One of us lives on the east coast. One of us lives on the west.

One of us lives in a rural community. One of us lives in a city.

Both of us wander. Both of us witness. Both of us write.

This is a record of what we find.







Thursday, June 5, 2014

Esplanade Community Garden





We have a community garden on our block!

My dear friend and neighbor, Stef, inspired it. Both of us—many of us on our block—garden. Stef lives on the park side of our street, and her garden sits in the back of her house, facing the park and the river. The river, right? The one that has overflowed a number of times recently and flooded the park and our block. Stef's house and land have been hit especially hard by the floods and she has virtually lost her garden. It has basically washed away.  Not good. Not good at all.

But—

At the other end of our block, just past my house, there is a big open field. A local guy owns it. Way back when it was used as a cow pasture.  And then, I believe, it was hayed. Now, it basically sits un-used—sometimes kids play ball there, we all use it as a shortcut to get to the block behind ours, but mostly it has been a place where some people just let their dogs poop. So Stef approached him about us using it for a community garden. He was thrilled with the idea! We asked our neighbors if they wanted to join in, two were interested, and now our four households are partners in the—

Esplanade Garden!



Stef's son and my daughter planting peas!

Over the last six weeks or so we have planned the layout of the garden, measured it, dug up sod, built a bean teepee, painted signs, shopped, planted seeds and starts, and watered the garden. The vegetables are already looking vibrant and strong. And we all—well, I think we all feel more vibrant and strong too.  It's fun to work collaboratively on such a dynamic project. It feels good to be in the dirt side by side. Each of us has a little expertise in one piece of the process (some—e'hem, like me—have less expertise than others!) and so we are learning a lot too!

Our pole bean teepee
And look!  Bean plants are beginning to grow!
Here is the other amazing (yet not so surprising) thing: we have already had a number of spontaneous and warm moments with other neighbors as a result of the garden. For example: when we were digging up the sod and had no real idea what we were doing, the neighbor across the street came over with her sod buster, a sharpener and her Master Gardener skills and she showed us how to dig up sod the right way!  She ended up staying to help, brought her dad and brother to help too, and it turned out that she and her family needed the sod to replace grass that had been destroyed in the flood. We dug it up, transported it to her house and they replanted it.  I had NEVER spent time with her before. Ever.  It was awesome. And, I don't know, it felt kind of critical too.

Community gardens are a great thing for all the reasons we already know.  They promote healthy eating and healthy relationships. They save money and save land.  And they connect us—to ourselves, to each other and to the landscape that is our home.

Our community garden made me want to understand their history. And so here is a brief overview, with some illustrations from a few of my favorite gardening picture books:

The Curious Garden by Peter Brown
1.  During the 1893 depression, Detroit's mayor, Hazen Pingree, proposed a plan. He suggested using donated vacant land for gardens, which would provide temporary work for unemployed folks. Known as Pingree Potato Patches, the program offered ¼ to ½ acre sites, and also provided seeds and instructions in 3 languages. The food raised was available for sale. Based on PPP's success, similar programs were started in in New York, Chicago, Boston, and other cities.

2.  In 1891, the first school garden opened at the Putnam School in Boston. Other school gardens followed. They were most often run by teachers and supported by local organizations—women’s clubs, gardening clubs, civic clubs, etc—who provided volunteers, land, and funding. In 1914, the U.S. Bureau of Education created the Division of Home and School Gardening in an effort to promote gardens nationally.

The Gardener by Sarah Stewart
3.  The war garden campaign began when the U.S. joined World War I. American volunteers banded together to raise food for their households so that farm-raised food could be exported to Europe, where there was a severe food crisis. Huge numbers of people participated in this effort, and gardens were started in backyards, vacant lots, parks, company grounds—on any available land. In 1918, the Bureau of Education restructured the Division of Home and School Gardening into the U.S. School Garden Army. Some reports state that 5.29 million gardeners grew $525 million worth of food in 1918 alone.

4.  People turned to gardening again during the 1930s depression. Two types of gardens existed at this time: subsistence gardens, which were found at people's homes and on community property; and work-relief gardens, where folks were paid to grow food that was used in hospitals and by charities.

Grandpa Green by Lane Smith
5.  World War II brought federally guided Victory Gardens. They were part of the larger Food Fights for Freedom campaign that included rationing, recycling, canning, handicrafts, and volunteer farm work. The Victory Garden program promoted gardening for household food consumption and, in 1944, 42% of the nation's vegetables came from them.  42%!!  This was a practical movement, yes, but it was also a philosophical and emotional one. Participating in Victory Gardens was a way to express patriotism, build morale and collaborate in a fun, relaxing way.

6.  In the 1970s, interest in community gardening was rekindled. It became an expression of urban activism and a new environmental ethic. In 1976, the USDA sponsored the Urban Gardening Program, which created urban offices in 16 (and then 23) cities to promote vegetable gardening and community garden. In 1978, the American Community Gardening Association  was created as a non-profit membership organization.

The Good Garden by Katie Smith Milway
7.  Truck farms. Remember the post I did on Ian Cheney and his amazing project?  I just LOVE that truck…

Do you have any community garden stories to share?  Or books about community gardens?



Gratefully yours,
Tam

Thursday, May 29, 2014

Eunoia—The Landscape of Oulipo

Eunoia (“beautiful thinking”) is the shortest word in English to contain all five vowels. (It’s also a wonderful collection of poems by poet Christian Bök) 
I’ve been a fan of writing games/word games for quite a while. I find them quite useful for not only filling a page when I don’t know what to write yet feel like I should be writing, but also useful for generating new ideas and for playing around with voice and form. ‘Play’ is the key word here and we all know that play and creativity go hand in hand. 
Some years ago, writer/teacher extraordinaire, Tim Wynne-Jones, gave me a list of “Games to Play While You Wait For an Idea” which I’ve turned to from time to time both as a writer and a teacher. Basically, they’re writing constraints—rules to follow that limit choices and in doing so, create a unique form.

Sort of like Bonsai. 

I just learned (from another writer/teacher extraordinaire, Barbara Henning) that there is a whole movement with a name that goes along with these constraints.

Oulipo.

It’s French, pronounced ‘ulipo’ and is short for Ouvroir de littérature potentielle; or "workshop of potential literature" and is defined by the group as "the seeking of new structures and patterns which may be used by writers in any way they enjoy." Founded in 1960 (seems like yesterday!) by Raymond Queneau and François Le Lionnais, it’s a loose gathering of mostly French-speaking writers and mathematicians who use writing constraints to trigger ideas and inspiration and to create new work.

While there are many, one interesting and notable example of Oulipian writing is Raymond Queneau’s Exercices de Style, the retelling 99 times (!!!) of the same episode where a man witnesses a disagreement on a bus trip, with each account unique in tone and style.

Here are some other examples of Oulipian constraints:

S+7, (sometimes called N+7): Replace every noun in a text with the seventh noun after it in a dictionary.

Snowball: a poem in which each line is a single word, and each successive word is one letter longer.

Lipogram: Writing that excludes one or more letters. The previous sentence is a lipogram in B, F, H, J, K, Q, V, Y, and Z (it does not contain any of those letters).

Palindromes: Sonnets and other poems constructed using palindromic techniques. (In case you’re wondering, a palindrome is a word, line, verse, number, sentence, etc., reading the same backward as forward, as Madam, I'm Adam or Poor Dan is in a droop.

Univocalism: a poem using only one vowel, although the vowel may be used in any of its aural forms. For example, "born" and "cot" could both be used in a univocalism, but "sue" and "beau" could not.

Using Oulipian ideas, writers and poets without a current idea can explore these and other constraints like perverbs, antonymic translations, homophonic translations, spoonerisms, centos, heterograms, pangrams, and a myriad of other forms instead of staring at a blank page.

There’s also something that happens when you focus your conscious mind on form: your unconscious mind—the place where all the best inspiration and creativity comes from—is free to do its thing. While you struggle to make sentences out of words that only contain the vowel “a”, your muse tiptoes in and goes to work. If you don’t believe me, give it a try! 

Approaching the writing process in a different way, searching for fresh forms can only enrich the landscape of our writing. And even lead us into the land of Eunoia. Once you’re there, you might never want to come back.

Take Good Care,
Sharry




Thursday, May 22, 2014

Writing Process Blog Tour --- Tam





It is my turn on the Writing Process Blog Tour!  Deep thanks go to Kelly Bennett for asking me to participate. Kelly's answers to these questions are on her blog—be sure to check them out!  And here are mine…








What am I currently working on?

I am in the process of revising a middle grade novel titled Marble Boys, a story about two ten year old boys who have experienced tragedy in their respective lives—one in New Orleans and one in rural Vermont—and how they end up becoming friends and helping each other heal.  This book was just bought by Schwartz and Wade and will be published in August 2015.

I am also working on two picture books. One is about to go out on submission and I am revising the other one.  I like having both novels and picture books in process—I do well moving from one to the other.


How does my work differ from others of its genre?

Hmmm…I'm not sure how my work differs from others in their genres, but I can tell you that no matter what I am working on—picture books or middle grade or essays, even—I am exploring connections: the ways people connect (especially when they don't think they do), the ways they connect to the landscape, the ways they connect to their own selves.  It is true that most (maybe all) of my work has a touch of magic realism in it too.  My work is character-driven, contemporary, and full of hope.  And, finally, I am most compelled by multiple points of view (see my love of connection above) and often write from the hearts and heads of a few characters.

Why do I write what I write?

I love middle grade novels and picture books.  I just love them.  That middle grade time of life is so full of transparency it makes my heart ache.  With sadness sometimes but, most often, with joy.  Watching ten, eleven and twelve year old kids find themselves is a privilege—and getting to write about them is too.  I suppose I love the picture book crowd for the same reasons, actually—honesty and emotion—but also because they just feel like they own the stories that they read, they truly feel like they are in them, and they are! 

I write what I write because I believe in those kids.  I write what I write because I want to connect with those kids.  I write what I write because creating those stories makes me infinitely happy.

How does my individual writing process work?

Man oh man…this has changed over the years.  For a while I wrote painstakingly slowly, writing my stories in order—beginning middle and end—stopping and waiting when I would get stuck, and then starting again.  And then jumping into a revision and writing and imagining it and writing it all at the same time.  I have evolved from that process though. (Which is not to say that it is a bad process, but it doesn't work so well for me anymore.)  Now I write whatever scenes inspire me, in any order.  Often that is still page 1 followed by page 2, chapter 3 followed by chapter 4—but not always.  If I get a burning idea for the climax, I will write it.  If I know the ending, I will write it.  Then once I have a rough draft, I will do some outlining and character development.  I will try to take a break from the story too at this point.  (And work on a picture book or two!  Those are shorter processes, of course.  In terms of getting the story told, not in terms of getting the story right!)  I just learned a great exercise, which consists of telling my story to someone who doesn't know it well, and then listening to that person's reactions, confusions, ideas and questions.  I have also just learned how to plan my revision before diving into it. 

Let's see.  I work best in the morning.  I work best at On The Rise Bakery, my local restaurant/community center at the end of my block—preferably with a mocha latte on the table!

Truth be told though, I am still learning about my process.  So stay tuned!




And who’s next? 

I’m tagging the amazing Debbie Gonzalez AND the incredible Nan Marino! 

They will be blogging on May 26. Don't miss them!


Debbie's been a classroom teacher, a school administrator, an educational consultant, a curriculum designer, a former adjunct professor, a creative writing workshop instructor, and once taught PBS's Barney kids in a one-room off-set Montessori classroom. She earned  her MFA from the Vermont College of Fine Art in Writing for Children and Young Adults. Deb currently works on about a zillion free-lance projects and is a proud contributor of ReaderKidZ, a website committed to fostering a love of reading for kids ages K-5. Debbie lives in magical Ann Arbor, Michigan with her husband John and Tripod, her three-legged chocolate lab.






Nan Marino is a middle grade book author and young adult librarian. She lives in the  Pinelands of New Jersey with her husband and a large goofy dog.  Her most recent book Hiding Out at the Pancake Palace was named a 2103 NPR Best Book of the Year.





In the meantime, while you wait for Deb and Nan's posts, you can read other posts on this writing process blog tour at:




Thank you!
Tam

Thursday, May 15, 2014

The Writing Process Blog Tour!

This writing process blog tour is spreading through and connecting our writing community like colorful, branching lines on a road map! Tam was just tagged by Kelly Bennett and will be posting next week. I was tagged a week and a half ago by my author friend, the lovely Frances Lee Hall. You can read her fascinating answers to the blog tour questions HERE

So, the first blog tour question is:
What am I currently working on? I am just finishing up a deepening revision of a historical YA adventure romance, THE LIES AND ILLUSIONS OF LUCY SPARROW. Set in San Francisco in 1876 on San Francisco's notorious Barbary Coast, it’s a story about a proper young lady named Lucy who arrives in San Francisco on her own, hoping to find her twin brother, but when everything goes terribly wrong she does the only thing she can to survive—dress as a boy and join a girl gang of ex-prostitutes who dress as boys and pick-pockets for a living. Of course, there are many complications including a fun mistaken-identity-romance triangle that nods at Shakespeare’s Twelfth Night.




How does my work differ from others of its genre?
There are no other YA stories set in San Francisco in the late 1800’s (that I know of) and it was such an amazing time and place! In 1876, the young city was bursting with new wealth from the influx of gold and silver and was cultured, glamorous, wild and full of extraordinary characters, many who have woven their way into the fabric of Lucy’s story including Jeanne Bonnet, Emperor Norton, Miss Piggott and Herrmann The Great. San Francisco’s notorious Barbary Coast was the city’s criminal district, home to hoodlums, depraved denizens and vicious criminals, earning its well- deserved reputation for vice and iniquity. I bet you didn’t know that he word ‘hoodlum’ was coined on the Barbary Coast in the late 1860’s and popularized in the 1870’s, as was the word ‘shanghaied’ which referred to the common practice of drugging and kidnapping unsuspecting young men into forced labor on ships bound for Shanghai. Of course, shanghaiing hoodlums make their way into Lucy’s story as well!


Why do I write what I write?
I write the stories I long to read. I always start with a burst of “what-if” frenzied creative energy where ideas are flying at me from all directions. Lucy Sparrow’s story came to me a few years ago when my husband David, an avid non-fiction reader, was reading about San Francisco’s history and the Barbary Coast in particular. He kept reading aloud these outrageous, hair-raising accounts of what was going on and at one point, I started thinking, jeez, what would happen if a young, innocent teen girl landed here on her own? How would she survive? And then Lucy walked into my consciousness and I had to write her story to find out what happened to her.


How does my individual writing process work?
Whether I’m writing contemporary YA, fantasy or historical fiction, the beginning is a flurry of ideas, with a setting, a character and a circumstance. I try to get down all the possibilities, all the ideas, then start connecting the ones that have the potential to be causally linked scenes. At the same time, I start developing my character and she (so far my MC has always been a girl) usually invites other characters that also get profiles. Then I take a big (BIG) piece of paper and write down all the possibly connecting scenes with the characters surrounding them. From there, I start to put together what might be vaguely (very vaguely) called a plot. I’m a very visual person, so I need lots of visual aids—I draw maps, cast my characters and print out their photos, find pictures in books, old albums, online and in magazines to cut out use as visual references. And then I start writing. The story never ends up following my initial pretend plot, but thinking I might have a story with a real plot gives me the false security to keep going and allows all the wonderful surprises that happen along the way to happen.


I’m not one of those writers who can just whip out a shitty first draft. I labor over words, sentences, passages. It’s not very efficient, but I can’t get up until the writing feels right. I do allow myself to write some bad dialogue, knowing that it will come out better in later drafts once I know more about my characters. The same for getting the emotion just right on the page. That comes with time over many, many drafts.



So who’s next? I’m tagging super blogger and author Debbi Michiko Florence! She’ll be blogging at DEBtastic Reads about her writing process on June 3rd  


Debbi is the author of two nonfiction children’s books, Japan: A Kaleidoscope Kids Book and China: A Kaleidoscope Kids Book (Williamson Books), and also writes children’s fiction. She interviews authors and shares book buzz on her blog DEBtastic Reads! A native Californian, she has lived and traveled all over the world. She currently lives in coastal CT with her husband, rat terrier, and two ducks.

Also, be sure to watch for Tam's writing process post here next week!

In the meantime, while you wait for Tam and Debbi’s post, you can read other posts on this writing process blog tour at:





ALSO, we have a winner from last week's interview/book give-away with Elizabeth O. Dulemba talking about her new novel A BIRD ON WATER STREET. Drum roll please...

Jen Wolfe Kam is our winner again!!! Congratulations Jen!!!

Take Good Care,

Sharry