Posts Tagged ‘Women’
LOCAL PEEPS: This event combines everything I love–talking with other authors, activism, and women’s issues. I hope you consider joining us for what I believe will be an inspiring and lively conversation:
In her only appearance in North Carolina, national leader and former president of Planned Parenthood Cecile Richards will be in conversation with Michele Tracy Berger in The Fearrington Barn on April 15th at 2pm in support of her new memoir MAKE TROUBLE: Standing Up, Speaking Out, and Finding the Courage to Lead.
Tickets can be purchased through McIntyre’s Books: 542-3030 or online through their website.
I am absolutely loving her book and can’t wait to meet her in person!
I couldn’t wait to read this book as I am hooked on following the adventures of the brave, smart and complex women that populate Samantha Bryant’s novels. Be prepared for a fast read in this third installment in ‘The Change’ series. Everything pops in this well-plotted novel that continues the adventures of four menopausal women changed forever by the scientist, Cindy Liu. The characters from the first two novels who choose to use their superpowers for the collective good include Linda/Leonel (a woman who was changed into a super strong man), Jessica (a woman who can fly), and Patricia (a woman whose skin can make spikes and armor). In Face the Change, these superheroes feel the consequences of their choices as their work with ‘The Department’ (an organization that deals with supernatural occurrences), deepens in complexity and scope. This has particularly acute ramifications for Leonel and his husband, David. In order to help community relations, the Department’s charismatic director encourages Leonel and Jessica to take on public personas through their new work in the ‘Unusual Cases Unit’. They even get costumes and stage names. This turn of events allows the reader to explore with Leonel and Jessica what it really feels like to be a superhero. Patricia also begins working for the Department. Can a woman used to calling the shots become a team player? Patricia plays with this question throughout Face the Change. Bryant continues the excellent characterization that defines the series and in this book, we spend extended time following Leonel and Patricia.
Helen is one of the four women who used Dr. Cindy Liu’s products, but who didn’t turn into a superhero. She’s still the villain and she’s nastier and more dangerous than ever! We primarily see her actions and the havoc that she creates through her daughter Mary, introduced in the second book. The stakes are raised dramatically for the smart and compassionate Mary, who has to deal with an increasingly unstable mother set on seeking revenge against Cindy Liu and the other women. Mary has to make some difficult choices during the course of the novel. Her fear and challenges are believable, as is the slow reveal about her own unusual talents.
As the book opens, Cindy Liu is on the run after narrowly saving herself and her father from being arrested. Cindy’s special formula has regressed her to the age of thirteen (her actual age is sixty-seven). Being thirteen isn’t fun for anyone, but especially not for a super talented scientist. Cindy doesn’t take it well. The frustration she faces as she makes decisions about her ailing (and unethical father) while dealing with moods, zits and raging hormones (often directed at a hot bodyguard hired by her father’s friend) makes for a very fun read. None of the characters in this novel are one-dimensional and Bryant continues to make us sympathize with, if not always like, Cindy.
A second compelling subplot emerges in this novel, too. A group of patients that underwent an experimental neurological treatment, at a local hospital, awoke with exceptionally strong powers including mind control and telekinesis. Six of these patients band together and begin to create criminal mayhem. Sally Ann, Leonel, Jessica and other members of the UCU must work together to stop these criminals.
Bryant delivers strong action scenes throughout the book. There are also unexpected romantic developments in this story that are quite satisfying. There are great twists, turns and reversals throughout. This series keeps me on the edge of my seat. Although much is resolved at the end of Face The Change, the clues that are peppered throughout book about the world-wide strange happenings makes me hopeful that Bryant has plans to keep the UCU busy for many more books to come.
I’m sharing more about the magic of the AROHO writing retreat that happened almost one month ago. In the afternoons during the AROHO writing retreat, participants got to hear various writers discuss and riff off of the touchstone books thematically guiding the retreat: Virginia Woolf’s Orlando and Maxine Hong Kingston’s The Woman Warrior. The Woman Warrior at its core is about mother and daughter relationships and secrets. The presenters provided insights, read creative work, shared scholarly essays, tributes and everything in between when talking about these two texts. One of the speakers was Tania Pryputniewicz, a poet, who also writes a lot about motherhood and the creative process. She shared with us an incredibly powerful exercise designed to help us reflect on the nature of the secrets our mothers kept and secrets we’ve kept from them. I am re-blogging her wonderful post where she elaborates on her relationship to The Woman Warrior and shares this exercise in full. She is also calling for guests posts based on her exercise.
Mothers and Daughters: Secret Catharsis in Woman Warrior (and a Secret Door Writing Exercise for You)
“You must not tell anyone,” my mother said, “what I am about to tell you.” So opens Maxine Hong Kingston’s The Woman Warrior, from the first section of the book, titled, “No Name Woman.” So begins the re-telling of a family secret, where the story of the No Name Aunt moves out to haunt a much wider audience of mothers and daughters. The irony is not lost on us that the narrator, at the outset, in sentence one, is engaged in the act of disobeying her mother.
Many of us would agree that mother/daughter relationships are at one time or another fraught with complicated emotional, psychological narratives and emotional withholdings. But these same complications often come with hidden gifts.
read the full post here
Tomorrow, I leave for A Room of Her Own Foundation’s week long writing residency which is being held in Abiquiú, New Mexico at the amazing venue known as Ghost Ranch.
A Room of Her Own’s nonprofit mission is: To inspire, fund, and champion works of art and literature by women. They host one of only about five or so writing residencies, in the country, exclusively for women.
It is a competitive residency and I am thrilled that I was accepted. There will be over 100 women writers attending (emerging writers to well established authors like Janet Fitch and Tayari Jones!), and I will get to take master classes and workshops with a range of amazing writers including Elizabeth L. Silver, Mary Johnson and Cynthia Leitich Smith. We will also spend our evenings discussing the retreat theme ‘Writing Against the Current’ which is a focus on Virginia Woolf’s novel, Orlando and Maxine Hong Kingston’s novel, Woman Warrior–and Kingston will be there in residence!
Another honor is that I will also be a ‘studio leader’ presenting a one hour version of my popular workshop: ‘Tone Your Creative Core: 5 Secrets for Artists’. This workshop offers strategies in areas where most creative people struggle: time, abundance and prosperity, feeling worthy to create and goal-setting. I’m delighted to explore these issues with women writers.
Writing residencies are structured in various ways. Some provide room, board and solitude, offering uninterrupted time to write with no other requirements. Others, like AROHO are much more interactive, including: providing intensive workshops (sharing and critiquing other participants’ work), hosting nightly receptions and readings, offering craft lectures, and encouraging networking and collaboration. I’ve known writers who have attended each type of residency. We often think the hardest part is getting accepted to one, but this isn’t the whole picture.
I’ve spent the last few months preparing for this incredible opportunity and have noticed that although there are a number of wonderful posts about why one should apply to a writing residency (see Jennifer Chen’s musings), and where to apply for one (here’s a great list from ‘The Write Life’), there is almost no discussion about preparing for the residency and making the most of it while there. Besides of course, to write.
Making the most of one’s residency means giving some thought to hidden challenges.
I’ve seen writers come back from a residency deflated because they had set unrealistic writing goals. Most folks are exhausted by the time they get to attend a writing residency. They’ve been juggling work, family responsibilities, community commitments, etc., often at a frenzied place. It can take a few days, during the residency, to decompress and reconnect to deep creative work. I’ve also known writers whose inner critics got the best of them and consequently didn’t get as much writing done. Or they got so intimidated by the other writers and instructors that they weren’t able to make enduring connections or contacts.
Here’s my five tips for making the most of a residency:
Make Your Goals Inspiring, Not Exhausting
Setting unclear or overly ambitious goals during a residency can lead to a big letdown. Writing residencies are also about allowing inspiration and spontaneity, so being flexible with goals can allow for more enjoyment as the writing process unfolds.
For most of the week, I’ll be taking a master class on ‘Emerging Heroes: Diversity in Young Adult Fiction’ with Cynthia Leitich Smith. I know little about writing young adult fiction and am super excited about stretching myself as a writer. Consequently, given the intensity of learning a new field, getting and giving feedback on others’ writing and the possibility having to work on prompts that Cynthia may assign outside of the workshop, I’m keeping my writing goals modest. From the schedule, it looks like I’ll have a daily 2-3 hours of individual writing time. I’m shooting for 10-20 pages a day of writing. That feels doable. I’ll also allow myself to create fresh material as well as work on current projects.
Give Yourself Permission to Embody Being the Writer of Your Dreams
Writing residencies present an opportunity to practice being a writer in public. Often aspiring writers write behind closed doors and without many opportunities to get publicly affirmed about their writing efforts. This is the time to revel in one’s writing identity. I’m going to take every opportunity to walk, dress and act like I am the writer of my dreams. I’m wrapping myself in an inner shawl of ‘deservingness’. I am holding the intention to attend every nightly reception and meet a few new people. I also hope to meet newly published authors that I’ll want to invite for an author interview for the blog.
Do an Inner Critic Check
Visual artist, Beverly McIver once said at a professional development workshop for artists, “Feeling worthy is a learned behavior.” Inner critics can make themselves known during a residency and derail us. In various posts, I’ve discussed some of the more common inner critics including the comparer, the pusher, the judger, the imposter, the procrastinator and the perfectionist. Inner critics inspire fear, judgement, dread and envy toward our writing selves and writing lives. Spending some time addressing inner critics (and assigning them new jobs where possible), before and during the residency can help quiet draining mental chatter and quell anxiety.
Polish Your Social Media Profile
Social media is often where people will find you first. I’m hoping to make strong connections while I’m at AROHO. I’ve already started to look up some of the people in my master class and have enjoyed learning about them through their social media sites. In the past month, I’ve spent some time updating my bio across my social media sites and beefing up my author Facebook page. You never know when someone is going to look up after making a connection, so it’s important that they can find you. A that what they find out about you inspires and draws them in.
Practice Communicating about Your Work
What is your work like? What are you working on? These are the essential questions to consider when talking about one’s work. Do you have an elevator pitch? Many writers (and artists in general) tend to avoid communicating about their work or freeze up when they do talk about their work. Given the time and emotional investment we have made for our creative pursuits, communicating about it is necessary and part of the creative process. I’ve been practicing my brief elevator pitch and look forward to using it.
Here’s great advice on elevator pitches from the Artist’s Tools Handbook from Creative Capital:
In theater, a rule of thumb is that, for every minute of stage time in a play, you need an hour of rehearsal time–and that’s when the script is already written. So think about spending at least an hour on this. Don’t just repeat your pitch 60 times; it’s more a measure of how long you should concentrate to get something good.
If you have tips to share about your experience at a residency and how you made the most of it, I’d love to hear them.
Photo credit: “Ghost Ranch redrock cliffs, clouds” by Larry Lamsa
Friendship and Travel for Two “Brauds” Abroad: Author Interview with Camille Armantrout
Posted May 4, 2015
on:Camille Armantrout was born in 1954 on the East Coast, first born and only girl followed by five little brothers, which is where she got her sense of humor. She began keeping journals and corresponding with pen pals in grade school and has traveled the world with her soul mate, Bob.
Like so many who live in Chatham County, N.C, she is passionate about local farming and food cultures, sustainability and building community. I’ve been a friend of Camille’s, for many years, and a fan of her blog: ‘Plastic Farm Animals’ that threads together community news, personal reflection and travel stories. She and Bob host an annual ‘Hoppin’ John’ potluck party on New Year’s Day. They are greats host and I look forward to this event every year. This year at the party, I held in my hands the recent fruit of Camille’s labor, a co-authored book, Two Brauds Abroad: A Departure from Life as We Know It. Camille and her co-author Stephanie De La Garza document the maladies, epiphanies and tragedies of their collective wisdom gleaned from traveling the world and writing to each other about their discoveries. They loved the challenges of living abroad and inspire readers to go on their own adventures. Although I knew Camille blogged, I had no idea that her passion for writing was deep in her bones. I had to invite her here to learn more.
I am delighted to welcome Camille Armantrout to ‘The Practice of Creativity’.
Tell us about your new book, Two Brauds Abroad: A Departure from Life as We Know It. Why did you want to write this book?
My year and a half in Africa was epic. When I returned to the U.S. everyone was eager to hear about the trip, but would quickly become confused when I tried to sum up my experiences. Inevitably, I would end the attempt with “I could write a book…” and so I did.
My co-author Stephanie and I had discussed writing a travel book a few times. While I was in Ghana, she was experiencing her own travel adventure in Central America, having sold her house, cars and nearly everything else to move abroad. We thought our stories would inspire others to follow their dreams.
Stephanie came up with the title and I liked the alliteration. She chose the alternative spelling of braud, a word Urban Dictionary defines as “Fearless female; an adventurous, daring or independent woman.”
How did you get bitten by the ‘writing bug’? Did you always wish to become an author?
The writing bug bit me early on. My father was a writer and I began keeping a journal in grade school. I don’t think there’s been a day of my life when I didn’t write something. In the back of my mind, I always thought I would one day transition from writer to author, and now I’ve gone and done it.
What was your relationship with your co-author Stephanie before this book? What did you learn about each other in the process of writing Two Brauds Abroad?
Stephanie and I are longtime email buddies. We met in Nicaragua ten years ago when she came to stay at the lodge my husband, Bob and I were managing. We enjoyed each other’s company and have been corresponding ever since. Over the years, we have shared all aspects of our lives and know each other well.
Interestingly, we are two very different people. I’ve been married for twenty years. Stephanie is sixteen years my junior and still playing the dating game. I’m a vegetarian and Steph dislikes pretty much all vegetables, she’s more willing to take risks than I am, I’m more of a morning person than she is and she’s an only child while I come from a large family.
As we plunged into our project, we were happy to find that we have similar work ethics and that our skill sets dovetailed nicely. I submerged myself in editing as she launched a comprehensive marketing plan. Stephanie discovered that I’m a perfectionist and I found out she has a compulsive, “Let’s do!” streak.
The second half of the book is about how someone can transform his or her self into a world traveler. Where does this person start?
Planning begins with a financial safety net. Decide how big your cushion needs to be and either start saving or begin liquidating assets. Next, check out the possibilities via the Caretaker Gazette, Help Exchange, World Wide Opportunities on Organic Farms (Wwoof) or similar resources. Pick a location and start reading up on the culture and climate.
It’s worth noting that our transformation tips are not limited to world travel. You can reinvent yourself right here at home with a career or other lifestyle change using the same tools we offer in part II of our book.
What’s on your bookshelf, next to your bed (or in your Kindle)? What are you reading right now?
I am reading George Monbiot’s Feral: Rewilding the Land, the Sea, and Human Life, Little Altars Everywhere by Rebecca Wells and have just finished Rin Tin Tin: The Life and the Legend by Susan Orlean.
What’s your best writing tip that you’d like to share?
Pay attention to your writing patterns. If you discover, as I did, that your words flow in the morning, clear your am calendar to take advantage of that creative burst. Keep pen and paper handy at all times, in your pocket or purse, on your bedside table, and in the car.
Camille Armantrout has lived and worked all over the world. She is usually traveling with her co-conspirator and husband, Bob. Camille has worked in kitchens, on construction sites, driven taxi and groomed race track thoroughbreds. She bakes for fun, trains horses, and writes about the world as she sees it, here.
Check out Two Brauds Abroad on Amazon!
Book Review: Women, Writing and Soul-Making: Creativity and the Sacred Feminine by Peggy Tabor Millin
Posted December 9, 2013
on:We cannot write well by staying on the surface of our lives or by attempting to hide our true selves behind our words. We free the pen to dig deep whenever we pick it up. Peggy Tabor Millin
What can women who wish to write discover about themselves if they enter into conversation with a nonlinear, archetypal feminine process? What is the wisdom and inner authority that awaits them in their own bodies, moving through perhaps limiting feelings of shame, blame and judgment? In the richly inspiring book Women, Writing and Soul-Making: Creativity and the Sacred Feminine, Peggy Tabor Millin argues that what awaits women, if they so choose to explore, is their deepest self from which springs their writing life. And, she asserts that excavating this self is more important than the outward goal of publishing. Drawing on her extensive experience as a writing teacher, practicing Buddhist and cartographer of women’s cycles of creativity, she argues that the real struggle that many women have with writing is not just about a lack of time, writing space or support. It is the struggle for authenticity. Women’s multiplicity of social roles and living in a world that often undervalues them add to the challenges of finding the courage not just to write, but to create a worthy self. In Women, Writing and Soul Making, Millin offers a fresh and inner directed path to the writing life through what she calls an ‘archetypal feminine approach’ to writing and self-making.
Millin shares insights of how to access the subterranean territory of the writing experience that has seldom been mined. Many writing books crowding the shelves today assert principles, programs, and protocols for becoming a bestselling author with a platform that will entice agents and publishers. We can characterize much of this work as outer directed, active, assertive and perhaps linearly driven. Readers, in this book, will not find tidy exercises and chatty language about how to pitch ideas to editors. Millin, however, offers women writers (and male writing instructors) another way to think about the writing life by first acknowledging that women writers struggle with claiming a voice. She names and explores internal and external barriers that stop women from writing and from taking themselves seriously as writers. She argues that women must make new meaning for themselves by paying attention to what innate wisdom residing in their bodies and buried in their psyches, they (and the world) may have devalued.
She successfully yokes together concepts about women’s spirituality, Jungian and archetypal analysis and embodied learning. Her book is part of a growing trend that employ a contemplative and body wisdom approach, gleaned from eastern traditions, as a foundation for a writing practice, including Gail Sher’s Writing the Fire (yoga and writing) and Larraine Herring’s Writing Begins with the Breath (mindfulness and writing). Through vignettes, koans and stories Millin’s method is subtle and almost easy to overlook. The task is to move from our heads into our bodies, easier said than done. She reveals her technique of ‘Centered Writing Practice’ which includes two elements: “writing to neutral prompts and writing in community.” Neutral prompt are phrases, concrete nouns and active verbs that carry no obvious emotional connection for the writer. The writer follows where the language takes her. The second and important aspect of this practice is writing in community. Centered Writing Practice happens in a circle of women, regularly, and with focused attention. Each chapter begins with a piece that emerged from some of the free writes and ‘word circle’ exercises that Millin uses in groups. The reader is thus invited in to see how the book was constructed through many nonlinear techniques. The spiral graphic sprinkled throughout Women, Writing and Soul-Making remind us writing and coming into self has no final destination. Miller notes: “Practice does not make perfect; practice makes possible. Practice—of sport, writing, art-making, meditation, music—has no goal but revelation.”
Along the way, we meet Lord Mother, Millin’s contribution to an archetypal support system rooted in women’s experiences with the Divine, mystical, cyclical and seasonal. Millin helps us to recognize that our judgment, shame and victimization can be acknowledged without being indulged in, constituting a resting place versus a stopping place. Readers will also enjoy getting to know the intriguing archetypal figures of ‘Lady Underground’ and ‘The Blood-Raw Savage’ who can also support in getting to know our bodies’ wisdom and unconscious desires.
Although shunning simple and formulaic steps toward writing, Millin does offer organizing principles for writing and exploring consciousness that include the Four Wisdoms: ‘The Wisdom of Not Knowing’, ‘The Wisdom of the Ecology of Body and Earth’, ‘The Wisdom of Fierce Compassion’ and ‘The Wisdom of Diversity’. These Wisdoms explore what she identifies as feminine processes of ‘relationship and responsiveness’, an awareness of interconnectedness and fierce compassion that links soul work to creative work. Through these wisdoms she tackles many ‘hotspots’ of women’s lives including how we grapple with power, vulnerability, and expectations in relationships. This is a chapter most readers will want to linger in.
I was predisposed to like this book as I am intensely curious about how women navigate a creative life given the obstacles borne out of the social tensions around caretaking, relational work and constructing a core self. Finding new metaphors of creativity that don’t pit women against codified ways of knowing the world, their work and families is of vital importance. In my teaching and coaching work, I’ve found similar patterns of challenges that women face, in pursuing a creative life that is aptly described by Millin. And, Millin does a good job of arguing for exploring and being open to a repository of suppressed ‘women’s wisdom’: “Tribal cultures that honored women’s rhythms understood women to hold the creative future of the culture-not only because they produced children, but they fathomed the sacred nature of the cycles of creation.” However, in several places, I was uneasy with some of Millin’s uncritical language and assumptions about women’s experiences (including “when women feel stress, they are biologically wired to seek solace with other women” or “the power women innately hold confounds thought”). As I read, I felt the tension between embracing and feeling good about ‘feminine’ patterns and my understanding that gender is also mutable, historically varied and socially constructed. There isn’t one universal women’s experience or even ‘female ways of knowing’. Each reader will have to navigate and make sense of this tension.
Toward the end of the book and again drawing on Buddhist thought Millin makes use of the four paradoxes writers face: ‘Pleasure and Pain’, ‘Praise and Criticism’, ‘Fame and Disgrace’ and ‘Gain and Loss’. The dynamic of dualisms confound and often frustrate us yet form a way into understanding the writing life. I found myself lingering here, too.
Her book also addresses those writers who are transitioning from one type of writing that may be more analytical (i.e. technical writing, academic writing) to one that is symbolic and abstract (i.e. poetry). She wants a general respect for all writing. Despite the lack of specific exercises, Millin’s material will ignite an intuitive spark in each reader about how to proceed: some might journal more, some will try using ‘neutral prompts’ to begin a project, some might list the ways they experience societal femininity and how that is or isn’t congruent with their personal ways of knowing the creative cycles of the earth. Some will want to explore deeply the archetypal figures Millin presents. Some readers will be better able to recognize where some of their negative voices about writing came from (which are personal and which are cultural), some will feel relief to find that many women struggle with inner barriers that often go unrecognized; they might seek or start a writers’ group based on Millin’s thoughtful guidelines. According to Millin, if we get focused on our own excellence and joy in creating and living, this will support our inner most desires. I can see why this book was a Next Generation Indie Book Winner. It is so useful, innovative, playful and fresh that it is worth a place on every aspiring woman writer’s (and writing teacher’s) book shelf.
This book review first appeared in the December 2013 issue of Western North Carolina Woman