A reprint of Mike Steinberg's blog essay (#26 in the Archives), The Role(s) of Memory and Imagination in Creative Nonfiction appears on Faye Rapport's blog,
The Roles of Memory...
You can also read an expanded version of this essay in the Solstice Literary Magazine
The Roles of Memory...
Another craft essay, Planning For Surprise: Writing and Teaching the Personal Essay was published by TriQuarterly Triquarterly
Also, One Story, Two Narrators: Reflection’s Role In Writing and Teaching Personal Narratives appears in the current issue of Solstice: A Magazine of Diverse Voices appears in One Story, Two Narrators:.......
Earlier and much different versions of both pieces appeared on my blog (# 3), Finding
the Inner Story in Literary Nonfiction and # 19 and 20, Expecting the Unexpected: The Role of Discovery and Surprise in Literary Nonfiction. You can find both in the Archives
INTRO--TEACHING (YOURSELF) WHAT YOU KNOW - GUEST BLOGGER, MARY ELIZABETH POPE
I've known Mary Beth Pope for many years. She's a first rate personal essayist/memoirist and a passionate, dedicated teacher. Using her own experience as a teacher and writer, in this piece, Mary Beth talks about and illustrates how important it is for students, especially beginning or inexperienced writers, to overcome their fear of disclosing their embarrassments and human flaws and instead to look at those confusions and uncertainties as rich materials for crafting their personal essays and memoirs.
Blog # 33
TEACHING (YOURSELF) WHAT YOU KNOW--MARY ELIZABETH POPE
Recently, a colleague who knows about my childhood obsession with Laura Ingalls Wilder gave me Wendy McClure’s memoir “The Wilder Life: My Adventures in the Lost World of Little House on the Prairie,.” As a child I had read the Little House series with a fervor bordering on delusion. I didn’t just love Laura Ingalls Wilder at the age of ten. I thought I was Laura Ingalls Wilder. So when I opened Wendy McClure’s memoir, I laughed out loud at the opening line, which reads: “I was born in 1867 in a log cabin in Wisconsin and maybe you were, too. We lived with our family in the Big Woods, and then we travelled to Indian Territory, where Pa built another house, out on the high land where the prairie grasses swayed. Right?”
Right! I laughed. Oh, wow! This was completely true of me too. I had tried to sit as still as I could in church every Sunday because I knew that “Ma” would demand no less. I had secretly hoped that when I fished with my father in the Chippewa River, I’d get leeches like Laura did in On the Banks of Plum Creek. I even sent a post card to my aunt and uncle in Rhode Island saying that I’d gone “berry-picking” with “Ma and Pa” that afternoon, at which point a call was placed to my parents in Michigan, asking if I was okay. How funny, I thought, that someone else had experienced these books the same way I had.
Then I stopped laughing and got jealous, the kind of jealous only writers really know, I think, when they realize they’d had a great subject right under their nose all along and never even considered it worthwhile until someone else pounced on it successfully. I mean, that was MY childhood delusion Wendy McClure was writing about. And she did it in such a smart way, too, taking on all the politically problematic elements of the “going West” trajectory of the books, which ten-year-old girls don’t necessarily pick up on, but I had, after my graduate work in postcolonial studies. In fact, in a discussion in one of my graduate classes I’d even brought up the moment in The Long Winter in which Pa dresses up and performs in (yikes, I know) blackface. So what, I wondered, had prevented me from realizing that I could have written a book about the Little House on the Prairie series?
As a teacher of creative nonfiction, I know how to walk my 18-22 year-old-students through their own lives, identifying the subject-worthy elements they may have overlooked, especially when they tell me they are too young for anything to have “happened” to them yet. I have them make lists, do bubble charts, write about their hobbies and obsessions, no matter how small they may seem. And in general, I’m usually successful at getting them to find a subject that both they and their audience will find interesting.
So how is it that I could miss a subject that loomed so large in my childhood?
In thinking this over, I’ve realized that there are three primary barriers that prevent even seasoned writers from recognizing a topic as subject-worthy, and in my own case, it doesn’t matter that, first of all, I know what they are, and second, that I teach other people to overcome these barriers every day as a teacher. They’re still difficult barriers for me to overcome, still the reason I miss things, which makes them all the more important to drag out in the open and remind myself (and you, since you’re reading this) that you have to move past these things in order to access your best work.
The first of these barriers is embarrassment. Now, I talk about embarrassment with my students as a fertile subject for writing. But the truth is, as a human being myself, even if there are things I’m willing to talk about that embarrass me, there are other things, both new and old, that I’m just not willing to face. And if I am honest, the truth is that I’ve always been kind of embarrassed by my obsession with Laura Ingalls Wilder, because that story about the postcard I sent my relatives about “berry-picking” with “Ma and Pa” has come to feature prominently in my parents’ narrative about realizing their daughter was strange. It was the kind of story I’ve shared only with my husband, a handful of other Laura Ingalls Wilder fans I’d met in graduate school, and the one friend who gave me The Wilder Life. These were the people who already knew about my insomnia, my shut-in tendencies, my awful ungenerous germ phobia, and the fact that, despite my academic credentials, I have never missed an episode of ABC’s The Bachelor in eighteen seasons, even though I know it’s a really, really, really terrible show and violates every feminist impulse I have. (more…)