Genre: Creative Nonfiction

Winter Turns to Spring

Kathy Wilson’s background includes many years in the theater both as an actor and teacher. She attended Marymount Manhattan College, earning a degree in Communication Arts, and has taught numerous writing courses at MMC for both Continuing Education and the Center for Learning and Living. Active in the P&W-supported writing workshop at the Goddard Riverside Community Center for over a decade, she published a chapbook, and has read many of her essays for the Poets & Writers annual Intergenerational Reading events held at Barnes and Noble in Union Square. The International Library of Poetry’s 2007 collection published one of her poems “Congito Ergo Sum: I Think Therefore I Am” and her memoir, Out of the Rabbit Hole, was published by Fulton Books in September 2015. Wilson has lived on the Upper West Side in New York City all of her adult life.

Writing had always been a dream put on the back burner. It wasn’t until I was downsized from my full-time job in 2001 that I was able to join the senior writing workshop, funded by Poets & Writers, at the Goddard Riverside Community Center. Finally, I could focus on writing, in what was a noncompetitive and supportive atmosphere. I could write openly with trust and develop my own voice.

The seed of my memoir began with a writing prompt, given in class by our talented and intuitive teacher Veronica Golos: “Write about your earliest secret.’’ I wrote about the guilt I remembered having at three years old when I threatened to drown my beloved toy bear “Poochie” because he would not speak to me. My mother told me he would, if I was a good girl. “Poochie,” was selected to be read at the workshop’s annual reading, after which it was submitted and chosen for the Poets & Writers’ Intergenerational anthology Where I’m From. I became aware that I had a real gift for storytelling and I had quite a story to tell.

Elena Alexander, an accomplished poet, became our second instructor at the Goddard Riverside Community Center. Her dedication and talent guided our group through publishing our own individual chapbooks. This generated even more motivation for me to continue writing my memoir, written from a child's point of view, about how she survives an environment of alcoholism and violence.

When my memoir, Out of the Rabbit Hole, was completed I wondered, now what? At my age I did not want to go the agent route with months or years of submitting to literary agents. I began researching various self-publishers with much hesitation, many were trying to “sell’’ their company, plus reviews from authors that used them were very mixed. Through Poets & Writers, I was recommended to Deborah Englander, experienced editor and writer, and contributor to the Savvy Self-Publisher, a column on self-publishing in Poets & Writers Magazine. Deborah was informative and very clear about what I should expect when choosing a publisher and helped me to firm up my commitment to self-publishing. Armed with her expert advice and through more research, I chose Fulton Books. A tremendous feeling of accomplishment surged through me when I held my book for the first time. As a senior, it no longer seems the winter of my life, but a new beginning, I am an author!

I am excited and take great pride in the positive response I have received about Out of the Rabbit Hole. One review states: “Beautifully written, poignant, sensitive, and with attention to detail, it evokes the sight, smells and sounds of the 1940s and 1950s.”

Currently, I am still a member of the Goddard Riverside writing workshop, where I continue to develop my writing skills, and where I have made many close friendships over the years. It is an inspiring and multitalented group.

Writing is no longer on the back burner. It’s time to start another book, in this newly acquired springtime of my life.

Photos: (Top) Kathy Wilson. Photo Credit: Christina Freudenthal, (Bottom) Goddard Riverside Writing Class. Photo Credit: Walter Grutchfield

Support for Readings & Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the New York City Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and the Friends of Poets & Writers.

Yusef Komunyakaa and Wendell Pierce

Caption: 

"After conquering / frontiers, the mind comes back to rest, / stretching out over the white sand." At a 92Y event, Pulitzer Prize-winner Yusef Komunyakaa reads "Islands" from his poetry collection, The Emperor of Water Clocks (Farrar, Straus & Giroux, 2015), and the Wire actor Wendell Pierce reads from his memoir, The Wind in the Reeds (Riverhead Books, 2015), in which he explores art's ability to redeem his native New Orleans after Hurricane Katrina.

Familiar Differences

12.3.15

Write a short personal essay about your relationship with a family member whom you feel is especially different from you. Explore a few memories or observations from your shared experiences over the years. Are there feelings of insecurity or other emotions that are brought up when you consider your differences? How do the disconnects affect your sense of identity and place within your family? Are you able to detect any common bonds?

Deadline Approaches for Christopher Doheny Award

Submissions are currently open for the Center for Fiction’s third annual Christopher Doheny Award, a $10,000 prize given for a book-length work of fiction or nonfiction on the topic of life-threatening physical illness. The winner of the prize “must demonstrate high literary standards while exploring the impact of illness on the patient, family and friends, and others.”

In addition to the cash prize, the winner will receive production and promotion of the book in an audio format from Audible, Inc., and assistance from Audible to pursue print publication. This year’s judging panel includes writer Charles Bock, previous Doheny Award–winners Michelle Bailat-Jones (2013) and Mike Scalise (2014), and two representatives of Audible.

Fiction and nonfiction writers who have previously published works in literary journals, or have published a book with an independent or traditional publisher, are eligible to apply. Using the online submission system, submit a previously unpublished manuscript along with a list of previous publications, a synopsis of up to two pages, and a one-paragraph bio by December 15. Submissions can be made via postal mail to the Christopher Doheny Award, Center for Fiction, 17 E. 47th Street, New York, NY 10017. Visit the website for complete guidelines.

Supported by Audible, Inc., and the friends and family of Christopher Doheny, who died of cystic fibrosis in 2013, the Center for Fiction’s Christopher Doheny Award recognizes literary excellence “by a writer who has personally dealt or is dealing with life-threatening illness, either his or her own or that of a close relative or friend.”

Photo: Christopher Doheny

F Is for Food Writing

11.26.15

In her collection of essays An Alphabet for Gourmets (Viking, 1949), celebrated food writer M. F. K. Fisher uses such disparate subjects as gluttony, literature, and zakuski (a Russian hors d’oeuvre) as frames for writing about her beliefs on gastronomy, life, and how they’re always connected. In the style of Fisher, choose a subject for a letter in the alphabet—A is for Aging, R is for Rib Eyes, W is for Wanderlust—and write your own essay about the interplay between cooking and eating and your own life.

Literary Arts

Literary Arts is a community-based nonprofit literary center located in downtown Portland, with a thirty-year history of serving Oregon’s readers and writers. Programs include Portland Arts & Lectures, one of the country’s largest lecture series; Oregon Book Awards & Fellowships, which celebrates Oregon’s writers and independent publishers; and Writers in the Schools, which hires professional writers to teach semester-long creative writing workshops in Portland’s public high schools.

Workshop Attendees Speak Out to End Isolation

Jamie Asaye FitzGerald, director of Poets & Writers' California Office and Readings & Workshops (West) program, describes her visit to a writing workshop led by P&W-supported writer Alicia Partnoy for the organization Community Initiatives for Visiting Immigrants in Confinement (CIVIC)

Alicia Partnoy is a poet, translator, and survivor of the Argentine genocide. She is best known for her memoir, The Little School: Tales of Disappearance and Survival (Cleis Press, 1998). Her most recent book is the poetry collectionFlowering Fires [Fuegos Florales] (Settlement House Books, 2015), and other works include Little Low Flying [Volando bajito] (Red Hen Press, 2005), Revenge of the Apple [Venganza de la manzana] (Cleis Press, 1992), and with Gail Wronsky, So Quick Bright Things [Tan pronto las cosas] (What Books Press, 2010). Partnoy teaches at Loyola Marymount University in Los Angeles, and presides over Proyecto VOS-Voices of Survivors.

Sylvester Owino and Alicia Partnoy This past September, I had the opportunity to sit in on a bilingual English/Spanish writing workshop taught by P&W-supported poet and memoirist Alicia Partnoy. The workshop was part of a retreat held in Malibu, California, by Community Initiatives for Visiting Immigrants in Confinement (CIVIC). CIVIC is a national nonprofit organization that works to end the isolation and abuse of people in U.S. immigration detention through visitation, independent monitoring, storytelling, and advocacy. 

The retreat's workshop brought together CIVIC staff, volunteer visitors from nearly twenty states, and people who were previously held in U.S. immigration detention to help them tell their stories. It was a day of personal exploration and joining together in passionate commitment to a cause.

"Writing about the abuses against us was the only way to let it out," recounted Sylvester Owino, who was detained by U.S. immigration for nine years before regaining his freedom.

Owino's statement, which came after a group writing exercise, echoed what workshop facilitator Partnoy described earlier in the day—after she "disappeared" and was imprisoned in Argentina, and having arrived in the United States as a refugee, she felt desperate because no one knew the stories. She wrote her memoir, The Little School: Tales of Disappearance and Survival, and earned a PhD, out of desperation—to have the stories told, to show the suffering she went through and the suffering of others. "We cannot speak for others if they die," she said, "we speak without them."

Partnoy spoke of "testimonial texts" and "testimonial value" and explained that stories, poems, pictures, and paintings are all "texts." Novels can be written based on testimonials. Poems can tell a story. If a letter was found in the pocket of someone who was killed while crossing the border, it has testimonial value.

I wasn't sure how everyone present was drawn to the cause, but more than a few had personal connections, whether it had been a husband, a mother, or other family member who was or is currently detained. Partnoy made the point that "when a family member is imprisoned, the whole family is punished." And she noted: "Children imprisoned with parents is the current harrowing situation."

Your mother isn't in prison
your mother has
birds in her blood,
grates and bars
don't detain her
nor padlocks,
nor is she in prison,
nor has she left you.

This is how Partnoy's incredibly moving poem "Lullaby Without the Onion" from her most recent collection, Flowering Fires [Fuegos Florales], begins. Partnoy sang her poem, evoking Miguel Hernández's famous poem, which was set to music, "Lullaby of the Onion" [Nanas de la cebolla]. She also shared work that her mother, painter Raquel Partnoy, and daughter, poet Ruth Irupe Sanabria, have written about their experiences.

As retreat attendees wrote in groups on a palabrarma (word weapon) prompt (credited to Chilean poet Cecilia Vicuña) using the word solidaridad (solidarity) supplied by Partnoy, emotions ran high and tears and knowing nods were exchanged as they began the necessary work of sharing their stories and experiences:

"Who am I without you?" read one participant.

"Lament shared is hope given?" questioned another.

"A hand raises to meet the hand behind the wall."

"We connect."

The hope is for the work generated during this workshop to be published as an anthology—making it the first project to use the voices of detention visitors and formerly detained immigrants together, and giving unprecedented insight into immigration detention and the work of CIVIC. To learn more and support the creation of this compilation, please visit CIVIC’s website.

Photo: Sylvester Owino with P&W-supported workshop leader Alicia Partnoy. Credit: Jamie FitzGerald.

Major support for Readings & Workshops in California is provided by the James Irvine Foundation and Hearst Foundations. Additional support comes from the Friends of Poets & Writers.

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