Thursday, December 16, 2010
Tuesday, December 14, 2010
Recent Excitement
Monday, December 13, 2010
What We're Having Tonight:
Errr, what we had Friday night.
Thursday, December 2, 2010
Candlelight Thoughts:
Thursday, November 18, 2010
Waiting...
Wednesday, November 10, 2010
Travel Plans: Thailand
Oh. Em. Gee.
Thursday, November 4, 2010
Holiday Blues
Wednesday, October 27, 2010
Wednesday Writing
Tuesday, October 26, 2010
Dream Hair:
I always get the urge to change my hair in the fall. I'm not usually a fan of dyed/ highlighted/ permed hair, but for this, I just might change my tune. It's not much darker than my natural color, so maybe I could avoid the frizz/ roots/ fake look... or just lose my mind entirely and actually dye my hair.
Monday, October 25, 2010
Monday: Wish I Were Here
Thursday, October 21, 2010
Wednesday, October 20, 2010
Monday, October 18, 2010
Writing: On Community
Biography
Yiyun Li grew up in Beijing and came to the United States in 1996. Her stories and essays have been published in The New Yorker, Best American Short Stories, O Henry Prize Stories, and elsewhere. She has received fellowships and awards from Lannan Foundation and Whiting Foundation. Her debut collection, A Thousand Years of Good Prayers, won the Frank O'Connor International Short Story Award, PEN/Hemingway Award, Guardian First Book Award, and California Book Award for first fiction; it was also shortlisted for Kiriyama Prize and Orange Prize for New Writers. Her novel, The Vagrants, won the gold medal of California Book Award for fiction. She was selected by Granta as one of the 21 Best Young American Novelists under 35, and was named by The New Yorker as one of the top 20 writers under 40. MacArthur Foundation named her a 2010 fellow. She is a contributing editor to the Brooklyn-based literary magazine, A Public Space. She lives in Oakland, California with her husband and their two sons, and teaches at University of California, Davis.
I gathered up all my serious students and told them she would change their lives. We sat and listened to her read from her new book. We sucked in our breath when she paused and got goosebumps. We heard her read a story we had all read before and walked away with a completely different impression than we had before. I nearly cried. I hugged her and she signed my book and misspelled my name and I asked about her kids and she told me about the call she got from J's kindergarden teacher and I told her about the time G said she had a sperm donor not a dad and we laughed and I missed school and workshop so, so much.
Then, a bunch of my students went out for dinner and we talked about the story and the amazing experience of hearing an author read (when it's a good reader) and our own struggles with our work and how inspiring it is to hold hands with this little writing community, how rare it is to talk over a plate of taquitos and enchilladas, and be able to explain your delight at the way two images speak when situated next to each other correctly, and the way certain words can pull you out of a story and others can push you right back in, and the way sometimes another voice entirely takes over, and it's impossible to go back and edit thoughtfully without thinking you might be just a little bit crazy. We laughed. The youngest of us was 17 and the oldest was 66. We shared our favorite stories, exercises, and classes. We compared battle scars. We collectively wondered why, of all the things we could be doing with our lives, we are so compelled to write.
It was an amazing night. After grad school, I lost such a huge sense of my community: everyone thinks they're a writer, and sometimes they are, but it's so nice to be able to exchange work with people who actually feel the same way about writing that I do: it's not fun, it's not therapeutic, it is simply necessary for my existence.
Wednesday, October 13, 2010
Tuesday, October 12, 2010
Monday: Balance
Monday, October 4, 2010
Monday: Wish I Were Here
Tuesday, September 28, 2010
On Making Your Own Way:
I don't believe in any real rules for relationships. I think part of the reason they can be so hard and so good for you at the same time is because of the way they force you to get to know yourself more each day, you constantly have to ask yourself if you're okay with this, or that, or that. Things that maybe never would have occurred to you: am I okay with him answering business calls at ten pm, am I okay with our children going to Hebrew school, can I accept that I will never speak his mother tongue. And then, in the less selfish way, you have to think about whether or not your lover is having his or her needs met, and if not, can you do anything about it?
Monday, September 20, 2010
Monday: First Day of School
Wednesday, September 15, 2010
Wednesday Writing: The Not Fun Kind
Monday, September 13, 2010
Monday: Wish I Were Here
Friday, September 10, 2010
What We're Having Tonight:
Wednesday, September 8, 2010
Wednesday Writing: Dan Savage
Tuesday, September 7, 2010
Best Pick-Up Line, Ever
Monday, September 6, 2010
Monday: Wish I Were Here
Sunday, September 5, 2010
Well, Hello.
Tuesday, June 29, 2010
Bringin' Sexy Back
Wednesday, June 9, 2010
Apologies
Tuesday, May 25, 2010
Monday: Wish I Were Here
Thursday, May 20, 2010
What We're Having Tonight:
Take Out Thai Food
Wednesday Writing
Last week was nuts. I had my thesis defense, which was surprisingly awesome, and so very helpful. It was also the first time I've ever had to write an aesthetic statement, which was a very weird thing for me to do. There's not a standard format or anything, so I just decided to wing it.
The English major in me wonders... what's the past tense of "wing it?" I "wung" it? "Winged" it?
Haha. Oh, the dilemmas of my life.
Aesthetic Statement
The story you will hear today is the most important thing I have ever written. Not because it’s the longest (it is, but more on that later), or even because it’s the best, but because it’s the story I’ve been trying to tell for so long. I’ve written versions and snippets of this story hundreds of times, in short stories, poems, and flash fiction pieces. Every time, it felt like there was too much going on. I wanted to tell the whole story, but I didn’t know how to get it all down in so few pages. I spent my first year in the program trying to tighten everything up, get my sentences to somersault across the decades, develop my characters in a paragraph or a handful of images.
I wasn’t always successful. The workshop developed a refrain: “Too many stories here!” “What’s this really about?” After getting the same feedback a few hundred times, I realized that, yes, there was too much going on in my stories. I grew up in two different homes, and I was so comfortable with change that I had no trouble flashing back and forth between scenes, having eight characters appear by page two, and having parallel worlds with separate sets of tensions. But, my readers weren’t as willing to rocket around the narrative as I was. I had not yet learned how to organize my unwieldy story, manage so many people, or balance the back-story with the present moment.
I kept at it, though. Finally, at the end of fall quarter this year, I realized that I couldn’t say everything I wanted to in twenty-five pages. I couldn’t say it in fifty. So, I called Pam, in a panic, and put this project on a wildly different course. And now, here we are.
Before I wrote The Real Sister, I had never written anything over thirty pages. My approach has been clumsy at best, but this time, it feels right. It feels far more honest, more real, than any of the other versions I tried to write. I feel like I’ve found the time and space to render my characters in all their complexity, as well as the disparate worlds that they inhabit. The Real Sister spans fifteen years, and tells the story of six characters in three radically different households. The novel form has allowed me to hone my aesthetic goals: to start to render the world in a way that feels right to me. I’m learning to render a world that is fractured and patched, where every minute of the past informs the present moment, where conversations with six people are the norm, not the exception.
To prepare myself for the task of writing a novel, I stood on the shoulders of giants. I read My Sister, My Love by Joyce Carol Oates, and learned the ways a narrator can toggle back and forth between telling a story in retrospect and then narrating again in the present moment. I read Ha Jin’s Waiting and learned about the ways that a story can operate in the past without losing its momentum. I re-read Toni Morrison’s Jazz and was reminded of the ways her long, lyric sentences can make the back of my neck itch. I read Chaucer’s Canterbury Tales and learned the meaning of “quiting,” a word which can mean both repaying a debt and taking revenge. I became particularly interested in the ways that Chaucer’s characters use story telling as a means to “quite” one another, and the way his repetition of words and images creates a continuous thread throughout the separate tales.
When I began my story, I was primarily interested in capturing the relationship between Jamie and her ‘stepsister,’ Alexis. When Jamie and Alexis meet as children, they already display markedly different temperaments: Jamie is stubborn, calculating, and reserved, where Alexis is spontaneous, indecisive, and exciting. As the girls mature, they become increasingly competitive, and their personalities become even more polarized: yet they remain deeply attached to one another. However, as I wrote, I discovered tensions and chemistry in places I hadn’t planned on: between Jamie and her brother, Luke, between Anne and Tina, even Walter and Sean.
Through their relationships, I explored issues of nature and nurture, the effects of place and micro-cultures on the people who live in them, and the malleability of time. While I thought I was writing a pretty traditional bildungsroman, now I think I’m reaching for larger themes: how people are simultaneously products of their environments and their genetics. I am interested in the degree of control that individuals can exert over their actions and desires, their emotions, and their destinies.
I am also interested in issues of loyalty, forgiveness, siblings defining themselves in opposition to each other, and what constitutes a “real” family. I am interested in the ways families redefine themselves, and the rifts they must negotiate around, the wounds that will either heal like bones, and always have a weak spot, or heal like muscles, and grow back stronger.
This novel is very much a work in progress. As I was writing, I did not take much time to revise, because it felt like I was rearranging furniture in a house that wasn’t yet built. However, now that it’s all on paper, I plan to do serious revision. I know there are several areas I need to address: primarily, the pacing, and Jamie’s father, who just drops out of the narrative without any explanation or fanfare. I need to examine the relationships in the story, and make sure I’m pushing all the tensions to the surface.
Finally, I would like to thank everyone who stood by me during this whole process, and made this day possible. I want to thank my family, Mom and Donry and Laura and Terren and Adam, for giving me a place to start and filling my childhood with enough material to keep me writing into the next millennium. I want to thank Ed for cheering me on every morning, forcing me to read Russian writers, and making the best cappuccinos in Mountain View. I want to thank Pam for her unwavering faith and support, for the time she pulled me aside as an undergrad, took me to Ciocolat and said, You can do this, if you want to. I want to thank Joe for introducing me to Toni Morrison (way back in 2002), and Beth for helping me think more critically about my own work. I want to thank Carey Newman, who called me the day after I turned in a story for workshop, and said, Girl, you need to write a novel. Finally, I want to thank everyone who has ever read and reacted to one of my stories, I want to thank you a thousand times, because without you, none of this would have ever happened.
Monday, May 10, 2010
What I Hope It's Like
Monday: Wish I Were Here
Lake Tahoe:
What We're Having Tonight:
Wednesday, May 5, 2010
Wednesday Writing
The wife is on a mission to re-organize the pantry. She lined up mason jars across the counter, tied key labels around them with twine, labeled things: Basmati. Black beans. Barley. She filled the jars with the contents of the twist-tied plastic bags heaped on the shelf and stacked them back in the cabinet, labels facing forward.
Now she opens the cupboard just to look at them, and smiles.
She is a young wife, and has not yet gotten used to the word. She has never been a wife before. She thinks being a wife has something to do with keeping fresh flowers in the house, shaving her legs every day, wearing nighties to bed instead of boxers and tank tops. Her married friends tell her this will change. They mean that she will go back to shaving her legs every other day. They tell her this is the “honeymoon phase.”
The husband is older than the wife, but not by much. He has never been a husband before either. He thinks being a husband has something to do with the car the wife drives, letting her pick the restaurant, listening to her talk on the phone with her mother without complaining. His friends tell him to not let the wife get fat.
The wife is a piano teacher. Her students come to the apartment and touch the keys with their fingers, ask if it is right. The wife smiles a closed lip smile when she is very pleased, and an open lip smile when she is just regular-pleased. She tells her older students to write their own songs and listens with narrowed eyes as they play them for her.
It’s good, she will say, but too predictable.
Tuesday, May 4, 2010
Monday: Wish I Were Here
Well, Ed talked me into a new car.