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Going the Distance with Charlotte Boulay
We asked Charlotte Boulay, author of Foxes on the Trampoline, if she ever seriously consider giving up and what kept her going...
I considered giving up on writing lots of times, and I still consider it now. When I read interviews where writers talk about how inherent writing is to their daily routines, or how they just have so much to say they can’t imagine not writing, even if no one published them, ever, I find these attitudes foreign, and sort of bullshit. Writing is hard. I think it’s hard for everyone. I think writers who say that they revel in the hardness are lying, or are masochists (this is all writers, actually), or are maybe on some wonderful anti-depressants that I should really look into sometime.
My process to publishing a first book was full of stops and starts and years when I barely wrote anything at all. I wrote a lot in college, and because I went to a really small school, I was kind of a big fish in a little pond, so I got a fair amount of attention given to my writing. I remember being a few years out of college, and working a full-time job that was really consuming, and I called my college poetry professor, Dr. Albert Glover, who had encouraged me and mentored me for four years, and just whining to him on the phone about how hard it was to write and work at the same time. “Well,” he said calmly, matter-of-factly, “maybe you’re done.” I was totally stunned. I had been calling to talk through applying to grad schools to get my MFA. Maybe I was DONE? I wasn’t DONE. I had barely begun! I didn’t say this on the phone; I think I sort of stuttered or something. But he’d made his point. It doesn’t matter how hard it is—either you’re going to do it or you’re not. That’s the only decision there is to make. And deciding you will do it doesn’t mean it won’t be hard and generally suck most of the time.
So why do it? There’s an almost audible click inside me somewhere when a poem finally comes together. Some poems never get there, which is frustrating, especially if I’ve been working on them for months, or even years, but when it does happen, it’s like nothing else. I’ve created something where there was nothing. That makes it worth it. I’ve been lucky enough that throughout the seven years I worked on my first book, Foxes on the Trampoline, those moments of creation were followed, sooner or later, with moments of publication. Getting that outside validation is so valuable. It helps. I’m not sure I would have kept going without it. I was reaching the point with Foxes where I thought if it didn’t get published in a second round of contest submissions, I would have to put it in a drawer and move on to something else. This is a thing you read about people doing—when they finally achieve success they talk about the two or three or six manuscripts they abandoned before they got published. I don’t know if I could have done it. Then again, those mornings (most mornings) when I’m staring at a jumble of words or a blank page, there’s always Albert’s voice asking me whether I’m just done. So far, the answer is still no.
Charlotte Boulay grew up in the Boston area and attended St. Lawrence University. She earned her MFA from the University of Michigan, where she taught composition and creative writing for five years. Her work has appeared in The New Yorker, Slate, The Boston Review, and Crazyhorse, among other journals. Foxes on the Trampoline is her first book, and was published in April 2014 by Ecco Press/HarperCollins. She lives with her husband in Philadelphia.
Double Duty
This week Joanna Serth talks to us about being a writing mom, in the first of our Writing Moms posts by our guest author bloggers.
I wrote this a week ago. I composed it entirely in my head. Right before I fell asleep. Like every writer I have ever known, I do my best work in the minutes before my brain shuts down for the day. Unlike every writer I have ever known, I immediately forget what I have crafted come morning, when my brain is jolted awake by the sound of a toddler scattering hundreds of Cheerios on the kitchen floor while attempting to make her own breakfast.
It took me a week to find the last of the scattered Cheerios and a week to get my thoughts on paper.
I am a full-time mother and a part-time writer. My days are spent catering to the needs of three young children. Just like other writers with full-time employment, my writing is relegated to any available moment I can find in between the completion of my daily duties and responsibilities. I find time to write a few paragraphs while my children are playing outside or doing their homework or watching a movie or soaking in the bath or fist fighting over Lego pieces in the basement. There is never a large swath of time to linger on an essay or fully flesh out an idea. I can measure my daily free time in minutes, not hours.
As a result, I am selfish with those minutes. I guard those minutes. I hoard those minutes. I ignore the dirty dishes, the cloudy windows, the dusty baseboards, and the toys all over the living room rug. Sometimes, I ignore my children. I am a selfish writer. A selfish, writing mother that believes I should still get something that is all mine. A mother that believes my young children shouldn’t get to claim every nook and cranny of my life.
This selfishness pushes against the prevailing theory of motherhood that tells us that a mom should be all mom. Side passions not allowed. As mothers, we’re told to cherish every minute with our children, that this time in our life is brief, that one day our children will be grown. I know this to be true but when that time comes, I want to be able to say to my children, “Look what I did when you were late for school that one day.”
“Look what I wrote while you were eating crumbs off of the kitchen floor.”
“Look at this story, this story of your life, our life, that I wrote when no one was looking.”
This is why I write. This is why it’s important I find the time to write. This is how I mother and write.
My children are my life, my employment, and my day to day. Writing is my escape, my sanity, and my way of making order out of chaos. It is incredibly important to me. To not find the time to write amidst the daily duties of mothering would be to deny myself. And, my children deserve better than that. They deserve the best me. The best mother I can be.
Joanna Serth writes a little bit about everything at ofgoodfamily.com. Prior to freelance writing, Joanna worked in resource management, product marketing and, for the briefest of moments, in television news. She lives with her husband and three children in Virginia.
Scott Cheshire, Guest Blogger
35 Over 35 asked:
Did you publish other pieces while working on your book, or did you stay focused solely on the larger project at hand?
I published quite a bit while working on the novel—short stories, essays, book reviews, interviews. And all of that work was necessary. I’m a bit obsessive and need to have several projects going at once, to keep me focused. Even now, I’m writing a new novel, two short stories, a play, and a screenplay. For some this would bring on madness—but it keeps me busy, and when I’m busy I get things done. It’s when I have plenty of time to write, that I do not. Not to mention, for me, writing is about story, yes, but first and foremost, it’s about the question I want answered at the time. After my publisher bought the novel, someone asked me if I was religious (because the novel is partly about a religious father and a son who no longer believes), and I said no, I was not. Which brought on the question: then why did you write this novel? I was not exactly sure how to articulate my answer, and so I wrote an essay about it. After the novel came out, I was asked if writing the book had changed my take on the subject, and yet again, I was not sure how to answer. I wrote another essay. In the last few months of finishing the book, I wrote a short story about military interrogation, violence, and torture, because the novel was so steeped in the subject of “goodness,” and I wondered if I could write compellingly of its opposite. And I did several interviews with other writers (I was the interviews editor at a journal) because I wanted to hear their take on writing and reading and see how my own perspectives compared. What might I learn? I think this is the seed for everything I read, and everything I write, and most certainly while writing a novel: what can I learn about myself, and the world, before I’m gone.
Scott Cheshire earned his MFA from Hunter College. His work has been published in Harper's, Electric Literature, Slice, AGNI, Guernica and the Picador anthology The Book of Men. He lives in Los Angeles. High as the Horses’ Bridles is his first novel.
D. Foy
Made to Break, D. Foy, Two Dollar Radio
Two days before New Years, a pack of five friends—three men and two women—head to a remote cabin near Lake Tahoe to celebrate the holidays. They’ve been buddies forever, banded together by scrapes and squalor, their relationships defined by these wild times. After a car accident leaves one friend sick and dying, and severe weather traps them at the cabin, there is nowhere to go, forcing them to finally and ultimately take stock and confront their past transgressions, considering what they mean to one another and themselves. With some of the most luminous and purple prose flexed in recent memory, D. Foy is an incendiary new voice and Made to Break, a grand, episodic debut, redolent of the stark conscience of Denis Johnson and the spellbinding vision of Roberto Bolaño.
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Dan Barber
The Third Plate, Dan Barber, Penguin Press
Dan Barber, an award-winning chef, moves beyond “farm-to-table” to offer a revolutionary new way of eating. After more than a decade spent investigating farming communities around the world in pursuit of singular flavor, Barber finally concluded that–for the sake of our food, our health and the future of the land—America’s cuisine required a radical transformation.
Drawing on the wisdom and experience of chefs, farmers and seed breeders around the world, Barber proposes a new definition for ethical and delicious eating.
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Charlotte Boulay
Foxes on the Trampoline, Charlotte Boulay, Ecco
Foxes on the Trampoline is a thrilling debut poetry collection from Charlotte Boulay, which examines how we shape the world and, in turn, how the world shapes us.
The poems in Foxes on the Trampoline investigate worlds natural and man-made, and the spaces in between, as they question how we are shaped by our surroundings, and shape them in turn. They limn the tenuous control we think we may have over nature, objects, and relationships, as the book wonders—what is enough? With language both feverish, finely wrought, and wry, Foxes on the Trampoline travels through the landscapes of America, India, and contemporary art, examining the loneliness and solace to be found in each.
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Kelly Bowen
I've Got My Duke to Keep Me Warm, Kelly Bowen, Forever/Grand Central
Calm. Cool. Collected. Gisele Whitby has perfected the art of illusion-her survival, after all, has depended upon it. Years ago, to escape an abusive husband, Gisele "disappeared." Now she must risk revealing her new identity to save another innocent girl from the same fate. But she needs a daring man for her scheme, and the rogue in question shows a remarkable talent . . . for shattering Gisele's carefully constructed facade and igniting her deepest desires.
"In this delightful, poignant, debut that sets Bowen on the path to become a beloved author, the innovative plotline and ending are only superseded by the likable, multidimensional characters: a strong-willed heroine and a heart-stealing hero. Get set to relish Bowen's foray into the genre." - RT Book Reviews
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Krista Bremer
My Accidental Jihad, Krista Bremer, Algonquin Books
Fifteen years ago, Krista Bremer was a surfer and an aspiring journalist who dreamed of a comfortable American life of adventure, romance, and opportunity. Then, on a running trail in North Carolina, she met Ismail, sincere, passionate, kind, yet from a very different world. Raised a Muslim--one of eight siblings born in an impoverished fishing village in Libya--his faith informed his life. When she and Ismail made the decision to become a family, Krista embarked on a journey she never could have imagined, an accidental jihad: a quest for spiritual and intellectual growth that would open her mind, and more important, her heart.
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Nicole Callihan
SuperLoop, Nicole Callihan, Sock Monkey Press
Borrowing her title from the old carnival ride that loops its riders round and round, Nicole Callihan's SuperLoop is as familiar and as thrilling as another go on a long loved ride. Paired with artwork from fellow Brooklyn-ite Re Jin Lee, Callihan's poems sometimes wild, sometimes quiet, always unassuming take us to a place we've been before, but through her eyes that dusty place becomes a bit more magical. Here, the waitress always brings extra whipped cream; divorced parents fall into each other's arms; orchids grow; and, in spite of themselves and the world around them, people find love and walk, albeit reluctantly, into the sunset.
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Scott Cheshire
High as the Horses' Bridles, Scott Cheshire, Henry Holt
It’s 1980 at a crowded amphitheater in Queens, New York and a nervous Josiah Laudermilk, age 12, is about to step to the stage while thousands of believers wait to hear him, the boy preaching prodigy, pour forth. Suddenly, as if a switch had been flipped, Josiah’s nerves shake away and his words come rushing out, his whole body fills to the brim with the certainty of a strange apocalyptic vision. But is it true prophecy or just a young believer’s imagination running wild? Decades later when Josiah (now Josie) is grown and has long since left the church, he returns to Queens to care for his father who, day by day, is losing his grip on reality. Barreling through the old neighborhood, memories of the past--of his childhood friend Issy, of his first love, of the mother he has yet to properly mourn--overwhelm him at every turn.
In rhapsodic language steeped in the oral tradition of American evangelism, Scott Cheshire brings us under his spell. Remarkable in scale--moving from 1980 Queens, to sunny present-day California, to a tent revival in nineteenth century rural Kentucky--and shot-through with the power and danger of belief and the love that binds generations, High as the Horses’ Bridles is a bold, heartbreaking debut from a big new American voice.
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John Darnielle
Wolf in White Van, John Darnielle, FSG
"Welcome to Trace Italian, a game of strategy and survival You may now make your first move." Isolated by a disfiguring injury since the age of seventeen, Sean Phillips crafts imaginary worlds for strangers to play in. From his small apartment in southern California, he orchestrates fantastic adventures where possibilities, both dark and bright, open in the boundaries between the real and the imagined. As the creator of Trace Italian--a text-based, role-playing game played through the mail--Sean guides players from around the world through his intricately imagined terrain, which they navigate and explore, turn by turn, seeking sanctuary in a ravaged, savage future America.
Beautifully written and unexpectedly moving, John Darnielle's audacious and gripping debut novel is a marvel of storytelling brio and genuine literary delicacy.
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Polly Dugan
So Much a Part of You, Polly Dugan, Little, Brown
Two young women who've dated the same man navigate love, destiny, loss, and choice in this powerful debut. Anna Riley and Anne Cavanaugh have had a lover in common, but it's not until a pivotal moment in one of their lives that their paths unforgettably converge. Peter Herring was the center of Anne's universe in college, and now, a few years later, he's become the center of Anna's, and merely a minor player in his ex-girlfriend's world.
Through exploring Anne's and Anna's ties to Peter and unfolding the narratives of the people who weave meaningfully in and out of their lives, Polly Dugan reveals the power of family secrets, the ripple effects of her characters' emotional choices, and how poignantly their intertwined relationships shape who they are and how they love.
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Nazila Fathi
The Lonely War: One Woman's Account of the Struggle for Modern Iran, Nazila Fathi, Basic Books
In the summer of 2009, as she was covering the popular uprisings in Tehran for the New York Times, Iranian journalist Nazila Fathi received a phone call. "They have given your photo to snipers," a government source warned her. Soon after, with undercover agents closing in, Fathi fled the country with her husband and two children, beginning a life of exile.
Drawing on over two decades of reporting and extensive interviews with both ordinary Iranians and high-level officials before and since her departure, Fathi describes Iran's awakening alongside her own, revealing how moderates are steadily retaking the country.
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Julia Fierro
Cutting Teeth, Julia Fierro, St. Martin's Press
Cutting Teeth takes place one late-summer weekend as a group of thirty-something couples gather at a shabby beach house on Long Island, their young children in tow.
Throughout the weekend, conflicts intensify and painful truths surface. Friendships and alliances crack, forcing the house party to confront a new order. Cutting Teeth is about the complex dilemmas of early midlife--the vicissitudes of friendship, of romantic and familial love, and of sex. It's about class tension, status hunger, and the unease of being in possession of life's greatest bounty while still wondering, is this as good as it gets? Julia Fierro's warm and unpretentious debut explores the all-consuming love we feel for those we need most, and the sacrifice and compromise that underpins that love.
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Stewart Foster
We Used To Be Kings, Stewart Foster, Jonathan Cape
We Used To Be Kings is the story of a young boy’s descent into madness following the loss of everything he knows. Set in the 1970s, it is reminiscent of unusually hot summers, pictures of Russians in space and war on our doorstep. It’s an audacious, at times hilarious story that is ultimately heartbreaking and unforgettable.
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