits into the university and college system, and how can we better teach this craft we love? Anna’s approach to the subject—collaborative conversation essays that felt to me like dialogue that gets stirred up after a rousing panel at the AWP conference—is refreshing yet comprehensive. I could only include a small selection of the contents below, but scroll through, and I know you’ll have questions, opinions, and ideas on each of these topics…and that you’ll want to ask your university library to acquire a copy of this book pronto.


WHAT WE TALK ABOUT WHEN WE TALK ABOUT CREATIVE WRITING
Edited by Anna Leahy (Chapman University)
Published by Multilingual Matters

Quick description:
This innovative edited collection pushes boundaries in both content and form. It discusses how new ways of knowing and doing scholarship produced in Creative Writing departments can make a contribution to a wider academic community and emphasizes the value of personal reflection and sharing stories.

Pre-pub praise:
“Dialogue, experiment, variety… These are at the heart of Creative Writing pedagogy, and reading this book is like eavesdropping on the process at work. Coming straight from the workface of American universities, it raises questions both practical and theoretical, creative and critical, that animate this growing and evolving discipline worldwide.” ~Philip Gross, University of South Wales, UK

Adaptation of one of the essays, in Brevity: https://brevity.wordpress.com/2016/05/30/on-selfish-reading/

“As we were constructing the conversation essay about writerly reading in What We Talk about When We Talk about Creative Writing, Suzanne Greenberg challenged me—all of us—to think of reading as guiding our students to fall in love with writing. Never before had I thought of matchmaking between writer and book (or individual poem, story, essay) as a fruitful way to view teaching.”


Among the authors and topics covered:
~Cathy Day, Anna Leahy and Stephanie Vanderslice: Where Are We Going in Creative Writing Pedagogy?

~Anna Leahy and Larissa Szporluk: Good Counsel: Creative Writing, the Imagination, and Teaching

~Anna Leahy, Leslie Pietrzyk, Mary Swander and Amy Sage Webb: More than the Sum of Our Parts: Variety in Graduate Programs

~Katharine Haake, Anna Leahy and Argie Manolis: The Bold and the Beautiful: Rethinking Undergraduate Models

~Dianne Donnelly, Tom C. Hunley, Anna Leahy, Tim Mayers, Dinty W. Moore and Stephanie Vanderslice: Creative Writing (Re)Defined

~Mary Cantrell, Rachel Hall, Anna Leahy and Audrey Petty: Peas in a Pod: Trajectories of Educations and Careers

~Nicole Cooley, Kate Greenstreet, Nancy Kuhl and Anna Leahy: The First Book

~Karen Craigo and Anna Leahy: Taking the Stage, Stage Fright, Center Stage: Careers Over Time

BIO: Anna Leahy is Associate Professor of English, Associate Director of the MFA in Creative Writing, and Director of Undergraduate Research and Creative Activity at Chapman University, USA. She has published widely on creative writing pedagogy, as well as creative non-fiction and poetry. She is the editor of TAB: The Journal of Poetry & Poetics.




Wednesday, June 29, 2016

FREE Fiction Workshop Open to the Public @ GWU; App Deadline 8/23

This free writing workshop, endowed in honor of Jenny McKean Moore and open to all, is one of the great benefits for writers in the DC area. I participated in a workshop taught by Carole Maso back in the olden days and loved it! Note: apps are due on August 23. 

George Washington University presents:

Jenny McKean Moore Free Community Workshop Fall 2016 – Fiction Workshop

TUESDAYS, 7:00 – 9:00 p.m.
6 September 2016 – 6 December 2016
Led by Melinda Moustakis

Come and take part in a semester-long fiction workshop! To apply, you do not need academic qualifications or publications. The class will include some readings of published writings (primarily memoir and the personal essay), but will mainly be a roundtable critique of work submitted by class members. There are no fees to participate in the class, but you will be responsible for making enough copies of your stories for all fifteen participants. Students at Consortium schools (including GWU) are not eligible.

To apply, please submit a brief letter of interest and a sample of your writing, 12 pt type, double spaced, and no more than 7 pages in length. Make sure you include your name, address, home and work telephone numbers, and email address for notification.

Application materials will not be returned, but will be recycled once the selection process is completed. Applications must be received at the following address by close of business on Tuesday, 23 August 2016.

JMM Fiction Workshop
Department of English
The George Washington University
801 22nd Street, NW (Phillips 643)
Washington, DC 20052

All applicants will be notified by email of the outcome of their submissions no later than Saturday, 3 September 2016.


Melinda Moustakis is the 2016-2017 Jenny McKean Moore Writer-in-Washington at The George Washington University. She is the author of Bear Down, Bear North: Alaska Stories, which won the Flannery O’Connor Award and was a 5 Under 35 selection by the National Book Foundation. Her work has appeared in American Short Fiction, Alaska Quarterly Review, Granta, Kenyon Review and elsewhere. She is the recipient of an O. Henry Prize, a Hodder Fellowship from The Lewis Center of the Arts at Princeton University, an NEA Fellowship in Fiction, and a Kenyon Review Fellowship. 

Monday, June 20, 2016

Robin Gaines, Author of INVINCIBLE SUMMERS: "a dream and some magic and a lot of hard work and loads of patience"

I love a good story with a happy ending! I met writer Robin Gaines several years ago when she was in the beginning of her writing career, and I read some of her early work in progress. You know how they say you just know you’re in love? Well, I just knew I was in love with her stories about Claudia growing up in 1960s-1970s era Detroit. And I just knew they would coalesce at some point into a book…and now they have, and here is Robin’s novel, INVINCIBLE SUMMERS! So I had to catch up with her and hear the epic journey of the book, and I do mean “epic”: as you’ll see below, at one point this book was shoved into the drawer, abandoned.

A bit more about the novel, from Robin’s website:

After returning home from burying her father on Independence Day, ten-year-old Claudia Goodwin watches from the kitchen window as neighbors drag picnic tables and coolers into the middle of the street to celebrate the holiday. How, Claudia wonders, will she fit into this new fatherless world with the old one still going on around her?

 INVINCIBLE SUMMERS follows Claudia through eleven summers, from the age of six through twenty-three, as she adjusts with varying degrees of success to what it means to be a daughter, a sister, friend, and lover in a world of loss, betrayal and bad judgment.

And some pre-release praise:

“…Gaines has created an unforgettable character in Claudia, but by following her through eleven years of her life, she shows us how each one of us is many characters throughout a single lifetime….  At the end of this novel, we’ve lived alongside of Claudia, and the world’s many mysteries, and those of the human heart, have been laid bare.  This is the kind of reading experience for which literature was invented.”
~Laura Kasischke, recipient of the National Book Critics Circle Award for Poetry, 2012, for Space, in Chains


“INVINCIBLE SUMMERS explores the agony of family. …Gaines deftly manages that loss and the way it floats through time—not shrinking but morphing, not fading but fusing to all of Claudia’s experiences. …This is no simplistic tale of self-discovery, nor is it a dirge. It is, in Claudia’s own words, a restless search for nowhere fueled by moments of whimsy, humor, and hope. …”
~John Mauk, author of The Rest of Us and Field Notes for the Earthbound
  
And now the main event, Robin’s responses to a few questions about the writing process, life without an MFA, writing tips, and that epic journey of abandonment and redemption:


I’ve stolen this question from an interview someone did with me: Describe your book in 10 words or less. (I’ll spot you the words of the title!)

Invincible Summers follows Claudia’s journey through father loss, misunderstandings, hope, and forgiveness.


You don’t have an MFA in creative writing, which I know many people will find refreshing and interesting. Can you talk about your approach to studying the craft of writing since it didn’t involve graduate school?

After graduating college with a business degree I’ve never used I worked peripherally in the music business as a box office manager, assistant to a band’s manager (glorified secretary), and as a tour logistics coordinator all while writing concert reviews and interviewing rock bands for newspapers and magazines in the 1980s. I went back to school and got a master’s degree in journalism and worked briefly as a research intern for Rolling Stone magazine—my dream job. They offered me a position at the end of my glorious five-month stint in New York City, but unfortunately (or fortunately!!!) my husband was in the midst of starting his own business in Michigan, and I chose a life with him instead of Rolling Stone. Life is a series of what ifs!

Writing fiction came late for me. I’ve always been a big reader but never thought I could create a fictional world until I read somewhere that writing fiction was like interpreting a dream. Dream interpretation, heck yeah! I wish I remembered who said that or where I read it because it gave me the permission I needed to work at the craft. I got started by studying other writers’ work.

After reading a short story I admired or loved I’d type it out verbatim to pick up the rhythms, structures, and nuances in the stories. Then I would deconstruct the stories doing a kind of copy and paste thing. I’d apply (or at least try to) some of the same elements in my own stories, which were more Raymond Carver-esque early on. When I started to get some recognition locally through writing contests, I got the courage to send out work to journals. One of those early stories became the genesis for Invincible Summers.  

I think the disadvantage of not pursuing an MFA in creative writing is how lonely it felt in not having a community of writers to commiserate with, to get feedback from, and to partake in the general camaraderie in cheering one another on. In journalism, the editor sends your copy back to cut or re-write or add to, and there’s immediate evaluation of the work. Writers of fiction, as Jayne Anne Phillips writes in her sublime essay Outlaw Heart, “Writers focus perpetually on the half-seen, and we live in the dim or glorious shadows of partially apprehended shapes.” In other words, that dream-like quality that got me into the mess of writing fiction in the first place has been the hardest for me to get on the page, at least the way I see and hear it in my head. 

Reading taught me to write. With each book I read, I learn something new about the craft. Sometimes it’s not to do A, B or C, but most times it's oh, I am so stealing that structure or the beautiful rhythm of that sentence.

Since my early days, I’ve workshopped stories and chapters at different writing conferences and have been involved in a writing critique group of MFA graduates for the past several years. I’ve found my tribe, and that has helped tremendously with new work.


Plot or characters? Which comes first for you? Or is it something else?

Definitely characters. The physical being of at least one or two of them morphs from jiggly plasma into fleshed human beings with thoughts and feelings. This happens when I can hear their voice(s). Once I hear them conversing with themselves or each other, I move them around in my head until I settle on a scene. Then I ask what do they want from one another? What do they want from themselves?

I surprise myself sometimes writing, as when Claudia pushes Carrie off the airplane wing in the skydiving scene in Invincible Summers. Or in the novel I’m working on now when one of the characters uses an undiagnosed illness to manipulate a marriage. But always I know how it’s going to end for the characters—or at least I visualize the last scene when they’re all speaking or thinking or doing something. I write the ending in my head before I sit down to construct the first line of the story or the book. Which, I guess, in talking to other writers about craft is kind of strange? Some, I know, like the mystery of where the story will take them. I like a map of where I’m headed. It doesn’t mean I won’t take the occasional side trip, but I know where the road eventually ends.

(As a side note, I was mesmerized by the endings of each story in This Angel on My Chest. Brava! I love a good ending, and yours were exquisite.) 
EDITOR’S NOTE: Well…how could I edit this out? J


I think about revision a lot, and how that magic can happen when moving between drafts. What is your revision process?

Revision is magical. I wouldn’t have thought so until I went back to the beginning and read the manuscript as a reader. And then out loud. Most beginning writers, me included, are just happy to get to The End, and the idea of going over it again, and again, and again seems torturous.

Through rewrites what I found in the maze of the work were patterns and themes and symbols I didn’t intentionally write to. In several of the stories or chapters in Invincible Summers the narrator, Claudia, is traveling to or from someplace either on foot, or by car, train, plane, ferry, or bus. In the chapters she’s not moving toward something Claudia feels stuck, and she spies on the neighbors and steals and plots against her family.

On a second or third rewrite, I uncovered a thread of miscommunication between the characters throughout the manuscript. Again, I didn’t plan these miscommunications—well, maybe one when Claudia finally makes it to Corfu only to find Elliot has left the island. It’s interesting to see how the silence in the Goodwin family catapults Claudia’s behavior. That was a complete surprise.

Rewriting seems to bring me to the work faster in the morning as opposed to sitting down and starting with a blank page. So, there’s that magic, too.


What was your road to publication?

Fraught with potholes, quicksand, and wrong turns. Seriously, if you’re reading this, hooray! Invincible Summers has finally birthed into the world. I will drop to my knees when I finally have the finished copy in my hands.

I’m not sure about other authors’ journeys to see their book in print, but I would love to compare notes.

I finished the book in 2008 and after several rewrites, I sent it out to 10-15 agents in the fall. Two were interested after reading the manuscript. One was one of my dream agents. Sadly, she passed on the book when the publishing world flipped upside down and selling a novel-in-stories to a publisher seemed an insurmountable task. The other agent, at a well-known boutique agency, was young and with less experience but passionate about the book and took me on as a client until something happened in her personal and professional life and she decided to leave agenting and go back to school. Other agents told me to put the manuscript in a drawer until my next book, “a real novel,” was finished. The idea was to approach publishers with two books instead of one. So, like a good lapsed Catholic girl, I did what I was told and put my dream in a drawer. And Invincible Summers sadly stayed in the dark for three years while I worked on other projects.

Until the summer of 2013 when I read in Poets & Writers about open manuscript submissions for The Iowa Short Fiction & John Simmons Short Fiction Award for 2014. I was notified in January 2014 that Invincible Summers was a semi-finalist. From that letter, I sent the manuscript to indie publishers and found out in January (might be my lucky month) of 2015 that ELJ Editions wanted to publish my book in the summer of 2016!

So, here I am [at this writing,] waiting to hold that finished book in my hands and share it with the world. It all starts with a dream and some magic and a lot of hard work and loads of patience. Oh, the waiting. Like an elephant’s pregnancy.

EDITOR’S NOTE: The book is out now!!!!!!!!


More information about Robin: http://www.robingaines.net/











Wednesday, June 15, 2016

Interview with John Z. Guzlowski: "Tell them we weren’t the only ones.”

I know this interview with writer/poet John Z. Guzlowski is long, but I found myself incapable of chopping it in half, as I had planned. His new book, Echoes of Tattered Tongues: Memory Unfolded, is an extraordinary collection of poetry and brief essays about his parents’ experience as Polish slave laborers in the German work camps during World War II and their subsequent life as refugees, eventually coming to Chicago. (John was actually born in a refugee camp.) 

Rather than me blathering on about how amazing John is (he is a generous advocate of Polish-American and Polish writers!); how remarkable this book is (I read it in one fell swoop, without taking a breath); and how important these stories are (eyewitness accounts of atrocities may be our only hope to put an end to such horrors)—I urge you to get straight to John’s words.

Or maybe start here, with the 3-minute book trailer, which offers some context about the war and what was going on in Germany: http://www.polandww2.com/echoes-of-tattered-tongues/echoes-of-tattered-tongues-about-the-book

  1. I know this is unfair, but someone asked this of me, and it was an interesting challenge: Please describe your book in 10 words or less. (I’ll spot you the words of the title, if you’d like.)

No problem.  I have a very active twitter account (@johnguzlowski) and spend most everyday squishing my life experiences into 140 characters or less. 

What’s my book about?

Echoes of Tattered Tongues: Memory Unfolded is about my parents’ experiences as slave laborers and refugees.


  1. Many might call these poems “poems of witness,” of you reporting on events that participants were unable to express and/or share for any number of reasons. Here you’re using facts and, of course, your imagination as well. What differences might there be between being a “witness” and being a “writer”?

What’s the difference between a “witness” and a “writer”? 

My parents saw and experienced things that were as terrible as anything you or I can imagine.  My father saw men die singly and in large numbers.  He had seen his friends hanged, shot, castrated, beaten to death with clubs, and left to stand in the snow till they fell to their knees and died.  On the day the Germans came to her town, my mother saw the women in her family raped and killed, her infant niece kicked to death.  Later in the slave labor camps, my mother claimed to have typhus or VD just so the guards wouldn’t rape her again. 

They were witnesses.  They had seen something, and that something would never let them lose.  It would hurt them and kick them and bleed them every day of their lives.  When my dad was 77 years old and dying of liver cancer in a hospice in Sun City, Arizona, he was sure that the nurses who came to bring him comfort were Nazi guards who simply wanted to take him to the ovens.  He fought so hard to get out of the bed that they had to tie him down finally.  When my mother was in her 80s, she wanted to make sure that I wouldn’t forget to tell her story and the stories of all the women and men who were in the camps.

My parents were witnesses. 

I’m a tourist in their lives. I poke here and there, looking around for some souvenir, a poem.  The truth of their lives in all of its misery and suffering is something I’ll never know.  No poem I ever wrote can tell what my parents’ experiences were like.

As my mother used to say to me, “You weren’t there.” But still I feel a need to write these poems, and people tell me they need to hear them. And my mother recognized this. Even though she knew that there were things that I wouldn’t know about her experiences and that I could never capture what had happened, she felt that that little that I could tell was better than the nothing people would know if I didn’t write what I could. Before one poetry reading, she told me, “Tell them we weren’t the only ones.”

And how do I do this?

I think one of my first obligations as a writer is to tell these stories in a voice that is like the voice of my parents.  My parents weren’t educated people.  My mom had a couple years of education, my dad had none.  In talking about my parents’ lives, I’ve tried to use their language, the language that I first heard their stories in, language free of emotions.  When my mother and father told me many of the stories that became my poems, they spoke plainly in straightforward language.  They didn’t try to emphasize the emotional aspect of their experience, or their heroism or their suffering; rather, they told their stories in a matter of fact way.  This happened, they’d say, and then this happened:  “The soldier kicked her, and then he shot her, and then he moved on to the next room.”  Also, I’ve tried to make the poems story like, strong in narrative drive to convey the way they were first told to me.

Another thing about the voice of the poems that’s important to me is that I’ve tried to incorporate my parents’ actual voices into the poems.  A number of the poems contain some of the language they told those stories in.  An early poem in the Echoes of Tattered Tongues, “My Mother Reads My Poem ‘Cattle Train to Magdeburg,’” is pretty much written as she spoke it.  I’ve cut out some of the things she said, polished others in that poem, but the poem has her voice.

The poem “My Mother’s Optimism” is another example of using my parents’ voices.  The story of my mother’s cancers and her recovery that the poem includes is given a sense of reality, for me, because I included four quotes from my mom starting with the quote in the first stanza:

“Listen, Doctor, I don’t have to tell you
Your job.  If it’s cancer it’s cancer.
If you got to cut it out, you got to.”

When my sister Donna read the book, the first thing she commented on was how much she could hear our parents in it.  To me, this was the highest praise.



  1. Many of these poems are based on stories, either directly from your parents or stories told by your sister or grandmother, and even stories that seem simply to have been “heard” in some way. Ultimately, of course, YOU are the storyteller, and I wonder what burdens—and gifts—that role might have, within your family and also within our larger culture. I mean, we live in an age of reality TV and while there are dark undercurrents thrashing along, America definitely lives under a veneer of sunny optimism, and these stories are hard to hear.

“Sunny optimism”? 

One of the early reviews of my Echoes of Tattered Tongues complained that the book had no happy ending.   The critic asked repeatedly “Where is the ray of hope?” 

I was surprised by this because for me there is hope in the story of my parents, there is optimism.  It’s not sunny.  True optimism seldom is.  True optimism shows itself most clearly in a world that’s dark, threatening, chaotic.  As my mom says in my poem “My Mother’s Optimism,” the poem I mentioned above, “optimism is a crazy man’s mother.”  It appears when people have no hope, no basis for optimism.  You don’t need optimism when you’re shopping at Walmart or going to see a movie filled with super-heroes bouncing around like life is a bounce house. 

Regarding the gifts and burdens of telling my parents’ story:  One of the central gifts is something I alluded to above.  Telling the story keeps my parents with me.  Sometimes when I’m writing about them, I hear their voices, see the way they looked when they told me the stories that I’m trying to recapture.  This for me is a gift and a blessing.

The burden?  The sense that I’ve failed them, failed my parents.  They spent a lifetime telling me about what had happened, and I wasn’t really listening.  I was thinking about a ball game I wanted to go to or a comic book I wanted to read, but I wasn’t listening.  And now it’s too late.  My parents are gone, and all I’m left with are these fragments of the stories they told me, fragments of the lives they shared with me.  I fucked up.  I should have been taking notes, asking my parents’ questions, making sure I heard and understand every word, remembered every image as clearly as I remembered that image of a young girl’s breasts being cut off by a German soldier that appears in the first poem I wrote about my parents.



  1. I’m thinking of how hard it must have been for you and your sister to grow up in this family, given all the loss and terror and, as you write, fear, that your parents lived with. Beyond that, there’s also the fact of having no extended family (as I understand it) from whom to get other stories, or to offer a view of your parents in a larger context, as children themselves, say, or from a point of view different than what your parents present or your own point of view as their child. While you allude in the preface to “running from my otherness,” and there are glimpses of “you” in this work, as hard as it was to write these stories, I wondered if it might be equally hard to reveal yourself and dwell upon this “otherness” you felt.

This is probably the hardest question you’ve asked me. 

Like I say in the Preface to Echoes of Tattered Tongues, I tried to run away from my “otherness,” but I failed.  Every time I write about my parents and every time I read a poem about my parents to an audience, I reveal my otherness. 

Is there more to me than my “otherness”? 

Probably, but it’s not something I share often.  I’ve written all of these poems and stories and memoiristic essays about my parents and their lives, and I guess they speak to my “otherness,” but I’ve also written probably more poems and essays and fiction not about my parents, and they probably represent my “sameness.”

So what’s my “sameness” like? 

Interestingly, I’m not interested in sports of any kind.  I’ve never written a poem or a short story or a piece of a novel about any kind of sport.  Except maybe birding if birding is considered a sport.

My “sameness” writing -- if my unpublished book of poems not about my parents is any indication -- is about my wife and daughter, my teaching, my existential quarrels with God and the Universe, shopping, the seasons, the things I’ve learned.

Here’s a sample poem that appeared in North American Poetry Review:

Advice to My Daughter, a Sonnet

Dear Lillian,

You stay up too late.

The wise and the broken
Know there are only
Two commandments:
Early to bed, Early to rise. 

The world doesn't skip
To the master's tune--
It marches in lockstep
With head bent to the dirt.

Remember:  The sting
Of the whip of the world
is only a flick away.

Love dad

_______

I’m not sure I answered your question.  I’m not that good when it comes to talking about myself.


  1. In the Epilogue, you refer to one last thing your mother seems to want to reveal, one last terrible event and you tell her that you’re unable to listen to that thing, this worst thing. (She calls you a “baby.”) I wonder if you might speculate on how that event might work within the context of this book: the things you describe are so horrible, so leaving to our imaginations the idea of something worse feels purposeful to me.

I suspect that what she wanted to tell me was something about my dad that she suspects would have changed the way I see him forever.  Earlier that day we had been talking about how my dad and my mom met toward the end of the war when the camps were being liberated.  I had mentioned the way my dad had at one time described how he met my mom. 

He had made it sound like a party almost.  He had said something about how first they all found something to eat and then they got married.  Her view of that first meeting was very different, and she wanted to tell me about that difference.  I felt that it was going to be something so bad about my father that I’d never be able to think about him without this new thing that my mom wanted to tell me.  The two of them had had a very, very stormy relationship for as long as I had known them (you can see this in my poem “Why My Mother Stayed with My Father”), and this new thing – I felt – would somehow paint my father in such a dark light that I would never be able to love him as I do. 

Thinking back on it now, I wonder if he had raped her or was a part of a group of prisoners who had raped the other girls in the camp when it was liberated. 

Maybe she was going to tell me he killed someone, a guard maybe. 

I don’t know. 

Now I wish of course that I had let her tell me.  Better that than the questions I’m asking myself now.

  1. It probably is not possible to answer this question, but I must ask. What do you think keeps people alive in such dire circumstances?

I asked both my parents how they were able to survive. 

They both said the same thing.  They didn’t know. 

My father spent 5 years in Buchenwald concentration camp where every year, something like 25% of the prisoners died because of starvation, exhaustion, executions, or cruelty.  At the end, there was almost no one left who had come in with my father.  They had all died in one way or another.

My father didn’t know why he didn’t die when so many of his friends did. He once told a story about being hauled out of his barracks with hundreds of other prisoners for a roll call. It was a January night, snowing and below zero, and the men were weak and in rags. The guards started doing a roll call, and as they read the names men began to drop from the cold, falling to their knees. A man fell down and then another collapsed, and then more and more. When the guards finished the roll, there were dozens of dead prisoners in front of the barracks. But they didn’t let the men go back in the barracks. Instead, the guards started the roll again, and more men collapsed. That roll call went on for six hours. At the end, garbage trucks came to pick up the dead. My father didn’t know what kept him alive.

Did he have “meaning and purpose” to his life?  Did that help him survive?  Maybe.  He loved Jesus, and often referred to him as Baby Jesus.  He hated the Germans.   He loved the other prisoners he was in the camp with.  They were his brothers, his family.  Did this keep him alive?  Maybe.  But he saw other men in the camp who had meaning and purpose, dreams they lived by, faiths that would keep them safe, die in the camp every day. 

Here’s something I said in an interview I gave a couple years ago to Rattle: "I’m sure hope and courage were important in the camps, but probably what was most important was luck." 


  1. It was fascinating to me that your mother couldn’t find herself in your poems or open up about her experiences until she read your words in Polish. Was it the Polish writing or something beyond that that helped her unleash the floodgates? Was she finally for whatever reason, ready? What do you think made her so?

I think one of the things that opened her up was my dad’s death.  He died in 1997.  He was the story teller for the family.  When it came to the job of telling anyone about what he and my mom had experienced in the war, he would start talking and wouldn’t stop till he was done.  Sometimes my mom would leave the room so she wouldn’t have to hear the stories.  It was always my dad talking about the war.

And then he was dead, and the stories stopped, and just after that my mom started telling her stories.  I remember the night she started talking.  We were sitting there in her house in Sun City, Arizona, watching the film Schindler’s List.  There was something terrible going on on the screen.  Women being shot or bodies being burned or maybe it was the shower scene.  Whatever it was, it was hard to watch.  I remember I was crying, 50 years old and crying, and my mom turned to me and said, “This is bad but it was worse than this.  They can never make a movie about how bad it really was.”

I paused the movie then, and she started telling me some stories about the liberation of her camp and what it was like in the refugee camps. 

And the next night there were more stories.

It got to the point that a lot of times when I visited her she would ask me to take out a legal pad because she wanted me to write down something she wanted to tell me about the war.


  1. There is much conversation in these poems about what to leave behind, what to bring, what to hold onto, what to carry forward to in the next life. I’m speaking literally and metaphorically, of course, and this tension of “things” spills over into your life as well, with the steamer trunk that you decided not to keep, even though it seemed to be the one thing your parents owned that they hung onto. And yet, the poems conveyed such a strong sense that so much is utterly inescapable, that the things you grab or leave or clutch are meaningless in the face of what can’t be escaped. Can you speak to that tension?

There’s a poem in Echoes about the day the Germans came to my mom’s house and killed my grandmother and my mom’s sister and niece.  The poem ends with the word “bullshit.”  For me that word summarizes a lot about how my parents saw things, the material things around them.  Objects, possessions, the things we accumulate and save through the years were just bullshit.  Those things were meaningless. 

Let me tell you a story.  When I moved out of my parents’ house and went off to grad school in Indiana, I left behind my boyhood collection of Lionel Trains and science fiction novels and comic books.  These were the things I spent years collecting and saving and cherishing.  When I came back home after my first semester, I went down to the basement to look for some of those comics.  I planned to take some back with me to college.  They were gone.  Along with all my toys and trains and books. 

I couldn’t believe it.  I asked my mom where the stuff was, and she shrugged and said she gave them to some neighbor boy who was passing by.  She couldn’t remember who.

That’s how she was about stuff.  Stuff was useless.

And people?

Let me tell you about the way my mom used to hug.  She would simultaneously draw you into the embrace and push you away.  She was always that way.  Always ready to lose you. 

  1. Why poetry? Why not, say a novel or a memoir? What are the things that poetry can do here that those other forms cannot?

I really can’t explain why poetry and why not fiction or memoir.  I wasn’t planning on writing anything about my parents, and then I did.

One hot August afternoon in1979 toward the end of my graduate school career, I was sitting at a desk and I started wondering about what my parents were doing back in Chicago, what they were thinking of, and I wrote the first poem about them and put it aside.

A couple of years later, I wrote another poem, and then another and another.

And by 1999, I had about 20 poems.  7 years later I had 20 more.  10 years after that I had 20 more. 

Poetry, I think, allows for a slow growth.  It allows for an idea or a feeling or a set of feelings to gradually evolve, age, mature, take a path that they have to take.

For me, that’s unique.  I’ve written fiction and I’ve written non-fiction, and it’s always – for me – driven by a need to conclude, to wrap things up, and set them down in a final and permanent way.

Poetry doesn’t work that way for me.  It’s about exploration, weighing ideas, considering possibilities and complications.  I can do that in a poem in ways that I can’t do it in prose. 

And then again maybe it’s just me. 



  1. What is one of your favorite pieces of writing advice and how did you apply it in the course of writing this book?

Here’s the short answer to that question:  

Write -- always be writing.  Write all the time.  Don’t stop.  Write now.  Write 30 years from now.  Write when you’re 60 and 70 and 80.  Write.

Here’s the long answer.  It’s a poem I wrote to a creative writing class I was going to visit:

Advice to Mary Ellen Miller’s Poetry Writing Class

First, listen carefully to the advice of older poets, like me.
Some of what they say will be the most important thing
you’ll hear about poetry.  Some of what they say
will be useless.  How can you tell the difference?
You can’t right now, but you will in five or ten years.

Second, find someone who believes in your poetry,
a wife, a lover, a friend, and believe what they say
about your poetry, the good and the bad both,
and keep writing, writing all the time, writing emails,
letters, notes on the backs of books, term papers
about Dostoevsky and the rise of realism, write jokes
about mules that speak only French and teachers
that wear red ties and white wide-brimmed hats,
and writing like this, you’ll find you’re writing poems,
all the time, everyday, everywhere you’re writing poems.

Third, write a poem everyday, and if you can’t write one
everyday write one every other day, and if you can’t do that
write one every third day, and if you can’t do that
write one when the muse hits you—when two words
explode in your head, appear from out of nowhere.
Whatever you’re doing when that explosion hits,
stop, and write down the sound of that explosion
because if you wait ‘til later it’s lost--absolutely.

Fourth, find a muse.  I’m not kidding.  Mine is a mother
of two who died in the snow outside of Stalingrad,
shot in the forehead by a German foot soldier
from a little town in Bavaria.  She comes to me
when I’m busy grading papers or talking with friends
and she begs me to remember her children, all the children.

What will this muse do for you?  Ask her, she’ll tell you.

***** 


YouTube of presentation John gave in Hamtramck: https://www.youtube.com/watch?v=TYI7vH3xXz4

Buy the book: 

ABOUT JOHN Z. GUZLOWSKI:
John Z. Guzlowski’s poems and stories have appeared in such national journals as North American Review, Ontario Review, Rattle, Chattahoochee Review, Atlanta Review, Nimrod, Crab Orchard Review, Marge, Poetry East, Vocabula Review. He was the featured poet in the 2007 edition of Spoon River Poetry Review. Garrison Keillor read Guzlowski's poem "What My Father Believed" on his program The Writers Almanac.

Other published books include Language of Mules (DP Press), Jezyk mulów i inne wiersze (Biblioteka Śląska), Lightning and Ashes (Steel Toe Books), Third Winter of War: Buchenwald (Finishing Line Press), and Suitcase Charlie (White Stag/Ravenswood). Guzlowski's work has also been included in anthologies such as Blood to Remember: American Poets on the Holocaust (Time Being Books), Cherries with Chopin (Moonrise Press), Common Boundary: Stories of Immigration (Editions Bibliotekos), and Longman Academic Reading Series 5 Student Book (Pearson Education ESL). For more information: http://www.amazon.com/John-Z.-Guzlowski/e/B00287TCBG




Monday, May 23, 2016

Spark Will Inspire You!

Thanks to writer Cheryl Somers Aubin for telling me about this fun program for creative spirits:

Get Ready to Get Sparked!

Imagine being able to work with an artist or musician who will give you a piece of work as inspiration for your own writing.  Now imagine that same artist or musician using your work as inspiration to create a piece of art or music.

This is what Spark is all about.  Founded by Amy Souza, Spark has been taking place four times a year since 2008.   Participants have ten days to create their own work from the inspiration pieces they are given.

No worries that these are first drafts, the fun and important part is to let inspiration take you wherever it will!   If you write nonfiction, you may come up with a poem.  Likewise, poets may write a piece of fiction.

Both writers and artists/musicians are needed.  The next round of Spark takes place May 25th – June 3rd

Visit this website to see some of the amazing work that has been done in past Sparks:  http://www.getsparked.org/ 

Check out the Spark Experience page to read about others' experiences during Spark: http://www.getsparked.org/the-spark-experience
 Then go here to register:  http://www.getsparked.org/welcome-to-spark/register-for-spark (NOTE: official registration has closed, but you can jump in with an email to Amy Souza, which is explained at this site.)

A donation of $10 is requested but not required to participate.

*****

Cheryl Somers Aubin has been writing and publishing for over twenty years, and her work has appeared in The Washington Post, Boston Globe, Foundation Magazine, and other newspapers, magazines, and online journals.  She has a Master of Arts degree in Writing from Johns Hopkins University.  Cheryl teaches memoir writing and creative writing that incorporates artwork.  She has been an instructor at Johns Hopkins University and a featured speaker at personal history writing symposia, writing conferences, and workshops. More of Cheryl’s work can be found on her website www.cherylaubin.com.

Work-in-Progress

DC-area author Leslie Pietrzyk explores the creative process and all things literary.