Sunday Series: Kathy Collins on Why I Write


For the next several Sundays, I’d like to introduce you to writers new and seasoned as they share what inspires them to put #PenToPaper. This week, meet Kathy Collins, an amazing flash nonfiction writer from the west coast. (This is her second publication!)

Where there is smoke there is fire. As a kid, I devoured my brother’s Cub Scout magazine, Boys’ Life.  The mystery of flashing a fire with a spark from two sticks. It was beyond my ten-year-old ability to understand. It was magical.

I read everything. My if I had gone missing would have included these details: freckled nose lost in a book, spare book grasped in other hand. I diligently listed every book I read on lined notebook paper. My young life was enhanced by wrinkles in time, a little Prince and that silly old bear. With my ten-year old tears, I watered where the red fern grew. I lived in the little house on the prairie and captured the castle. I went through the door in the wall and into the secret garden. One summer I solved 56 mysteries with Nancy.

My brother could build his little boy world out of Lincoln Logs. He would dump them out of the cylinder container. The two-inch wooden logs would notch together at right angles to create little buildings. Hours and hours later a compound of green roofed forts popped up on the beige carpet prairie. I was excluded from the world he built. Construction of my world happened in my brain and was cobbled sentence by sentence, page by page, chapter by chapter. Construction lights flashed Morse coded stories again and again waiting for release. I journaled the angst of being a brunette with braces in a blonde Wisconsin world. I wrote a story for my ninth grade English class. It was a glorious middle age love story. In my mind middle age was 40. I knew nothing of love. My characters had a housekeeper and a Picasso. I have no memory of how this story was conceived. The rural High School English teacher gave me public recognition.

I didn’t write again until college. I wrote a story about the end of my first romance. Well received by my teacher. The next year I took a creative writing class. The professor disclosed that A’s were not part of his grading arsenal. I have no recollection of what I wrote but still cherish the A+ grade.

The life that followed college was stressful. In retrospect unauthentic. I wrote the things that needed to be written. The rhythms of life. Love notes, Thank You notes and obituaries. Weekly letters home in a pre-email world. I ghost wrote speeches and letters and resumes. I wrote dating profiles for friends seeking soulmates. Memos, Regulatory filings, and employee reviews at work. I wrote my own divorce.

An old friend sent me a packet of poems. They were written by me during my second serious romance. I had no memory, but it flashed a flicker and I wrote a poem about surviving breast cancer. I submitted it to poetry contest for survivors. I won and my poem was published. My heartbeat accelerated fueled by the music of joy.

Two years ago, 1,788.9 miles from home on Halloween Eve a seemingly random encounter altered my life. I could have turned left but I went right. I opened a door and entered a book sale. I stopped at Christi’s table and we chatted about books and writing. She gave me a packet of writing prompts. Something flared within me – soul kindling that sparked a dormant fire. I signed up for a class and kept signing up, as the fire illuminated the stories patiently waiting a very long time to be told. I wrote of joy and despair floating on a sea of resilience. My heart’s inhabitants. Birth and death. Surviving and letting go.

It turns out I always was a writer. I just forgot.


Kathy Collins lives in Las Vegas, Nevada. Her neighborhood sits on the cusp of the desert nestled in a ring of mountains. This beauty is the price she pays for extreme summer heat. She started writing three years ago after escaping from three plus decades of a telecommunications career. She has lots of stories to unravel. She is married, a mother of one, and Nana to two. Her favorite memories are woven from travel and a life filled with love and laughter.

Philip Cioffari on The Evolution of Character

Philip Cioffari, author of If Anyone Asks, Say I Died from the Heartbreaking Blues, writes of character and the way life and writing fuse to build a story.


The main character, Joey “Hunt” Hunter, in my coming-of-age novel, If Anyone Asks, Say I Died from the Heartbreaking Blues (Livingston Press, 2020), came into being over a period of many years. My earliest stories featured young boys in the 10-15 year-old range. These too, for the most part, were coming-of-age stories, usually involving a boy’s being thrust into a confrontation—sometimes at his own instigation and sometimes by the external forces of fate—with some aspect of the adult world. The emotional crux of these stories was the collision of innocence, naïveté, and curiosity with the harsher elements of human existence. By and large, these confrontations had negative consequences.

But I think these boys—in their openness to life, their unarticulated early hopes and desires—served as the basis for Hunt’s character. Though they suffered for their experiences, they came through them—if not unscathed, at least not destroyed. In short, they were survivors.

 It has always been a curiosity to me why these early stories were as dark as they were. After all, my own childhood was what I would consider relatively normal. It did, however, contain some familiar obstacles—after-school bullying, feelings of self-doubt and inadequacy, perhaps a greater than normal sense of isolation from my peers—and maybe those things were at the heart of the darkness that I wasn’t conscious of, that is, until I started writing.

 When the character of Hunt began making itself known to me, though, it came from a different consciousness. I wanted to take a lighter, more humorous look at the teenage experience. And I knew early on that Hunt would take me there. He possessed some of the same characteristics as my other youthful characters, in that he was basically good-hearted with a deeply-felt sense of compassion; he was full of hope and energy and curiosity and determination. What was different this time around was my attitude toward the experiences he struggles to find his way through.  

Although he must deal with the loss of his younger brother, a loss that at the beginning of the novel he is not yet able to accept, his other struggles—with a girlfriend who dumps him, with his self-doubt and sense of inadequacy—I saw this time around in comic terms. It was as if my perspective had grown large enough to accommodate a more layered view of youthful pain. Yes, childhood had its dark side; but it also, if you took a step back, was pretty amusing too. And that, of course, is closer to the true nature of reality—its complexity and contradictions—than my original, unilateral view of it.

I guess I have age to thank for that, and because I’m a slow learner—slow developer might be a more accurate term—I’m more than a little embarrassed to acknowledge it took me so long to get to this point.

Nonetheless, I think I’ve arrived and as a consequence, the scenes involving Hunt’s awkwardness with girls and those involving his combative relationship to the neighborhood toughs, and even his battles with himself—his self-doubt—I tried to make as comic as they are heartbreaking.         


EXCERPT
If Anyone Asks Say I Died from the Heartbreaking Blues

The Bronx. June 22nd, 1960

Joey Hunter, known in the neighborhood as Hunt, turned eighteen the day of his senior prom, the most hopeful day of his young life—or so he believed—because it would be his first date with Debby Ann Murphy.

That morning he waited in his Religion in Society class as Brother Aloysius James, blond hair ascending in waves from his soft pink forehead, clapped his hands to call them to attention. Forty boys, paired into reluctant couples, glared at Brother from either end of the St. Helena’s Boys’ Division basketball court, their faces in the gym’s unflattering light a mix of curiosity, amusement, resentment and outrage.

“Why we gotta do this?” from Kevin Flanagan, his face dominated by little red volcanoes.

“Why can’t we use real girls?” This time the question came from Hunt’s assigned partner, Sal Buccarelli, first string varsity linebacker, known on the gridiron as Sal the Butcher and, in the after-school hours, as leader of a local gang of would-be toughs called the Brandos.

Brother Aloysius turned to face Sal of the massive shoulders. “We want you to be ready for them, that’s why. Tonight at the prom we want you all to behave like the gentlemen we know you can be.” And not the hairy apes you so often are, his muttered aside so soft only Hunt caught it.

Brother flicked the switch on the turntable, set the needle delicately on the vinyl: the trombone sound of Moonlight Serenade filled the gym’s barren spaces. Never mind that the big band era had passed, that the boys before him were now dancing to Bill Haley and the Comets, this—Brother believed—was music with elegance and grace. He saw it as his duty to bring civilization to their imprisoned, barbarian hearts. “I need a volunteer,” he called out sharply.

Instinctively he turned to Hunt.

“Oh no, Brother.  I’m always the girl. Sal never lets me be the guy.”

With relief, Hunt watched Brother re-direct his attention to Sal. Something about the over-sized, lumbering linebacker and self-proclaimed gang leader—with a face the texture of stucco and eyes the color of an overcast sky—being led around the gym in the feminine role seemed to tickle Brother’s fancy. “Sallie,” he said, using the nickname Sal detested.

“Nah, Brudda. Not me. Not me.”

But Brother Aloysius marched to him, bowed briefly and said in a loud clear voice, “May I have the honor of this dance?”  He cupped his hand firmly around Sal’s waist. “Hand on her hip,” he instructed the class, “not where you’d like it to be, ha-ha. Your touch should be firm but gentle. Take her right hand, extend your arm and lead her, glide her, into the music. At the prom tonight, apply the moral standards we’ve discussed in class. Treat her with respect. Treat her like she was your sister.”    

A collective groan rose around him.

Brother Aloysius, one eye on the less-than-graceful technique of the boys dancing under the back boards and along the foul lines, confided to Hunt later that waltzing with Sal Buccarelli was like pulling a two-ton truck though a muddy ditch. Hunt could empathize. Being shoved around the dance floor by Sal was like being rammed by a two-ton truck. Mid-song, Brother  guided Sal back to Hunt, muttering before he turned away because he couldn’t help himself, “You big oaf.”

Sal directed his response to Hunt, as if he were the source of the insult. “I ain’t no loaf.”

“Oaf,” Hunt corrected him. “He called you a big oaf.”

And for that clarification, Hunt was rewarded with a bloody nose, compliments of Sal during lunch break, as soon as they were out of sight of Brother Aloysius who had cafeteria duty that day.

 More bad luck soon followed.


PHILIP CIOFFARI grew up in the Bronx. He is the author of the novels: CATHOLIC BOYS; DARK ROAD, DEAD END; JESUSVILLE; THE BRONX KILL; and the story collection, A HISTORY OF THINGS LOST OR BROKEN, which won the Tartt First Fiction Prize, and the D.H. Lawrence Award. His stories have appeared widely in anthologies, literary journals and commercial magazines. He wrote and directed the independent feature film, LOVE IN THE AGE OF DION, which won a number of film festival awards, including Best Picture at the Long Island International Film Expo, and Best Director at the NY Film & Video Festival. He is professor of English at William Paterson University in New Jersey. Visit his website for more information on his publications and his events.

#AmWriting, #AmReading

“One writes out of one thing only–one’s own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give. This is the only real concern of the artist, to recreate out of the disorder of life that order which is art.”

~ James Baldwin


#AmWriting

The VERITAS Writing Retreat for Women (July 23-27, 2020 in Bay View, WI) is bordering on full! If you’d love 4 days of workshops, writing, and community on PLACE, PERMISSION, & PRODUCTIVITY, register soon. Once on-site lodging is filled, only Day Retreat options will be available. 

This year we also have two stipends of $100 each available to help with lodging and tuition. Apply by Feb. 29th; recipients will be notified by March 7th. 

Also open for registration is Flash Nonfiction I. This 4-week online course runs from March 7-April 4, 2020 and offers lessons on the genre, plenty of prompts, and a great opportunity to connect with other writers. Seats are limited. REGISTER SOON!

*If you have taken this course but would love another gentle push to get you back to the page (or screen), know that while lessons will remain the same I am happy to mix up the writing prompts. 


#AmReading

February is Black History Month.


#AmReading: Black Ink ed. by Stephanie Stokes Oliver and When They Call You A Terrorist: A Black Lives Matter memoir by Patrisse Khan-Cullors & Asha Bandele