Archive for the 'codename:MFA' Category

goodbye Julie Granum

paperhaus April 4th, 2008

julie reads

One of my first posts about grad school included the note that Julie Granum “is a fine poet.” I didn’t know Julie. I didn’t know that wearing tank tops in chilly weather was something that she’d do regularly, or that she’d bring energy and a smile with her wherever, whenever I saw her, even when she was twisting with back pain, or that she was the kind of pretty girl people wanted to talk to on the street, just because. I didn’t know anything about her. I just thought she was a fine poet.

Julie Granum is dead. She died in California, after visiting with family, this week, or maybe last. She was 26.

Eventually I did know Julie, some. I knew that she would play records loud, if she liked. I knew that she would be overly generous to a fellow grad student — clearly unstable — who proceeded to steal Julie’s cell phone and engage in some crazy high drama. I knew that she’d rather dance than drink at a bar, but when I saw her, usually we all just wanted to drink. She adopted a big, spazzy dog, which she loved without reservation, bringing it with her everyplace, moving apartments to give it a home.

Julie wanted to be loved so terribly. She did the silly college thing, making out with guys and girls alike, getting drunk and grabbing asses and generally having a good time that skimmed the line of risk and voyeurism and maybe even danger. But there was something else in it; she really wanted to give love so she could get some back.

I’m not sure if I ever met anyone who needed as much love as Julie Granum; I can be sure that I didn’t return the share she needed. I liked her. But I’m not sweet or demonstrative — I’m just a waspy chick who waves and smiles. She needed to embraced by men, men like cowboys, like princes, like heroes. She needed to feel enclosed and safe and beautiful, and she wore the need for adoration and comfort as naked and raw as I’ve ever seen. I’m sure she never got enough.

Julie took this semester off Pitt. Her dog was hit by a car and died in circumstances I don’t fully understand. I didn’t know she was going to California, and have no idea why she decided to never return. The details of her death are unclear.

I can’t count the lifetimes I’ve lived since I was 26, but the pile of them makes me want to reach back through time — just a few weeks! — and explain to Julie that all damage can be survived, every wound will heal, every ounce of despair might be dispelled by the silliest moment. A breath of garlic across the subway. The scent of pine in a park, the touch of a finger across skin, the pull of a leg, a sandy itch, the sound of water over rocks. The taste of clear water, clear vodka, across the tongue; the tang of fresh grapefruit one morning off a tree. The laughter of an enemy, the irritation of a mosquito bite, the idea that resurfaces, the ache of a back, the surprise of a flower or a cloud across the sky. Simple and close, or faraway. But the unexpectedness, the pleasure of surprise, a moment that couldn’t be predicted, even terror, even hate, even nerves or shock, even trepidation, recognition, grace. Like, loud. Like champagne.

Goodbye, Julie Granum. Your departure was a mistake. Goodbye.

Fairly softspoken and incredibly close

paperhaus March 3rd, 2008

me, my student, jonathan safran foer

Jonathan Safran Foer came to Pitt. He spoke winningly on laughter, using notes but kind of musing, as though he were working out the ideas for a new essay. In the Q&A session, he spoke candidly about his writing process, admitting it’s difficult, struggling to find the right metaphor.

If you are a traveler, it’s about the destination, he said. And then, “writing is the airplane; it’s not the foreign country.” What is the foreign country, the questioner asked. Acknowledging that his metaphor was collapsing, he finally decided that writing “is a journey without a map.”

“I’ve never written a book I’ve intended to write. As it turns out, there are things I care about more than what I thought…. The things that are at the heart of my book are things I didn’t know were at the heart of me.”

He also said that he finds writing hard, and that he’d heard from the likes of Don Delillo that it never gets any easier. Perhaps in total that was hard for grad students to hear — writing is hard, stays hard, and you’re writing your way forward in the dark — because some of my colleagues found him, they told me, arrogant. Perhaps they’re feeling a little professional jealousy of this wildly successful 30-year-old writer. Because I thought he was open and humble and genuinely engaged with the people in this particular audience, of which there were more than 200.

Which was why it was a surprise when the winner of the raffle for his latest book, Joe — photos of Richard Serra sculpture and a prose poem by JSF — was Irene, one of my students. She’s a professional and mother from Botswana who has come to Pitt to earn an American bachelor’s degree. There we are: Irene’s the one with the book, Jonathan Safran Foer is the surprisingly tall guy, and I’m the other one.

It’s practically snowing authors

paperhaus February 22nd, 2008

me in the snow
me, in the snow. It was time for a picture.

Winter weather continues. Tonight Sasha Frere-Jones is going to be at Carnegie Mellon (cool!), but if things get horribly sleety I may not make it.

On Wednesday Philip Gourevitch comes to Pitt, and the English Department has all kinds of great ways for us grad students to interact with him (like lunch. Who doesn’t like lunch?)

Then on Thursday, Pitt’s Hillel is bringing Jonathan Safran Foer to campus. His visit almost escaped English department notice. Luckily, it didn’t.

All of which should make February fly by, but I swear, this is the longest, longest month.

In praise of the library coffeeshop

paperhaus February 20th, 2008

Here at Pitt, Composition teachers are encouraged to have midterm conferences with all of our students. (Mine begin in 30 minutes). I know that teaching one class, 19 students, isn’t much at all. But when it comes to scheduling the half-hour meetings, suddenly it seems like an enormous chunk of time. Two enormous chunks of time, to be exact — 8 students today, 11 tomorrow.

So instead of sitting in my shared gray cube in an office area the English department locks up at 5pm, I’m meeting with my students at Hillman library, Pitt’s main branch, in its coffeeshop. Not only am I surrounded by books. No only am I in a comfortable chair. Not only can I stay here until 11pm, or whenever the library closes tonight. I can do all those things — and also buy coffee.

I’m not buying coffee just now — I’m typing this, see — but the fact that it’s there, across the room, behind that weird statue and on the other side of the woman who’s talking loudly about shoes, well, it even makes up for the shoe-talker. Coffee! With books! Free library books! Who came up with this mad, wonderful formula?

A toast to you, my friend. Once I decide to grab the afternoon’s cup of joe, that is.

Welcome to the oughts

paperhaus February 13th, 2008

The Publishing Spot has interviewed author Tony D’Souza. Here he is on whether or not to get an MFA (his is from Notre Dame):

In the seventies, if you had a Iowa MFA, you could go to another school and start your own MFA, in the eighties you could get a job in the expanding MFAs, even in the early nineties your MFA could get you a full-time job at the university level.

But now? With an MFA you are lucky, really lucky, to get a full-time job teaching English 1 at a community college. Some of these programs really fleece people. Three years, $60,000. But still there are lines of people trying to get in.

Oughts as in the years between 2000 and 2010. Oughts as in, maybe I ought not get that MFA after all.

Amazon breakthrough novelist award

paperhaus February 7th, 2008

If you’ve been thinking you might want to read some of those Amazon Breakthrough Novel Award entries but don’t know where to start, may I recommend The Stars Here Are Mostly Planes, about a woman named Katie who’s been thrown out of graduate school for some unnamed offense:

We didn’t stop for food. It would have been unbearable to face each other over a table, so we all stared forward and resigned ourselves to packaged peanut butter crackers from my mother’s purse. Bright orange crackers with that synthetic cheese tang. Not their usual thing, for sure. In fact, my mother managed to nibble about half of one before she began to cry. The crying went unacknowledged for several miles. I ate my crackers without complaint. This is the kind of thing I would have to start enjoying, out here among the American masses where people own lawnmowers and eat squirtable cheese and struggle to insure their saturated hearts. I should be the one crying.

In the excerpt, Katie goes on to re-befriend (refriend?) a buddy from adolescence who now lives in semi-squalid, semi-alcoholic circumstances in Chicago. Her friend’s apartment “has carpeting like the pelt of a garage-sale Care Bear.” I can see it — and I’m not taking off my shoes. What’s more, the excerpt leaves as many questions as it answers (what did Katie do, exactly? what kind of trouble is she getting herself into now?) and it’s got that witty, sarcastic voice.

Katie is a painfully funny loser-in-denial the likes of Teabag in Home Land by Sam Lipsyte, or maybe Charles Ossining of TC Boyle’s Road to Wellville. So far, though, she’s only skirted unrespectability — she is a repressed Tennessee Presbyterian, after all.

Sarah Harris, who is witty (as you can see), smart and talented, is in my program at Pitt, and she is most deserving of your attention. In fact, consider this a shameless plug for her work. With 1,000 finalists, popularity snowballing to favor the most-rated, and Sarah’s work buried 8 pages deep within the general fiction category, I can’t help but tell you about how terrific it is. I urge you to read and rate The Stars Here Are Mostly Planes. You’ll love it. Vote for Sarah Harris in ‘08!

Going to AWP

paperhaus January 29th, 2008

In a bout of shyness, I’ve neglected to mention that my review of Lydia Millet’s How the Dead Dream ran in the Los Angeles Times this past weekend. It’s a terrific book.

In a bout of notshyness, I’ve decided to Twitter the AWP Conference. I’ve even changed my phone plan so I can text like mad. Come Thursday, I forsee messages like “Lan Samantha Chang commands the room.”

Ah yes: I’m going to AWP, hooray! New York! Are you going? Is there a panel I shouldn’t miss? Are you throwing a party? Let me know at paperhaus (at) gmail.com.

Sadly, Gwenda and Christopher will not be there, so I’ll be looking for more folks to help me get photos of the best AWP fashion faux pas. Believe it or not, AWP coincides with Fashion Week.

O’Nan and Pancake and Lee, oh my

paperhaus November 10th, 2007

Monday: Stewart O’Nan reads in the evening at Pitt, in the 5th floor room where we have workshop, featuring arching gothic windows and the occasional wintry breeze. Afterwards a few of us join O’Nan at Chuck Kinder’s house for beer and snacks. As we stand around Chuck & Diane’s new great room, Diane makes nachos that look entirely delicious, but they end up inaccessibly between Chuck and Stewart. I never got one. I really, really wanted a nacho.

Wednesday: Ann Pancake joins us for our evening fiction workshop (yep, same room). Afterwards, she reads from her lyrical novel, Strange as This Weather Has Been, about a West Virginia family dealing with local mountaintop removal mining. After that, a few of us join Pancake at Chuck Kinder’s house for beer and snacks. I stop for beer, which we’d mostly finished off two days earlier. This time I confess to Diane how good her nachos looked, and this time, I get a few. Thanks, Diane.

Thursday: Don Lee visits campus as the first Fred R. Brown Literary Award winner. He lunches with grad students (including me), reads from his work — in a different room! different building, even! — has a handful of story conferences, and does a craft talk (back in the workshop room) on getting published. As he was at Ploughshares for a gazillion years, I would have loved to get his feedback on a short story I’d written; too bad I don’t write short stories. And if beer and nachos were on the agenda again, I missed it — too pooped.

So much literariness in one week! You’d think this was New York or something.

Just when you say the name Stewart O’Nan

paperhaus November 7th, 2007

The man shows up and starts reading. At least that’s how it worked on Monday, when I blogged that he was coming and then he appeared later that night.

O’Nan, who was born in Pittsburgh, is tall. He read from three of his books: Snow Angels (soon to be an indie motion picture), The Night Country and the latest, Last Night at the Lobster. Then he answered questions.

I tried to take notes, but I was sitting right in his sightline, and got this feeling that I was doing something wrong when I began to write as he read. He probably wasn’t looking at me, right? Wrong. After the reading he pointed and me and accused me of yawning during it. Which I had. (it’s not you, it’s me, I wanted to say, but thought better of it).

He mentioned that he posts lists of books on his site that he’s recently read and found valuable. Not liked, necessarily, but saw something he learned from, or could steal. This context isn’t provided on the site itself, and it makes his recommended list more interesting. There are 37 in the latest batch, posted Sept 1 — I’ve read just 5, and I don’t think I could steal anything from Tree of Smoke. Then again, I’m not Stewart O’Nan.

the backwards academic

paperhaus November 2nd, 2007

Why is it that in the sciences, universities try to move forward, and in the humanities, they seem obsessed with looking back?

I’m considering applying to PhD programs in creative writing. Although every program is different, they basically include the coursework for a PhD in English with a few creative workshops mixed in, with a final creative manuscript instead of the typical PhD thesis.

Many (but not all) schools that offer the creative writing PhD require the GRE subject test in English. Back when I was an English undergrad, the GRE literature exam was reputed to be brutal. This is what’s on it, according to the GRE folks themselves:

- Continental, Classical, and Comparative Literature through 1925 — 5-10%
- British Literature to 1660 (including Milton) — 25-30%
- British Literature 1660-1925 — 25-35%
- American Literature through 1925 — 15-25%
- American, British, and World Literatures after 1925 — 20-30%

To sum this up, 70-80% of the exam focuses on work before 1925.

25-30% of the entire exam will be on BRITISH LIT BEFORE 1600.

What concerns me isn’t that I can’t possibly do well on the test (I can’t. I was terrible at recognizing poets from excerpts when I learned them more than a decade ago, and I don’t know a caesura from a sestina) but what this focus indicates. The discipline, as it appears through the lens of this exam, is inherently colonial, still trying to prove to big bad monarch daddy that we deserve his love, we do, we really really do, because we can appreciate him and study his dirty bards and his pious poets and his sarcastic essayists and his metaphysical poets and his beowulf, thank you very much, and since we’ve been so good, may we please have some more moors, please?

I fear if American universities use this same rubric as the basis for the students they admit, it reflects the courses those students will take and the disciplines they will go on to teach. Where is the contemporary fiction? Does it have a place in the academy? I feel it must, but I fear it does not.

For literature since 1925 — from Britain, America and “World literatures” — there will be between 46 and 69 questions. That includes books and plays and poetry and theory. Will there be anything about the internet? About how literariness and literacy has been affected by email, text messaging, virtual libraries? About how the interaction between author and screen (or reader and screen) may or may not change the way literature comes into being, or is received?

If there are as many questions about works published after 1993 — my random date for widespreadingness of the internet — as there are about Milton, I’ll … I’ll … well, I’ll get them right, is what I’ll do.

Sometimes, I wish I was making robots. Then I could do my math and look forward, and wouldn’t be tested on the origin of the goddamn nut.

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