’Tis the season for spending? The end of the year is often associated with spending money on last-minute gifts, groceries for parties, travel and outings with family and friends, and holiday sales for your own treats. This week write a personal essay on your traditions and philosophies around holiday spending. How have they evolved over the years? Do you have memories or anecdotes of extravagant purchases or of thrift-savvy techniques? You might reflect on how seasonal cultural traditions influence spending and how those traditions are maintained, broken, or might even evolve. What are alternatives to conventional modes of consumption and capital?

How long would it take you to memorize more than a hundred square miles of city streets? London’s black cab drivers are trained to rely on memory and not GPS technology by studying and passing a series of exams, a process called “The Knowledge,” which can take someone three years or more to receive an official license. Potential drivers must memorize over twenty thousand street names, countless landmarks, and various routes. Write a short story that revolves around a character who must take on and pass an extraordinarily difficult exam of some sort. What significance—whether professional, financial, psychological, or spiritual—would passing the test hold? Consider the various tonalities you wish to strike within the story: hopefulness, despair, suspense, ambiguity, or celebratory happiness.

In a tribute published in the Yale Review to Ellen Bryant Voigt, who passed away in October, executive editor Meghan O’Rourke writes: “Through her, I learned to read like a poet. Not to identify themes, as I’d been trained to do as an undergraduate at Yale, but to attend to effects.” This type of close examination included describing poems by how many medium-length lines and periods were in a poem, and how many lines a sentence takes up. “Her rigor taught me how to read my own work as I’d learned to read others’: closely enough to see what it was resisting,” writes O’Rourke. Revisit a poem you’ve written and consider what the work may want to be, and what it might be resisting. What about its syntax or grammar might lead you to these conclusions? Explore reworking the poem a little or a lot to shape how it arrives at its desired effects, or resists them.

Lulu Wang’s 2019 film, The Farewell, begins with a group of relatives convening in China on the pretext of a wedding but who are actually there to bid farewell to the family matriarch from whom they are hiding her terminal cancer diagnosis. The protagonist of the film, a woman in her thirties who has lived in the United States for most of her life, struggles with this concept and is told by her uncle that it is their duty to carry the emotional burden of her grandmother’s illness for her. “You think one’s life belongs to oneself,” he says. “But that’s the difference between the East and the West. In the East, a person’s life is part of a whole. Family. Society.” Think back to a time when you have carried a burden for someone else and write an essay that examines your personal experience with this concept. Are there situations in which withholding the truth or keeping something secret feels reasonable, ethical, or even honorable to you?

In Shirley Jackson’s short story “The Tooth,” a woman’s bus ride to the dentist dissolves into a haze of pain, exhaustion, and an uncanny encounter with a stranger. Write about an ordinary trip on a bus, train, or rideshare that is unsettled by your character’s physical state, whether they’re experiencing hunger, sleeplessness, or an illness. Let the journey shift gradually into unease, or perhaps, an altered sense of connection with others. Focus on moments where tension arises from vulnerability and misconnection, and consider how travel reshapes your character’s sense of self and destination.

Write a poem that begins with the image of an animal arriving where it should not be, such as a whale in an office space or a Zebra in a suburban backyard. Allow this surreal scene to take you to unexpected places and metaphors. Is the animal an omen or is it concealing a secret? Focus on the literal and symbolic dimensions of the encounter, drawing out the scene to illuminate overlooked truths, inner stirrings, and the quiet absurdities of the world around you.

What’s the story behind the story? Springsteen: Deliver Me From Nowhere, the new biopic directed by Scott Cooper, relays a behind-the-music creation story of Bruce Springsteen’s 1982 acoustic album Nebraska, which was composed and recorded in a New Jersey bedroom. The album represents the singer’s desire for pure art that is free of the constraints and adornments of being a superstar in the music industry. Think about the story behind one of your own stories, perhaps a personal essay you wrote years ago that sprang from a sense of urgency. Write an essay that recounts the story behind this story describing in detail the emotions that played throughout the creative act, where you worked on it, and how the subject matter dictated the process of its writing.

“The dry, undramatic accent of the Midwest had her longing for the slow, thick drip of Southern speech,” writes Brian Gresko in “Singing the Sublime: A Profile of Donika Kelly,” published in the November/December issue of Poets & Writers Magazine, about how Kelly “leans into the soundscape of her youth, bringing her family forward as characters and voices within her poems” in her new collection, The Natural Order of Things (Graywolf Press, 2025). Taking inspiration from Kelly’s journey back to her youth, think about the voices and language of a time or place from your past that you long to hear again. Write a short story that incorporates these voices—the diction, syntax, cadence, and grammar—into the world of your narrative. Where does your character encounter this soundscape? Is it spoken by a stranger in passing or by someone who becomes an important part of the plot?

In “Man Ray: When Objects Dream,” a new survey exhibition at the Metropolitan Museum of Art in New York, among the many works on display are over fifty of the artist’s “rayographs,” photograms made in the early twentieth century by placing objects on or near light-sensitive photo paper that is then exposed to create dramatically silhouetted images with high contrast. In these works, everyday objects—a comb, bottle, lightbulb, eggbeater, key, and wrench—become defamiliarized through Man Ray’s manipulation of placement and movement, capturing what poet Tristan Tzara described as the moment “when objects dream.” Browse through some of the rayographs and select one image that particularly resonates with you. Compose a poem that imagines the dreams in your chosen image. In your deciphering of the objects, ask yourself what do they dream?

Is hate ever the answer? In her new book, Hate: The Uses of a Powerful Emotion (Verso Books, 2025), translated from the German by Jackie de Pont, journalist and author Seyda Kurt reimagines hatred and proposes the use of something she calls “strategic hate” that can be deployed to fight against systems of oppression for a more just and equitable society. This week consider your own relationship to hatred—whether as a fleeting emotion or a simmering state of mind—and write a two-part personal essay. In the first section, describe a time in your life, or a specific situation, in which you felt hatred or a desire for vengeance. Then, write about your perspective on the possibility of channeling that hatred into a more positive direction. How can this corrosive emotion be pointed toward the purposes of more tenderness and care?