Fearless Writing Workshop

Posted May 6, 2012 by ZingaraPoet
Categories: Creativity Coaching, Writing
Tags: , ,

I will be facilitating the following workshop in Albuquerque this coming July. Enrollment begins April 30th through UNM Continuing Education.

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FEARLESS WRITING

This seminar provides a hands-on approach to overcoming creative blocks and will help writers generate energy needed to write. Whether exploring poetry, writing a novel, or editing a memoir, there are myriad tools available to effectively get started or get back to writing again. Participants will identify energy-draining thoughts that impede the writing process and learn ways to counter and replace them wtih thoughts and activities that generate energy and facilitate the writing process. Participants will come away from this workshop with a set of tools that will help them with all their writing goals. Paper, writing utensil and an open mind are recommended.

Instructor: Lisa M. Hase-Jackson
Thursday, July 19th, 2012 from 6:00-9:00
UNM Continuing Education South Building
Cost: $49.00 for 1 Session

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Update: 200 NM Poems Receives Official Endorsement

Posted March 19, 2012 by ZingaraPoet
Categories: 200 New Mexico Poems Receives Endorsement, Publlishing, Writing
Tags:

About a week ago I received an email from the New Mexico Centennial Steering Committee informing me that “the Steering Committee has approved ’200 New Mexico Poems’ as an Official Event.”

Big news to a relative nobody (like me), and it made my knees weak for two days. I scrutinized the message and scanned it closely for a “sorry, but” clause in there somewhere, but no, it is an official endorsement complete with permission to use the official logo and clearance to promote events on the official website.

Most of all, it is validation for a hard-working writer-contemplating-a-day-job poet.

I have been sitting on the news for a week now, just to make certain it didn’t evaporate before my eyes like a stagecoach turned pumpkin at midnight after the ball. But the endorsement still resides in my inbox and the agreements have all been signed and transferred. And despite the fairy tale like euphoria the news has produced for me, this is no Fairy Godmother trick, but the result of a beautiful melding of good ideas, helpful suggestions, generous support, and nimble fingers.

Thanks to everyone who has sent me words of encouragement, beautiful poems for publication, and especially to readers of both this blog and 200 NMPoems. Most of all, a special thank you to the New Mexico Centennial Committee.

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Call for Submissions: 200 New Mexico Poems

Posted February 3, 2012 by ZingaraPoet
Categories: Writing

Dear Readers,

I have begun an exciting new project to celebrate New Mexico’s centennial through poetry. Please send your New Mexico themed poems for consideration. Details are as follows:

200 New Mexico Poems is seeking poems of 40 lines or less about the Land of Enchantment. Suitable themes include: New Mexico history (between the years of 1912 and 2012), environment and place, culture, and personal significance of the region. Poems may be formal or free verse and utilize a narrative or lyric voice. Submissions are open to established and emerging poets regardless of residence, as long as their poems are clearly connected to New Mexico. The editor would especially like to see poems which reflect or emphasize the distinct cultural influences present in New Mexico. At this time, there is an underrepresentation of Native American and Hispanic voices, which the editor would also like to see remedied. Please forward these submission guidelines to any poets who may be interested.

Poem written in Spanish, in whole or in-part, will be considered as long as they are accompanied by an accurate translation.

Submissions are open until 200 poems have been selected.

Interested poets can submit 1-3 New Mexico-themed poems of 40 lines or less for consideration to 200NMPoems@gmail.com. Selected poems will be posted at 200NewMexicoPoems.wordpress.com.

Please send unpublished or under-published work. Simultaneous submissions are fine, but please let us know if your poem(s) has been accepted elsewhere.

Please do not send multiple submissions. Wait until you hear us about your manuscript before sending additional poems. Submissions which do not meet minimum criteria will not be considered.

Send your typed submissions and 50 word professional biography as a word document: 200nmpoems@gmail.com

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Poetry Prompt: Truth or Lie

Posted December 16, 2011 by ZingaraPoet
Categories: Writing

This week’s prompt is an adaptation of a great ice-breaker activity in which many of you may have participated at some point in your lives; but  instead of getting to know your peers, you get to write a poem.

Write three statements, two of which are true and one which COULD be true, but is not. Use the premise of these statements as a basis for a poem in which the reader cannot easily discern if the speaker is reliable. This may feel like a perfect prompt for a narrative poem, but experiment and see what develops.

Most of all, have fun!

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Zingara Poetry Pick: Plainsong by Carrie Jerrell

Posted December 14, 2011 by ZingaraPoet
Categories: By Carrie Jerrel, Writing, Zingara's Poetry Picks
Tags: , ,

This poetry pick comes from a collection titled “After the Revival” by Carrie Jerrell, which was recommended to me as a book I would like. The collection won the 2008 Anthony Hecht Poetry Prize.

Plainsong

If you saw my footprints around the barn loft’s ladder,
you would know I tie each bale with sisal twine and secrets.

If you saw me kneel among cut sweetcorn stalks,
you would know I hear vespers in the auger’s rush.

If Red-tails scouted the warren’s edge, or murders called
from their barbed wire roots, you would hide me in rows
of ruby snapdragons, mend my briar-lashed hands;

like the dobbin, you would carry me where jack-in-the-pulpits grow
beneath cathedraling white oaks and hickory.

If sunset turned ripe wheatfields honey-gold,
and the combine hummed as it cleared the hundredth acre;
if, after dark, haze hung like a new heaven above the furrows,

you would know the harvest moon is hear,
that sheets left on the line will smell of blazing stars in the morning,

and that I wait upstairs for you, barefoot on the pine floor,
unplaiting the amber linens of my hair.

—-

Carrie Jerrell was born in Petersburg, Indiana, USA in 1976. She received her MA from the Writing Seminars at Johns Hopkins University and her PhD from Texas Tech University. A three-time Pushcart Prize nominee, she is an assistant professor of English at Murray State University in Murray, Kentucky and serves as the poetry editor for Iron Horse Literary Review.

Interview with Carrie Jerrell

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Poet Interview: Tanaya Winder

Posted December 13, 2011 by ZingaraPoet
Categories: Poet Interviews, Tanaya Winder, Writing
Tags: , , , , ,

Upon our nearly simultaneous returns to Albuquerque after adventures took us afar,  I had the opportunity to catch up with friend, fellow poet and former work-shop peer Tanaya Winder. She has been busy  in the most worthwhile of ways since our days of collaborating poetry in Joy Harjo’s poetry class, and clearly understands the challenges of an emerging writer. I am happy  to share tales of Tanaya’s experience and strength in today’s interview. Please enjoy Tanaya’s lovely poem, which is followed by our interview.

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measure by measure: the body begs  
by Tanaya Winder

at the soul’s release please do not leave.
The last crescendo – breathing and
the body intertwined, two hands
offered as a gesture like grasping at butterflies,
longing to hold something precious.
The legatos of trying –
hear the search in continuous acts,
the staccatoed beats.
Dal capo al coda,
go back to the beginning
in the music of being human,
the final score and the counterpoint:
hands outstretched as if
to say I cannot stay –

—-
You have accomplished quite a lot since we attended a Joy’s  poetry workshop at UNM together. Tell me more about what you have been up to.

Since Joy’s workshop in 2008, I’ve been writing as much as I can. Entering the MFA world was quite different than I expected. I imagined entering a community of fellow writers who were all so passionate about writing that they’d discuss it continuously, and through that discussion inspire each other. This isn’t to say that I didn’t find any inspiration at UNM, I did. I met fellow writers who enjoyed writing and even some who felt it was their life’s calling; but still, I felt something was lacking. Fortunately, Joy Harjo took me under her wing and agreed to let me take an independent study with her the semester after our poetry workshop. That independent study ended up helping me get involved in my biggest and most influential project so far, “Soul Talk, Song Language: Conversations with Joy Harjo.”

Joy mentioned wanting to put together another collection of interviews. We ended up really connecting in our views. I read her work and she read mine, so it made sense for us to collaborate. I spent the next two years assisting her with her book and was credited as co-editor of the collection. During those two years, I also ended up taking time off from the MFA program. I felt inundated with the teaching load and coursework. I wanted space for clarity and time to read what I wanted to read, to write what I wanted to write. I moved to Boulder, Colorado to work as the Assistant Director for the University of Colorado at Boulder’s Upward Bound Program. It was a good move for me physically and mentally.

In Boulder I started training for my 1st half-marathon and since then have completed 4 half-marathons. I also was able to take classes in CU’s MFA program, which offered a variety of courses and subjects that weren’t available at UNM. One month in my lyric poetry class gave me the inspiration and insight I needed to view poetry in a completely different way. Inspired by the coursework, I wrote the poem “The Impermanence of Human Sculptures” in an eight-hour sitting. I went on to edit the poem twice and submitted it for the “A Room of Her Own Foundation’s Spring 2010 Orlando Prize in Poetry” and ended up winning a $1000 first prize. I took that as I sign that I was where I needed to be.

You’d be surprised how much writing/work you can get done with a steady 8 to 5, 40 hour a week job. I read what I wanted to in the evenings, jotted notes, and even started a writing schedule. I’d wake up at 6AM every morning to write for at least 30 minutes, even if it was just stream of consciousness writing. On weekends I didn’t have any “homework” that I was required to do, no grading, or prepping for classes – all I had was time and I was grateful for it. I found a writing partner who recently moved to Boulder after completing her MFA in screenwriting. We met at coffee shops on Saturdays and Sundays to write and chat about writing. It was then that I realized – I am, indeed, a writer. I didn’t need a program to write, I didn’t need a teaching assistantship and I didn’t need a “workshop.” All I needed was determination to write. A poet-mentor of mine told me that the hardest part of finishing the MFA is continuing to write; he told me he believed I’d make it if I kept up with the writing I was doing. In my time away from UNM and my MFA program, I published 12 poems, 1 interview, 1 essay, and got the book deal with Joy Harjo through Wesleyan University Press.

I did realize that while I don’t need a MFA to be a writer, I do need it if I want to teach. As someone who absolutely believes that poetry is important to the community, I want to be able to teach in both university and community settings. In my first year at UNM, I felt the intersection between community and poetry was somewhat lacking, so I decided to drive home to my reservation once a month to teach a writing workshop at our local library. I loved it. It fed my soul and people enjoyed it. They kept coming back each month.

I think it’s important for poetry and writing to have presence in the community because it reminds you why you’re doing what you’re doing. Sometimes writing can be so solitary. You write, research, write, edit, revise, and write some more. You submit, get rejected, submit again, and again until (hopefully) acceptance. Aside from the occasional reading/performance we writers rarely get to see and interact with our readers, but in community work you get to interact with readers and help others learn how to render their own experiences through story and words. I am a person who hopes my own writing and poetry reflects the times and the needs of society; without interacting with the community the poetry cannot attempt to reflect communities and so I believe poetry must intersect with community. Poetry has the potential to create community for people who are searching for it by providing a space to interact and share experiences on the page.

But finding balance between teaching, community work, and writing can be difficult. I try to think of writing like working out: you don’t find the time for it – you make it. Like exercise, I find that poetry is necessary for me to maintain my health. Now that I am back teaching at UNM and finishing up my MFA I don’t wake up at 6AM to write. Coursework and all that is involved in teaching takes up a lot of time, but I still make sure that I put in at least an hour of “writing work,” which means researching or revising if I am not creating something new. I use goals to help force me to write by looking up special calls for submissions and tell myself that I am going to apply to them. I find deadlines and use a planner to fill in dates where I tell myself that I will submit to at least 3-5 magazines/journals a month. Even if I don’t have something “ready” I send it anyway to keep myself in the habit of writing and submitting. All of these, of course, are small goals in terms of the big plans I have.

It’s important to dream big. In the back of my mind I tell myself I want to have collections of poetry published and one day even have my 1st collection win a 1st book prize. I want to be a Stegner Fellow and dream of becoming a U.S Poet Laureate. I’m well aware of the odds of some of these things actually happening but that doesn’t keep me from dreaming because the dreaming pushes me to work harder. I know I have a lot of work to do before I get to where I want to be with my writing, but that’s the fun of it. You don’t get to where you want to be without putting in the work, and that’s true of both life and writing. Sometimes you sit there and re-work a poem revising lines, individual words, and structures until it seems like a big mess and then…clarity. The funny thing is you wouldn’t have gotten to a point of clarity without diving into the wreck and coming out on the other side. And hey, that’s life, that’s writing.

“Soul Talk, Song Language” by Joy Harjo and Tanay Winder are available at Wesleyan University Press  through their website at http://www.upne.com/0-8195-7150-4.html

—-

Biography:

Tanaya Winder is from the Southern Ute and Duckwater Shoshone Nations. She graduated from Stanford University in 2008 with a BA in English. Tanaya was a finalist in the 2009 Joy Harjo Poetry Competition and a winner of the “A Room of Her Own Foundation’s Spring 2010 Orlando Prize in Poetry.” Her poems have appeared in Cutthroat magazine, Yellow Medicine Review, Adobe Walls, and Superstition Review, amongst others and are forthcoming in Drunken Boat magazine. She teaches Composition and Introduction to Creative Writing at the University of New Mexico where she is currently pursuing her MFA in poetry. She is currently the Assistant Director for the University of Colorado-Boulder’s Upward Bound Program – a college prep program for over 85 Native American high school students from different reservations all across the country. In her free time she enjoys coffee, karaoke, and teaching a monthly writer’s workshop at the local library in her hometown, Ignacio, CO.

Tanaya also writes a blog “Letters from a Young Poet” at  http://tanayawinder.wordpress.com/

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Writing Exercise: Help Yourself

Posted December 12, 2011 by ZingaraPoet
Categories: Creativity Coaching, Writing

Here is my version of an exercise that’s been floating around the writing world for some time. It’s simple, straight-forward and pretty powerful. Please complete each step before moving on to the next.

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First, list the things in life that get between you and your writing and creativity – even those things that are legitimate, like taking care of the kids and washing the dishes. Include on this list any pesky internal obstructions and voices, like “I can’t write about that, it would hurt ____.” Make the list as long as you have time for – you can return to it for future writing exercises.

Second, read over your list and select one or two things that are particularly vexing for you at this very moment. It might be different the next time you approach this exercise – that’s fine. For now, go with your instinct and choose one or two items from your list that are really giving you a tough time or bogging you down in some way today.

Third, imagine yourself in a private sanctuary or someplace like Superman’s fortress of solitude. You are safe and everything you say is completely protected and will never be heard by another living soul. Spend the next 20 or so minutes writing, in first person, a detailed description of a specific time you wrestled with one of the challenges on your list. Where did it happen? When? How? It’s important that you don’t generalize here. Be as specific as you possibly can.

Fourth, reread the story you’ve just written but change the voice and perspective from first to third person (that is, change every I to a she/he or to a proper noun – like Joe). You may need to adjust verbs while you’re at it.

Fifth, do not continue until you’ve completed step three.

Sixth, read and listen to yourself as you read the new story (aloud or silently in your fortress of solitude). Put yourself in the role of sympathetic advisor and offer some useful, helpful and empathetic words of support and advice for the person (that’s you) in the new story. Notice how you feel a little lighter and more empowered?

You can use these steps as a kind of template with which you can experiment in order to overcome writing or any creativity block. It is adjustable and can be made to fit any circumstance.

Happy writing!

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Zingara’s Poetry Pick: Night Owl by Ann Neelon

Posted November 30, 2011 by ZingaraPoet
Categories: Writing, Zingara's Poetry Picks
Tags: , , ,

This poems comes from Ann Neelon’s first collection of poetry, “Easter Vigil,” which won the 1995 Anhinga Prize for Poetry. Joy Harjo, judge of that year’s contest, say’s this about Ann Neelon’s collection:

It is rare to come upon a poet with such a wide ranging vision as Ann Neelon. She’s a risk taker with heart, a poet who in in the world as a compassionate observer. The poem’s deserve your attention.

Night Owl
by Ann Neelon

From you, I inherited this starry flesh,
The night is young, the night is young — my voice is your voice in
endless mimicry.

Thirty years ago, sleepless and hungry for quarry, I caught you
drinking milk of magnesia,
staring into the kitchen sink as into a deep well,
Father, if you had jumped in, I would have had to follow.

How many times I space-walked toward you across the pock-
marked moonfloor,
triumphant in my pajamas before the less courageous world,
Gravity was your unfailing argument: just what, young lady, do
you think you’re doing up?

Tonight, bills unopened, heart too in arrears,
I remember how the muscles in your face relaxed.
To ease your cares, it was enough for you to know that I didn’t
have any.
And so we discussed kindergarten, the moon and the stars.

—

Ann Neelon is a native of Boston and a graduate of the MFA program at the University of Massachusetts, Amherst, and of Holy Cross College. She has been a Peace Corps Volunteer in West Africa, as well as a Stegner Fellow and Jones Lecturer at Stanford Univeristy.

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Interview with Kansas Poet Laureate Denise Low

Posted November 29, 2011 by ZingaraPoet
Categories: Poet Interviews, Poet Laureate Interviews, Writing

This week’s interview with Denise Low marks the beginning of the new Poet Laureate Series here at ZingaraPoet. Check back frequently for future interviews with Laureates from all over the U.S.

I first became familiar with Denise Low when I was an undergraduate student at Washburn University and was given a copy of “Kansas Poems of William Stafford,” of which she edited. I read the collection, found legitimacy in its pages and figured anyone who put together a collection like that was all right by me.

Later, I discovered and read Low’s early collection of poetry, “Spring Geese.”  I think it resonated with me because, like the poems I write, this collection contains poems about Kansas environment and natural history.

Fast forward to November 2010. I’m living in Kansas City  and learn that Denise Low, second Poet Laureate of Kansas, will be reading at The Writers Place to promote her latest collection,  “Ghost Stories of the New West.”  Nothing could make me miss it.

The reading that night was well attended  and Low did not disappoint. She is a dynamic reader and a gracious poet. I was thrilled to get a few minutes of her time to discuss poetry news and brag about my Alma Mater – home to Kansas’ first poet Laureate, Jonathan Holden. I did not know then that I would someday be asking her for an interview, but when the idea for a poet laureate series nudged my imagination, she was the first person I thought of (and, consequently, the first I asked).

In this interview, directly following Pocahontas, Denise discusses her revision process, the current state of the arts in Kansas, and encourages poets who may be questioning their dedication to their craft. Her biography follows the interview as do links to her blog and website.

Emjoy!

Pocahontas: A Portrait

                                In memory of Paula Gunn Allen

Oval face     eyes turned aside    

high collar, ruffled.     Once: a favored child              
cartwheeler      envoy between camps
student of  English      daughter of Powhatan           

 wife of Kocoum      political gamepiece          

kidnap victim of Argall      forced bride
converted wife of Rolfe      lady in wooden rooms
awaiting a child           mother of Thomas

literate Christian      forest Madonna

tobacco cultivator     London celebrity
ailing martyr.      Her words “Everyone must die.”
and “It is enough that     the child lives.”

Oil portrait filigree    tatting on a stamp

lace-wreath collar     the woman named Matoaka
narrowed-eyes look     a few days before the grave
frozen obliqueness      now the last oval face.

——

What did you take away from your experience as second Kansas Poet Laureate?

Being poet laureate of Kansas was a great honor, and it helped me appreciate the educators, writers, arts administrators, and librarians across the state. Sometimes in a capitalist society the arts, especially poetry, can seem frivolous, but I came to understand how word arts connect to most skilled fluency with language. Literary uses of language impel readers to learn history and context. This is not a time in history when superficial reading will suffice. Poetry trains its readers to read closely and with a mind open to unexpected associations. It is essential to understand multi-layered communications in the public, social media, and private realms.

How does poetry bring or add meaning to your life?

1. First, I became involved with poetry so young, that it is hard to tease out how it, among other experiences, add meaning to my life. It’s a spiritual practice—I do believe that learning the discipline of language is one of many paths to enlightenment. It requires engagement with reality, not neuroses. Observation and reflection are the polarity, and syntax the means along the way. So poetry keeps me connected to immediate experience, and it makes historic tradition collapse into the present moment. We use ancient words, and each use reinvigorates them. I cannot imagine my life without poetry.

2. Also, poetry helps me understand my multidimensional identity. It connects emotion, ideas, and spirit to the locus of body. And so it helps sort out the chaos—with grammar, syntax, image, and sound all coordinated into coherence. If a person visualizes a crystal, that sense of order is soothing. Likewise, and on more levels, poetry creates serenity—even poetry about hard truths.

How do you protect your mental and physical creative space?

I have arranged my days to create writing time—easier now that my child- and elder-caring years are behind me. The importance of my writing is an essential understanding in my marriage. I’ve claimed a small but nice room in the house for an office—it has a great view of the back yard—which is critical to my writing. My family, especially my husband, understands this is my calling. That support is invaluable.

Tell me how you approach revising your work.

Often. I write and rewrite. I have blind spots and repeat obvious words or miss opportunities. Once in a long while a poem comes out in one piece, but not often. To me, the editing is also very creative, and it gives me the opportunity to make better crafted writing. I’ve often been in a writers group, and I’ve worked with editors, so I’ve become impersonal about trying to improve work rather than treat it as a precious emanation from the great-poet-cosmos. Like William Stafford used to say, “Editors are our friends.”

In your 2006 interview with Miranda Ericsson, you mentioned you were thrown lifelines at crucial moments in your life. Can you elaborate on these lifelines? How did they manifest and how did they help?

I was about to abandon poetry and commit to developing prose projects when I won the Kansas Arts Commission Literary Arts Fellowship in Poetry, in 1991. That program was one award every two years to a poet in Kansas, and it was $5000. That was summer support plus a computer. Then in 2007 I became poet laureate for Kansas through the KAC, again. Of course, all those programs are suspended because of politics right now. These awards really helped me have the time needed to write and publish. I have been so fortunate to see so many aspects of the writing process and how it connects to audience. My next mission is to help restore these essential programs.

Currently, I am president of the board of directors for the Associated Writing Programs, and through this role I’ve been able to see a wide range of programs that serve poets and other writers. All these experiences deepen my understanding of how crucial creativity is to being a conscious, contributing citizen. Creative writing is, I believe, the deepest form of literacy. If you can write a poem, you can assemble your children’s toys, maintain your car, troubleshoot your computer, write grant applications, and select factual information from the bovine excrement in the news media.

How does keeping a blog fit in with your overall creative endeavors?

I’ve had some illness this summer, so I’m very behind on my blog. I want to use it as a forum for book and reading reviews, because my region and my literary genres are so underserved. Some fabulous writers get overlooked because of poor distribution and poor publicity. Blogging helps me feel empowered to present writers of merit. For starters, I’m thinking of Robert Day’s terrific book of essays The Committee to Save the World, Jo McDougall’s memoir, and William Trowbridge’s amazing Ship of Fool. These are terrific, first-rate works that will not be in the New York media. But the internet blogosphere is democratic, and I hope to take advantage of its strengths to promote some good writing.

Have you any advice to share with writers who may be struggling to continue their craft?

1. Yes—first, be professional. The novelist David Bradley told me this at a critical period in my life. A few people are able to work at other jobs all their lives and keep a parallel writer’s life going. These are few. Commit yourself to taking classes, being involved in a writer’s group, and other faster ways to learn than trial and error. I see many people who put off writing during their most productive years, retire, and then expect to have writing skills in a few weeks. My mentor Carolyn Doty told me it takes ten years to learn how to write a novel. I believe her. Putting off writing for practical reasons is the most risky choice—for example, your health may not hold up, and when you retire, you may not be able to write.

2. The second bit of advice is to get up early in the morning and write—you have some good hours before work schedules. Go to bed early, skip TV, and use those early hours.

3. Third, read as much as you can of writing that you admire and that relates to your field. One of the great paradoxes is people want to write poetry in great numbers, but they don’t want to read others’ poetry, even the greats. Trust me. Reading great poetry will not stifle your own originality.

4. Write about topics that matter. Reynolds Price did a great presentation at AWP one year about looking for material that will make a difference rather than self-centered cleverness. Hundreds of thousands of books are published and self-published every year. As a writer, what contribution can you make? I find myself impelled to document as much as I can of suppressed histories and voices. This led to the Langston Hughes in Lawrence project and many others.

What’s next?

Oh, so many projects. I have a number of articles that need revising. A book of essays about Midwestern literature—Natural Theologies—is coming out from The Backwaters Press of Nebraska later this year. I believe this is the first critical book entirely about contemporary literature of this region. I’m finishing a grant on Cheyenne ledger art, which is amazing conjoining of image and glyphic text. I’m trying to write a memoir about my grandfather who was of American Indian background. I want to get back to some research on Langston Hughes’s family. More.

Denise Low, Kansas Poet Laureate 2007-2009, has 20 books of poetry and essays, including Ghost Stories of the New West (Woodley), named one of the best Native American Books of 2010 by The Circle of Minneapolis and a Notable Book by the Kansas State Library & Center for the Book. Other books are To the Stars: Poets of the Kansas Ad Astra Project (Mammoth/Washburn University Center for Ks. Studies) and Words of a Prairie Alchemist (Ice Cube Press), both Kansas Notable Books; and Thailand Journal: Poems, a Kansas City Star notable book (Woodley). She has taught creative writing and literature at Haskell Indian Nations University, the University of Kansas, and the University of Richmond. She is 2010-2011 president of the board of directors for the Associated Writers and Writing Programs, and she has served that organization as vice president and conference chair. Awards are from the Academy of American Poets, The Newberry Library, Lannan Foundation, National Endowment for the Humanities, Kansas Arts Council, and Kansas Center for the Book. Her MFA is from Wichita State University and her PhD is from the University of Kansas. Her blog is http://deniselow.blogspot.com and website is www.deniselow.com

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Writing Exercise: Do it With Joy

Posted November 28, 2011 by ZingaraPoet
Categories: Writing

Today’s writing exercise is adapted from Rebecca McClanahan’s “Write Your Heart Out. “

We find it relatively easy to write when times are tying or when we experience grief, sadness or anger. We are, after all, encouraged to use our journals to vent about difficult situations so that we might work through them. Experience may have even taught us that this approach to our discomfort and confusion is preferable to sitting with these frustrations for an inordinate amount of time. McClanahan refers to this tendency to write only when in pain as the “foxhole syndrome: writing as desperate prayer.” When happiness returns, we suddenly have nothing to say.

Perhaps this is because happiness so absorbs us that we don’t stop to think about writing. Maybe we fear writing about our happiness is tantamount to testing the fates. McCallahan writes that:

French theologian Francois Mauriac called happiness the most dangerous of all experiences, ‘because all the happiness possible increases our thirst and the voice of love makes an emptiness, a solitude reverberate.’ Seen this way, happiness is a scary proposition. As our capacity for joy increases, so does our capacity to feel all emotions. So won’t we be sadder than ever when the happiness ends?(98)

Or maybe we just forget to notice the small things that do make us happy. Our brains are finely tuned to notice the dangers that surround us and dismiss that which cannot immediately hurt us. If it is not a threat, we do not make note of it.

Take some time this week to notice things that bring you joy, no matter how small, and make a daily list. Start with yourself – your eyes, hands, ears, nose, etc. From there, take in your surroundings and note that which bring you joy – music, books, a warm blanket and a comfy couch.

This exercise only takes minutes a day and will result in a more joyful you.

Good luck, and happy writing.

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