Will the Virginia Tech Tragedy Change Creative Writing Workshops?

The shootings at Virginia Tech have sparked a nationwide debate about creative writing classes and whether the college heeded warning signs from Cho Seung-Hui’s writing professors. Some feel that creative writing instructors are expected to identify students at risk.

When I teach workshops, I try to create a “safe zone” for students so they feel free to experiment. Granted, my college students tend to write about what happened at the lame frat party the night before, but I wouldn’t want them to feel that I am judging their mental faculties as I’m reading their stories. I think that Cho’s writing professors may have been more alarmed by the fact that Cho’s violent writing was coupled with anti-social behavior.

I wasn’t surprised that the creative writing community at Virginia Tech became actively involved in trying to help the shooter. Writing instructors get to know their students on a more personal level, so the writing community may be the first to detect when students are troubled. I’ve had students come to me during office hours to discuss a recent loss of a sibling or to tell me about an illness in the family. One student told me that he nearly died the year before when a deranged homeless person stabbed him at a college party. These are issues that seldom come up in Chemistry class.

Perhaps it may be helpful for creative writing professors to undergo some sort of counseling training, or would that be asking too much? Do you think that the Virginia Tech tragedy will change the way people teach creative writing? Do you think that this will change writing workshops? Will students still feel free to express themselves?

Dzanc Prize Announced

The good people over at Dzanc books (Steve Gillis & Dan Wickett)have announced a new prize:

The Dzanc Prize, a $5,000 cash award to a writer with a Work in Progress, and a plan to do some Literary Community Service.

A great idea to help struggling writers as well as their communities. Submissions are being accepted now until November 1, 2007. To find out more go to www.dzancbooks.org or www.emergingwriters.typepad.com

Peeved about Postal Rates?

The latest postage rate hike is upon us–only a year and a half since the last postage rate hike.

Like most subcription-based magazines, we rely a great deal on the mail. And while raising rates isn’t necessarily a bad thing, the most recent round seems highly unfair to smaller organizations. The service for lower-rate postage, such as media mail or periodicals postage is already pretty dubious, and it is disheartening that improvements in the service seem to be aimed at large media companies instead of overall customer/employee satisfaction.

These new costs could put smaller lit mags out of business. Take a moment if you agree with me to sign this online petition at freepress.net.

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One Story Customer Service: Not a Book Club

Hello, loyal One Story fans!

While I’m flattered you may think I know who the next Pynchon will be, or that perhaps I’ve read Runaway–and while all this might be true, the One Story customer service email is not the place for this sort of thing!

Instead, we’d love it if you brought the book club talk here to the One Story blog. Please, go easy on our volunteers and employees.

Issue #88: Aerogrammes

There is something about belonging to a closed community�be it an office, or a school, or in this case a nursing home�that creates a certain kind of friendship, not based on common interest, but rather the amount of time spent together, sharing a daily routine. It was this closed setting in Tania James’s “Aerogrammes” that first drew me to the story. A man is put into an environment�the perfectly named �OmniHome’�that he hates at first, learns to tolerate, and then, at last, accepts and perhaps even feels he belongs to. Mr. Panicker’s character is pleasant company throughout the journey, from the humor he shows while participating in activities (�His rock garden always resembled a pile of turds’) to his compassion while comforting an elderly woman’s loss of her lover (�There is nothing to be ashamed’) to the horror he feels when someone makes a pass at him (�Her fingers brushed up the side of his good hip’). Hanging over all of this is the fact that OmniHome is a way station. The last stop before death. And when the aerogrammes appear�those thin, filmy letters from overseas�they end up connecting Mr. Panicker back to the beginning of his life, to the days spent as a child running through the streets of Kerala. And it is these aerogrammes that thread their way to the heart of the story, that of Mr. Panicker and his estranged son, building effortlessly to a conclusion that is both unexpected and surprisingly moving. This is Tania James’s first published story, and I’m very excited to see what she is going to do next.

Call for Interns

One Story Magazine is seeking interns with a dedication to literaryfiction for the summer and beyond. Come work with the award-winningpublication in beautiful, historic Brooklyn. We’ll train you in thebasics of magazine distribution and customer service while you learnwhat it takes to keep a print publication running.

We are seeking candidates who are:
- Detail-oriented
- Dedicated
- Eager to learn

Technical proficiency is helpful, but we are willing to train you upto speed in a variety of useful applications. We have a lot of eventsin the works for this year, so please be used to working hard in arelaxed environment. This position would begin in May/June and would be 2 days/afternoons a week.

To apply, send a copy of your resume, along with a brief cover letter, with a few words about why you think you’d be a great fit for One Story magazine to: katie@one-story.com.

For more information, check out our homepage. This is an unpaid position.

Erica Jong: Women writers need to get mad, get even

Erica Jong has a very interesting article in this week’s Publisher’s Weekly. In it she discusses how women writers have been marginalized, and asks why authors like Jonathan Franzen and Jonathan Safran Foer are called ‘the next great American novelists’ while women authors of the same caliber are dismissed. Her answer to this problem? Women authors need to get angry. Or write about war.

“We may glibly say that love makes our globe spin, but battles make for blockbusters and Pulitzers. When writers like Eugenides write about families and relationships, critics marvel at their capacity for empathy. When a female writer does the same thing, they sigh and roll their eyes. Men aren’t penalized for focusing on family and relationship. Rather, we wonder at their empathy because of their gender.

Feminism didn’t change deep-seated priorities about what—or who—matters. I see deeply diminished expectations in young women writers. They may grumble about the chick lit ghetto, but they dare not make a fuss for fear they won’t be published at all. Their brashness is real enough, but they accept their packaging as the price of being published. My generation expected more. We did not always get it, but at least categorization outraged us. Where is the outrage now?”

To read the rest, click here.

I was glad to read this article, because it is a discussion I have over and over with other female writers. The question now, I think, is how can we make this trend change? Please write in your thoughts. I’d love to get a discussion going on this.

Dani Shapiro’s Black & White

One Story author Dani Shapiro’s compelling new novel, Black & White, was released this week from Knopf.

Inspired by the work of Sally Mann, and the question of how parenthood affects the relationship an artist has to their work, it tells the story of Clara, the muse of Ruth Dunne, a Manhattan photographer who just happens to be Clara’s mother. The provocative pictures she takes of Clara push the envelope (Is it art? Is it child abuse?). They also make Ruth famous, and eventually tear her relationship with her daughter apart. Clara runs away, but years later, when she learns Ruth is dying of cancer, she returns to New York to take care of her, to come to terms with what happened between them, and also face the little girl trapped inside those photographs. Black & White is receiving great reviews, including this one from the LA Times:

“Trenchant and enduring… Shapiro elegantly and movingly portrays the troubled relationship young Clara has with a mother who uses her for her own artistic aims … As Shapiro has demonstrated in her earlier work, most notably in the novel Family History, she is nimble with structure and she plays out the story line deftly, creating the urgency of unraveling mystery in what is essentially psychological drama.”
–Marisa Silver, Los Angeles Times

Dani starts her West Coast tour tomorrow night at Dutton’s Brentwood Books in Los Angeles at 7:00 pm. Check out her tour schedule here. And be sure to come to her One Story reading at Piano’s next month, on Friday, May 4th!

David Petersen Reads Tonight

TONIGHT: ONE STORY MAGAZINE’S COCKTAIL HOUR AND READING SERIES

Friday April 6th
at Pianos
158 Ludlow Street
Cocktails: 6:30 pm | Reading: 7:00 pm

Featuring David Petersen

David’s $5 drink of choice: Caipirinhas

Our host this month: Hannah Tinti, Editor of One Story

ADMISSION IS FREE

Pianos is a 21+ establishment (ID required).

Pianos is located at 158 Ludlow at Stanton on the Lower East Side. Take the F or V train to 2nd Avenue. Walk towards the 1st Avenue exit and leave through the door that says Allen Street. Walk east on Houston to Ludlow, then a block south to the intersection of Stanton. Pianos will be on your left.

Visit www.one-story.com for more information.

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Five Years

Today is One Story’s fifth anniversary. It’s hard to believe that it’s been five years already, and it’s certainly a good time, I think, to stop and look around at what we’ve accomplished. What some people know, and what many don’t, is that One Story is run by volunteers. We’ve kept this magazine going on top of our regular, paying, jobs, as well as having children and getting groceries and taking lovers and figuring our taxes and all the other things we do to keep living in this world.

At the same time, we’ve had stories recognized in Best American Short Stories, The O.Henry Prize Stories, Best New American Voices, Best American Non-Required Reading, New Stories from the South, Best American Fantasy, Selected Shorts and The Pushcart Prizes. We’ve grown our subscriber base from 200 to 4,000 people. We’ve become recognized in the publishing world as a place to look for the best new writers, and had articles written about us in The New York Times, Time Out New York, O-The Oprah Magazine, Newsweek, and Jane. And perhaps most satisfying of all, we’ve seen many One Story writers go on to publish their first books.

Some more good news that we’d like to share with you is that after much paperwork and patient waiting, One Story has received non-profit (501-c3) status, which means we’re going to be able to solicit funding and grants in order to keep this magazine going and provide for a more stable future. Ultimately, we’d like One Story to be a permanent part of the literary landscape, a place where the best new and established authors are being published, with a broad group of enthusiastic readers.

Maribeth came up with the concept of One Story about seven or eight years ago. We batted the idea around for a time, but our regular lives kept us from actually putting it together. Then, in October, 2001, when I was still finding bits of ash in my apartment, and had my windows closed to keep out the smell of the burning pile, and all that it evoked, the terror and the death and the destruction and the sorrow, Maribeth called me, and said, Let’s do it. It’s hard to even remember now, what people were feeling right after the towers fell. Some people had sex. Some people joined the service. Some people quit their jobs and moved out to the country. And some people, well, they started literary magazines. It seems kind of silly, and insignificant, and very obviously nerdy, but doing so, I think, was a hopeful act. A tiny step towards living.

We published our first story, “Villanova, or How I Became a Former Professional Literary Agent” by John Hodgman on April 1st, 2002. We’re all a bit older now, and probably a bit pudgier, and some of us are famous. Well, John is famous. But we’re still going, and mostly because of all of you, who have supported us over the years, subscribed to our magazine and come to our readings, blogged about us, ordered back issues and written us letters that kept us going, when we were ready to quit. So now we’d like to raise a glass to you, dear readers, with our thanks. Lovers of the short story, unite!