Begin again.

I might have cried, but for the moon and for the thought of you tracing the places we once had been, the person I had promised you I’d be.

~ from Journey: a traveler’s notes by William Sulit and Beth Kephart

On the flight home to Texas, you realize just how long it’s been. Since you’ve flown. Since you’ve seen your father, your sisters, your mother’s sister, those who know you best. Of course, it feels like forever, but it’s only been two years. Still, you are not the same person you were when they saw you last. When you last saw them.

Of course, there’s the pandemic, where you’ve been forced to slow down and take in more of what was right in front of you. But in the last two years, you lost your footing in a few places, got back up bruised, fractured, heart worn and weary. The bruises heal. The fractures dredge up an old pain you thought you had put to rest. Where weariness sets in is during the weeks of stepping gingerly, barely breathing. There was the month of anger. Of course, anger. And to measure it by a month isn’t entirely correct; anger, like grief, comes in waves and is marked by varied lengths of intensity.

This pandemic was nothing.

When the weather warms and the restrictions ease, you open the door, step outside. The yard is beat up, in front and in back, and full of dandelions. You gather your spade buried somewhere deep in the garage and begin carving out each one that has taken root, like you might cut around a festering sore. You pray for forgiveness. Dandelions, after all, have merit. This simple act of attention becomes a meditation so, of course, you stay outside longer than you had planned. You dream about summer, schedule a long visit with family, buy the plane tickets.

You are greeted at the airport by your sister who looks just like your mother, so much so that your heart skips and you whisper, Thank you.

She chauffeurs you for miles to each cornerstone (because there is more than one). It’s strange to feel lost in the place where you grew up. The roads have changed – names and directions, are still changing. But when you take the wheel, you take your time and drive with the windows down.

The rush of the Texas heat, the sound of your cousin’s laughter, the spirit of your kids and the joy as they tap into your roots (why have you kept them away for so long?), the wide-open spaces, your father’s tender heart, the words of your aunt who says, Your mother would be proud.

There it is. Everything you need to begin again.

Remington Roundup: #AmReading (& more #reading)

1960's photo of woman at Remington typewriter

This month I’ve rounded up links to books and an article for your reading pleasure, whether you’re looking to write more or simply settle in with a good story.


The Books

A while back, I interviewed Julia Stoops about her debut novel, Parts Per Million (Forest Avenue Press). At the same time, I wrote a review of her book. As in all things writing, publication can move slowly, whether you’re crafting your first novel, searching for a home for an essay, or submitting reviews.

I’m grateful to the editors at Necessary Fiction for posting my review of Stoops’ book, in part because it’s nice to get your work out there but also because, while this book was published back in April 2018, the story remains relevant today.

  1. Take a look at the review on Necessary Fiction.
  2. Go back to the Q&A with Julia Stoops here.
  3. Browse over to Omnimundi.org for more on the book’s artwork and artist Gabriel Liston.

“…every novel carries significance for readers in either speaking to our past understanding or forcing us to consider our current state of mind.”


A more recent discovery in books is Beth Kephart‘s new work, Strike the Empty: Notes for Readers, Writers, and Teachers of Memoir. I’m barely into this one, but already I can tell I’ll be marking it up, tabbing pages, and referring back to it time and again. Kephart writes on the importance of story, on “refuge in true stories,” shares essays by authors of your favorite memoirs and calls to action for those of us doing our best to bring our own true stories to light.

Establish agency, generate urgency, prize vulnerability, remain raw. Know the question. Don’t force the answer. . . . strike the empty–that meaningless phrase, that excessive detail, that tired trope, that obvious epiphany, that unmurdered little darling.

Read more about Kephart’s book on her website or purchase your own copy from your favorite bookstore.


The Article

Speaking of writing memoir and writing tight, I also re-read an essay by Barbara Hurd that I never tire of, “The Mind in Winter.”

“I keep my hat pulled low and my imagination on alert for what I’ll likely never hear again nor ever forget: mewing in mid-winter, deep in the den before there was any sign of life on the surface, any hint of thaw or—back on topic now—any start of a next sentence or line of a poem.  What would it take, in other words, to dwell for a while in winter’s stillness and trust that down there, below the sometimes blank surfaces of our stymied minds, an idea or story could be stirring?”

Feeling stuck in any way? Go to Hurd’s essay, bookmark it. Winter, she says, can be “refuge, snow as insulation, silence as opportunity.”


What are you reading these days?

Study Hall: #AmWriting, #AmWandering & Following the Story

Last Sunday I met with a few writers online and in the studio for another session of Study Hall: #AmWriting.

I’m still early into this venture, so each time we meet there’s another tech issue to consider, maybe something with the sound, maybe recognition that camera placement is everything; I like for all writers to see or be seen, so setting the laptop in a perfect position matters.

(I apologize to those online this time, who saw mostly my chin and a dramatic wave of hand and my beauty mark…aka. my mole…aka. call-me-Cindy-Crawford-and-we’ll-all-feel-better.)

Annnyway, what isn’t new to the venture is the way writers come together in community. The way a simple nudge from a prompt will spur a full 10-minutes of pen to paper.

The way one story unfolds into another.

It’s what Beth Kephart talks about in her essay, “And There’s Your Mother, Calling Out to You: In Pursuit of Memory.”

Memoir is, among many other things, about what we remember; it is also about how memory is returned to us. About where we go to access the past and what we do when it floods straight through us.

We spent two hours exploring that idea, moving from one prompt to the next, letting a phrase or an image from the last 10-minute free write grow into the next 10-minute free write. And several of us were surprised at where our pens took us.

It’s what Dan Chaon illustrates in his story, “Shepherdess.”

This is one of those things that you can never explain to anyone, that’s what I want to explain—one of those free-association moments with connections that dissolve when you start to try to put them into words

But I consider it for a moment, trying to map it out. Look: Here is a china knickknack on my mother’s coffee table, right next to her favorite ashtray. A shepherdess, I guess–a figuring with blond sausage curls and a low-cut bodice and petticoats, holding a crook. a staff, in one hand and carrying a lamb under her arm….

Take a minute to read both Kephart’s essay and Chaon’s story. Think about how one image in your day tugs at your memory and another image rises to the surface, then another memory, and another. Join us for the next Study Hall on June 3rd.

You can participate if you’re writing nonfiction or fiction or poetry–the point is, you’re writing. Who knows what stories will fall onto your paper in the company of others.


(Details on dates, times, and links to register can be found HERE.)