The Practice of Creativity

Archive for the ‘women of color’ Category

It’s so easy to talk ourselves out of submitting our work. Rejection is painful. Even though I am a coach and a creative writer, I, too, find ways to ‘self-reject’ my work. It’s never a good idea. Always get your work under review, submitted, in the pile, seen. It’s a simple fact that if we creatives want to have an audience, someone has to read, see, or hear and experience our work. The only way we can do that is to submit our work to others.

In January, I taught a workshop called ‘Charting Your Path to Publication: Tips, Techniques and Lessons for Writers.’ An amazing group of writers came out to learn how to beat the odds of rejection when submitting to journals, magazines, etc. We talked about strategies to submit our work, the courage to send it out and the perseverance to keep going in the face of rejection.

I shared how inspired I was by a great interview with the writer Laurence MacNaughton on Mur Lafferty’s “I Should Be Writing” podcast. He shared that he struggled for many many years getting his fiction published. He had many cardboard boxes filled with rejection letters. When he moved into a new home, he decided to open up those boxes and count his rejection letters.

He counted and stacked up 100, 200, and 300 rejection letters. As I listened to the story, I held my breath. So many questions ran through my mind. How many did he have? Where was he going to stop? How many rejection letters did I have a decade ago? He kept on counting and found himself at 500, 600, and then 800 rejections. He stopped when he reached a 1000 rejection letters. He stopped counting them even though he had more letters! He felt so bad about it that he stopped temporarily writing. He felt like anyone who could amass 1000 rejection letters should not write.

He said that that not writing was really hard and that he soon came to the realization that writing was essential to his mission and purpose on the planet. It’s what gave him joy. He decided to write, no matter whether he was published or not. He kept submitting his work and soon after that sold one of his novels. He’s now a full-time writer.

I was very moved by this story as it reminds us that all we can control is what we send out and although we will inevitably get rejected, we have to submit our work. And, we have to find joy in the writing itself, no matter what the outcome. As Laurence says, “Rejections mean you are doing what you need to do, you just need to keep going.”

Recently, I almost talked myself out of submitting work.  Last fall, I saw this call:

Octavia Estelle Butler was born on 22 June, 1947, and died in 2006. In celebration of what would have been her 70th birthday in 2017, and in recognition of Butler’s enormous influence on speculative fiction, and African-American literature more generally, Twelfth Planet Press is publishing a selection of letters and essays written by science fiction and fantasy’s writers, editors, critics and fans.

I got goose bumps reading this call. Octavia Butler is one of my favorite authors. I teach her work and her nonfiction essay, “Positive Obsession” is one that I credit for inspiration in pursuing my writing life.

I put it on my calendar to submit, but as the deadline approached, I found myself saying:

“Every prominent speculative fiction writer is going to submit something—I can’t compete.”

“I want to write about the impact of her nonfiction on me and her use of affirmations to boost her confidence. The editors probably won’t be interested in that.”

And on…

I was about to talk myself right out of submitting due to fear. I was going to self-reject. Thank goodness a writing friend messaged me with the link and said, “Hey, I know you’re a Butler fan, you’re submitting to this right?’

That little encouragement got me in gear. I decided to write the essay. I told myself, if it gets rejected, I can pitch to the speculative fiction magazine. Someone could want this essay.

I sent it off, pleased with the essay, but not expecting anything.

I’m thrilled to say that my essay WILL appear in the anthology. I am so honored to be in this collection. See details below.

Always give others a chance to evaluate your work. Never self-reject!

We are excited to announce the contributors of original letters and essays for Luminescent Threads: Connections to Octavia Butler. There are letters from people who knew Butler and those who didn’t; some who studied under her at the Clarion and Clarion West workshops and others who attended those same workshops because of her; letters that are deeply personal, deeply political, and deeply poetic; and letters that question the place of literature in life and society today. Essays include original pieces about Butler’s short story “Bloodchild” and whether we should respect Butler’s wishes about not reprinting certain works. All of these original pieces show the place that Octavia Butler had, has, and will continue to have in the lives of modern writers, editors, critics and fans. Our contributors include:

Rasha Abdulhadi
Raffaella Baccolini
Moya Bailey
Steven Barnes
Michele Tracy Berger
Tara Betts
Lisa Bennett Bolekaja
Mary Elizabeth Burroughs
K Tempest Bradford
Cassandra Brennan
Jennifer Marie Brissett
Stephanie Burgis
Christopher Caldwell
Gerry Canavan
Joyce Chng
Indra Das
L Timmel Duchamp
Sophia Echavarria
Tuere TS Ganges
Stephen R Gold
Jewelle Gomez
Kate Gordon
Rebecca J Holden
Tiara Janté
Valjeanne Jeffers
Alex Jennings
Alaya Dawn Johnson
Kathleen Kayembe
Hunter Liguore
Karen Lord
ZM Quỳnh
Asata Radcliffe
Aurelius Raines II
Cat Rambo
Nisi Shawl
Jeremy Sim
Amanda Emily Smith
Cat Sparks
Elizabeth Stephens
Rachel Swirsky
Bogi Takács
Sheree Renée Thomas
Jeffrey Allen Tucker
Brenda Tyrrell
Paul Weimer
Ben H Winters
K Ceres Wright
Hoda Zaki

Luminescent Threads will also include reprints of articles that have appeared in various forums, like SF Studies, exploring different aspects of Butler’s work.

Luminescent Threads will be published by Twelfth Planet Press in June 2017.

 

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I am so happy to participate in the blog tour of new author, Audrey Mei. I’m grateful to Quanie Miller, a wonderful writer and blogger who helped bring us together. Given Audrey’s amazingly diverse creative practices that run the gamut of music, writing, health and science, I knew she would be a great person to interview. In our correspondence, we’ve discovered that we have many overlapping interests.

Audrey Mei grew up in the San Francisco Bay Area before studying cello and biological psychology/pre-med in Boston (New England Conservatory of Music/Tufts University). Following graduation, she received a Fulbright Grant for graduate studies in cello performance at Sibelius Academy in Helsinki, Finland.

Since 2006, Audrey has been dedicated to writing prose and poetry and has been published in Gangway Literary Magazine and Glimmer Train among others, as well as participating for several years in the Berlin English language literary scene. She is a world traveler at heart.

I’m delighted to welcome Audrey Mei to The Practice of Creativity.

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-Tell us about your recent book, Trixi Pudong and the Greater World. Why did you want to write this book?

Trixi Pudong and the Greater World is a family saga that follows a Shanghai family through four generations, beginning in 1937. Alongside the family’s history of war, revolution, addiction, and migration, there is a twist of magical: a fairy, a fortune-telling goatman, and two brothers who never step off a rusty container ship.

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The inspiration for this book came as I was researching my dad’s family history for fun. At the time, I was also living as a dirt-poor writer in Berlin. The ironic juxtaposition of everything my Chinese family had survived and the “privileged”-yet-poor artist life I was living in modern, cushy Germany gave me the impetus to write a book about how unpredictable the waves of history can be.

Also, my father is a natural storytelling genius. I felt that integrating his tales from Shanghai into a work of historical magical fiction would be a way for me to remember his stories as well as a way for them to potentially reach a wider audience.

-You have explored many wonderful professions in addition to writing including, being a classical cellist, a holistic healer, and a scientist. How have these other creative and intellectual pursuits contributed to your writing?

The single most important thing I’ve gained is the discipline of being a classical musician. Someone recently pointed out to me that classical music is the one artistic field which requires the highest investment in time, energy, and money for the least return in today’s economy. Where else do little kids practice hours a day, take expensive music lessons, take the “audition of their lives” to study at pricey conservatories, and spend five figures on an antique instrument… just for the slim chance at earning all that back in the vanishing classical music profession? It turns out that many music school graduates have taken their skills to innovative non-music jobs. A surprising number of tech workers in Silicon Valley, for example, are actually classical musicians.

Discipline is the greatest gift. I can’t say enough about it. Yet it is the one area where the most people fall short. Discipline is required to write, solve problems, continually improve, and mentally deal with the pain of critical feedback. Discipline is required to keep the mind free from destructive thoughts and to keep yourself focused on the highest level of quality you can manage.

The second skill I’ve gained through my experience is emotional awareness from working in holistic therapy for sixteen years. I listen to people’s stories, traumas, insecurities, and griefs. I follow their healing and their growth. I can’t be judgmental and I can’t be afraid of deep emotions otherwise my clients would stop seeing me. Therapeutic experience has also given me the “roadmap” of human motivations. Writing-wise, this helps me to create a stories that interweave motives and relationships that are rooted in true human psychology.

-Your book is being marketed as multicultural fiction. Can you share what this term means to you and why that’s an important distinction for this book?

It didn’t dawn on me that the term “multicultural” would be important in any way until I researched agents and realized, Wait, these agents would never, ever in a million years represent me. They all claimed to be interested in all genres of literary fiction, but early on, I got a strong gut feeling when I browsed agents’ client list and saw only your garden-variety white male (or female). And the only non-white authors being represented were invariably prison-camp survivors, Nobel laureates, or writers on “What it means to be [fill in ethnicity/disadvantaged class] in America.” The next stage of this realization came as I read agent interviews where they unabashedly declared their risk aversion to selling to an audience that they couldn’t relate to. In other words, there was a near-zero chance for a person like myself who is just telling a story.

But, as my writing teacher always emphasizes: The readers are out there. Unfortunately, as the traditional publishing industry has changed, world literature has fallen victim to the budgeting ax. It remains a question of reaching the right audience, but at the indie book level. Hence I saw how critical it is to designate a book properly to attract my target readers.

-What’s been the biggest surprise thus far in being published?

I’m astounded at how supportive other indie authors are. I’m also floored by how impossible it is for anyone with kids to write, publish, and market a book with no child care. I started writing Trixi Pudong in 2009, pre-parenthood. My daughter was born in 2014, and my writing screeched to a complete standstill. Without my mother-in-law donating 20 hours a week of babysitting, I simply wouldn’t have a book out. Period.

– What do you say to yourself on days when the writing feels especially difficult?

Just wait. What goes down must come up again. 

I’m very strict about this, to not put pressure on myself. I don’t work well under pressure. I would just produce garbage. But when inspiration comes on its own, it really flows and the process is nearly effortless. It’s therefore more important for me to find ways to let the inspiration flow. A meditation practice — being able to empty my mind to allow for ideas to emerge, aka “listen to your heart” lol — has been my best resource.

– What’s your best writing tip that you’d like to share?

This is going somewhere, I promise: My dad is a retired professor of computer science at the University of California, Berkeley. For a while decades ago, UCB topped even Harvard as the country’s best university, and this was because of his department. So he’s a pretty esteemed individual in his field (just don’t ask me anything about it!). At conferences and events, fellow professors and former students flock around him. I’ll never forget what some of his former grad students related to us at his 80th birthday celebration. According to these students, my dad always told them that, in the face of doubt:

Never compare yourself to anyone else.

Remember that no one else can do what you are doing.

 

Thank you to Michele for giving me the honor of guest-posting on your blog! You can find the rest of my blog tour schedule here.

 

There is always a lag time between acceptance of one’s work and publication. So, I was thrilled to receive the recent Oracle: Fine Arts Review, a lovely literary and arts journal, and see my poem, ‘The Shells of Pink Bodies’! This poem was submitted last September and accepted at the beginning of the year. Oracle is published annually by the University of South Alabama. It features fiction, nonfiction, poetry, painting, photography, drawing, sculpture, illustration, glass, printmaking, and ceramics. I enjoyed working with their editorial team.

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This poem is my strongest one to date, both in terms of technique, structure and emotional resonance. I have not studied poetry in the obsessive way that I have studied novels and more recently short stories. Therefore, it’s such a joy when I write a poem that I immediately know works and sparks something for the reader. When I took a draft to my writing group and listened to their responses (unlike any other response to my poems), I knew the work was strong. I typically don’t decide to just sit down and write a poem. When I am compelled to write a poem, it is in response to a very strong emotion, usually something rooted in my childhood or adolescence. This poem contains some autobiographical material that has been reworked. It also takes up mother and daughter issues which is definitely emotional territory that I like to explore. Soon Oracle will have a pdf file of the issue on their website that I can link to. They produced a beautiful issue. Until then, here is my poem. Also, check out their call for issue 10. They would love to see your work. Enjoy!

 

The Shells of Pink Bodies

 a girl sits in a fine restaurant
her mother across from her, martini in hand.
the girl knows that being there is a luxury.

what awaits them in the tiny hotel room
the chair, the stained bedspread, no fridge
but a hotplate.

small cartons of milk pilfered from school
placed outside on the window sill,
to keep them cool, and
tiny boxes of Coco Puffs and Fruit Loops
decorate the TV stand.
their lives away from the stepfather
not with him
but not yet
somewhere else.
years later, the daughter will still loathe
small cartons of milk, and the cheery, sugary cereals
that everyone else loved, and describe their time in that room
as hand to almost mouth living.

And so a restaurant,
every now and then, makes the mother forget.
while the daughter practices
what it will be like

when things are different
in a barely imagined future.
the daughter wrings the napkin in her lap, eager
she takes her mother’s suggestion and orders what she wants
the most exotic thing on the menu.
Shrimp!
she has seen their small, pink muscular bodies
lying on ice-filled platters
in late night commercials,
wedged
between the Johnny Carson show
and B movie reruns.
the waiter smiles at her,
she beams.

“Another martini, please.
Yes the same as before, extra dry,
straight up, with two olives.”

the daughter’s platter arrives
and she eats and eats and eats.

the chewing though takes longer than she imagined.

the waiter looks at the daughter with a hint of surprise and just
as he is about to speak, the daughter glimpses a calculation

in her mother’s eyes,
the waiter sees it, too, hesitating.
a message, the daughter wonders
the waiter shrinks back.
the pink bodies finally surrender to the daughter’s jaws working,
chewing and snapping.
her mother is paying, so she must eat another and another
all that awaits back at the hotel is the dry crunch of cereal.
The waiter returns, rising on the balls of his feet, worried now
hovering, until the mother shoos him away.

pink bodies float in the melting ice, disintegrating.

the daughter’s throat is raw and she asks for another Coke.
her mother is quiet, drinking the next martini.

the waiter takes the completely empty platter away.

“You didn’t ask, did you? You just took,” her mother finally says.

the girl sees a meanness coming, shooting out from her mother’s eyes,
she checks the placement of forks, napkins.

“Don’t do anything,
in a restaurant,
without asking me.”
“You weren’t supposed to eat them with the shells on.”

the mother’s martini laugh, sharp and almost playful
rings in the girl’s ears.
her focus narrows
to the missing platter’s
indentation in the tablecloth.

“You always wait
and watch
and ask if you are unsure.”

“Next time, you’ll know.”

the bill is paid and they begin their journey back.
those perfectly pink bodies, those shells,
stay with her,
scratch inside.

years later they remind her
of the ability to endure.
the caring, but quiet waiter.

she waits to know,
for sure,
what is expected of her.

a different future
than imagined.

 

Affirmations-366Days#205: My writing connects me to history and to people who were never given an opportunity to express themselves.

For new readers, here’s why I’m committing to writing affirmations, about the creative process, during the next 366 days.

I have written in other places about the influence of my maternal grandmother on my desire to write. My grandmother used to read five to six newspapers a day and loved the written word. She had entertained high aspirations of becoming a journalist (already in full bloom in adolescence as evidenced by her securing an interview with Harlem Renaissance notable Countee Cullen for the high school newspaper). She did do some writing for The Amsterdam News, a black focused newspaper in NYC. However, she found it overall impossible to give her creative gifts to the world because of her skin color and sex.

This was true for many women of color of her generation. Barriers for many women rooted in the intersection of sexuality, race, nationality, class and disability still profoundly shapes the possibilities and trajectories of a creative life. I am aware of how privileged I am in the ability to contemplate let alone pursue a creative life. I write for myself, but also with an attention to telling collective stories that my mother, grandmother and others would have loved to hear. And, I do believe that as more women of color live fulfilling creative lives, at some deep inexplicable metaphysical level, we heal the unfulfilled karmic desires of female ancestors who came before us.

Pavarti Tyler is an adored writer and publisher. Under the moniker P.K. Tyler, she writes speculative fiction and other genre bending fiction. She’s published works as Pavarti K. Tyler and had projects appear on the USA TODAY Bestseller’s List. She also created Fighting Monkey Press.

IndieReader has said this about Pavarti: “Tyler is essentially the indie scene’s Margaret Atwood; she incorporates sci-fi elements into her novels, which deal with topics such as spirituality, gender, sexuality and power dynamics.”

pav

I know Pavarti because I’m one of the 22 authors in her recent Uncommon Origins: A Collection of Gods, Monsters, Nature and Science anthology published through Fighting Monkey Press. This is the second UnCommon anthology that she has published, beginning with UnCommon Bodies. She is currently reviewing manuscripts for UnCommon Minds.

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Not only was I delighted to have my work accepted for UnCommon Origins, I was thrilled to become part of Pavarti’s community of writers. Leading up to the launch for UnCommon Origins, Pavarti mentored and supported us in learning about marketing, branding, and finding audiences that would love our work. I learned so much! I also got to interact with authors involved in UnCommon Origins and authors from UnCommon Bodies and other projects that Pavarti has brought to fruition. She’s nurtured a group of writers who are incredibly generous and supportive of each other. As I noted in an earlier post, the launch for UnCommon Origins was incredibly successful and continues to trend on Amazon. Pavarti knows both art and the marketplace.

mosaics

I recently discovered one of her other series: Mosaics: A Collection of Independent Women. This collection is ambitious in scope and features a diverse group of self-identified women writing about intersectionality (e.g. how social categories of race, class, sexuality, nationality, etc. come together simultaneously to shape both privilege and power). Pavarti has recently released the second Mosiacs collection with its multi-faceted look at the history and culture surrounding femininity: “If gender is a construct, this anthology is the house it built. Look through its many rooms, some bright and airy, some terrifying– with monsters lurking in the shadows.” This work offers readers poetry, essays and fiction, showcasing voices that don’t often get represented.

Profits from both collections are donated to the Pixel Project to end Violence Against Women.

I’ve written about intersectional theory, practice and methods as a scholar, so I was especially interested in this project. Mosaics is timely given the ongoing VIDA: Women in Literary Arts conversations about gender equity and the We Need Diverse Books movement.

I wanted to know more about Mosaics and Pavarti’s writing career. I’m delighted to welcome Pavarti Tyler to The Practice of Creativity.
 

 -Tell us about the Mosaics collections. What inspired them?

Mosaics was a project conceived by Kim Wells.  We decided to work together because our politics and philosophies are so in line.  Both books were filled with stories the two of us hand selected for inclusion and that we believed brought something special not only to the literary world, but also contributed to the conversation about sex and gender. There has been so much controversy and misunderstanding about feminism and equality lately, we felt it was important to give voice to a wide variety of women and experiences on how gender intersects with issues of race, sex, and ability.  In the end, we had so many amazing submissions we weren’t able to put together just one collection and had to expand the scope to two books.  It was a tremendous amount of work, but work I’m exceptionally proud of as both an author and publisher.

– You’ve edited several anthologies over the past few years. What do you enjoy about being an editor? How was editing Mosaics different than your other anthologies (i.e. UnCommon Bodies)?uncommonbodies

I’m actually not an editor.  I’m lucky I’m able to spell my own name right most days. In all these projects I’ve worked as curator, coordinator, and publisher (and often marketer).  I love the chance to bring together new voices and curate selections that stand up as individual works, but which also add something to the greater whole when seen in context of the collection.

-You manage to pack a lot into your day! You are a blogger, writer, editor and publisher. How do these activities feed each other and you?

I’m not sure if this question makes me want to laugh or cry.  I do pack a lot into my days and I’m exhausted most of the time, but everything I do is done out of love and passion.  A passion for language, for story, for the fundamental belief that it’s essential to the human condition to share experiences. Of everything, blogging is the one thing I don’t do consistently, only when something strikes my fancy or inspiration, but I do try to put up something every few weeks.  While it’s not my primary passion, it’s a great way for me to connect with readers in a direct and personal way.

-Is there a story behind the name of your publishing imprint—Fighting Monkey Press?

Yes.  My husband and our friends were ridiculous creatures when we met.  I called the group of them my monkeys because of their penchant for climbing walls and jumping over things on rollerblades.  They were also all on the fencing team.  So when it came time to name my company, Fighting Monkey just made sense.

-Do you consider yourself a discovery writer (also known as a pantser) or outliner? Or do those categories not apply?

I plot, but I’m not a micro plotter.  I use a 5 act structure and outline the basics of where I’m going and then beat plot a few chapters ahead of where I am before writing.  The essential part of this for me though is the willingness to just delete it all if the characters take me in another direction.  They usually know the story better than I do so I follow their lead.  So I’m a plotter who sometimes gets swept away by my pants.

-What’s your best writing tip that you’d like to share?

Shut up.  I know that sounds harsh, but there are only 2 rules for writing: 1 – Shut Up 2 – Write.  If you can get past the first one, I believe everyone has a story to tell.  So silence your inner critic, stop talking about the things you want to do, stop posting on Facebook about writing, just shut up and write.

 

Pavarti Tyler attended Smith College and graduated with a degree in Theatre. She lived in New York, where she worked as a Dramaturge, Assistant Director and Production Manager on productions both on and off-Broadway. Later, Pavarti went to work in the finance industry for several international law firms. Now located in Baltimore Maryland, she lives with her husband, two daughters and two terrible dogs. When not penning science fiction books and other speculative fiction novels, she twists her mind by writing horror and erotica. Find out more about her here.

 

Affirmations-366Days#175: I make a  literary pilgrimage as a purposeful act of devotion.

For new readers, here’s why I’m committing to writing affirmations, about the creative process, during the next 366 days.

In a few days I will travel to London for both work and pleasure. I’m super excited. The last time I visited London was 25 years ago, right before I started graduate school. How time flies! Unfortunately, the last time I was there I didn’t get a chance to explore much of London’s great literary history. That won’t happen this time. I can’t wait to walk the same streets of Charles Dickens, Oscar Wilde and Virginia Woolf and be immersed in their specific histories.  My upcoming trip reminded me of the importance of making literary pilgrimages, hence my affirmation. Pilgrimages are purposeful trips meant to show devotion and help foster insight and gratitude. Making a pilgrimage in service of our creativity is fortifying. My trip also reminded me of a post that I wrote on this topic in 2014. Below, I share the powerful experience I had of taking my first literary pilgrimage to learn about the remarkable Harriet Jacobs, escaped slave and author of Incidents in the Life of a Slave Girl.

 

Tips for Writing at Mid-Year: Make a Literary Pilgrimage

I decided to use a recent visit by my godsons as motivation to make a literary pilgrimage to visit the town of Edenton, NC where Harriet Ann Jacobs lived and made her escape from slavery. Harriet Jacobs wrote Incidents in the Life of a Slave Girl, Written by Herself originally published under the pseudonym Linda Brent in 1861. I read about her remarkable life in college and have been fascinated with her story ever since.

A literary pilgrimage can take many forms. It can mean a visit to a deceased writer’s home or estate, or a walk about their favorite town or city, exploring places that were important to them. It can be refreshing to take a break from your writing routine and connect with a writer that you admire by visiting places that shaped them.

Not all literary pilgrimages are arduous, but this one had elements of difficulty. My partner Tim and I were going to begin our trip with our godsons (visiting from Minnesota), by first going to Edenton and then ending up on Ocracoke Island. When I initially called the Historic Edenton Visitor Center to arrange a tour, I discovered that they would be closed on the first leg of our trip. And, I also discovered that only certain docents conducted the Harriet Jacobs tour and work on certain days. So we rearranged our trip so that we could get there later in the week, thus ending our sightseeing in Edenton before heading home.  A few days into the trip, I called a second time to arrange a tour.

During this call, the person explained that the main ‘Harriet Jacobs docent’ was out on vacation, but perhaps another person who occasionally did the tour could fill in. But, the person on the phone sounded skeptical that this other docent was going to be available.  She said that there were materials available for a self-guided tour.  I thought OK, we’ll just show up and do the self-guided tour. Not ideal, but doable.

The afternoon we arrived in Edenton, we were tired and it was already close to 90 degrees. This the last leg of our trip after watching wild ponies in Ocracoke, seeing the Lost Colony play in Roanoke, and feeling the exuberance of invention at the Wright Brothers’ exhibit in Kitty Hawk. It also looked as if it was going to rain which made me doubt everyone’s willingness to do a self-guided tour.

We were in luck, however, for when we arrived at the Visitor Center, we were met by an older woman named ‘Miss Carolyn’ (a native of Edenton), and she graciously walked with us and gave us a thorough 90 minute tour. Although not the primary docent on Harriet Jacobs, she was a great resource and an enthusiastic guide.

The brief story about Harriet Jacobs goes as follows: Although they were enslaved, the Jacobs family had a great deal of relative freedom in the small town of Edenton. Her father was an accomplished carpenter, her grandmother, a well-known cook. After her mother’s death, Harriet went to live in the home of her owner Margaret Horniblow; Margaret taught her how to sew and read. It was assumed by Harriet and her family that Horniblow would emancipate her. Unfortunately, this was not the case and Harriet and her younger brother found themselves in the home of Mr. Norcom (there seems to be some historical evidence that Mr. Norcom somehow interfered with  Horniblow’s wishes and/or will). Mr. Norcum became obsessed with young Harriet and made many sexual advances on her. At the time it was common that enslaved women were often sexually brutalized by any white man that lived on the plantation (or off).

After dealing with this terrible situation for several years and trying other remedies (including beginning a liaison with Samuel Tredwell Sawyer, an unmarried, powerful white lawyer and future US Congressman), Harriet ran away and went into hiding. She first hid in the homes of friends, in nearby ‘Snaky Swamp’ and later in the home of her grandmother Molly. Harriet hid in her grandmother’s small attic above a storeroom for six years and eleven months. Norcom continued to search for her and briefly jailed her children (children from the liaison with Sawyer), her brother and an aunt hoping to flush her out. She successfully escaped in 1842 and made a life in New York. Norcom and other members of his family continued to search for her.

She was able to buy her children’s freedom and became prominent in the abolition movement. She completed Incidents in 1858. She had bad luck initially as two book publishers who acquired the book both went out of business before it came to print.

Harriet purchased the plates of her book and had it printed in 1861. This endeavor I imagine cost a small fortune. I had forgotten that self-publishing options were often a route for disenfranchised people to make their voices heard. She published it originally under a pseudonym as to protect the living members of her family still in slavery.

We were able to visit the church that Harriet and her family attended, the jail where her family members were imprisoned and the harbor where she escaped as part of the Underground Railroad.

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We also walked and looked at places where houses once stood that Harriet hid in. The property of the Visitor Center has created a replica of Molly’s attic where Harriet hid.

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She was able to sit up, but could not stand up. She had a small peep hole to look out of and the entire area was about 11 feet long, 4 feet wide and 3 feet high. Her grandmother would bring her food and occasionally she could come down, but the majority of the time was spent there. I can’t imagine the ways in which Harriet had to keep her mind occupied. Amazing.

My eldest godson Andrew, who is 14, had read the book last year for class, so he knew many of the details. It was so nice to share a piece of history with them.

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The power of the word is remarkable and has often been used to fight injustice. I felt truly moved walking around Edenton and thinking about Harriet. If any of her family members’ graves had been marked, I would have left something on them as an offering, but unfortunately that was not the case. I have only scratched the surface in recounting the highlights of the life of Harriet Jacobs. For more, read Incidents in Life of a Slave Girl, and visit this site.

I’d love to hear if you’ve gone on a literary pilgrimage or are planning one.

Woo-hoo! A few weeks ago I did a cover reveal about my story that is in UnCommon Origins.

uncommonorigins

It’s now really here. The UnCommon Origins anthology launched this week and I am thrilled! Get it here!

UnCommon Origins: A Collection of Gods, Monsters, Nature, and Science

UnCommon Origins presents 22 depictions of moments on the precipice, beginnings both beautiful and tragic. Fantastical stories of Creation, Feral Children, Gods and Goddesses (both holy and horrific), and possibilities you never dared imagine come to life.

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Including stories from some of the most talented Speculative Fiction and Magical Realism authors around, UnCommon Origins will revisit the oldest questions in the universe:

Where did we come from?
and
What comes next?

We even have our own book trailer!

My story, ‘The Curl of Emma Jean’ is about two sisters, race, fairies and the God Faunus. What more could you ask for?

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My writing buddy, Fraser Sherman gave a thoughtful (and positive) review of the collection on his excellent blog. We already have over 50 reviews on Amazon! It’s also trending in the horror anthology Amazon category.

For three months, our publisher P.K. Tyler has been working on promotion and also teaching myself and the other 21 authors about how to launch a book. I’ve learned so much and I can’t wait to share some of my insights with you in another post.

If you like speculative fiction, you’ll enjoy this collection. It’s got something for everyone. Get it here.

Also, if you’re willing to provide an honest review on Amazon, Goodreads or your blog, within the next two weeks, contact me about getting a complimentary copy.

In other news, last weekend I attended the historic State of Black Science Fiction Convention in Atlanta. It was a mind-blowing experience. SOBSFC brought together creators from different mediums (e.g. filmmakers, comic book artists, writers, producers, scholars, etc.,) to converge, discuss and share about the world of sci-fi and the Black experience over the past two centuries. There were panels on everything from Afrofuturism in Arts and Culture to Black Southern Folklore in Horror Literature.

I even dipped my toe into SteamFunk cosplay for the first time ever. Loved it!

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I plan on writing a blog post about attending this transformative con.

June is my birthday month and with this book launch and conference, it’s been a fantastic one so far. I hope your June has been offering you writerly goodness.

 


Michele Tracy Berger

Michele Tracy Berger

Author, Academic, Creativity Expert I'm an award winning writer.

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