Insatiable seeker of knowledge. Lover of things strange and obscure. Writer. Metalsmith. Mother. English major at Arizona State University. Purveyor of irony and laughter at inappropriate moments. Firm believer that there is magic to be discovered whispering from the library shelves, in the flickering flame of a candle, and in the dancing in the visions of dreams. Brandi lives in Albuquerque, New Mexico with her daughter and a black cat. Books keep piling up in her house, and she is constantly wondering if there is space for yet another bookshelf. Her ultimate goal is a Ph.D. in Literature, and to live a life of words and discovery.
Are you hungry for the avant-garde of the literary world? Do you find yourself seeking out the newest, previously undiscovered works of up-and-coming authors? Are you the first one of your friends to ask “have you read this yet?” If so, then be sure not to miss out on The Virginia G. Piper Center for Creative Writing annual student showcase.
Creative writing students from all walks of life will be presenting their original works in an evening of story, poetry, and literary celebration. Included will be works of of fiction, non-fiction, poetry, essays, food writing, science fiction, historical fiction, and more. The evening will also feature writing from several published and award-winning authors.
This marvelous event is sure to be filled with the creative outpourings of burgeoning artists, plenty of twists and turns, perhaps some surprising reveals, and most certainly some ground-breaking and thought-provoking word play!
The Piper Writers Studio is “committed to supporting writers in every stage of their development” with “challenging and diverse educational opportunities.” Anyone, not just ASU students, can attend the not-for-credit classes held in this division of the Virginia G. Piper Center for Creative Writing. The studio welcomes writers of all levels of experience and seeks to help them grow from the point they are at, be that novice or seasoned professional. Class sizes are small, and are taught by local and visiting faculty. Please visit piper.asu.edu/classes/about for more information about classes, instructors, etc.
It’s November again, and that means that there’s some serious writing energy in the air. November is the month that writers from all over the world sit down to touch pen to paper, or fingertips to keys (be they of the analog or digital variety), and participate in what is known as NaNoWriMo. The elongated title of this exciting event is National Novel Writing Month, a challenge during which authors strive to write 50,000 words of a novel in November. NaNoWriMo is also the name of a non-profit organization (www.nanowrimo.org) which provides support, opportunity and encouragement to writers during this, and every one of their writing adventures.
Encouragement is of the utmost importance when beginning any new creative project. The process realizing our visions is immense. Even more overwhelming, is allowing ourselves the vulnerability to share our unique perspective. In times like these a few words of wisdom, by someone who has walked the same path, can be invaluable. Read on for some excellent tomes of sage advice for authors by authors. These books are filled with just the glimmer of hope that tender creatives need, often sprinkled with the wry humor and earth-shattering honesty that the best of authors are known for.
“Make Good Art” – Neil Gaiman. The printed and bound version of Neil Gaiman’s 2012 commencement speech to Philadelphia’s University of the Arts is not technically a book. However, its place as number one on this list is well-deserved. “Make Good Art” is a fantastic call-to-arms for any artist, not just writers. Gaiman delivers advice on having the courage to go out into the world and create. He urges artists who are just starting out, as well as seasoned artists, to ignore the boundaries created by the world and those that we create ourselves. He insists that no matter what you are facing, what you are going through, if you are an artist, you must create. This speech is an essential read for anyone who needs a little motivation given with a lot of heart. Put it on the shelf over your desk. Put it by the bathroom mirror so you see it when you brush your teeth in the morning. Put it anywhere that its powerful message can reach you again and again.
Bird by Bird – Anne Lamott. If you have seen Lamott’s Bird by Bird come up on many lists similar to this one, it’s for a very good reason. The advice given to writers by Anne Lamott is like that of your most honest older sister, the one that you are secretly intimidated by because she is so cool. With wit and cutting humor, each essay in this volume explores a different aspect of the craft of writing or the act of being a writer. If for no other reason, this collection is invaluable for the essay, “Shitty First Drafts,” which urges writers to put pen to paper, regardless of perfection. This is a hard won lesson, but it is absolutely essential to the writers’ craft. If you want to learn how literature’s cool sister does this writing thing, then Lamott’s advice is definitely for you.
On Writing – Stephen King. The catalog and success of Stephen King is daunting to say the least. One of the most prolific writers of our time, this man has been doing it, and doing it well for very long time. He has built an empire based purely on his evocative imagination and his drive to produce more and more work. In his book, On Writing, King talks about his own experience as a writer, as well as delivering both philosophical and practical advice to the aspiring writer. In this edition, King also describes his life-threatening vehicular accident, and how he had to struggle back to his life’s work. With sections titled “What Writing Is,” and “Toolbox,” King’s memoir is full of the tried and true methods which this powerhouse of an author has himself used. Even if you are not a devoted fan, this book is real-world advice from a man who has made writing into a way of life.
The Faith of a Writer – Joyce Carol Oates. In The Faith of a Writer, the well-respected and award-winning author Joyce Carol Oates weighs in on what it means to be a writer. She discusses how important reading is for the aspiring writer, how the journey towards self-knowledge is essential to the work, and how great ideas are not enough if they are not paired with the craft of good writing. Perhaps one of the most poignant pieces of advice that Oates offers in this slim, but forceful piece is simply the words “Write your heart out.” Offering both insight into what inspires a writer of Oates’ caliber to what is essential to narrative craft, this piece will inspire with its elegant guidance.
Advice to Writers – Jon Winokur. Last, but certainly not least is Advice to Writers, compiled and edited by Jon Winokur. The gathered advice of more than four hundred authors delivered in small quotes, snippets, anecdotes and even short lists. Somewhat tongue-in-cheek and willfully contradictory, this often hilarious and sweepingly insightful collection touches on all aspects of living the writers’ life. While there isn’t much for concrete wisdom on the logistics of writing to be found here, what Winokur has compiled is a joyful reminder that at the end of the day, writing is about the pure pleasure of telling a story, and doing it with style.
Listen, if you’ve read my previous post, you’re probably thinking to yourself…is Poe the only thing she ever writes about? The answer is, no. Come on though, it’s October! Who better to usher us (“The Fall of the House of Usher” anyone?) through this season than literature’s resident psychopomp, Edgar Allan Poe?
In all seriousness, Poe’s work has captured the imaginations of generations of readers, which made me want to consider why these stories keep us coming back. What is it about Poe’s writing that continues to intrigue and even terrify us?
My answer: meticulously crafted work; that is how. Poe is a master of his art. His words are carefully chosen to render their chosen effect, guiding the reader down whatever dark hallway, or shadowed path he has carved out for them. So, I invite you to examine with me one of Poe’s most famous works, his poem “The Raven,” and appraise exactly how this wordsmith operates.
In Poe’s “The Raven,” the unnamed speaker slowly follows his own obsessive preoccupation with death into madness, taking the audience along with him. The speaker is addressing a bird (who may be a figment of his imagination) with philosophical questions regarding the afterlife. The repetition of an automated response from this bird causes the speaker to become emotionally unstable, his own morbid and melancholy brooding leading him to infer meanings from this response which further his distress.
One of the main devices which Poe uses to achieve this effect is repetition. During the course of the poem, certain words, sounds, and emotions are reiterated in different variations so as to mimic the mania building inside of the speaker.
The tone of irrational fixation becomes clear in the second stanza of the poem:
Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor, Eagerly I wished the morrow; –vainly I had tried to borrow From my books surcease of sorrow–sorrow for the lost Lenore– For the rare and radiant maiden whom the angels name Lenore– Nameless here for evermore. (7-12)
Poe makes a point to state that it is “bleak December” (7). This information, in addition to the fact that the events are taking place at midnight, alludes to the end of something, a kind of death of the day or year. The emphasis is again placed on death when the speaker notes that, “each separate dying ember wrought its ghost upon the floor” (8). This vivid, and none too subtle, metaphor drives home the melancholy tenor of the speaker’s thoughts.
It is then stated that this somber mood is because of the loss of a loved one, a beautiful woman named Lenore (11). Within this brief stanza the idea of death is hinted at, or directly addressed, over and over again, leaving no doubt as to the singularity of thought in the speaker.
This stanza is also an excellent example of the pointed word choices that Poe employs. The author states in his essay “The Philosophy of Composition,” that he is building atmosphere by “unusual, and some altogether novel effects, arising from an extension of the application of the principles of rhyme and alliteration” (Poe, 743). The stanza is comprised of a quatrain and a couplet; the final two lines (couplet) rhyme with one another, as well as rhyming with the final line in the quatrain. This produces a musical quality that is emphasized further by the use of internal rhyme within the stanza.
In the first and second lines the words “remember,” “December,” and “ember” all appear in close proximity (7-8). This is mirrored in the third and fourth lines by the words “morrow,” “borrow,” and “sorrow” (9-10). This sing-song hypnotic quality pulls the reader in, as the speaker himself is being pulled into his obsession.
By employing the device of repetition in both the tone of the poem, as well as in creative technique, Poe is able to establish an impression of compulsive insanity. The speaker circles around and around the same thought, with each pass becoming more frenzied and unstable. A replication of the anxiety which fills Poe’s speaker is created in the audience by proxy. The reader is subjected to the same unceasing thoughts that the speaker himself experiences. At the end of Poe’s poem, the desired effect is produced, and both the speaker and the reader are exhausted; each being oddly satisfied with an abundance of sorrow and lunacy.
Poe, Edgar Allan. “The Philosophy of Composition.” The Norton Anthology of American Literature. Robert S. Levine. New York: W.W. Norton & Company, 2013.
Poe, Edgar Allan. “The Raven.” The Norton Anthology of American Literature. Ed. Nina Baym, Robert S. Levine. New York: W.W. Norton & Company, 2013.
“The Purloined Letter” by Edgar Allan Poe from Edgar Allan Poe: Collected Works, introduction by A.J. Odasso
Publisher: Canterbury Classics Genre: Horror Fiction Classics Publication Date: November 2011 Pages: 724 Format: Leather-Bound Hardcover Buy Local My Rating: 5/5 stars
The third in Poe’s series of detective stories, “The Purloined Letter” follows the work of amateur detective C. Auguste Dupin. The detective is presented with a case that has otherwise stumped the Parisian police, the theft of an incendiary letter. After hearing the story of the theft, and the methods applied to find it, Dupin makes short work of recovering the letter himself.
The actual recovery takes up only a little of the story. What is important is the extraordinary means by which Dupin was able to solve the mystery: the key being the use of a singular kind of logic. Dupin’s success was achieved in immersing himself in the psychosis of the criminal in order to better understand him. By these means he is able to predict his opponent’s actions. So successful is this line of reasoning, that a deep empathy is unveiled between criminal and detective, an empathy which reveals not only the location of a letter, but also exposes the foundations of that which makes up C. Auguste Dupin.
As we move into spooky season, with the cold hands of fall brushing the backs of our necks, our thoughts turn inwards. The time for reflection and consideration has come. We will explore the landscapes of our own inner selves, shedding and releasing those things which no longer serve us in order to make space for new growth. I can think of no better representative of this somewhat macabre period of personal death and rebirth, than master of morbid himself, Edgar Allan Poe. I would like to focus on what I consider to be the perfect opener to the season of self-reflection, Poe’s “The Purloined Letter.”
“The Purloined Letter” presents a compelling case for the duality of the human soul. Empathy of the variety used by Dupin comes from an understanding born of personal experience. The experience, in this case, does not mean that the detective has engaged in illicit activity. Instead, it implies that his psychological make-up is such that he has subversive impulses. By allowing himself to experience the emotional current of another, recognizing and understanding this person completely, Dupin is also recognizing these qualities within himself. Any allegiance to lawful life is therefore a choice, born out of social and moral awareness, rather than inherent feeling. Dupin could as easily be a notorious criminal as he is a celebrated sleuth.
In this story, Poe’s detective is representative of the duality inherent in all people. A polarity which those of great imagination can access and utilize to transform their own perceptions. This theme feels very relevant to fall’s pensive mood. It speaks to the ideas which we might be examining within ourselves. Who have we been in the past, and who will be in the future?
So, curl up under a warm blanket with a mug of your favorite steamy beverage and submerge yourself into the world of Edgar Allan Poe. A world where nothing is as it seems. Stare into the glass of the double-sided mirror of C. Auguste Dupin. Walk hand in hand with Poe down the shadowed and winding road of an existence somewhere between the light and the dark.