Genre: Creative Nonfiction

David Mills’ Poetic Arithmetic, Kooky Koans, and Redemptive Communion

David Mills has taught several P&W–supported workshops at the Cook County Juvenile Detention Center in Chicago. He is author of the poetry collection The Dream Detective (Straw Gate Books) and has poems in the anthology Jubilation! (Peepal Tree Press) and magazines, including Ploughshares and jubilat. Mills is also the recipient of a New York Foundation for the Arts Fellowship.

What is your writing critique philosophy?
Most of the workshops I conduct are with kids, so I always write on the board “2+2=57,” which means for the hour that I am with them, I don’t want them to worry about spelling or grammar because obsessing over “crossed Ts” could mean losing a moment of genius.

How do you get shy writers to open up?
I try to present a model poem that will spark both conversation and creativity. I remind the students that poetry is not on Mount Parnassus. It’s right t/here, wherever we happen to be geographically and psychically. I make self-deprecating jokes to put them at ease and let them know everything is poetic fair game.

I sweat, so I’ll say: “I sweat while I swim. Use that. ‘How can this guy sweat while he swims?’”

I have abstract expressionist penmanship, so I’ll say: “I write like a blind man with five broken fingers. How’s that possible for a poet?”

I don’t want them to write about my idiosyncrasies, but I hope that by framing them as kooky koans the kids will access their own creative centers.

What has been your most rewarding experience as a writing teacher?
Workshops like the ones P&W sponsored at the Cook County Juvenile Detention come to mind. In one visit, I used Randall Horton’s poignant and ironic poem “Poetry Reading at Mount McGregor (Saratoga, NY).” During his own incarceration, he could never have imagined voluntarily returning to a prison, yet in the poem that’s exactly where he finds himself.

I discuss redemption.

What happens for Randall in his poem is what I hope will happen for these kids. Writing gave him a raison d’etre. Horton writes: “tonight poetry is a sinner’s prayer,” and reflects on how when he was incarcerated he “searched for the… alphabets to help me escape.” He concludes the poem: “How do I say welcome me, I am your brother?”

I got misty-eyed as I read those lines. I think the boys felt what the poem was meant to evoke: union, communion.

There were gangbangers in the class from opposing gangs—African-American and Chicano-American. The teachers had warned that certain guys had to sit on opposite sides of the room. As we discussed the poem, guys started talking across “colors,” opening up. Teachers who weren’t part of the workshop stepped in and stayed.

I asked the guys to write about returning to a place—physically or psychically--that might be filled with pain, fear, anger, or an unresolved question. I asked them to describe it physically, but to then address the wound or fear to a person who had something to do with whatever unresolved feeling was back there.

One Chicano student described a town center in Mexico where an incident had occurred that caused his family to flee to the U.S. What happened to his family is less important than what happened to his peers as a result of his avowal. His poem gave his classmates both insight into and greater empathy for him.

What do you consider to be the benefits of writing workshops for special groups (i.e. teens, elders, the disabled, veterans, prisoners)?
I have only worked with male populations where posturing and bravura run deep. But given an opportunity to see that their vulnerability will not be used against them, these boys will open up. I think some of these young men feel—and sometimes rightfully so—like the words in Patricia Smith’s poem, “CRIPtic Comment”:

If we are not shooting
at someone
then no one
can see us.

There is the sense that these boys feel both seen and heard during our time together. In one of the P&W–supported Cook County Juvenile Detention workshops, I used Langston Hughes’s “The Negro Speaks of Rivers”:

I've known rivers:
I've known rivers ancient as the world and older than the
     flow of human blood in human veins.

Hughes’s piece has an epic reach—bodies of water of mythic, cultural, and historic proportion. I talked about Hughes’s “knowing.” I got the boys to write about things they knew intimately, using Hughes’ structure to organize their “knowing.” One participant wrote about the various sneakers he has “rocked”:

I’ve known Nikes, shell-top Adidas...

You get the idea.

Another student had lived in Illinois and Indiana, so he wrote about “knowing” distinct parts of these two states, both in terms of geography but also the “temperature” of different communities.

What's the strangest question you’ve received from a student?
I am pretty zany so no question strikes me as strange. I do get a lot of “Why do you sweat so much?”

Photo: David Mills. Credit: Luig Cazzaniga.

Support for Readings/Workshops events in Chicago is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.

My Hometown

9.20.12

Some of the best stories and essays revolve around the author's hometown. Spend fifteen minutes freewriting about the town or city in which you grew up. Focus on the people, the places, the landscape, and the memories surrounding them. Where was your favorite place to eat? Who were the most interesting characters? What did you do with your family and friends? What did the school look like? Where did you go when you wanted to run away?

Near-Death Experience

9.12.12

Extreme experiences can significantly alter our perspective on life. Write an essay about a time when you faced a near-death experience, or believed you were in serious danger. Consider the following questions: How did you react immediately? How did you respond later? In retrospect, do you wish you'd reacted differently when it happened? What from the experience do you still carry with you?

A Summer Scene

Now that fall has almost arrived, ruminate about all that happened over the summer. Choose a moment or a scene that you distinctly remember and freewrite about it. What took place? Who was involved? Is it important? If not, why did you remember it? How did it make you feel? Review your freewriting and transform what you discover into an essay that transcends the subject at hand, so that it has universal appeal to readers.

PEN American Center Announces Winners of 2012 Literary Awards

The New York City-based PEN American Center recently announced the winners of the 2012 PEN Literary Awards. For over fifty years, PEN has given awards to the most promising and distinguished voices in the literary community. This year, eighteen grants, awards, and fellowships have been given to emerging and established writers from all over the country. The following are just a few of this year's winners.

Susan Nussbaum received the inaugural PEN/Bellwether Prize for Socially Engaged Fiction for her manuscript, Good Kings Bad Kings. Founded by author Barbara Kingsolver, the $25,000 prize is given biennially to an author for an unpublished novel that addresses issues of social justice. The prize also includes a publishing contract with Algonquin Books. Rosellen Brown, Margot Livesey, and Kathy Pories judged.

Vanessa Veselka won the PEN/Robert W. Bingham Prize for her novel, Zazen (Red Lemonade, 2011). The $25,000 award is given to a fiction writer whose debut work, published in the previous year, “represents distinguished literary achievement and suggests great promise.” Lauren Groff, Dinaw Mengestu, and Nami Mun judged.

Fiction writer E. L. Doctorow won the PEN/Saul Bellow Award for Achievement in American Fiction. The $25,000 prize is given to a writer “whose body of work places him or her in the highest rank of American literature.” Don DeLillo, Jennifer Egan, and George Saunders judged.

James Gleick won the PEN/E. O. Wilson Literary Science Writing Award for The Information: A History, a Theory, a Flood (Pantheon Books, 2011). The $10,000 prize is given for a book of literary nonfiction on the subject of physical or biological sciences published in the previous year. Elizabeth Kolbert, Charles Mann, and Dava Sobel judged.

The late Christopher Hitchens received the PEN/Diamonstein-Spielvogel Award for the Art of the Essay for his essay collection Arguably (Twelve, 2011). The $5,000 award is given for a book of essays published in the previous year that “exemplifies the dignity and esteem of the essay form.” Robert Boyers, Janet Malcolm, and Ruth Reichl judged.

Robert K. Massie won the PEN/Jacqueline Bograd Weld Award for Biography for Catherine the Great: Portrait of a Woman (Random House, 2011). The $5,000 award is given for a biography published in the previous year. Blake Bailey, Daphne Merkin, and Honor Moore judged.

Fiction and nonfiction writer Siddhartha Deb won the PEN Open Book Award for his memoir, The Beautiful and the Damned: A Portrait of the New India (Faber & Faber, 2011). The $5,000 prize is given for a book by an author of color published in 2011. Alexander Chee, Mat Johnson, and Natasha Trethewey judged.

Poet Toi Derricotte won the PEN/Voelcker Award for Poetry. The $5,000 prize is given to a poet whose “distinguished and growing body of work represents a notable presence in American literature.” Dan Chiasson, Aracelis Girmay, and A. Van Jordan judged.

Jen Hofer won the PEN Award for Poetry in Translation for her translation of Negro Marfil/Ivory Black by Myriam Moscona (Les Figues Press, 2011). The $3,000 award is given for a book-length translation of poetry into English published in the previous year. Christian Hawkey judged.

Bill Johnston won the PEN Translation Prize for his translation of Stone Upon Stone by Wiesław Myśliwski (Archipelago Books, 2011). The $3,000 prize is given for a book-length translation of prose into English published in the previous year. Aron Aji, Donald Breckenridge, and Minna Proctor judged.

Margaret Sayers Peden received the PEN/Ralph Manheim Medal for Translation, which is given to a translator “whose career has demonstrated a commitment to excellence through the body of his or her work.”

The winners and finalists of this year's awards will be honored at the 2012 Literary Awards Ceremony on Tuesday, October 23 in New York City. PEN will begin accepting submissions for its 2013 Literary Awards on October 1. For a comprehensive list of this year’s winners and finalists, and for information and guidelines for the 2013 prizes, visit the PEN American Center website.

 

Table of Contents

8.23.12

Compose a table of contents for your life. Include titles, subtitles, sections, and chapters that outline a period—or the entirety—of your life. Once you've finished the table, write a brief summary for each section.

Tim O’Brien Receives Dayton Literary Peace Prize

Author Tim O’Brien has been awarded the 2012 Dayton Literary Peace Prize’s Richard C. Holbrooke Distinguished Achievement Award. O’Brien, a Vietnam veteran whose work often deals with war, and who is perhaps most well known for his short story collection The Things They Carried, will receive $10,000.

Established in 2006 and inspired by the 1995 Dayton Peace Accords that ended the war in Bosnia, the Dayton Literary Peace Prize is given internationally for literature that promotes peace, social justice, and global understanding. In addition to two annual prizes given for a work of fiction and a work of nonfiction published in the previous year, the Richard C. Holbrooke Award—named for the United States diplomat who played an instrumental role in negotiating the Dayton Accords—is given annually for a body of work.

"The Dayton Literary Peace Prize promotes the cause of peace by helping people understand the ugly realities of war on a deep, personal level, which is exactly what I strive to do in my work," O'Brien said. "Over what has been a long career, this award means more to me than any other—by far."

Originally from Austin, Minnesota, O’Brien served in the United States Army in Vietnam for a year, and later worked as a national affairs reporter for the Washington Post. His first book was the 1973 memoir about his experiences at war, If I Die in a Combat Zone, Box Me Up and Ship Me Home. He received a National Book Award in 1979 for his novel about Vietnam, Going After Cacciato (Doubleday); his 1990 collection, The Things They Carried (Houghton Mifflin Harcourt) was a finalist for the Pulitzer Prize and the National Book Critics Circle Award, and won the French Prix du Meilleur Livre Étranger; In the Lake of the Woods (Penguin, 1995) received the James Fenimore Cooper Prize for Best Historical Fiction. His most recent novel is July, July, published by Houghton Mifflin in 2002. The sixty-five-year-old O’Brien lives in central Texas and teaches writing in the MFA program at Texas State University in San Marcos.

Previous Peace Prize winners include Geraldine Brooks, Barbara Kingsolver, Studs Terkel, and Elie Wiesel. The awards will be presented at a ceremony in Dayton, Ohio, on November 11.

In the following 2010 Art Works podcast from the National Endowment for the Arts and Public Radio Exchange, O’Brien discusses The Things They Carried on the twentieth anniversary of its release.

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