notes from childhood

I'm in the itchy red tights and witch shoes.

One of my earliest memories was my dad teaching me how to curtsy in preparation for a trip to some big, important building in Vienna.  He was a med student, so it could have been the well-known University, but the only thing that seared itself into my brain matter about the actual day of the curtsy was itchy tights and the walk next to my father through a large, fancy hall, and up a grand staircase of some sort.  The actual curtsy I've re-formed in my mind, but knowing me, it probably came off as more of a bow.

Vienna was my home the first six years of my life.  We lived in the 18th Bezirk, among all the foreigners: Indian diplomats, Hungarian dignitaries, British students.  The mid-sixties in Vienna were much less a clash than here.  For instance, hippies were non-existent. My parents attended actual balls.  My mother was chic and young and resourceful, and sewed her own ballgowns whilst wringing out our laundry in the hand-crank washer she had set up in the kitchen.

My best friends were an Indian brother and sister. In my memory, they were named Banti and Apu, respectively--which is odd, since Apu is a boy's name, but, whatever.  They hailed from New Delhi and had servants and great outfits.  Our families lived in a fancy apartment house which has since become Vienna's Indonesian Embassy.  Inside those wrought iron gates we tricycled and climbed a small tree.  Once, Banti took a crap in the ornate swimming pool in the backyard--his log of a turd floating by the concrete lions who seemed to avert their eyes at the sight.  I loved Banti. Together we terrorized my little sister, Patti, and threw her stuffed monkey in the well--also in the backyard. Banti's little sister was shy and mostly hid behind her governess's skirts watching her brother being scolded.

I've been back to Vienna only a couple of times since, and each time I've trollied out to District Eleven to press my face against the iron gates of my formative home.  My last trip, I snuck in with my son, Sam. We squeezed through the shutting gate just behind a Diplomat who'd been buzzed in, and scurried 'round the back, to the daylight basement windows at the rear of the house which had vented our small family way back when.

Disappointingly, the windows looked into office space.  Where memory recalled a small desk where my father sat typing out a paper, calling to my mother for spelling reassurance, now sat metal tables upon which reams of paper lay.

Out back, no stuffed monkey in the well, no swimming pool in which to poop, and everything so much smaller.  Sam, of course, was nonplussed, as he had been with all of Europe, counting the minutes until he was free from being dragged abroad, back to his eggs and bacon breakfasts, his marathon Friends reruns. His garage poker games and furtive PBR swilling.

What will Sam's sentimental salmon-like returns to childhood entail, I wonder. He's lived in Portland since the age of two, and currently resides less than ten miles from the bulk of his many formative homes.  But then, Sam is a much more pragmatic person than myself.  Even if he had been steeped in a somewhat exotic childhood landscape, with the children of dignitaries shitting up the Rococo garden features of his frame of reference, his notation of the act wouldn't be any larger than, say, his adolescent escapades where he and his buddies guzzled a gallon of milk in the park on a dare, just to see the color of their respective vomit.

But then, that's the beauty of half-remembered sentimental journeys.  One person's sacred construct is the next's person's shrugged shoulders.

Funny Tweeter

We interrupt the serious business of blogging about writing to lap over into the confoundingly, maddeningly, ever-evolving drain clog of social media.

This guy's funny, check him out!

F Twitter from Shane Nickerson on Vimeo.

much ado about...hair

In the midst of the midterm kerfuffle, I give you respite.  Hey, you voted, you voiced and maybe today you're happy?  But if you're reading this particular blog, probably not.

What's a citizen to do?  At least you can thank the stars that you're not burdened with the pomp and circumstance of the Viennese Court, yes?  Here's a little glimpse from the bowing and scraping world of Empress Elisabeth's retinue.  N'Joy.

okay, franzen 2

NOTE: this entry is full of Spoiler Alert passages.  If you haven't read the latest Franzen, and intend to, and don't want to know anything, don't read this.  You've been warned.

Two hours later, I am still savoring that last epiloguish chapter of FREEDOM. How I feel is the way a person feels after making up with a spouse or best friend post-huge fight. Salty afterglow of mixed emotions, and oddly, not as spent as I felt 90% of the way through this crazy book.

I realize I'm about to mix metaphors, leaving spouse/best friend and moving into bad boy teenaged boyfriend territory, but I'm having a "see how I am?" moment.  As a youngster, I tiptoed to the dark side just enough to glimpse danger, but not, thank God, enough to cause the need for a lifelong balming of scars.  I've always maintained a sort of arrogant anthropological distance from crazy and/or dangerous folk, finding them fascinating but always checking behind me for the quickest escape route as I was led down the dark tunnel. What I liked best and appreciated most about FREEDOM was sensing that same distance in the narrative. I realize that this eccentricity most likely casts me in a weird minority, and I would venture that the same distance is seen as a flaw of the book by many more astute readers than myself, but there you have it.  Ironic distance, done well, trumps all for this reader.

What I liked second best [remember, future readers of FREEDOM, you've been warned] was the Joey extracting his wedding ring from his feces scene.  Oh the scatological indulgence!  Every boy child's obsession, yeah?  To linger in the concrete description of poop for several pages?  Only to be outdone by the continual micromanaged sex deconstructions--which I personally found excessive after a while.

Now, about the bitter commentary that Franzen slathered the book with: although it served the historical landscape well enough, it seemed rather incidental (and somewhat contrived) to the development of some of the characters and their predicaments.  Not all the characters, merely some of them.  But maybe that was the point.  Lalitha felt vastly cypheristic to me--though the reference to her in the very last line of the book made me cry.  But, in the storyline itself, she was sadly so two-dimensional that her actual death, buried in the middle of a cryptic paragraph,  was a shoulder-shrugger.

The wrinkled chronology: I wanted to hit Franzen for it. Truly.  I wanted to throw his tome at the back of his head.  Why did he indulge himself so by bringing in that cumbersome backstory on Walter's grandparents so late in the book?  It was a very authorial, obnoxious move, like when a musician you pay $150 to see (let's say, hypothetically, Dylan), pumps you up with a passionate performance of his best work, and then turns his back to you and the rest of the audience and steers the concert into experimental, boring shit--or worse, retunes his guitar while you stand there in the rain, blowing hot air on your hands until he starts playing again.

But overall, you got to admit, the guy is an amazing writer.  His clarity, his perfect sentences, his incredibly well-developed irony, the juggling he had to do to pull off any sort of a halfway satisfying ending with all those damn characters he peppered into the prose.  The way he infused the freedom metaphor in myriad ways. Whew!  I bow to you, Jonathan Franzen, mostly I do. And, because I said I would, here are the remaining top five reasons I bow.

1. unflinching ring-in-the-shit scene
2. finding a wonderful and heartfelt way to show Walter's complexities at the end of the book (he was annoyingly underdeveloped for me until then--then, suddenly, I got him)
3. pretty masterful redemption of the main characters given their shitty behavior throughout the book
4. reasonable attempt to tackle political shifts over time through interesting characters (though I have to let this percolate for a while, because I suspect I'll find this less successful upon reflection)
5. not one typo or out of place word in the whole 562 pages

okay, franzen...

Walter and Patty Berglund. And Richard Katz. Yup, I'm slogging through FREEDOM (about 2/5 of the way through) and I have to say. The book is ambitious. Not to be reductive, but here are the top ten things I like thus far:

1. Imagining Franzen poring over his sentences to make sure his semicolon use is correct and that he's been consistent with Katz's elitist self-deprecation.
2. As always, the unrelentingly effective use of ironic distance.
3. That crazy Eliza chick. (If not for her, Patty would be suffering even more from unlikeable main character syndrome.)
4. The passage shortly into 2004 where Katz gives the kid an interview and slathers himself with gracelessness right before the novel takes a huge swerve. Masterfully done!
5. The twisted, fucked up Patty-Walter-Richard thing. Nice tension.


Okay. I stopped at five. I'm going to save the next five for the next part of the book, which I hope to plunge into as soon as my chores and work and other crap are done. Now, onto the stuff that pisses me off.

1. Joey? I'm not buying any of the Joey set up. That chapter that worked as a stand alone in the New Yorker? Does not work in the novel at large. Yet. Maybe that'll change as the context of it morphs with the next half of the book.
2. Patty's parents. Huh? I'm missing something huge here. Seems that Franzen could have referenced them occasionally in the subsequent chapters, as her actions warrant some sort of backstory flashpoint. I'm talking about the slightest recall from Patty's weird upbringing brought to bear on some of her "autobiography" section. We don't want to dislike her so much!
3. Walter is an enigma. We are told too much about him and don't see him in action enough. I'd like to see Walter and Patty play hoops together. Will that ever happen?
4. Jessica? There is scant mention of her, then she pops up with scathing dialogue during the "parents weekend" thing, where it's clear that she's simply inserted to better pay off Patty's sink into poor choice-making.
5. Patty's self-satisfied sister whose name escapes me because, again, she was inserted, me suspects, merely to make a case for the shocking shittiness of Patty's family of origin. I'd like to see her come back and opine on the goings on at Ramsey Hill before the Berglunds up and move to DC.

crush of the month

Don't you just love having a crush on a book and its author? I'm not talking about creepy stalker sort of stuff. I mean, when a sentence stops you cold and you keep rereading it 'cause its beautiful, lyrical and new.

I felt this way about Michelle Huneven's BLAME a few months back, and I sort of fall in and out of crush with Franzen's FREEDOM (the density of his sentences alternately engages and annoys me), but my crush of the month is Laurie Halse Anderson's WINTERGIRLS.

Anderson is the writer whose selectively banned debut book SPEAK heralded the Speak Loudly campaign earlier this month. I'm reading SPEAK, like it pretty well, but WINTERGIRLS is so asskickingly good, it's a hard follow up. I was loath to get to the last page of it I liked it so much, but now, a week after finishing it, it lingers like a supremely satisfying meal at a five-star restaurant.

Perfectly paced, ingeniously conceived and written with startling authority in the first person voice of a seriously troubled 18-yr-old girl, the book takes wonderful risks, and seems to follow a vision that defies YA convention on all fronts: syntax, grammar, love interest (or lack thereof, for the only potential heartthrob turns out to be...*SPOILER* a jerk).

The thing I love most about WINTERGIRLS, however, is Anderson's lyricism. A quality I find lacking in many popular YA books. Often, language takes a back seat to plot and concept, and shortcuts abound on the sentence level. The musicality of WINTERGIRLS is phenomenal. Anderson channels the voice of her character, Lia, and never lets down. Not for a minute. The book soars with energy, from the opening line to the end. It's dangerous, delicious and dark, in a way that I find many YA books skirt in favor of the blockbuster moments: the dystopian constructs, the shape-shifting monsters, the big, bloody battles.

In WINTERGIRLS, I found a powerful, true, gorgeous arc, relateable and contemporary, yet uniquely voiced and constructed. A hard act to follow.

Now, back to the long-and-winding Franzen tome.

NaNoWriMo 2009 Redux

The writers' marathon month is upon us once again; the social media airwaves are all atwitter and abuzz. I shan't be taking part this year (I think instead I'll sign up for NaNoReMo, 'cause finally I'm top of list at the library for the Franzen), but last year, I plopped my tush on the 'rhoid pillow and dove in, and scrubbed out a good 40Kpages words

(I wrote only a half a novel, sigh).
A yearish later, here are my take-aways:

1. Characters CAN be forced into being
2. I'm sloppy when I'm fast
3. Plot is, and always will be, my downfall
4. Writers are obsessive. But in a good way.
5. All writers who spend more than 2 hours a day at their craft should invest in ergonomic set-ups.
6. The occasional "lost weekend" is reasonable for a writer; a "lost month" when you have a family--you gonna pay!
7. Community is important (so is nightly Scotch)
8. Consider inviting other WriMos in your "group" to post their last paras of the day in a FB message. I did this w/ my friends and it was incentivizing
9. Get your massages lined up. One per week. Seriously. Or trade bodywork w/ others.
10. Don't take the resulting output too seriously. It'll probably be mostly shit, but there will be several gems to glean from it.

I know #10 won't be a popular point, but, when I look back at the digital ink I spilled in Nov 2009, I see lots of cool parts, but the sum of them is head-scratchingly obtuse. I'm not saying that'll be true for everyone, but, as in the Perfect Storm, in order for a novel that's pooped out in a month to be draft-worthy, plot, passion, and people have to align in an enduring way. Just 'cause it's November doesn't mean they will.

Have fun kids!

imitative fallacy. again.

I'm reposting this blog entry because, given the google searches that drive people to let's talk about writing, "imitative fallacy" tops the list. So, without further adieu, here's a recycled tidbit, originally posted two years ago.

The summer before last I went to Salt Lake City for the Writers at Work conference. In workshop with Steve Almond, I was introduced to the term "imitative fallacy." Until then, I'd always called the concept, "A boring story about a boring man." It was a Dangerous Writing caution: you must avoid falling into the trap of adopting the narrative tools of your narrator when telling a story—unless your narrator is a gifted story teller. It's up to the writer to craft a compelling story, even if your main character is an idiot. Or, in the case of Stairway of Love's Fifi, an emotionally disconnected scientist.

Part of the challenge I'm facing is because, like Fifi, I'm sort of a geek. I'm not as smart or as educated as Fifi, but I think I share with her the tendency to cause glazed eyes when I go off on one of my conceptual epiphanies. In workshop a few weeks ago, I shared a first draft of a critical scene at the end of the novel's first act. There's a lot going on in the scene, four people all doing something different, and the anticipation of an important family gathering. But something goes amiss, and in trying to unpack the tension leading up to that something, I'm trying to shine the light on an activity that serves as a metaphor for the whole first act. The activity is boiling live lobsters. But, remember, this is a laboratory scientist boiling these lobsters, so it's fitting to engage in some of the character's unique sensibilities while she's boiling these creatures alive.

Even though she's cool as a cucumber while reporting the killing of the lobsters, I need to show how her body betrays the coolness. I need to demonstrate that she's not heartless lest the reader be too turned off to care about her. I have to mitigate imitative fallacy by revealing, somehow, Fifi's broken heart—or at least her discomfort, while still letting the reader know she's a nerd:

These lobsters will take fifteen minutes in the boiling water before their antennae pull out with ease—the old Watch Hill litmus test. But they remain alive in that boiling pot for the first of those minutes. And that’s why I do what I do.

In the lab, we call this the Kevorkian Rapid Unconsciousness Method. K-Rum. Disable the frontal ganglion. Ice pick to the forehead.

I reach into the rubbery pail and grasp the first victim. Lou, I name him. A slimy handful, this big boy. His eyestalks wag like Egon’s tail. I look away as I set him on the cutting board and reach for the large brass nail and hammer. I am horrible. A monster. But my dying cousin wants a lobster dinner tonight, so that’s what she shall have. Lou-the-Lobster is wriggling his ten little legs. His experience of the air must be like being drowned. A person’s horror at being held underwater against her will. A maneuver like this requires a little anesthetic. The Beefeaters bottle—a Watch Hill kitchen counter staple—glistens in the spill of sun through the transom. A half dozen highball glasses still remain in the cupboard and offer themselves up, I like to think, eagerly.

the waltz of authority and failure

One of the most important lessons I learned working with Tom Spanbauer and the brilliant minds around his table, had to do with authority. That illusive, seductive note in writing that forces the reader's attention to the page, and therefore, the world inside the page.

Tom had a fabulous way of ramming the concept home by example. He could isolate the moment in a passage where the writer disappeared and the narrator was now whispering in the reader's ear. So intimate. So breathtaking. And it was, Tom said, this very act of eliminating everything but the music--the song--between creator and receiver, that established the sort of authority that pulled the audience along the journey. It's the desire for this--oh, let's just call it what it is--lovemaking, that propels the writer forward, and also, keeps him/her coming back to the page to get it that much closer.

So last weekend Michael Cunningham had a terrific op-ed piece in the New York Times that spoke of this very thing. In his essay, Cunningham arrives at this haunting, and, sadly, all-too familiar experience for the novelist in regards to the way words end up failing to translate exactly what has been gestating in the mind of the writer:

"A novel, any novel, if it’s any good, is not only a slightly disappointing translation of the novelist’s grandest intentions, it is also the most finished draft he could come up with before he collapsed from exhaustion."

Okay, this is my Achilles heel, I'll admit it. It's what drives me, frustrates me, compels me and is responsible for more than one shattered ceramic mug and Rorschach coffee stain on my office wall. The thing in the head is never quite translated to the page, and when I go back and peruse my published stories and essays in books and journals, I am loath to the process because I invariably edit. As Cunningham admits, "It’s all I can do not to go from bookstore to bookstore with a pen, grabbing my books from the shelves, crossing out certain lines I’ve come to regret and inserting better ones."

Ah, but luckily I read on after that passage instead of nodding my head, setting the paper down, and thinking that I'd gotten the gist, and, indeed, agreed with the gist, end of editorial--because Cunningham offered a solution, and it was a solution that I longed to resist.

It seems that what helped Cunningham break through his solipsistic angst was to acknowledge "the other," e.g. the reader. And not just a generic reader either. He realized that in order to follow the arc of translation, a writer must consider a very specific niche of reader. For Cunningham, this was a co-worker at a restaurant where he worked at the time, and what she brought to the process was her own unique take, desires and opinions that were necessarily cleaved from those of the creator--him. Ergo, a concrete outcome for an otherwise overly existential process that never ends, which was Cunningham's method (I think) for arriving at a satisfying end to a given body of work.

So, with my latest work-in-progress, I'm at that very place. The Princess Chronicles is now in the hands of various readers who have offered and will offer suggestions for its improvement based on their own, as Cunningham puts it, "private, imaginary lexicon."

why YA now?

At the risk of sounding like a jaded, middle-aged crone, I'm taking a break from writing dark, family dramas for grown-ups. And it's not that I don't love reading them, it's just that I'm taking a hard look at my primary New Year's Resolution--invite more whimsy to my life--and realizing that I need to change something fundamental in order for whimsy to actually SEE the welcome mat.

What I've discovered, after miles of walking in the woods, is that the things that were so important to me as a girl, the things I either loved, or were familiar with, or comforted me, are not readily accessible when I'm a cynical, surly adult whose every other word is fuck.

There are few common denominators. When I was a girl I loved animals. Horded them. Everything from salamanders to 17-hand horses. If it weren't for these critters: cats, hamsters, dogs, ponies, bunnies, gerbils, even, for a short time, a goat, I never would have made it through childhood. Another factor was setting. It changed every few years: Austria, Massachusetts, Long Island, San Diego, Upstate NY. Just as I got proficient in appropriating one accent, off we fled, to another corner of the world. I loved this. Absolutely loved it. But my very first language was German, and I lament having abandoned it so early.

Boys. Yup, couldn't do my greatest childhood hits without mentioning the extra-curriculars. As with critters and locations, I found boys necessary, enchanting, and ultimately perplexing. I emulated the way they moved in the world. The way they smelled. What they wore. I loved the shorthand of boys, the economy. They didn't waste time on embellishments the way girls I knew did. They were simply bad as opposed to conniving. What you saw, was what you got.

I have just finished a book written for the YA market, and I plan to write at least two more, and for some reason, I still feel I need to apologize for this. Explain it. At least to myself. The impetus was to find a way in to a story I'd been trying to tap into for several years, but quickly became something else after I realized that I was beginning to re-engage with a part of myself that I miss. The me who was filled with wonder, whimsy, questions and daydreams.

The series of connected books I'm writing are set in Bavaria, Austria and Oregon and have lots of critters and boys in them. There is magic, too. Magic that allows for revisioning history and explores the "what if" in the "what about" --which has opened a door to some fantastic metaphors. The power of words, for one, and the responsibility a person has for exploiting truth. And, most interesting to me, how the very nature of truth itself shifts with consciousness.

I know this all sounds super nerdy, but the other thing about me as a kid besides critters, settings and boys was, I was the most ditzy of all nerds. An oxymoron that I'm hoping will finally be the thing that compels whimsy to pay me a permanent visit.

77 authors, 66 designers = our portland story

Part yearbook, part insider’s travel guide, and part collected memoirs, Our Portland Story is the result of an ambitious, very Portlandesque endeavor. But mostly, it's a love story.

Spearheaded by Portlander and graphic designer Melissa Delzio, Our Portland Story was conceived as an experiment in community collaboration. Paragraph-sized stories were paired with graphic interpretation and the resulting words-and-pictures were edited into a coffee table book that will be available for sale starting with a gala launch party this Thursday at Mississippi Studios, in North Portland.

I submitted my Portland love story several years ago, then forgot about it until the day the e-mail arrived announcing its inclusion in this Vol 1 edition.

In the two years since I've gotten a few e-mails now and again: one when the designer assigned to my story, Megan Clark, had two design options the editor wanted me to consider, and then, as the launch date grew near, announcements about the party.

What's particularly exciting to me about watching this process unfold, is that it sort of marries my day job and my passion, satisfying both sectors: the marriage of words and pictures, and the creation of a love story involving many voices.

Oh yeah, and since as of next week Portland will have been my home for 21 years, its fitting that this homage marks the day that my residence status is finally old enough to order a martini!

the music of dialogue

Sometimes, I find that all the scene setting, the description, and plot, it all feels like homework just so I can finally get to what my characters are saying. I'm just so eager to put myself in a corner and watch a couple of invented folks hash it out.

Dialogue has always been my favorite part of writing, I think in part, because it's so dynamic. It's a catalyst for action--an activity that breaks things loose.

When I read a great piece of dialogue--a scene that reveals, let's say, some nuanced bit of relationship, or cements an inkling I may have had about the true nature of what Character A means to Character B, it's incredibly satisfying.

But I think the main thing I love about successful dialogue, whether I'm reader or writer, is the sound it leaves me with--the music. Like a favorite song, it lingers in my head for hours.

And it's not just what is said between the quotation marks. The connective tissue, the on-the-body action that accompanies what's said, is just as important. Here's one of my favorite little, oh, I don't know, let's call them set pieces. It's from Augusten Burroughs' collection Magical Thinking, in a story called "Commercial Break" :

"Children, children, may I have your attention please?" she clapped her hands together quickly. Smacksmacksmacksmacksmack.

A writer can't always get away with that sort of onomatopoeiac discourse, but But Burroughs has the chops. He has the authority, the cadence and the pacing, which are three other, more nebulous, concepts that go along way toward satisfying dialogue.

Here's another amazing little tidbit. This time from Flannery O'Connor. A story called "The River":

"Don't forget him mamma," Mrs. Connin called. "He wants you to pray for his mamma. She's sick."

"Lord," the preacher said, "we pray for somebody in affliction who isn't here to testify. Is your mother sick in the hospital?" he asked. "Is she in pain?"

The child stared at him. "She hasn't got up yet," he said in a high dazed voice. "She has a hangover." The air was so quiet he could hear the broken pieces of the sun knocking in the water.

That Flannery. Couldn't you just wring her dead neck? How beautiful is that language. When crisp dialogue sits inside something as gorgeous as "the broken pieces of the sun knocking in the water," well, how can you not have that in your head for the rest of the day?

an award!

Nope, not a grant or anything, but a sweet compliment none-the-less. This lovely YA writer found my blog and issued the award you see at left.

Chain letter-esque though it may be, this is actually a nice way to spread the word in that very hip, social media sort of way, don't you think?

Here's a list of some great up-and-coming blogs, and to them, I bestow the "One Lovely Blog Award" badge. Award winners, all you have to do to "claim" your award is seize the photo, post it on your blog, link to me as the "bestower" and pay it forward to blogs you admire (up to 15).

The Lit Coach
Writing in the Margins
Open Book with Diana Page Jordan
Notes on Acting

I know there's more, but this is a good start!

marrying my way through europe - or, what the hell are you calling yourself these days, anyway?

Some of my old friends complain that I've used up half of the space in their address books. "It would be okay if it were only in the f's or the g's or the v's or the s's, but, hey, you're all over the book."

Sadly, my nomadic, restless ways are not confined to addresses (let's see, since reaching adulthood, I've lived in four states and, um, 15, no, wait, make that 16 dwellings), but to husbands as well. I'm on my third. (She says soberly, not wanting to give the impression that it's going to go any further than that). And with each new husband, a trip to the social security office ensued.

In the old days (pre-911), you could skip on down there with nothing more than a marriage certificate and a driver's license, but those days, as we all know, are gone. Pretty much, if one wishes to change one's name in today's climate, be prepared to deliver a tome of paper trail.

According to the IRS, my name is Suzanne Vitello Soule (there's an accent on the "e" of Soule, but technology renders that invisible in most legal documentation). But every day, my latest husband extracts the mail from the box out front and delivers the ream of missives to my writing desk for a rousing game of "Guess who lives here now!" Suzy K Vitello, Suzanne Graham, Susie V Soule. The New Yorker thinks I'm Suzy Gram. Most creditors still go by Suzanne Vitello. In-laws from a couple marriages back put all the names down, just to be on the safe side. Only Syracuse University and their savvy development staff have been able to keep up with my name-changing hijinks, and for that they deserve to be rewarded by occasional donations.

For the uninitiated, my formal pedigree is as follows: Suzanne Kathleen Freisinger Vitello Graham Soule. "You change names as often as I change my underwear," said my friend Kelly, once. And when my writer friends acknowledge me in their books, they've been known to ask: "So just what is your name these days?"

Alas, I know I should care more about my name than I do. Perhaps I'm so aloof that I really don't think it makes that much difference? It certainly doesn't keep me up at night. But this morning I followed the Twitter trail, and slapped up against this provocative post by Alison Winn Scotch on the very subject of writers and names.

In establishing the all-important platform, does it undermine readership, credibility, brand, to change your name? In marketing, when we advise clients to "rebrand" e.g. new logo, new web site, new, look & feel, it's very externally focused. "Keep up with the times," we insist. "Make a connection with your audience."

In art, though, the idea is to be visible on the strength of one's essence. Name it. Be it. Live it.

I decided, with this latest marriage, that in the writing world I really haven't been anything but Vitello. Occasionally, as a journalist, I've scabbed a name before or after the Vitello, but really, my writerly identity is commensurate with that name. Though--I don't have one Italian molecule in my DNA.

Here's my dilemma. I'm now working on a book that is an organic outgrowth of my heritage and passion, and a good part of the book is set in Austria, where I was born, whence my paternal lineage hails, and where the name I used as a maiden, the first 24 years of my life, comes from. That my née name is Freisinger might be very helpful if the book I'm now writing becomes my first published book. I mean, if Amy Tan got married to a "Smith" and she tried to publish under that name, would Joy Luck Club even have a platform?

clarity part two

If you missed part 1, catch up with part 2. Erin Reel interviews Chuck Palahniuk, Chelsea Cain, Diana Jordan and yours truly in her ongoing blogshop. This month's topic? Clarity. Are we clear, or just plain Evil at Heart? You be the judge!

reading (or tweeting) on the throne

So at workshop the other night, one of our members had a scene involving a female, a book and a toilet, which prompted one of our many tangential topics: do women read on the toilet?

If our merry band is a sample, then I would say more than half do. Let's face it, modesty aside, we're a culture of multitaskers, and women have always excelled at doing more than one thing at a time, so wouldn't it be natural to assume that taking care of two things with one, er, stone, would follow?

Anyone brave enough to be part of a poll involving reading, gender and the throne? And, taking it a step further, any of you take your digital devices to the bathroom with you? (iPhones, laptops, etc)?

Using technology as a note-taking device

I'm hot on the trail of my new project, and as I hunker down and press forward, I've discovered that I can use blogging as a sort of repository to develop voice, plot point, dialogue.

The danger is, of course, that my writing time may become fragmented and fraught with time-sucking labors that derail my daily page count goals. So, here's a little experiment I'm trying. At the end of my writing day, I take some bits of prose (deemed at the time as successful, but in the light of day, who knows), and plop them down in my character blog. In this case, my Empress Elisabeth blog.

If you visit the blog, take note the posting date! And, please don't tell Blogger I'm cheating on it with Wordpress!

the empress

This blog post by Erin Reel, "The Lit Coach," couldn't have come at a better time.

I've been stymied as to where to go next (or first, with regard to a book deal). My latest manuscript, STAIRWAY OF LOVE, has reached its conclusion, and I feel it's at a stage where it could be picked up, albeit some revisions and tweaking here and there. But while waiting for feedback from those considering it, I reengaged with a project that I've been flirting with for five years: a novel (or series of novels) about the notorious Austrian Empress, Elisabeth.

Her story has always fascinated me, ever since I was a tiny girl, living, literally, down the street from the Hofburg. On a trip back to Vienna a few years ago, I absorbed myself in everything Sisi. Her childhood, her obsessions, her anxiety, her hair!

It wasn't until recently that I realized the Empress story has a very marketable and fascinating position as a YA historical novel --really, a series of novels, so, while STAIRWAY gets juggled about with lukewarm agent interest, I've set to work, burning through my first draft of THE EMPRESS CHRONICLES.

I'd actually never considered writing for this audience before, but I'm finding that I'm exploding with ideas and ways to dramatize her compelling story. Stay tuned for more, but with any luck, I should have this draft completed by mid October.

the walking in the woods cure

Is it true that as you get older transitions become harder? Man, getting back into my routine after two weeks away from it is proving difficult.

Maybe it's because I've set up my life in this multi-component, pastiche that the "running as fast as I can to stay only one step behind" truism persists, though on the heels of a 12-hour sleepathon, it should not.

My creative drive is more robust than ever, I'm happy to report, but clarity is coming in small bursts instead of large, sustainable waves. Today though, I went back to one of my favorite cures for fatiguing and disappointing bouts of ADD: a long overdue power walk loop through Forest Park. Extra points due to the misting shower that semi-soaked me.

For a while I lived at the edge of that great park, and more recently I leased an office down the street from it. Now that I'm over the hill from the Lower Macleay it takes a more forethought and planning to traipse along its majestic trails. But like all welcome habits, halfway through my walk today, my spirit and sense of actualness returned to me, and things I'd been mulling over dutifully aligned with the blessed sense of order I'd been seeking.

I returned to my desk energized and focused. And rested, even. But more than anything, grateful--which is, for me, most important of all.

off the grid

Tuesday night I fly East to Buffalo and Canada for ten days of family/vacation/regrouping and connecting. I'm not bringing my laptop. I'll have the iPhone along, but only plan on using it for the weather and the foreign exchange rates.

Really, that's my plan.

There might be a little detox crabby restlessness that goes along with the prying my keyboard from my cold, dead hands, but, having done this for a week last August, I do see the benefits in, as a colleague puts it, sharpening the saw.

A client of mine (who shoots me far more daily emails than any other person, but who doesn't engage in social media) shared the actual hard copy of this terrific article by one of my favorite satirists, Gary Shteyngart. In the article, Shteyngart chronicles the ways in which his life changed upon signing up for his smart phone: "'This right here,' said the curly-haired, 20-something Apple Store glam-nerd who sold me my latest iPhone, 'is the most important purchase you will ever make in your life,'" he whines. Then, goes on to recall, "He looked at me, trying to gauge whether the holiness of this moment had registered as he passed me the Eucharist with two firm, unblemished hands.

So starts Shteyngart's adventure in the world of diverted attention. NYC disappears, overnight, and is replaced by all things global via his pocket-sized computer. His addiction leads him to long to dry out in the barless pockets of upstate NY, where he will partake in a data fast, and reengage with actual books by dead authors.

So, friends, I too will be pilgramming to the hinterlands for some cyber-relief. Off the grid, disconnected, and free to process experience without the lens of predigested information.

summer of blame

Summer incites the edges of possibility. When I was very young, daydreams overtook, responding, perhaps, to the heat. Following Thermodynamic Law. If wishes were horses than beggars would ride. Everything either was or could be mine. Days stretched and lapped boredom. Summer was a lifetime.

Late adolescence, early adulthood boys and booze--those summers possibility courted excitement. I got into my share of trouble.

So now, wedged into potentially inert middle-age, where blockbusters, beach reads and food that hovers around poison (deep fried onions dipped in blue cheese dressing? Really?) begin to vie for a spot on the calendar, I turn to the rascal inside me. That sunlit muse; that mercurial sprite. And how it comes, when it comes, is as instinct for paradigm subversion. Because I'm pretty broke this summer, all my trouble needs to be free, and luckily, our library system is one of the best, if not the best, in the country.

Finally, I worked my way up the holds queue and it's my turn for Blame.

I'm three-quarters through it and I'm making myself put it down, lest I plummet too quickly in post-good-read-depression. What makes this book so damn good, you ask? At the risk of being hopelessly derivative, I'm with Brigitte Frase, whose LA Times review called Huneven's prose "elegant" while suggesting that even better than elegant prose is aesthetic pleasure. The delicate, unsentimental perp-walk along moral ambiguity, unapologetic nakedness and the darkest of the shadow of humanity has me so engaged, I'm nearly paralyzed. Which is the other side of summer: the promise of unending sloth. Dog days, they're called, but I think of them more as cat days. Willful suspension of brain activity in favor of wonder and magic.

Huneven's book blows everything out of the water. You must read it.

resilience

My sister-in-law, Lisa Walker, died on July 2. This time last year, unless you were privy to microscopic changes in her body, she was the picture of health. The week of Christmas, six months ago, she learned that a nagging pain under her rib cage was not a gall bladder problem.

That's how pancreatic cancer works. Silently. Quickly. Intrusively.

It's too soon for me to write about this in detail. Down the road I certainly plan to, but for now, I'm in that hazy grief-fog, just trying to remember why it is again that I went to the grocery store? What have we run out of? Where did I park the car?

In the Charlotte airport awaiting my connecting flight home, I picked up a consumable book. Something I could start, read, finish before touchdown at PDX. I didn't want anything funny. I didn't want anything too literary. I didn't want anything stupid. Less than 250 pages. A paperback, easily crammable in my more than two carry-on items which, in order to avoid the ridiculous $25 fee, I knew I'd need to consolidate or parcel out to my kids (even in grief, I'm cheap, it appears).

I ambled down the book shelf at the newsstand, picking up, rejecting. I briefly considered a book of Sudoku puzzles for the disabled. A similar book of crosswords. And then, there she was, Elizabeth. The pillar--the icon--of a woman pummeled. Repeatedly. Name a shitty thing, and Elizabeth Edwards has suffered it. A suddenly dead child. Breast cancer that won't go away. A lying, cheating fuckwad of a husband. Intrusive media. A vicious, attention-seeking mistress who got herself knocked up. I expected the book to suck, of course. Churned out memoirs of the famously shafted typically are.

Resilience not only does not suck, it's fantastic. Rather than being driven by solipsistic rants and martyr-infused sentimentality, this little memoir, I hope, will find itself amid other thought-provoking, poetic, honest books, like Gift from the Sea. Or even, dare I say it, Auster's The Invention of Solitude.

Having just spent hours watching a beloved relative die an untimely death; her agonal breathing still embossed in my brain, her husband's weeping, her children, my children, her parents, her best friends, coming to grips with a loss as big or bigger than any they had suffered previously, Resilience was the only book I could have attended. It is not written from the distance of safety; it's penned in the midst of devastation and unprocessed grief, and yet, it's coherent, lovely, full of the sort of wisdom that only comes from asking questions, and following a depth of inquiry that leads to a sort of celebration. I'm alive, still, kept being the message.

So God bless Elizabeth. Say what you will about celebrity memoirs and bids for attention, Resilience is an important book.

let's talk about the hottest writing group in Portland

Jeff Baker, The Oregonian's books editor, wrote a very comprehensive article about our writing group that appears in today's O section.

He did a great job (and I'm not just saying that 'cause I got the call-out in the print version and Cheryl Strayed was quoted as naming me the "best writer without a book in Portland") capturing the spirit of our merry band. And, I have to remark that, it's not exactly easy to flesh out a profile on a large group like ours. It's sort of like writing a scene with multiple characters and keeping the energy moving forward. The juxtaposition! The flow! The dialogue! Baker nailed them all.

Now I'm going to take my "house mother" self back up to the soccer pitch where fifteen eleven-year-old boys need cheering on!

Trying to be fueled by distraction

My son woke up today and narrated a very interesting dream. His first ever (as far as I can tell) stress dream. All the players in his eleven-year-old life were featured, and the first person character kept getting into trouble.

It got me thinking about how storytellers develop. How much is narration, how much is perspective, how much is will. My little guy is on the cusp of adolescence and pushing against everything he knows while clawing to keep safe and secure in his frame of reference. It's the hardest time to parent, because as a mother you're continually stretched between the whole roots-and-wings concept. Allow enough unstructured time for creativity and personality to bloom while staying very, very close to set the walls up just in the nick of time.

It's the main reason I moved my office back home, and I have to keep reminding myself of that.

This week I have Carson in "skateboard camp"--again, trying to straddle the line between structure and fun. Skateboard camp is a little more lax than, say, baseball camp, as noted when one of the "instructors" handed me the medical release form he should have given me yesterday. "We sort of, um, forgot."

Meanwhile, I'm trying to figure out how to keep from going upstairs for another plate of hummus and Ak Mak crackers every five minutes.

Years ago, my colleague Monica Drake and I hosted a workshop that she named "Fueled by Distraction." The idea was to harness the energy of distraction to pour into satisfying art rather than to be derailed by the myriad distractions we artists are so seduced by. (And that was before Facebook!)

Wherever I am, the tendency to jump ship on deep concentration is pulling at me--and working from home offers a whole new array of possibilities. This week though, my son is sequestered in a concrete bowl being supervised by stoned teenagers. I need to seize the opportunity and get to it. But first, another mug of microwaved coffee...

I just want to be a blue dress party girl when I grow up

Today I woke up with a sore throat and a bad attitude. It was Monday, and I usually love Mondays because they herald structure, and structure, for a person of scattered tendencies, is a good thing. But today, on the heels of our big Mad Menesque soire, my son's graduation from the U, and myriad loose ends, I sorta didn't want to get out of bed.

I am a bit adrift right now--having passed my novel off to an agent for appraisal, and sorting through the various false starts and stories that could be forever tightened, and the screenplay I have just begun, not to mention a queue of work-work, an overflowing inbox, the beck and call of social media, the need to keep up, respond, reply, etc, I, plain and simple, wanted to go back to being a hostess at a cocktail party.

I ticked off the work stuff, watched the gorgeous Spanish men win a soccer match, and noted that it didn't rain today (although it's still MUCH TOO COLD), and did nothing for my writing. I did not write at all! Not a lick. Bah!

Tomorrow, then.

Friends Forever

Today my youngest child took part in what serves as a graduation ceremony from elementary school. I use the qualifier because the public school system prefers "promotion" to graduation, but for me, the semantic distinction is silly. For more than half of his life he's reported to a building, been part of a community, and now he's leaving it. He's graduating.

And it's a big deal.

Don't get me wrong, I'm not about to rue this passage or lament this leap away from childhood, but I will weep. I'm certain of that. I will tear up because that's what mommies do when their babies are clearly not babies any longer. A huge piece of my heart is in that school. It's where Carson lost teeth, learned to read and write, and gained prowess on the jungle gym. As their "promotion" song suggests, the friendships he made at Maplewood will stay with him until he breathes his last.

Here he is, the smaller of the two boys in red t-shirts, dancing something called "the jerk." Thank God he's still young and innocent enough not to get the irony in that name. For now, anyway!

The Passion Parade

I love writing about Passion. Watching passion unfold in a fledgling writer, or a writer who's had a breakthrough. Lately, I've had more than my share of opportunities to be part of the Passion Parade.

I have a piece on David Jackson in this month's Goodness Magazine, and it's one of the few times I've enjoyed re-reading something of mine in print--rather than scanning the article for errors, as is typical, I sunk into it, like a reader, and allowed the subject and his zest to talk to me--invite me into his world--which I gladly relived.

I've also been working with a visual artist, helping him find his voice inside of a series of lyric essays. The process has been delightful and engaging. Working with this client, I get to revisit my own journey with the pen, discover anew why it is I do what I do. The magic of it. The sweet whisper in the ear. The disappearing hours. The floats and marching bands--even the shitting parade horses. I've never been a Rose Festival Queen, but I'm feeling pretty damn happy with my baton.

Rock and Roll and Steve Almond

Remember when all that kept the breath going in and out of your flat little chest was shutting your bedroom door, slamming down the Close 'n Play, and wailing along with Linda Ronstadt as she compared her broken heart to a wheel? Or maybe bootleg Dead tapes were your thing: Smokestack Lightning at the Filmore, sheeeeettt! Or, like my darling husband, The Guess Who still trips your trigger. He had a roommate his first year in college who played the band's one record religiously. The Pavlovian association with American Woman and brewskis, all that.

Reading Steve Almond's Rock and Roll Will Save Your Life brings it all back. Almond's homage to the music that caused him to become a Drooling Fanatic (DF), along with delicious rants about the vapid pop that plagues the masses, makes this the latest must read in Almond's theme-driven memoirs. (C'mon Steve, candy, music, dare I ask what's next???)

The book is laugh-out-loud funny, btw, and his accompanying tour--complete with a "bad hair" introductory slide show and playlist, offers more goodies, including Almond's comedic timing and charm.

I have to admit though--I don't quite have the chops to call myself a DF. Maybe a DFH (Drooling Fanatic Hag), since, as a college coed, I hung out with guys for whom Jerry was God, and a lost weekend meant quizzically enduring a Pink Floyd marathon, but me myself, my devotion is causal. Can't face the treadmill without Jungleland pumping into my earbuds, and don't be playing Brandi Carlile's cover of Hallelujah if you're not handing me an ice cold Scotch.

Like Almond, though, I get cranky at the effervescent popularity of inane tunes, especially when I see my kid latching onto, say, Replay by the hip hop icon I.Y.A.Z.

Replay, how apt! Especially since every car trip in the past three months has been accompanied with:
Shawty´s like a melody
in my head
That I can´t keep out...

(in an effort to proffer forth my disapproval in a palatable way, I made up even stupider Weird Al-esque lyrics:
Hotter than a four-slice toaster
that girl is a crime they say...)

And what's up with, I queried my boy, Shawty--which seems to be the pervading slang common denominator in my son's top ten.

"It means girlfriend, Mom." At eleven, he's got eye-rolling down.

Shawty is indeed the latest tweener euphemism for girlfriend. The Urban Dictionary defines it as fine ass woman, so there you go.

Over the last couple of weeks Carson seems to have moved on from Replay, thank God, and on to an I.Y.A.Z. song I like better (though it's similarly mindless) -- Solo, which he plans to sing (ironically) in duet with another boy in the upcoming fifth grade talent show. My stomach hurts in vicarious embarrassment--have I spawned an exoticizer? Will he be wearing his ballcap backwards with his dungarees exposing his boxers whilst arranging his fingers into a palsy-like spasm? Is today's appropriation of hip hop by white kids the latest minstrel show?

But, alas, I have to let my child figure this all out on his own. After all, I was that lame ass (as opposed to fine ass) teenage girl listening to Ronstadt's covers of the world's most banal love songs. (Desperado, anyone?) And, the place in my brain where memorized Shakespeare sonnets should reside is SRO with the lyrics to all of Jim Croce's woebegotten ballads. I have some ammunition though. This morning's breakfast music included Almond's online soundtrack of Bob Schneider's Get Fucked Up and Do Some Fucking blaring from my computer. With all that funky inappropriateness from which to rebel, my kid will have to try a lot harder to shock his mama.

setting up shop

For the past four days I've been setting up my new writing space in the new house, and I'm finding myself being overly particular about what goes where, and what gets tossed and where to put my reference books versus favorite novels versus administrative crap.

I've been resisting cracking open several old plastic bins that contain relics--fragments of my late adolescence and the slips of paper upon which I wrote sophomorically profound epiphanies. But crack them I have, and up bubbled some discourse between my dad and I dating back to college. The epistolary exchange developed over my wanting to quit biochemistry and hence derail my journey toward becoming a registered dietitian.

My dad's points were carefully wrought and admittedly full of ego and regret. Essentially, the message was: buckle down and get your credentials like I did. My retort: I'm not sure I'm cut out for a life as a clinician. Instead, I see myself as a vagabond who follows her heart. Funnily enough, the argument hinged on independence. How without the right credentials one is beholden to compromise.

My, my how the world has turned that one on its ear. My father, as a 72-yr old physician, is at the mercy of a broken system, while I basically do whatever the hell I want. True, I don't make a lot of dough, but as I disgorge the tools of my trade, liberate them from their plastic bins and cardboard boxes and build my nest: the books, the letters, the memories, the scribbles, I realize that, at 22, I wasn't a complete moron after all. Good to know!

Ah, nostalgia. You move and there you are, smacked in the face with it. Now, the big question. To chuck or not to chuck!

homage to the writing space at 8305

In this house I've written, maybe, a million pages. Ok, doing the math, more realistically, 500,000. Nethertheless, in the eleven years I've lived here, a half-dozen novels have been drafted, two of which I've considered "done." I've written poetry here. dozens of essays. Possibly 50 articles. I won't even start with blog posts, emails, and other outgoing missives.

Saying goodbye to a writing space is a subset of the general goodbye--less fraught with toil, but infused with emotion. Yesterday, I found myself dissolved to tears several times. Out of nowhere: grief, sorrow, frustration. The things I did, the things I failed to do (yes, I'm aware this sounds like a Catholic creed).

In this house I've written award-winning pieces. I've received great news (grants, prizes, publication), and countless rejections. I sit here stymied by the hope, dashed hope, and tenacity of the writers' life manifest. And, of course, part of me wonders where it will all go. Will I be able to write in my new house? Will I be so besieged by the trivialities and pragmatic concerns (I have to buy a microwave! All the walls are dingy and dated! Get rid of the carpet in favor of the virgin hardwood that lies underneath!) that writing will forever take a back burner to swapping out the burners on the ancient cooktop?

Ah. And oy. And aye! Lament but press on!

Coincidentally, I have packaged up my manuscript, and SOL is now rattling about in the hands of others--being appraised, considered, what have you. Closure abounds.

And yet.

I'm itching to channel some of this free-floating angst in a productive direction. All of My Children Are Not Here awaits!

Writers' Homicide

My days are spent alternating between fondling sentences and wrestling words to the ground. Sometimes, the other way around. Occasionally words pin me to the mat so hard, I lie helpless, paralyzed, suffocating. Block, you say? I think not! When words fail me it's more like homicide. Writers' Homicide. The pen of self-inflicting sword-like slashings.

This is not happening at the moment, as a certain mania has taken hold, and I'm serving up words as fast as a short order grill cook--but a couple of weeks ago, I experienced a frightening lull in my ability and desire to write.

I've been told that those periods are fertile ground for collecting, as opposed to spewing. That they are every bit as important to the writer's cycle as output. I've always been skeptical of that. Somewhat. What I realize in hindsight with this particular go-round is that there is a difference between active and passive wool-gathering, and it has to do with synthesizing information, putting it into context, and filing it in the creative part of the noggin. It's not fugue state, but rather, extended curiosity. Making space for inquiry.

Now, on the other side of this Writers' Homicide, I'm ready to go out and slay a thing or two.

tranquility

Yesterday, at 3:30 p.m., my house officially passed along to its next owner. As with many big life transitions, the exchange was marked by last-minute drama and craziness, but in the end, the transaction prevailed, and I am now officially a renter.

Next week I will once again be a homeowner, but for now, I'm basking in the interstitial splendor of it all.

To fully appreciate my respite from real estate, I've taken advantage of my good friend Laura's offer to hole up in her houseboat for a few days.

This morning I'm looking over the channel, watching low-flying geese flapping and honking in pairs, swerving to miss the occasional tugboat or barge. My husband left early this morning for his job as a teacher across town, and I immersed myself in some writing as the river and sky unfolded in light, feeling the invitation to absorb the minutes of the day instead of scything through them.

Unaccustomed pleasure

Last week I read a book. For pleasure. That may not sound like a big whoop, but, actually, it's been several MONTHS since I've allowed myself to sink into a book without a pen in my hand. I'd forgotten how deliriously indulgent that is.

The book I read wasn't even one I'd picked out--it was pilfered from my husband's sleeping body: Jhumpa Lahiri's UNACCUSTOMED EARTH. He'd read two or three of the stories (not in order, even, sacrelige!) and when he had fallen asleep in the sun, the book on his chest, I snatched it, and wouldn't give it back. (Don't you HATE when people do that?)

I'd read THE NAMESAKE years ago, and loved it, and anytime she has a piece in the New Yorker, I devour it, but the bliss of following her heart through the trials of the various Bengali families in her pages was nearly as satisfying as swimming with dolphins.

The partial pastiche she created, the negative space, the deft shifts in POV, offered a larger story than NAMESAKE--a mural as opposed to a single painting. In the end, Lahiri's book left me feeling fuller, richer, sadder and wiser. I love when that happens.

the writer on vacation

Many of the stories writers weave--okay, most of them--are mired in a melange of experiences, appropriations and fantasies. So it goes to follow that when a writer goes on vacation, senses are heightened at the same time that blockades to the imagination are freed up, and the result can be a volcanic eruption of story.

I'm at the tail end of my week in Hawaii. First trip anywhere this far West OR South, so a pretty big deal. Tropical Island vacations have never called to me the way they have my husband. The ocean is lovely, but I never pine for it. Swimming, I can take or leave. Hot, sticky air mostly disagrees with me. It's the oddness of leaving so much of my normative world behind that is the seduction here, to be honest. The suspension of disbelief, really. For instance, down the island apiece is the old sacred ground known as Place of Refuge, where for centuries citizens would brave shark-infested waters for possible redemption from the kapu they committed that would otherwise sentence them to death.

And.

Pele, the passionate and capricious Goddess of Fire, shaped the island with her bouts of jealousy by spewing molten lava from Kilauea when betrayed.

More.

King Kamehaha upended the Naha Rock in Hilo (all 7,000 pounds of it)to prove he was worthy Hawaii's greatest king.

But nothing compares to the stories that live in nature here on this amazing young island, and never in my life have I been closer to the natural world than these past six days. Snorkeling with a pod of dolphins, swimming alongside a sea turtle, watching the slow, steady heartbeat of a resting monk seal, following a couple of Moorish Idols as they wave their sickle crest extensions in the surf and kiss the spongey tunicates off the reef rock--this is the raw material for weaving stories.
In regular-real life, it's often easy to forget the basics, and we generally avert any stimulus that takes our attention away from the list that spits us through our days. The best writing happens when we allow the visions, wonders and curiosities to flood us and drag us away from the quotidian tide.

I hope I can remember that when I'm back on the mainland.