Saturday, January 1, 2022
2021 Readings, 2022 Goals
Saturday, November 20, 2021
"To Be Fair: Life Lessons From Letterkenny" in Drunk Monkeys
As per usual, dusting this space off when I have a new publication, and yeah, it's been awhile. My last one was way back in February 2020, the eve of the pandemic, with lots of upheaval, moving, and creative frustrations, dry spells along the way.
However, I fell in love with the TV show Letterkenny, and the kind people at Drunk Monkeys let me write an essay about it for their glorious, varied tenth anniversary issue. It's a cornucopia of fiction, essays, poetry, and film/TV writing, and I'm honored to be a small part of it. Thank you to editor Kolleen Carney-Hoepfner and the Drunk Monkeys staff for putting together such a terrific journal. Not just this issue, but also the ones before, and the ones to come.
You can read my essay here. It's a look at the show and how an absurd Canadian comedy represents what I wish were the ideals of Southern living. I hope you enjoy reading it, and I hope you spend time with the rest of the issue; you won't run out of things to read for a good while.
Again, no promises about updating this space consistently. Maybe I will, maybe I won't. Maybe I'll eventually upgrade to a big boy website. But this blog, thirteen years strong, was my foundation, and I'm keeping it active, even if it's just a resource for my own personal news.
Stay safe, y'all. If you're out there.
Monday, January 4, 2021
2020 Readings
2020 sucked. You know it. I know it. Here are the books I read this year. Annually, I do a detailed recap, and set 2021 goals, but since our goal is to merely make it to the end of this pandemic, I don't feel right with wide-eyed optimism.
1.) Trust Exercise: a Novel by Susan Choi
2.) The Sky Isn't Blue by Janice Lee
3.) Three Women by Lisa Taddeo
4.) American Dirt: a Novel by Jeanine Cummins
5.) My Year of Rest and Relaxation: a Novel by Ottessa Moshfegh
6.) And I Do Not Forgive You: Stories and Other Revenges by Amber Sparks
7.) Anklet and Other Stories by Shome Dasgupta
8.) The Bonesetter's Daughter: a Novel by Amy Tan
9.) Weather: a Novel by Jenny Offill
10.) Trick Mirror: Reflections on Self-Delusion by Jia Tolentino
11.) So We Can Glow: Stories by Leesa Cross-Smith
12.) Our Alternate Universes by Rachel Tanner
13.) Too Much: How Victorian Constraints Still Bind Women Today by Rachel Vorona Cote
14.) We the Animals: a Novel by Justin Torres
15.) Now We Haunt This Home Together: Stories by Madeline Anthes
16.) Lakewood: a Novel by Megan Giddings
17.) The Compton Cowboys: The New Generation of Cowboys in America's Urban Heartland by Walter Thompson-Hernández
18.) Blacktop Wasteland: a Novel by S.A. Cosby
19.) All My Mother's Lovers: a Novel by Ilana Masad
Friday, February 7, 2020
"You Against You" in Hobart; "I Don't Want to Pry" in Pidgeonholes
I'm a little late posting these, but I was fortunate to have two new publications this week, working in new genres, and in two journals I've admired for many years.
Last Friday, my first personal essay went up at Hobart. It's called "You Against You" and examines mental health and life changes, filtered through viewings of the Rocky series. A deep thank you to editor Aaron Burch, who not only loved and accepted this, but has given me so many milestones over the years. He's given me my first fiction publication, my first print publication, and now my first piece of creative nonfiction.
And this past Wednesday, I placed "I Don't Want to Pry," my first prose poem, in the great journal Pidgeonholes. Thank you to Jennifer Todhunter and Dina Relles for seeing its potential, working with me through several edits, and championing this tiny but (hopefully) strong piece.
Hope you enjoy reading my work. The responses so far have blown me away. I'm grateful for the writing community, and I hope these publications are a springboard to new, more challenging creative outputs in 2020.
Wednesday, January 1, 2020
2019 Readings, 2020 Goals
This year was very difficult for me, both personally and creatively. My writing faltered somewhat, but it's picking back up, and sadly, my TBR pile is basically the same. But I'm going into 2020 with cautious optimism. I usually start the year with defined reading goals and reflect on whether or not I made progress. I'm not doing that this year, even though 2020 starts a new decade, and there's hope in that deliciously even number. I'll be happy as long as I read more books and keep my selections diverse.
Hopefully I'll update this space more frequently. Here are the books I read in 2019. 41 total, down from 43 in 2018. If you want to know my thoughts about any of these titles, feel free to ask.
1.) Heavy: An American Memoir by Kiese Laymon
2.) How to Set Yourself on Fire by Julia Dixon Evans
3.) The Golden State by Lydia Kiesling
4.) They Can't Kill Us Until They Kill Us: Essays by Hanif Abdurraqib
5.) How to Write an Autobiographical Novel: Essays by Alexander Chee
6.) Friday Black by Nana Kwame Adjei-Brenyah
7.) The Collected Schizophrenias: Essays by Esmé Weijun Wang
8.) The Dinosaur Artist: Obsession, Betrayal, and the Quest For Earth's Ultimate Trophy by Paige Williams
9.) King of Joy by Richard Chiem
10.) Men Explain Things to Me by Rebecca Solnit
11.) The Future Is Here and Everything Must Be Destroyed: Poems by Colette Arrand
12.) You Only Get Letters From Jail by Jodi Angel (reread)
13.) Backswing: Stories by Aaron Burch (reread)
14.) Academy Gothic by James Tate Hill
15.) The Jordan Rules: The Inside Story of One Turbulent Season with Michael Jordan and the Chicago Bulls by Sam Smith
16.) Every Kiss a War: Stories by Leesa Cross-Smith (reread)
17.) Long Live the Tribe of Fatherless Girls: A Memoir by T Kira Madden
18.) Barracoon: The Story of the Last "Black Cargo" by Zora Neale Hurston
19.) Orange World and Other Stories by Karen Russell
20.) Bluebird, Bluebird: a Novel by Attica Locke
21.) She/He/They/Me: For the Sisters, Misters, and Binary Resisters by Robyn Ryle
22.) Mute by Shome Dasgupta
23.) The Man They Wanted Me to Be: Toxic Masculinity and a Crisis of Our Own Making by Jared Yates Sexton
24.) Martin McLean, Middle School Queen by Alyssa Zaczek
25.) The Nickel Boys: a Novel by Colson Whitehead
26.) Biloxi: a Novel by Mary Miller
27.) The Book of X: a Novel by Sarah Rose Etter
28.) The Most Fun We Ever Had: a Novel by Claire Lombardo
29.) All the Ugly and Wonderful Things: a Novel by Bryn Greenwood
30.) Because I Wanted To Write You a Pop Song: Stories by Kara Vernor (reread)
31.) Inland: a Novel by Téa Obreht
32.) The Yellow House: a Memoir by Sarah M. Broom
33.) How We Fight For Our Lives: a Memoir by Saeed Jones
34.) The World Doesn't Require You: Stories by Rion Amilcar Scott
35.) Make It Scream, Make It Burn: Essays by Leslie Jamison
36.) The Source of Self Regard: Select Essays, Speeches, and Meditations by Toni Morrison
37.) The Book of Delights: Essays by Ross Gay
38.) American Grief in Four Stages: Stories by Sadie Hoagland
39.) Ghosts of You: Stories by Cathy Ulrich
40.) Catch and Kill: Lies, Spies, and a Conspiracy to Protect Predators by Ronan Farrow
41.) Breaking Into the Backcountry by Steve Edwards
Wednesday, January 30, 2019
"You Don't Get to Do This:" New Fiction in BULL Magazine
You can read the story here.
Thank you to editor Benjamin Drevlow for giving this work a home, and for an enjoyable path from acceptance to a beautiful publication.
This piece is part of my short story collection, which I'm in the processing of editing as we speak. Well, we're not actually speaking; and I'm writing this post, so that means I'm not actually working on my edits. You know what I mean. Don't look at me like that.
I hope you enjoy reading my work. The latest issue of BULL is full of great work, and I'm honored to be a tiny part of that collective.
Tuesday, January 1, 2019
2018 Readings, 2019 Goals
Here's what I wrote last year:
"For 2018, I want to double down on small press support, especially with so many eagerly anticipated titles forthcoming. I'm not going to make any grand, specific goals, because I'll undoubtedly fail, so I'll shoot for 60-70 books.
I have a Goodreads account, but I only use it to update my readings, not to rate or review titles, I'm going to do that more this year, but I feel uneasy with the horribly unscientific nature of the site, but I do know that ratings are helpful for small press writers. In lieu of ratings or playing favorites, the books that I've highlighted in bold spoke to me in various ways. You can call these my favorites, or merely strong highlights."
While I didn't make any "grand, specific goals," I did fall short of my 60-70 book goal, ending 2018 with 43 books read. And I said I'd use Goodreads more, but I went in the exact opposite direction: over the summer, I took a social media break, and in the process, I deleted my Goodreads account. There were a couple factors in this decision. One, Amazon. Two, Amazon. The company has owned Goodreads for a couple years now, and while its sometimes (sadly) the only option for some small presses, I just couldn't take the layout, the star ratings, the lists with no substance, the marketing gimmicks. What this means for me is I'll simply have to do better myself about supporting small presses, writers, and journals in ways outside Goodreads. I'm almost never on Facebook anymore, but I might have to take a "lesser of two evils" approach and use my Facebook more to highlight new books and writers I discover in 2019. I believe I do that well enough on Twitter, but I'll double down and make sure I do across multiple platforms, but breaks and gaps will happen.
2019 reading goals: the usual, right ones. Read more, support indie presses, and read diversely.
Happy New Year, y'all.
1.) A Childhood: The Biography of a Place by Harry Crews
2.) The Hate U Give by Angie Thomas
3.) Stephen Florida by Gabe Habash
4.) Edinburgh by Alexander Chee
5.) How to Slowly Kill Yourself and Others in America by Kiese Laymon
6.) Bad Anatomy by Hannah Cohen
7.) The Border of Paradise by Esmé Weijun Wang
8.) The Science of Unvanishing Objects by Chloe N. Clark
9.) Eats of Eden by Tabitha Blankenbiller
10.) White Girls by Hilton Als
11.) Sour Heart by Jenny Zhang
12.) Cult of Loretta by Kevin Maloney
13.) Whiskey & Ribbons by Leesa Cross-Smith
14.) Marriage of a Thousand Lies by SJ Sindu
15.) Calling a Wolf a Wolf by Kaveh Akbar
16.) We Are Never Meeting in Real Life by Samantha Irby
17.) So Sad Today by Melissa Broder
18.) This Will be My Undoing by Morgan Jerkins
19.) Notes of a Native Son by James Baldwin
20.) How to Be Safe by Tom McAllister
21.) Back Talk by Danielle Lazarin
22.) Nobody Knows My Name by James Baldwin
23.) The Fire Next Time by James Baldwin
24.) No Name in the Street by James Baldwin
25.) The Thibodaux Massacre by John DeSantis
26.) The Devil Finds Work by James Baldwin
27.) Clock Dance by Anne Tyler
28.) Redeployment by Phil Klay
29.) Tell Me If You're Lying by Sarah Sweeney
30.) An American Marriage by Tayari Jones
31.) Southern Cryptozoology: A Field Guide to Beasts of the Southern Wild by Allie Marini
32.) The Girl & the Fox Pirate by Kate Gehan
33.) Hungry People by Tasha Coryell
34.) Feel Free by Zadie Smith
35.) The Third Hotel by Laura van den Berg
36.) Destroy All Monsters by Jeff Jackson
37.) Florida by Lauren Groff
38.) How to Sit by Tyrese Coleman
39.) Pretend We Live Here by Genevieve Hudson
40.) The Incendiaries by R.O. Kwon
41.) The Wrong Way to Save Your Life by Megan Stielstra
42.) Person by Sam Pink
43.) The Great Believers by Rebecca Makkai
Friday, November 23, 2018
"Secret Astronauts:" New Fiction in Necessary Fiction
I'm a couple days late posting this, but I have a new short story up and ready to read: my short piece "Secret Astronauts" is now available on Necessary Fiction.
I'm grateful for all of my publication homes, but this one is especially sweet. Necessary Fiction was one of literary websites I fell in love with years ago, when I renewed my commitment to serious reading and fiction writing. I've written a couple book reviews for them, and submitted fiction sporadically over the years. So yeah, keep trying with the places you love. This is a damn honor in many ways.
Thank you to Steve Himmer and the great Lacey N. Dunham, who not only accepted my work, but also made diligent edits to make my work even stronger. The little things she noticed were necessary (no pun, no), and helped so much with continuity and strength. I wouldn't have blamed Lacey for passing on this based on the edits it needed, but they saw something there, were willing to work with me, and are very much responsible for the smoothness here. Thank you, Lacey. Hug your editors, always.
I hope you enjoy reading my work. Huzzah. I'm still thankful.
Friday, May 11, 2018
"Everything Sounds Better on Vinyl:" New Fiction in Gulf Stream Magazine
I have a new short story up today. You can read "Everything Sounds Better on Vinyl" in the Spring issue of Gulf Stream Magazine.
Thank you to editor T.C. Jones for being such a warm, enthusiastic editor. He and the other editors and readers have put together a wonderful mix of fiction, poetry, and nonfiction that I can't wait to spend time with this weekend.
This story means a lot to me because I first drafted it in an undergraduate creative writing course. That first attempt was terrible, and the previous version is either lost in my ancient family computer or typed out in fragments stuck in an old binder I keep under my desk. The story always stayed in my head, and I started over from memory last year, and now it's a complete, published story that I'm very proud of.
Have a great weekend. Happy reading.
Sunday, May 6, 2018
Kerry Wood, Edmund Gorski, and Necessary Realities: A Twenty Year Remembrance
My commute to high school took me by Wrigley Field twice a day, roughly an hour and forty-five minutes each way, from my home in Chicago’s Andersonville neighborhood to the Belmont-Cragin neighborhood, northside to the far, far west side, just to the edge of the city limits. I left the house at 6:15 every morning. The Clark Street bus passed Addison Street on the way to or from Belmont Avenue, and once I caught the Belmont bus, I settled in as it took me almost to the end of the line to St. Patrick High School. In the mornings, I’d stare at the quiet, dark stadium, illuminated by interior office lights and the red marquee. In the late spring afternoons, the bus would crawl through game day traffic, navigating pedestrians, tour buses, and the choke of cars. In the mornings, I gave myself internal pep talks, telling myself to have a better day than the day before. In the afternoons, tired and defeated, I tried not to cry, tried to muster enthusiasm to tell my parents I had a good day, that everything was wonderful, that I was making friends.
Both of my older brothers went to Lane Tech High School, a public school roughly 40 minutes away. I, however, was a naive, awkward child, and I knew right away that I couldn’t handle the expanse of a school as large as Lane. I’d latched on to the idea of St. Pat’s, an all-boys Catholic school that felt safer to me, as if I’d seamlessly blend into a smaller, close-knit community.
I was very wrong. Most of the students there had grown up together, gone to the same elementary schools, played little league and flag football together, and had family and friend links that spanned generations. I was an interloper, a fourteen year-old with a bad haircut, glasses, no athletic skills, and a speech impediment. It was the perfect combination for an imperfect new environment, one that I knew right away I didn’t belong to at all. By the spring, I had created a hardened shell, putting up with the shoves, the mocking, the realization I wasn’t going to have a joyous four years. I also had no idea money was tight in my family. It cost my parents hundreds of dollars a month to send me to a private school, one that I secretly hated.
On the afternoon of May 6th, 1998, the bus drove by Wrigley, and I was unaware that history had been made. When I arrived home, the news was on, as it always was; my parents had a ritual of afternoon coffee, Jeopardy!, and the local news following. The lead story came from the ballpark. Cubs rookie pitcher Kerry Wood, in his fifth Major League start, had struck out twenty Houston Astros, trying Roger Clemens’ record, as well as setting the new rookie and National League record. An error by third baseman Kevin Orie had inexplicably been ruled a hit, costing Wood a no-hitter. I was transfixed. It hadn’t been until the previous two years that I’d taken an interest in sports, but this interest, as it is for me now, applies only to baseball and basketball. I became a basketball fan as the Bulls started their second threepeat in 1996; and not long after, I felt the pull of baseball.
I was only dimly aware of the Cubs’ decades of futility, but the 1998 season was off to a promising start, especially after the team started the previous season by losing their first fourteen games. Wood’s game felt like a magic signal. I watched the highlights of the game over and over. I learned about pitching records, how rare Wood’s performance was, and saw just how ferociously he threw his fastballs, his slider/curve, the exasperation on the faces of Jeff Bagwell, Craig Biggio, and Moises Alou as they swung, took called strikes, and shook their heads on the way back to the dugout.
In the face of high school ostracization, my interest in baseball turned into an obsession, an escape, but also a cache of facts and talking points I could use to endear myself to my classmates. However, my following of Wood’s game made me feel guilty. At any other time, I would have bonded with my father, who grew up a Yankees fan in Brooklyn, who was likely relieved I was taking an interest in sports instead of Frank Sinatra albums and MGM musicals.
He couldn’t focus on baseball.
His mother-in-law, my maternal grandmother, was dying of stomach cancer, literally on her deathbed in the hospital. If my parents weren’t at work or refueling at home, they were at my grandmother’s bedside.
I kept the Cubs as my escape, even though I was overcome with new adult emotions and realities. In an act that today feels fantastically archaic, even in the days before widespread Internet access, I clipped out the newspaper articles about Wood’s game and stored them in a folder.
On May 11th, his next start, Wood took the mound against the Arizona Diamondbacks and struck out thirteen batters over seven innings, setting a new record with thirty-three strikeouts over two consecutive starts. The Cubs were three games over .500, not much of a cushion, but the whispers were growing louder in Chicago media. With Wood now a national celebrity, a memorable season was certainly underway.
On May 13th, my father woke me up. The cancer had done its work. My grandmother had passed away during the night. My mother was still at the hospital. Like a small child, I burrowed up in the blankets and sobbed, partly out of grief, but also partly out of the knowledge that everything would be drastically different in our lives.
Doris (who we called Nan) and Edmund Gorski lived with us, occupying the first floor of a two story house. Nan and my father didn’t have the stereotypical mother-in-law/son-in-law dynamic. Instead, there was mutual love, respect, and laughter between them, as they’d both come from working class backgrounds in two very different areas.
Nan was born to a large, poor London family in 1928. She met and married Edmund, a handsome Polish soldier who found work as a banquet manager at the Savoy Hotel. My mother came along in 1951, and in 1956, they moved to Chicago. On the surface, it was an almost propaganda-like immigration story. My grandfather ended up working in the upscale service industry, waiting, bartending, and managing ballrooms at the Bismarck Hotel, the Illinois Athletic Club, the Tower Club, and the Drake Hotel. Nan, who dropped out of school in the sixth grade, worked in various department stores, briefly worked as a telemarketer, and ended up as a clerk at the CNA Building downtown. My mother was their only child, and they made lifelong friends with various neighbors, a seemingly seamless integration to a new country.
But nothing is ever wholesome on the inside as it appears on the outside.
Nan never stopped missing England, preferring it to the United States her whole life. In her early years as a Chicago resident, she was homesick and bewildered, aghast at the concept of working on commission at a department store, disgusted by her coworkers and their thirst for money. She’d grown up with next to nothing and knew how to adapt. She wore her outsider badge with pride.
As my grandmother, Nan wasn’t a frail, gray-haired old lady, doling out candy when we came to visit. She was a staircase away, the smell of her Benson & Hedges Menthol Light 100s curling up the back stairway and back porch. She adored me and my brothers, but would tell anyone else to fuck off as easily as she’d tell them to have a nice day.
Edmund was an alcoholic and gambler, faults that undermined his own American dream. His hotel work had the air of Mad Men period details: memories of war, bottomless glasses, a work life that was strictly separate from his home life. As he aged, and, escalating after Nan died, the effects of his alcoholism made way for his descent into dementia. His world was limited to four chairs: the front porch, the armchair in the living room, the kitchen chair, and the folding chair in the backyard. At night, he smoked and blared his Polish TV shows at the highest volume, so loud the voices hummed and vibrated the walls in our second floor living room.
With Nan gone, the spring turned into summer. My mother had lost her best friend, and her world was in supreme upheaval. The ensuing months showed me firsthand how messy adulthood can be. My mother alternated between fantastic, determined “I’ll get through this” highs, and quiet, fog-like lows, feeling her way through a strange new grief like one feels their way through a dense forest.
Our small family was ruptured. Nan was dead, my eldest brother had been in the Army since 1994, and my middle brother joined the Navy after he graduated in June. I’d finished my first year of high school, and fell into baseball even harder.
The Cubs were winning. Kerry Wood was racking up strikeouts, and to everyone’s surprise, outfielder Sammy Sosa was hitting home runs, many home runs, his totals increasing as the baseball world followed Mark McGwire and Ken Griffey, Jr., the potential heirs to the single-season home run record. I caught every game I could on WGN-TV. I maintained an old man routine: every morning I’d walk to the corner White Hen Pantry to buy a copy of the Chicago Sun-Times, which featured the daily home run totals of Sosa, McGwire, and Griffey. I discovered the joy of hate-reading, shaking my head as I studied Jay Mariotti’s terrible writing, screeching alternations between baseball passions and cold dismissals of players he deemed unworthy of respect.
I went out of my way to ride the bus to Wrigley Field every week during the summer to buy a copy of Baseball Weekly, because retrieving it from a newspaper box across the street from the ballpark felt more authentic than picking it up elsewhere.
***
My mother’s relationship with her father had always been fraught with distance, but the bottom fell out when she found herself as his primary caretaker, without Nan as a buffer. She bought him food, did his laundry, and even upstairs, I could hear snippets of arguments. He once threw an ashtray at her, likely over something inconsequential. She came upstairs in tears and sat by herself in the kitchen. I was too young to have words of advice, but knew enough to keep my distance with enough body language to let her know I empathized. My mother was still angry over her loss, and the distance between her and Edmund was now an expanse. Edmund was mourning in his own way, not just over his wife’s death, but the hand that life and addiction had dealt him. He’d squandered a small fortune from his working days, had no friends, and was isolated.
I helped my mother out where I could. Every Sunday morning, I went downstairs, helped him strip out of his stained pajamas, and quickly got used to the sight of his naked, wrinkled body as he gripped my arm with a strength I didn’t know he still had in him, lowering himself onto his shower stool. Once he was in the tub, he could wash himself. I retreated to his kitchen to read my baseball magazines in preparation for that afternoon’s game.
Kerry Wood showed signs of fatigue; he spent the month of September on the disabled list with arm fatigue. But the Cubs were rolling. Sammy Sosa approached and eclipsed sixty home runs. Despite every attempt to squander away their Wild Card lead for good, they still stayed in the picture. I was a baseball fan, and this new identity gave me happiness and something to look forward to; I read the magazines in a happy bliss until Edmund called me back into the bathroom to help him dry off and get dressed. Once he sat back in the kitchen, I quickly fixed him a smoked salmon sandwich, mixed him a cup of instant coffee, and hurried back upstairs to watch the pregame show, to lose myself further in Steve Stone and Chip Caray’s analysis, Sammy Sosa’s heart taps, Mickey Morandini’s mullet, and Mark Grace’s eye black. The guilt I felt leaving him alone once my obligations were done quickly turned into relief. I was angry with him for making my mother completely stressed out, and in my burgeoning teenage psychology, I told myself he deserved to be alone. In reality, it was for the best, for both of us. Had I stayed with him, we would’ve been forced to make small talk, to entertain each other, when all he really wanted was to sit in one of his chairs, smoking his Chesterfields.
***
In early September, my father bought three tickets to an afternoon game between the Cubs and the Cincinnati Reds. Once we found our seats, I went down by the field, hoping to score autographs on my baseball. I was fifteen, but gloriously childlike: jumping up and down, peering onto the field, absolutely thrilled to be so close to the players, caught up in a scrum of people reaching, yelling, and waving balls, pictures, and ticket stubs. I turned and looked toward the upper deck to locate my parents. I saw my mother, who sat, staring into the outfield, her chin on her fist, already bored out of her mind, wanting to be anywhere but the ballpark. Even from a distance, her face and body language was a representation of still-lingering grief and anger. Perhaps she agreed to go when my father got the tickets, perhaps she had to be talked into going. That moment struck me as one my earliest representations of parenthood: my parents taking me to a baseball game, to have a family outing, to take shaky, tentative steps toward normalcy when the world is in grotesque disarray.
It’s fitting that I don’t remember anything about the game itself. Sammy Sosa didn’t hit any home runs, and the Cubs dropped a crucial game in their playoff push.
***
Somehow, they made the playoffs. They forced an additional game with the San Francisco Giants, which they won 5-3, setting up a divisional match with the Atlanta Braves. After dropping the first two games in Atlanta, Kerry Wood returned for the third game in Chicago. Despite allowing just one run over five innings, he was gassed and spent. The offense was stagnant, the bullpen collapsed again, and the Braves swept the Cubs.
Wood tore a ligament in his arm during spring training the following year and missed the 1999 season. He had flashes of stability, spent more time on the disabled list, and regrouped enough to lead the Cubs deep into the 2003 playoffs. After stints with the Cleveland Indians and New York Yankees, he retired as a Cub, having been converted to a relief pitcher years before.
Until winning the World Series in 2016, the Cubs were a cliched representation of hope and the potential for ultimate happiness and fulfillment, represented by the “long suffering” fan base, the community, and the history of the team and ballpark. If baseball is the perfect metaphor for real life (disappointment marked by occasional flashes of good), the Cubs were the literal manifestation of that. But for me, Kerry Wood elevated that to a more grim level. Cubs fans never gave up on him, despite his long stretches of inactivity. The twenty strikeout game in 1998 was his best and worst moment, because that random afternoon showed what he was capable of, and he spent the rest of his career trying to live up to that potential. He gave it everything he had when he was healthy, but it led to more breakdowns, more injuries, and more “what if” reflections. That one nearly perfect game was enough to earn years of patience through every injury and losing season that followed.
***
Chicago is a mess of contradictions. It’s the third-largest city in the country, yet clings to a Midwestern small-town complex, its officials constantly dropping the phrase “world class city,” as if saying it makes it true, rather than letting the culture speak for itself. The Cubs have long played under the guise of being a working-class team: Wrigley Field is situated in a neighborhood, not in a suburb or off a freeway. The notion of the Bleacher Bums, unemployed or truant fans reveling in baseball while willfully disregarding responsibilities, took on a national mystique. Today, the atmosphere around the park is different. It’s wealthier and more exclusive, but still tries to cling to the old ways.
Kerry Wood was an involuntary part of those contradictions. We loved the young, hard-working Texan, and hoped his arm would lead to the glory that came eighteen years later.
***
Edmund didn’t undergo any personal transformations. He didn’t make peace with my mother, didn’t shake his head and examine the mistakes he’d made in his life. Kerry Wood won the Rookie of the Year award, but never regained what he’d planted that May afternoon. Baseball and immigration are essential components to whatever one deems as “American,” but they don’t fit into perfect narratives the way we’d hope. When Edmund died in 2004, his legacy was left in what he didn’t mess up for good: my mother became stronger and more at peace in her life, and his grandchildren, my brothers and I, are aware of his faults, despite making plenty of mistakes on our own. His immigration story has the veneer of success, but once one looks deeper, between the lines, he would have been just as frail and stubborn in Poland as he was in the United States.
***
This story wouldn’t have been possible if the Cubs had somehow pushed through and won the World Series in 1998, or if Edmund made changes in his life following Nan’s death. We always hope for happy endings, but the road to them often takes much longer than we anticipate. Baseball is such an easy metaphor for life, such an unexpected coping mechanism, because of its propensity for long stretches of failure and hopelessness. Kerry and Edmund represent two sides of a spectrum, a Venn Diagram of hope and reality. The overlap is tiny, but we can see it, no matter how small the sliver ends up being.
(Kerry Wood photograph: Richard A. Chapman/AP)
Friday, April 27, 2018
"Thy Will Be Done:" New Fiction on Monkeybicycle
Thank you to editor James Tate Hill for the amazing work he's published and promoted at Monkeybicycle, and for being so warm, gracious, and enthusiastic about my work. When he sent me the final edits, he included a compliment that I'm too embarrassed to share here, but let's just say it's one of the best remarks I've ever received about my writing. And thank you to Steven Seighman, who I believe posted it, and may be the one who included the perfect image accompaniment. Or it might've been J.T. who did so; either way, they both had hands in this publication, and I couldn't be more pleased.
And a thank you to Alyssa Zaczek, who graciously read this in its early stages when I wasn't sure the story was doing what it was supposed to do. Alyssa and I worked together very briefly in Chicago, and reconnected online. She's a fiercely talented writer and editor, and I'm grateful she took the time to help me. Keep her name bookmarked. Her work is wonderful, and she will be making even more joyful noise in the future.
I hope you enjoy reading this story. Have a great weekend.
Sunday, March 11, 2018
Hypertrophic Press: Spring 2018 Issue
This post is a week overdue, but I'm thrilled to be part of Hypertrophic Press's Spring 2018 issue. My short story "Chinatown," originally published in Luna Luna Magazine (three! years ago), has been dusted off. The issue is available online and as a beautiful print issue, a lovely collection of poems and stories held together by some of the best artwork I've ever seen, courtesy of Victoria Olt.
You can purchase the print issue here.
Thank you to Lynsey Morandin and Jeremy Bronaugh for their hard work and dedication to this literary project. And a special thank you to Maddie Anthes, who works as their acquisitions editor and was gracious in accepting my work, which I didn't expect to be published again. Its original publication home underwent a redesign, and previous work vanished. "Chinatown" is one of my personal favorites, and I'm thrilled it's back out in the world again. I'm sending love to all three people: I hope editors and readers around the literary world know how much they're appreciated, since so much of what they do is behind the scenes.
And a thank you to AJ Wolff, b.g. thomas, Chloe N Clark, Courtney LeBlanc, Kanika Lawton, Hannah Gordon, Kathryn McMahon, Liz Howard, and Paul Schiernecker. It's an honor to be included with you and your amazing craft. Hugs and high fives all around.
Thursday, January 4, 2018
2017 Readings, 2018 Goals
Hi there. I hope 2018 is off to a great start for you.
Every year, I do a recap of the books I read in the previous year, plus a look at my stated goals, to see if I met them. Here's what I wrote last January:
"My goals for 2017 as a reader aren't as detailed as my goals as a writer. I (still) want to spend more money on small press titles, because we as a community need to sustain them. I'm not preaching from a soapbox, because I could have done more to financially support worthy literary organizations. With the Trump administration just weeks away (oh fuck, just typing that makes me angry), small presses will need to to remain voices and homes for the voices that might be silenced or marginalized by the powers that be. I want to remain optimistic about 2017, but deep down, I worry it'll be a shitshow. So, I want to do less talking about supporting diverse demographics and more buying, reading, and promoting of them."
"Deep down, I worry it'll be a shitshow." Oh boy, was I prophetic. Not only was 2017 a terrible year from a civic and international point of view, it was awful for me, personally. As I've written in my TinyLetter, I'm a straight white male: no matter how hard my life is, it wasn't personally under attack by virtually every aspect of the GOP and T***P administration. But I was dangerously underemployed for most of 2017. My teaching position wasn't renewed, and I was left scrambling, searching far and wide for freelance gigs, new jobs, and any measure of gainful employment. I lucked out and received a full-time management promotion at my bookstore, which made the second half of 2017 much less anxiety and depression-ridden. When I had baskets full of free time, I was either job hunting or staring at the ceiling in panic. At times, I couldn't bring myself to get lost in a book or my own writing, because I felt guilty for indulging in these activities.
That said, I didn't finish too far off last year. In 2016, I read 55 books. Last year, I finished at 53. For 2018, I want to double down on small press support, especially with so many eagerly anticipated titles forthcoming. I'm not going to make any grand, specific goals, because I'll undoubtedly fail, so I'll shoot for 60-70 books.
I have a Goodreads account, but I only use it to update my readings, not to rate or review titles, I'm going to do that more this year, but I feel uneasy with the horribly unscientific nature of the site, but I do know that ratings are helpful for small press writers. In lieu of ratings or playing favorites, the books that I've highlighted in bold spoke to me in various ways. You can call these my favorites, or merely strong highlights.
If you have your own list or goals, I'd love to read them. Feel free to send them my way. And here's to 2018: let's remain vigilant and supportive of the literary community. I wouldn't be anything without it.
1.) Difficult Women by Roxane Gay
2.) The Body's Question by Tracy K. Smith
3.) Always Happy Hour by Mary Miller
4.) Billy Lynn's Long Halftime Walk by Ben Fountain
5.) I'll Tell You In Person by Chloe Caldwell
6.) The Wangs vs. the World by Jade Chang
7.) Because I Wanted to Write You a Pop Song by Kara Vernor
8.) The Noble Hustle by Colson Whitehead
9.) The Insides by Jeremy P. Bushnell
10.) Versed by Rae Armantrout
11.) One Hundred Years of Solitude by Gabriel García Márquez
12.) Invisible Man, Got the Whole World Watching by Mychal Denzel Smith
13.) Shrill by Lindy West
14.) Once Upon a River by Bonnie Jo Campbell
15.) Massive Cleansing Fire by Dave Housley
16.) Homesick for Another World by Ottessa Moshfegh
17.) Sorry to Disrupt the Peace by Patty Yumi Cottrell
18.) Bloodline: Five Stories by Ernest J. Gaines
19.) Baseball Life Advice by Stacey May Fowles
20.) All Grown Up by Jami Attenberg
21.) Bruja by Wendy C. Ortiz
22.) A Manual for Nothing by Jessica Anne
23.) St Lucy's Home for Girls Raised by Wolves by Karen Russell
24.) Tacos by Cyn Vargas
25.) Stamped From the Beginning by Ibram X. Kendi
26.) Lightwood by Steph Post
27.) Teche by Shane K. Bernard
28.) Sunshine State by Sarah Gerard
29.) Friendship by Emily Gould
30.) Hunger by Roxane Gay
31.) Dream-like Houses by Joyce Chong
32.) Made For Love by Alissa Nutting
33.) A Lesson Before Dying by Ernest J. Gaines
34.) Gather Us Up and Bring Us Home by Shasta Grant
35.) Eat Only When You're Hungry by Lindsay Hunter
36.) Speedboat by Renata Adler
37.) Animal Heart by Paul Luikart
38.) Chemistry by Weike Wang
39.) The People Are Going to Rise Like the Waters Upon Your Shore by Jared Yates Sexton
40.) Sing, Unburied, Sing by Jesmyn Ward
41.) Different Seasons by Stephen King
42.) Little Fires Everywhere by Celeste Ng
43.) The Heart is a Lonely Hunter by Carson McCullers
44.) Jurassic Park by Michael Crichton
45.) Stephen King's The Body: Bookmarked by Aaron Burch
46.) The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander
47.) The Grip of It by Jac Jemc
48.) We Were Eight Years in Power: An American Tragedy by Ta-Nehisi Coates
49.) The Last Ballad by Wiley Cash
50.) The Book of Joan by Lidia Yuknavitch
51.) Sons and Other Flammable Objects by Porochista Khakpour
52.) Her Body and Other Parties: Stories by Carmen Maria Machado
53.) Felt in the Jaw by Kristen Arnett
Monday, August 28, 2017
TinyLetter: Rising Rejections
From now on, I'll just share the URL whenever I do a post, but for this first one, I'll share it here in full.
If you'd like to subscribe, you can do so here: https://tinyletter.com/jyatesLA
Even though I haven't posted here with any frequency, I'll still have original content that I'll update on this blog for the sake of variety. I like using social media in various forms, as in: not excessively cross-posting for one blandly unified collection of feeds.
Hi there, and welcome to my first TinyLetter.
I'm still figuring out how to navigate this space, and while I do have ideas on how I want this to take shape, there may be stumbles and hiccups along the way. So bear with me.
I first mentioned writing a TinyLetter a month or so ago. What I hope to accomplish is straightforward. After a year living in Lafayette, Louisiana, I want to document how my writing has changed after Southern immersion. Do I call myself a "Southern writer?" Is such a label necessary, and if so, what claim do I have? Just because I've eaten a ton of po' boys and I'm a writer, should I worry about how my new environment has shaped me? My last published story ("Love Bugs," Split Lip Magazine, December 2016) was explicitly Southern, and my latest WIP is heavily immersed in a Southern landscape. So am I a Southern writer? I don't know, but that's something I can explore later on. I'm concerned with how using my surroundings in fiction translates into honesty and reality, especially when faced with Southern stereotypes that I had in my head upon the move down here, and when famous Southern writers tend to form a small sect that is influential, both positively and negatively.
For now, as my bio suggests, I want to talk about anxiety, depression, and rejections. I hesitate to describe myself as depressed, because it's the kind of word that can be thrown around easily, and I've never been diagnosed with it, or treated for it. But my last several months were a spiral of negative feelings. After working as an adjunct instructor last fall, the university I worked for wasn't able to offer me any courses. I found myself dangerously unemployed for months, trying to find work in an area that had a) doesn't have a wealth of jobs available, and b) tends to give openings to family and friends in need of work. My girlfriend carried the financial weight, and I applies for dozens and dozens of jobs, with almost no return calls or emails. I was scared, depressed, and didn't know what to do. Between worrying about money and feeling isolated, my motivation to write was nonexistent, which led to even MORE writing anxiety: writers are supposed to write, no matter what. But I felt guilty and nervous carving out writing time when I didn't know what the future was going to hold.
I got damn lucky. A full-time management position was offered to me at the bookstore. I interviewed, got the job, and I'm now on better financial footing. And now I'm trying to get some long-simmer writing projects dusted off. I'm not entirely out of the woods. I still have anxieties and problems. And this is where writerly, geographic labels come back into play. I'm trying to be more brave, to write more openly about my problems. My reluctance to do so is a Midwestern trait (or, given my words above, a stereotype). I keep my fears bottled up.
And this is where this TinyLetter swoops in. I want to be more open, and I genuinely hope my own stumbles are reassuring to other creatives. This is a terribly simple hope, one I'll return to later.
Let's get back to rejections. Here are concrete numbers, presented as accurately as possible. Since January 2017, I've received:
16 short story rejections
14 novel rejections (both agents and presses)
1 fellowship rejection
1 essay rejection
1 poem rejection
I started submitting work back in 2012. I'm fully prepared for this to be the first year since then that I haven't had a single piece published. Of course, I still have many pieces both long and short floating around various journals and presses. These could be future rejections or acceptances. In addition to feeling like I wasn't a writer for most of this year, I've also dealt with the steady onslaught of rejections. Therefore, my anxieties have been twofold: "Writers write (which I struggled to do, given job woes and depression), and "Writers write to write, not to be published." I've struggled to accept this To borrow a phrase from writer Tasha Coryell, I think my post-MFA crisis year is this year, not last year. I had ups and downs last year, but I still ended 2016 with four publications.
I'm not treating this first entry as a full-fledged essay. I'm not going to say I've overcome the aforementioned obstacles, nor am I going to give any sappy notes to anyone who might be reading this, platitudes along the lines of "Hey, our struggles are the same!" We're not the same, you and I. I'm not going to assume that my being fairly open about my issues is going to make someone sit back, slap their forehead, and think "I'm not alone!" The psychology of writers and writing advice deals far too heavily in absolutes. I stop reading when I see phrases like "all writers must" and "real writers to do this." So if my future letters end up being looks at craft and process, I won't present them as set in stone. What works for me might work for you, but most likely not.
But here's the thing: you're not alone. Whatever you're dealing with, we all do. Am I being hypocritical? Yes, just as I'm hypocritical with my own creative struggles in the face of life struggles. Writing highs and lows are the same and different for everyone. But if my laying this out here offers you solace, I'm happy to do so. However, the last thing I want this TinyLetter to be is a sad sack diary entry. I want the majority of my messages to be detailed unpackings of current WIPs, readings, and entries on what it means to be Southern when one is a transplant (I plan to propose this as a presentation for next year's Deep South in the Global South conference).
I've been editing this over the last two days, but I'm going to stop for now. Thank you for reading these initial ramblings. And welcome.
-James Yates
August 28, 2017
Sunday, August 27, 2017
TinyLetter Debut
I've let this site lag quite a bit lately, but I've started something that might help me jump start some new posts and ideas.
I have a TinyLetter account now. You can subscribe here: https://tinyletter.com/jyatesLA
Here's a brief synopsis of what I hope to accomplish with this new platform: "I'm writer based in Lafayette, Louisiana, originally from Chicago (and, in a roundabout way, Lynnwood, Washington). In addition to my very sporadically updated blog, I want to use this TinyLetter to work through some forthcoming projects and ideas. Also, as I come out of a very long personal/creative funk, I hope my notes and thoughts help other creatives know they're not alone."
Once I get the posts up and running, I'll copy and paste them here as well.
Happy reading and writing, y'all.
Monday, June 26, 2017
Claire Polders' Favorite "(Dead) Father" Flashes
She graciously included my 2016 story "Empire State Building," published in matchbook literary magazine. If you missed it the first time, you can read it here.
About my story, Claire wrote: "Should we hate or love our fathers for their lies, their exaggerations, their obsessions? In this touching story by James Yates, in which more is said than written, I was left pondering that interesting question."
Wow. Thank you, Claire! Plus, I'm just damn stunned to see my work sharing company with the likes of Mai Nardone, Lydia Davis, Steve Edwards, Aubrey Hirsch, Horia Gârbea, Sudha Balagopal, Emily Devane, Paul Maliszewski, and John Cheever.
Overall, this just reminds me to be more vocal about my appreciation for other writers. And don't ever think that a kind word or sharing a link to a favorite piece is an empty gesture; it can come at a crucial time for somebody. I've been in a very long, frustrating creative funk that I'm slowly coming out of, and having a writer kindly share my work was a much-needed boost.
Sunday, May 7, 2017
Wigleaf Top 50 (Very) Short Fictions
"Why stories? Why now? After all, the thinking seems to go – at least, in my social media hive mind – there are more pressing matters, more urgent issues. More rallies to attend, more phone calls to make, more abuses of power to resist. And all this is true – and it is urgent – and it is necessary to respond to the tyranny of the moment with all of our force and might and voice. At the same time, though, I feel certain that to lose our sense of story is to capitulate more absolutely in the face of fascism than any other surrender we might make. The stories we tell are the shape of the world, and the warning of the world to come or the hope of the world we might make. Writers have a unique gift to offer to a sick and sore society: the stories that can keep us alive."
I was caught by surprise when I realized my story "Love Bugs" was on the longlist of stories considered for the Top 50. Over the years, I've browsed and read some stellar writers on the Wigleaf 50 and the longlist, and seeing my name included this year, alongside some staggeringly talented writers, was strange and lovely.
Writing should never be about publications or recognition, but real talk: this year has been hard for me in a creative sense. I'm working on some new stories and even outlining a second novel, but none of my work has been accepted for publication, and the process of finding an agent and/or publisher for my debut novel has led to dead ends and radio silence. I know this is part of the game at times, but more than once this year, I've felt nervous, worried about what my writing is doing, and battling strange, random bouts of impostor syndrome. So, to see myself included on a longlist was touching, because it reminds me that I am doing good work (most of the time, anyway), and I just need to keep pushing and working.
Thank you, Wigleaf. And congratulations to the Top 50 writers! I can't wait to catch up on all the great work published in the last year.
Tuesday, January 24, 2017
The Literary Magazine Project: Introduction
But in this case, I'm taking on a smaller scale project for 2017, and I think the benefits I'll outline here have merit.
The accompanying photo shows two shelves of back issue literary magazines and journals. While I'm sure others have much more impressive collections, I have to admit that I haven't finished a lot of these. There are a handful that I've read front to back, some issues I've read selections out of, and some that I haven't touched. People love to talk about collecting books, and this word has spawned endless memes and book posts. But what about literary magazines? Are they counted as books, especially when piled up? Or should they be considered their own class?
This also came about because there are many books I want to reread this year, and I realized that nobody talks about rereading literary magazines. I'm not under the assumption that I'm doing anything unique or radical. This is my own project, to help myself as I put more emphasis on supporting the literary community that has supported me.
I'm not concerned with definitions; what I am concerned with is dusting off some older archives, and giving new attention to pieces that might not have been widely read in the last couple years. When literary magazines are published, they receive attention, hopefully some sales, but this often isn't sustained. The bump in sales and clicks is probably at its strongest when the issue debuts. What I'm hoping for is a renewal of this energy.
So for the rest of 2017, I'm going to read these all from beginning to end, and I'll document hidden gems, early pieces from now well-known writers, and give older literature a bump.
I'll also add to my collection as the year goes on, through single issues that I find and through subscriptions that I'll be taking out in due time. As for online literary journals, I'll work those in, but I'm not sure how. For now, the focus is on the printed, physical ones, especially in this age when not many journals still produce actual magazines.
I started this last night, and I already made a pleasant discovery: I'm reading a 2010 issue of Eleven Eleven Journal, and I read an early piece by Alissa Nutting, one of my favorite fiction writers. I'll include more analysis when I report back on the issue, but this is what I want: to see the early development of writers, and to discover names that have slipped under my radar. Maybe these are writers who are still widely published; maybe I'll fall in love with a story by someone who published one piece of fiction in 2012 and never published again.
I'll either do single issue recaps, multiple issue analysis, or a combination of the two. I might incorporate online magazines as well, but this will mostly be devoted to the physical copies, old and new.
If anything else comes to mind, I'll update this post accordingly. For now, I like this foundation, and I'm eager to really get it moving.
Sunday, January 22, 2017
The Role of Artists/Writers in the New Administration
I can't think of a better title for this, one that doesn't make me uneasy.
First of all, I know dozens, maybe hundreds of others have already written comments, essays, blog posts, and messages of this nature. Second, who am I to take on this topic, to outline ideas that are essential to any involvement within a creative community, whether said community is made up of writers, visual artists, musicians, or spoken word artists? As I've mentioned in other venues, I've long struggled with calling myself an artist; I still do. One of my favorite feminist slogans is "carry yourself with the confidence of a mediocre white man." I take this to heart, because I don't want to come across like I'm telling people what they should do; these are simply ideas that make sense to me. Also, we're in a moment of history when I wish the president was simply mediocre, rather than a danger to all.
The reason I'm writing this: over the last several weeks, I've seen many variations on this sentiment: "Everything will be terrible, but the art will be fantastic." I find this to be a very troubling idea, because, while true in an abstract way, it's a sign of privilege. At its core, this belief states: "Women are still going to be treated a second-class citizens, this administration will do nothing for transgender rights, people of color will be given less respect thanks to a re-emphasis on a police state, and the physical country will be likely to be ripped apart for resources and bottom lines- but the novels will be great!"
Yes, great writing and art will be byproducts of this administration. But great, necessary work would come even if everything was as close to perfect as we want it to be. There will always be problems that require us to dig deep and create out of a sense of empathy and as a way to verbalize troubles, fears, and longing. So even if politicians were focused on funding Planned Parenthood, if the new presidential team insisted on giving full protections and rights to transgender citizens, and if the GOP reached out to listen to the concerns of Black Lives Matter advocates, we as creators would still be beset by daily struggles, lust, dead-end day jobs, and a constant search for meaning, whatever that meaning can be: so there would still be room for creative growth, experimentation, and a desire to put new ways of looking at our lives into the world.
So the art that's to come? I'm not concerned the forthcoming novels with Trump-like dictators and post-apocalyptic themes that examine how our country and world will look next year, or at the end of the current term (assuming he makes it that long without an irrevocable scandal, but shit: if his current scandals weren't enough, I can't imagine anything else impeachment-worthy).
I am concerned with marginalized writers. I don't want a woman or a transgender artist to have to create out of fear or feeling lost in today's climate, but if their creations come out of that, I want to support them. If cops continue to murder unarmed black citizens, I'll buy and read a novel by a black writer about the subject, but I won't sit there thinking "hooray for today's world! It produced this terrific book!"
In a recent Facebook post, comedian Patton Oswalt offered ideas for thriving and living in this administration. One of his suggestions: "Go to an independent bookstore and buy something from a small press." This is essential, and I'm making this a call to everyone, especially myself, to put more money into independent presses, especially those who publish diverse voices. It's one thing to share an online story, but we as a community need to do more. Look yourself in the mirror. Look at what you normally spend money on. Of course, 99.9999 percent of us are poor or just scraping by. We'd love to be in a financial position to drop $100 on a small press spending spree. But look at your packs of cigarettes, your occasional $25 bar tabs, the sandwiches you buy because you didn't feel like slapping together a peanut butter and jelly sandwich for lunch. Of course, I'm not suggesting a high and mighty "don't spend money on these things," but make sacrifices when you can. Scrape together cash and support a small press. Contact a favorite literary magazine and ask if they take donations to pay their writers. Most importantly, especially if you're a straight white writer like myself: don't think about how your own work will benefit from this terrible climate. Make sure you're actively supporting the voices that need to be heard.
I made the following suggestion to the newly formed Obama Foundation. Their website is seeking calls for ideas, so I wrote this message to them:
To the Obama Foundation: my name is James Yates, and I'm a writer based in Lafayette, Louisiana. I'm very much troubled by the proposed cuts to the NEA, and other programs aimed at financial support of the artistic communities. Depending on the finances of the Obama Foundation, I'd like to see money and time spent to creating grants and scholarships for diverse voices, especially writers who are women, transgender, and non-white. Many writers struggle financially, and in these times, their stories and voices need to be heard more than ever. I'd love to see attention devoted to the creative community, through workshops, financial support, and visibility. I hope this makes sense, and I'm happy to share more ideas if necessary. Thank you so much for your time. Sincerely, James Yates
These are trying times, and it's only going to get worse. Writers have a responsibility. Let's keep moving.
Sunday, January 1, 2017
2016 Readings, 2017 Goals
For starters, this is what I wrote last year, when I revisited my 2015 readings: "In 2016, I want to read more classics, more international translations, and spend more money on small press titles. My goals will fluctuate as the year goes on, but I think that's a good starting point."
Back in 2015, I read 93 books. This year, my total went down to 55, but I have good excuses. First, my girlfriend and I moved from Chicago to Lafayette, Louisiana for her PhD candidacy. From packing, to planning, to coordinating the drive down south (helped immensely by my brother and sister-in-law), reading time was taken up by this. I also started teaching English at the University of Louisiana at Lafayette. I highly enjoyed teaching, but was unaccustomed to how time consuming it is. Lesson planning, class readings, assignment preparations, student meetings, grading, and general anxiety about essentially performing four times a week in front of nearly fifty students: I read fewer books from September to December. I started several, but they took over a month to read when they should've taken a week at most.
My goals for 2017 as a reader aren't as detailed as my goals as a writer. I (still) want to spend more money on small press titles, because we as a community need to sustain them. I'm not preaching from a soapbox, because I could have done more to financially support worthy literary organizations. With the Trump administration just weeks away (oh fuck, just typing that makes me angry), small presses will need to to remain voices and homes for the voices that might be silenced or marginalized by the powers that be. I want to remain optimistic about 2017, but deep down, I worry it'll be a shitshow. So, I want to do less talking about supporting diverse demographics and more buying, reading, and promoting of them.
So this means I'll do everything I can to help small presses and literary magazines. I also have an entire shelf of great literary magazine back issues (Hobart, American Short Fiction, Fence, Tin House) that need attention.
I'd love to hear your goals, too. As always, I'm eager for recommendations.
Here's to 2017. As we read and write, don't forget to fight back against the backwards thinking that wants to prevail in our culture. This is a challenge to myself more than anything.
My 2016 readings are listed below:
1.) Mothers, Tell Your Daughters by Bonnie Jo Campbell
2.) Crazy Horse's Girlfriend by Erika T. Wurth
3.) Negroland by Margo Jefferson
4.) Motherland Fatherland Homelandsexual by Patricia Lockwood
5.) Eileen by Ottessa Moshfegh
6.) Go Tell It On the Mountain by James Baldwin
7.) The Unfinished World and Other Stories by Amber Sparks
8.) Blood Runs Green: The Murder That Transfixed Gilded Age Chicago by Gillian O'Brien
9.) Not Dark Yet by Berit Ellingsen
10.) Elegy/Elk River by Michael Schmeltzer
11.) What Belongs to You by Garth Greenwell
12.) The Girl Who Could Only Say 'sex, drugs, and rock & roll' by Kendra Fortmeyer
13.) The Farmacist by Ashley Farmer
14.) The Revelator by Robert Kloss
15.) Slut Lullabies by Gina Frangello
16.) Find Me by Laura van den Berg
17.) The Ghost Network by Catie Disabato
18.) The Feminine Mystique by Betty Friedan
19.) Cataclysm Baby by Matt Bell (re-read)
20.) A Brief History of Seven Killings by Marlon James
21.) If I Knew the Way, I Would Take You Home by Dave Housley
22.) The Upper Peninsula Misses You by Mark Magoon
23.) A Little Life by Hanya Yanagihara
24.) Long, Last, Happy: New and Collected Stories by Barry Hannah
25.) The Vegetarian by Han Kang
26.) Madness, Rack, and Honey by Mary Ruefle
27.) The South Side: A Portrait of Chicago and American Segregation by Natalie Y. Moore
28.) Please Don't Be Upset and Other Stories by Brandi Wells
29.) The New York Stories by Ben Tanzer
30.) The Handmaid's Tale by Margaret Atwood
31.) My Only Wife by Jac Jemc (re-read)
32.) Tuesday Nights in 1980 by Molly Prentiss
33.) Boys Among Men: How the Prep-to-Pro Generation Redefined the NBA by Jonathan Abrams
34.) Beloved by Toni Morrison (re-read)
35.) Chronicle of a Last Summer by Yasmine El Rashidi
36.) Giovanni's Room by James Baldwin
37.) Marrow Island by Alexis M. Smith
38.) The Tennessee Highway Death Chant by Keegan Jennings Goodman
39.) McGlue by Ottessa Moshfegh
40.) The Underground Railroad by Colson Whitehead
41.) Teaching to Transgress: Education as the Practice of Freedom by bell hooks
42.) Dandarians: Poems by Lee Ann Roripaugh
43.) Insurrections: Stories by Rion Amilcar Scott
44.) Twenty Grand and Other Tales of Love and Money by Rebecca Curtis
45.) Mesogeios by Steve Karas
46.) Homegoing by Yaa Gyasi
47.) How the Post Office Created America: A History by Winifred Gallagher
48.) Sex Object: A Memoir by Jessica Valenti
49.) The Fire This Time: A New Generation Speaks About Race edited by Jesmyn Ward
50.) Him, Me, Muhammad Ali by Randa Jarrar
51.) No Man's Wild Laura by Beth Gilstrap
52.) The Hundred-Year House by Rebecca Makkai
53.) Sing the Song by Meredith Alling
54.) Swing Time by Zadie Smith
55.) You Know When the Men Are Gone by Siobhan Fallon
2021 Readings, 2022 Goals
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