Richard Peabody – C.M. Mayo's Book Notes & Convos

Itty Bitty But Bold! From the Archives: “Revision: Take a Chainsaw to Those Little Darlings, Prune, Do No Harm, Be an Archaeologist, Move the Furniture Onto the Front Lawn, Flip the Gender”

BY C.M. MAYO — October 11, 2021
UPDATE: This blog was then entitled Madam Mayo (2006-2022).

This blog posts on Mondays. Second Mondays of the month I devote to my writing workshop students and anyone else interested in creative writing. Welcome!
> For the archive of workshop posts click here.

Be bold! Some wacky guys demonstrate the concept by taking an itty bitty step… off the top of a mountain.

Boldly nurture your creativity! Heed the call to your greatness, your highest self, ever and always! Even if you feel itty bitty! Because you know that first draft is crap! Herewith, a set of tips and tricks to, by the itty and by the bitty, get your revision mojo mojoing.

Revision: Take a Chainsaw to Those Little Darlings, Prune, Do No Harm, Be an Archaeologist, Move the Furniture Onto the Front Lawn, Flip the Gender

Originally posted on Madam Mayo blog, by C.M. Mayo, May 1, 2006

Revision on my mind… as I am revising the revision of the revision (of the revision) of my novel… which has already undergone a few chainsaw massacres… more than Texas-sized… Australia-sized (I’m talking 250 pages)… I am also gearing up to give a special one day workshop on Revision at the Writers Center this May 14th [2006]… So I recently asked a few writer friends for their thoughts on revision. Novelists Mary Kay Zuravleff and Carolyn Parkhurst were both in my writing group; first-hand I’ve seen how good they are with revision. Check out their websites to see what they’re up to– both have wonderful new novels out. Dinty W. Moore is the author of many books, most recently The Truth of the Matter: Art and Craft in Creative Nonfiction. Dawn Marano is fine writer of creative nonfiction and, bless her heart, the editor of my memoir, Miraculous Air. Known to all in literary Washington DC but the brain dead, Richard Peabody is a poet, fiction writer, editor, publisher and writing teacher. Check out his website– he’s offering a novel writing workshop.

Here’s what they had to say on revision:

“the smell pass, the hearing pass”

MARY KAY ZURAVLEFF
“The prose on my pages doesn’t match what I’ve envisioned for drafts and drafts. Near the end, I make a pass for each of the senses. There’s the smell pass, the hearing pass, etc., as I try to vivify every sidelong glance. Then it’s time to prune it back so readers don’t choke on details!”

“first, do no harm”

CAROLYN PARKHURST
“When facing revisions, I think it’s useful for a writer to begin from the same starting point as a doctor: first, do no harm. Revision is a vital part of the writing process, but it’s possible to revise all the life out of something if you’re not careful. Never lose sight of what was artful and compelling about the piece in its purest state: when it existed only in your imagination.”

“curiosity… questions”

DAWN MARANO
“Substantive revision—as opposed to line-editing, that is, moving commas around and such—begins when a writer returns to a draft of her work with the curiosity of, say, an archaeologist. Arrayed before her are the traces of a lost civilization—in this case, sentences and paragraphs instead of material artifacts—that are waiting for her to see them with the fresh and patient eye of possibility: ‘What larger meaning or context might this perplexing fragment of thought I left undeveloped be a part of? What is this clever demurral or summarization disguising or helping me avoid writing about? What story am I really trying to tell myself with this assemblage of words on the page?’”

“the conscious choice that it belongs”

DINTY W. MOORE
“Simply proofreading your second or third draft and fixing a few awkward sentences is similar to remodeling a room by dusting the end tables and rearranging the pillows on the sofa — not much changes. The true act of revision comes when a writer is willing to move each piece of furniture out onto the front lawn, roll up the area rugs, take the pictures down from the wall, and then, on a case by case basis, decide what returns to the room, and where it will be situated. Sometimes a favorite table has to be left out on the curb for recycling, because it just doesn’t fit anymore; maybe some new furniture is purchased (a new scene is written); perhaps the walls are painted a new color (voice or point-of-view shifts); or maybe all of the furniture is returned but in a different configuration — what’s important is that nothing goes back inside the metaphorical living room until and unless the writer makes the conscious choice that it belongs.”

“No fear”

RICHARD PEABODY
“I think revision is about testing the boundaries of what’s on the page, having no fear of pushing to the logical extreme. You need to jettison your baggage about plot, invest in your characters (and their voices), and trust your guts. When all else fails flip the gender.”

I welcome your courteous comments which, should you feel so moved, you can email to me here.

Q & A with Bruce Berger on A Desert Harvest

Ignacio Solares’ “The Orders” in Gargoyle Magazine #72

Ignacio Solares, one of Mexico’s most outstanding literary writers, appears in English translation by Yours Truly in the fabulous new issue #72 of Gargoyle. Edited by poet Richard Peabody, Gargoyle is one of the Mid-Atlantic region’s most enduring and prestigious literary magazines. Check it out!

The cover of Gargoyle #72, which includes my translation of a short story by Ignacio Solares, features spoken word poet Salena Godden.

Solares’ short story is entitled “The Orders” (“Las instrucciones”). My thanks to Ignacio Solares for the honor, to Richard Peabody for accepting it and bringing it forth, and to Nita Congress for her eagle-eyed copyediting.

My previous translation of Solares’ work, the short story “Victoriano’s Deliriums,” appeared in The Lampeter Review #11.

More anon.

Reading Mexico:
Recommendations for a Book Club of Extra-Curious
& Adventurous English-Language Readers

What the Muse Sent Me about the Tenth Muse,
Sor Juana Inés de la Cruz

Spotlight on Mexican Fiction: “The Apaches of Kiev”
by Agustín Cadena in Tupelo Quarterly and Much More

My new book is Meteor

AWP 2019 (Think No One Is Reading Books and Litmags Anymore?)

After attending for more years than I can count, in 2014 I swore off the annual conference of the Association of Writers and Writing Programs in lieu of fewer, more narrowly focused, and smaller writers conferences.* If you’re not familiar with it, AWP is huger than HUUUUGE, with an eye-addling and foot blister-inducing bookfair, plus endless panels, scads of receptions (free cheese cubes!), readings, and more readings, and even more readings. Finding friends at AWP oftentimes feels like trying to meet up at Grand Central Station at rush hour. Of the panels that appeal, dagnabbit, they somehow occupy the same time slot. Then try finding a table for an impromptu group of 13 on Friday at 7 PM! But sometimes, never mind, it all aligns beautifully and you can find friends and inspiration and new friends and all whatnot!

*For example, the American Literary Translators Association; Biographers International; Center for Big Bend Studies; Texas Institute of Letters; Women Writing the West.

Never say never. What brought me back to AWP this last weekend in March of 2019 was to celebrate Gival Press’s 20th anniversary with a reading from my book Meteor, which won the Gival Press Poetry Award, and a booksigning at the Gival Press table in the bookfair. I also went to see friends and to scout out who’s publishing translations these days, since I have a couple of manuscripts of contemporary Mexican fiction that I’m aiming to place. Yet another reason was for a spritz of inspiration. (And I won’t go on about the lovely and fascinating city of Portland, since this is already a longish post.)

Think no one is reading books and literary magazines anymore? Here are just a few of the multitude of aisles of the 2019 AWP bookfair this year in Portland’s Oregon Convention Center:

The above views are typical, in my experience from AWPs in Austin, Chicago, Palm Springs, New York City, Denver, Seattle… I’m sure I left one out… they all kinda meld together in my memories…

Robert Giron, Founding Editor of Gival Press at AWP 2019

I spent most of my time at AWP this year in the bookfair. Among the shining highlights for me was finding Alexandra van de Kamp, one of my favorite poets, and a fellow literary editor and Spanish translator– we met at a book fair in New York City back when she was editing Terra Incognita and I, Tameme, and we’ve kept in touch for all these years. I think it’s been (ayy) 20. Alexandra now teaches poetry workshops at Gemini Ink, the literary arts center in San Antonio, Texas, where she also serves as Executive Director.

Here’s my favorite table in the bookfair, a cozy red tent constructed by Nicholas Adamski, poet and Chief Creative Officer of The Poetry Society of New York. We had a most excellently awesome conversation about typewriters.

Nicholas Adamski, Chief Creative Officer, The Poetry Society of New York.

What I had not seen before at an AWP bookfair was this central platform for filming author interviews:

WHY ATTEND AWP?

It takes a pile of clams to attend AWP, plus travel costs, plus time– and that includes recovery time. Everyone has their own reasons for attending, and these might vary from year to year. I’ll speak for myself: In early years I attended AWP in order to promote my literary magazine, Tameme, and that meant standing at the table in the bookfair all day every day– which was fun, mostly, but exhausting (I developed an immense respect for vegetable sellers, I am not kidding). Later, after Tameme danced its jig over the litmag rainbow, I focused on participating on and attending panels as a writer (here’s one I did in for AWP on writers blogs in Seattle 2014; in previous years I participated on panels on writing travel memoir; writing across cultures; translating Mexican writers; and audio CDs– the latter on the eve of the advent of podcasting); exploring the bookfair (among other benefits, you can pitch editors sometimes, and sometimes it actually works); and meeting up with my editors, and with fellow poets and writers and translators. (The American Literary Translators Asociation, which has its own annual conference, also runs a mini-conference within the AWP conference. Ditto the Council of Literary Magazines and Presses, for which many editors and marketing staff attend.)

AWP is the MFA scene (Masters in Fine Arts in Writing). Most of the people attending seem to me to be students, graduates, or faculty of MFA programs. Those who are not, such as myself, are literary writers, poets, translators, and editors, and some staff of university-affliated conferences and independent nonprofit literary centers and organizations. While books and magazines are sold at AWP, this is not the commercial publishing scene. The publishers in the bookfair are for the most part university presses and university-associated literary magazines, and small independent presses and literary organizations. It’s not unheard of at AWP but extremely rare (as in albino antelope) to encounter an agent, or any commercial genre writing (romances, mystery, detective). You certainly won’t find much if anything in the way of the business books, commercial fiction, and celebrity tell-alls that are stock-in-trade for most bookstores.

OFF-SITERIE

A big draw for AWP is the delicious menu of off-site events, which are listed in the conference catalogue. The first night I arrived, I attended the readings by Leslie Pietrzyk from This Angel on My Chest, and Brad Felver, from The Dogs of Detroit, both winners of the University of Pittsburgh Press Drue Heinz Award for Short Fiction, at Mother Foucault’s Bookshop — a charming venue for two brilliant readings. Here’s my amiga Leslie:

Leslie Pietrzyk reads at Mother Foucault’s Bookshop, Portland, Oregon, 2019

Another offsite event was the Gival Press 20th Anniversary Celebration at the Hotel Rose, in which I participated with a batch of poems from Meteor. (No photos of Yours Truly. Bad hair day.)

Here’s Thaddeus Rutkowski reading his poem, “White and Wong”:

Thaddeus Rutkowski reads his poetry, and brilliantly, at the Gival Press 20th Anniversary Reading.

PANELS

Only two panels for me to attend this year. First, an homage to the late John Oliver Simon, a fine poet, translator, and teacher. (I published some his work in Tameme and the second Tameme chapbook, his translation of Mexican poet Jorge Fernández Granados’ Ghosts of the Blue Palace.) Here are the panelists with Simon’s portrait:

On the right is Arlyn Miller, founding poet of Poetic License.

And here is my amigo novelist, short story writer, essayist, and literary activist Sergio Troncoso talking about “How to Overcome Discouragement and Use It as a Motivating Tool”:

AWP Panelists Sergio Troncoso at the podium, left, Charles Salzberg; right, panel chair Christina Chiu and M. M. De Voe. This was my favorite AWP panel ever. And M.M. De Voe’s talk was hilarious, a grand performance. Thank you all! I walked out feeling like the Energizer Bunny! And I think everyone else did, too!

AT THE AWP BOOKFAIR

Poet Lore, America’s oldest poetry journal, established in 1889. That’s Emily Holland on the left; Zack Powers on the right.

The Paris Review and assistant on-line editor Brian Ransom. One of my short stories appeared in this venerable litmag one waaaaay back in… I think it was 1996, the issue with the naked Egyptian lady on the cover. I actually spoke to George Plimpton on the phone once!

Cecilia Martínez-Gil with her book of poetry, Psaltery and Serpentines, at the Gival Press table. Love the ice-blue suit! Viva!

Another amiga, poet and teacher Karen Benke. One of my poems is in her rip-roaring anthology for children, Rip the Page!

Karen Benke (right) shared a booth with Albert Flynn DeSilver, author of Writing as a Path to Awakening. They both traveled from northern California. DeSilver is also the author of the memoir Beamish Boy.

Another Californian here in Oregon: Catherine Segurson, founding editor of Catamaran Literary Reader. Recent issues include my translations of stories by Mexican writer Rosemary Salum and my essay “Tulpa Max or, the Afterlife of a Resurrection.” I felt like I had already met Catherine, we had corresponded so many times, but this was the first time we met in person. Another shining highlight of AWP 2019!

All the way from Virginia: Stan Galloway, Director of the Brigewater International Poetry Festival. Note his T-shirt that says “Pay the Poet.” Viva!

All the way from Maryland: Potomac Review: Another litmag that published one of my stories waaaay back… maybe 2010? They are going strong!

Host Publications is doing good things in Austin, Texas.

From Washington DC: My amigos Richard Peabody, poet, writer and editor of Gargoyle Magazine, with Karren Alenier, poet and editor of WordWorks. Everytime I see Karren she is wearing that fabulous chapeau. Viva!

From Buffalo, New York: Dennis Maloney, editor/ publisher of White Pine Press. My sincere respects for so many years of publishing such high quality literature in translation.

Howdy there, Elizabeth Geoghegan and Richard Peabody!

Free buttons! And plenty of Hersheys Kisses, Tootsie Rolls, Sweet & Sours, Starbursts, free pens, more pens, calls for submissions…

All the way from Michigan! Fourth Genre— a new generation keeps this grand journal of creative nonfiction cooking. (Years ago, ayyyy, 2002, Fourth Genre published my essay about Tijuana, “A Touch of Evil.” )

Giant toy chick head, yes! Beautiful books at the Berfrois table. On the left is Calliope Michail; on the right is S. Cearley, poet and ghostwriter.

Hippocampus Magazine and Books by Hippocampus. Their debut title is Air: A Radio Anthology. Check out what they’re publishing–a cornucopia of creative nonfiction– at www.hippocampusmagazine.com. Pictured right is founding editor Donna Talarico.

An eyecatching cover for Alison C. Rollins’ book, Library of Small Catastrophes at the Copper Canyon Press table.

Another inspiration: Joseph Bednarik at Copper Canyon Press shows me how Alison Rollins signs her books: a stamp, a blue date stamp, and grape-colored ink. Yes!

Typosphere alert! This is the table for Hugo House of Seattle.

BatCat Press: This is run by highschool students in Pennsylvania and damned if it wasn’t the most energetically staffed and one of the most altogether impressive tables in the entire bookfair. Their handmade chapbooks are gorgeous. Plus they sell haiku pins!

Ghost Woodpecker by Dustin Nightingale, a fine letterpress chapbook from BatCat Press.

Best no-show table. The message in crayon on the top informs passerby that UPS lost their books. (I hope they had as much fun as I did butterflying about the bookfair.)

Natural Bridge. Shown here is my copy of issue 40 that arrived at my house before AWP.

The Natural Bridge table was one of many that I missed visiting at the bookfair. Alas, ever and always, there are dear friends, fabulous events, and necessary bookfair tables that one ends up missing at such a hugely huger than huge conference. AWP is not for the FOMO-ly challenged.

UPDATE: Karren Alenier has a fascinating post about AWP 2019, from the point of view of a poetry publisher. If you’re at all interested in the literary magazine and small press poetry scene, this is a must-read.