“I have flipped through books, reading hundreds of opening and closing lines, across ages, across cultures, across aesthetic schools, and I have discovered that first lines are remarkably similar, even repeated, and that last lines are remarkably similar, even repeated. Of course in all cases they remain remarkably distinct, because the words belong to completely different poems. And I began to realize, reading these first and last lines, that they are not only the first and last lines of the lifelong sentence we each speak but also the first and last lines of the long piece of language delivered to us by others, by those we listen to. And in the best of all possible lives, that beginning and that end are the same: in poem after poem I encountered words that mark the first something made out of language that we hear as children repeated night after night, like a refrain: I love you. I am here with you. Don’t be afraid. Go to sleep now. And I encountered words that mark the last something made out of language that we hope to hear on earth: I love you. You are not alone. Don’t be afraid. Go to sleep now.
But it is growing damp and I must go in. Memory’s fog is rising. Among Emily Dickinson’s last words (in a letter). A woman whom everyone thought of as shut-in, homebound, cloistered, spoke as if she had been out, exploring the earth, her whole life, and it was finally time to go in. And it was.”
~ Mary Ruefle
Madness, Rack, and Honey
You can find more Mary Ruefle (one of my favorite poets) here
Everyday Writing: Making Time for Creativity Busy writers often struggle to fit writing into their regularly scheduled lives. In this hand’s-on workshop, you’ll learn invaluable tips for how to fit various aspects of your writing into every day—from how to hone your powers of observation to how to keep your projects moving forward even when you’re short on time. We’ll spend part of the workshop addressing your biggest obstacles to creativity, and then we’ll work on strategies for overcoming these obstacles. We’ll also do a sampling of writing prompts that reinforce new tips on fitting in writing time; these prompts will teach you how to think like a writer, even if you’re not able to sit down to write every day. Participants will leave the workshop with customized writing schedules and inspiration for how to best fit writing and creativity into their lives. Bring a laptop or notebook for in-class writing.
You can find Midge here.
And learn more about Midge here
Three Facts About Midge:
- I have no sense of direction.
- I eat dark chocolate daily.
- I’m a cat person.
File under I for Inspiration….
But it is the dark emptiness contained
in every next moment that seems to me
the most singularly glorious gift,
that void which one is free to fill
with processions of men bearing burning
cedar knots or with parades of blue horses,
belled and ribboned and stepping sideways,
with tumbling white-faced mimes or companies
of black-robed choristers; to fill simply
with hammered silver teapots or kiln-dried
crockery, tangerine and almond custards,
polonaises, polkas, whittling sticks, wailing
walls; that space large enough to hold all
invented blasphemies and pieties, 10,000
definitions of god and more, never fully
– Pattiann Rogers
from The Greatest Grandeur
“Writing Your Edge” will challenge you to raise the stakes in your own creative life. Robert Arellano leads an exploration on the ‘state of the story’ at its cutting edge—and asks you to consider where your writing might benefit from visiting the uncharted boundaries. Selections from recent ‘breakout’ narratives will face off against timeless examples of literary innovation—including a few surprising classics from close to home in Oregon. Writing metafiction, creative nonfiction, or pulp originals like noir; building inner conflict, intensifying struggle, rendering atmosphere ravishing and raising the stakes—whether you’re discovering new territory in genre literature or rewriting the rules of the sentence, Arellano will offer pointers for where to go out dancing on the edge of narrative experimentation.
Robert Arellano earned bachelor’s and graduate degrees at the Brown University Program in Creative Writing, where he also taught fiction workshops for 10 years as a visiting lecturer. His stories have been published in Tin House, The Believer and The Village Voice and selected for recent anthologies like New Jersey Noir, edited by Joyce Carol Oates, and The Brown Reader. He is the author of six novels, most recently Curse the Names and the 2010 Edgar Allan Poe Award-finalist Havana Lunar. He is a 2014 Oregon Literary Fellow and Professor of Creative Writing at Southern Oregon University.