Genealogy held absolutely no interest for me up until three months ago. When friends waxed enthusiastic about their lineage, my eyes glazed over. When my memoir students are passionate about their ancestors’ stories, I’ve responded with impatience; the past means nothing if it doesn’t change the present, and what defines memoir as a genre is exactly this dynamic interaction. Your great-grandmother’s experiences are interesting enough, but how do they impact you? (more…)
Recently I was digging around on the Internet in search of the source of the Annie Dillard quotation I’ve been reflecting on for months. Turns out it’s from her book, Living By Fiction. Here’s the immediate context:
The most extreme, cheerful, and fantastic view of art to which I ever subscribe is one in which the art object requires no viewer or listener – no audience whatever – in order to do what it does, which is nothing less than to hold up the universe… Thoughts count. A completed novel in a trunk in the attic is an order added to the sum of the universe’s order. It remakes its share of undoing. It counteracts the decaying of systems, the breakdown of stars and cultures and molecules, the fraying of forms.
Dillard is more radical than I supposed—radical, that is, in the original sense of “forming the root.” She understands creativity to work at a metaphysical level, transforming the basic stuff of the universe. (more…)
The old joke goes like this: A visitor stops a local on the streets of New York and asks, “How do I get to Carnegie Hall?” The New Yorker replies, “Practice.”
Every morning before school, Gwyn practices piano. She’s a musical kid; when she was four she begged for lessons and we made a family commitment: Piano would be our means for nurturing Gwyn’s natural interest. But Gwyn’s enjoyment of music, her inherent musicality, and her fantastic ear don’t add up to a love of practice. Practicing is hard, so we routinely endure the pre-practice, baby buffalo huffing with arms crossed. Practice is Gwyn’s means to screen time (read: bribery), and most days she needs our physical proximity on the piano bench in order to stay there.
Why bother with all this effort? (more…)
I’m still unpacking Annie Dillard’s statement that a “complete novel in a trunk in the attic is an order added to the sum of the universe’s order.” Why? It seems to me that creative people value our work almost exclusively with external measures—the fact of being published, sales numbers, reviews, literary recognition, etc. Sometimes we’re wise enough to value the process over the product; sometimes we orient our hearts toward how our stories impact the internal lives of our readers. But when it comes to feeling like our work matters, most often we lean on external measures for validation.
Dillard says that on some subterranean level, a fully developed but unread creative work makes a metaphysical difference in creation. Okay. Do we writers need to take this on faith? Or can we find concrete evidence?
Here’s the latest bit of evidence I’ve dug up. (more…)
During my childhood, I was aware of only six relatives on my father’s side beyond his siblings’ families. It seemed as if the Delessios popped onto the planet from nowhere. They were Italian—I knew that much—but the first generation ditched their names and kept quiet about the past; my great-grandmother abandoned Catholicism when one Sunday she took the Eucharist and returned to her pew to find her purse gone. My dad’s generation never learned the language or the family recipes or anything about their heritage except the sketchiest of stories: My uncle was born frozen on the stoop. We weren’t really Italians, we were Albanians. After my great-grandfather’s first wife died, he ordered a second one by mail. He spoke Muschitan, a name that sent us into hysterics because surely someone made it up. (more…)