By Kathleen Driskell, Chair, Spalding School of Creative & Professional Writing
The novel that helped launch the Spalding MFA Program: As we celebrate our twentieth anniversary, our Residency Book in Common for Spring 2021 is Sena Jeter Naslund’s Ahab’s Wife
Several years before the MFA program was founded at Spalding, the Humanities Department, of which I was a faculty member, invited founding editor Sena Jeter Naslund and managing editor Karen Mann to move the literary journal The Louisville Review from the University of Louisville to a new home at Spalding. Sitting around the editorial table in my campus office, I remember when I began to hear that Sena was finishing her newest novel, Ahab’s Wife: Or, The Star-Gazer. She’d published a number of beautiful books of fiction before, but Ahab’s Wife was about to launch her into the stratosphere. After an exciting auction involving several New York publishing houses, we were delighted to learn that her novel had been acquired by William Morrow. The literary world was soon buzzing with anticipation for the publication of Ahab’s Wife.
By Beth Ann Bauman, Writing for Children & Young Adults Faculty
Maybe it’s just me, but the use of multiple perspectives in middle-grade and YA fiction seems to have swelled in the last decade. And it’s understandable why this is an appealing choice for a writer. It’s fun to head hop, use different voices, and create a broader understanding of the world. When done well, it makes for a satisfying, compelling read, such as in the young-adult novel Salt to the Sea by Ruta Sepetys, a WWII story that follows four narrators seeking passage on a ship to escape a Soviet advance. The shifting perspectives provide a wide lens on this historical event while keeping a strong narrative focus. But handling multiple perspectives is tricky and complicated, and a book can easily lose its narrative unity. Before attempting, here are some considerations:
By Erin Keane, Professional Writing & Poetry Faculty
When I interviewed Aimee Bender in 2010 about her novel The Particular Sadness of Lemon Cake, she said something about her process that stuck with me: Every day, she forces herself to be bored. “I feel like sitting through boredom is a major piece of being a writer,” she said. “There’s this intense restlessness that comes up when bored.” This makes sense to me—I’ve known since childhood how to invent ways to entertain myself when boredom crept in. That’s play, really. Telling myself stories, or tinkering with language and observation in poems, is a method of play that I carried with me into my adult life as a writer. But in the current iteration of that life, as the editorial head of a fast-paced digital publication that covers news, politics, culture, science, and health, boredom is frequently in short supply.
By Roy Hoffman, Creative Nonfiction/Fiction Faculty
[Originally appeared in The Boston Globe, Ideas section, Sunday, Dec. 27, 2020]
In December 1965, the 2,300-year-old words of Ecclesiastes vaulted to the top of the Billboard 100, thanks to a group of mellow rockers, The Byrds, crooning “To every thing there is a season.” That year, marked like this one with strife and division — the Selma march, the Watts riots, the Vietnam War — the clear-eyed pronouncements of a Biblical sage, situated near Proverbs and the Song of Songs, were steadying. On our radios those holiday weeks and well into 1966, with Simon and Garfunkel’s “The Sound of Silence” and the Beatles’ “We Can Work It Out” also vying for dominance, The Byrds’ “Turn! Turn! Turn!” — its title from the 1959 version by Pete Seeger — offered no-nonsense philosophy with a beat: “A time to be born, and a time to die.” There was destruction, “a time to break down,” and restoration, “a time to build up.” I recall, going on 13, a sock hop where teens slow-danced to the ancient wisdom. Each of us, in our personal journeys, experiences “a time to every purpose under the heaven.” Today, more than most years, we also do so collectively.
So. I’m a Cleveland kid. Born and raised. Generations of my family – both sides – have straddled the Cuyahoga River. Making soups in the kitchen at Hallie’s Department Store. Stamping out engine parts in the small tool and die shops on the near west side. Cheering when Jim Brown broke another tackle at Municipal Stadium. Trudging through record snow and around burning rivers. We are Clevelanders, through and through.
I originally wrote this post in 2017, shortly after finishing shooting my feature film Seaside, when I was wading through the long, challenging, and often tedious process of post-production. While the world is struggling to overcome a deadly pandemic, I realize that being stuck in limbo can be a familiar, if challenging, territory for those of us who create. In life and art I often must remind myself that the magic is in the doing and the making; just putting one foot in front of the other each day is essential.
The Spalding School of Writing’s second all-virtual residency kicked off on Saturday with an especially exciting curriculum for our professional writing students, including digital storytelling, the inside scoop on the publishing world, and an exclusive viewing of a performance from Actors Theatre of Louisville. Spalding’s School of Creative and Professional Writing is unique in enhancing graduate professional-writing studies with carefully curated experiential learning in creative writing and exploration of the arts.
LOUISVILLE, Ky.(October 9, 2020)—Spalding University’s Festival of Contemporary Writing, the state’s largest fall-spring reading series, announces its fall line-up, featuring readings by faculty of the low-residency programs of Spalding’s School of Creative and Professional Writing. Academy Award-winning screenwriter Kevin Willmott makes a special appearance to accept the Spalding Prize for the Promotion of Peace and Justice in Literature. The festival takes place Tuesday, November 10, through Friday, November 20, as part of the School of Writing’s fall residency, which is being conducted virtually due to Covid-19.
All events take place virtually and are free and open to the public, but you must register separately for each event in order to receive the link to attend. Each session has a unique registration link, listed below.
By Lynnell Edwards, Associate Programs Director, Spalding’s School of Creative and Professional Writing
On good days, mere chaos seems to swirl around us like smoke; on bad days it feels like we are staring down the apocalypse. Everywhere: the body oppressed and rent by violence, the body sickened (by virus, by fire, by flood) the body “distanced” or “essential.” Literature and the arts have always been part of healing in troubled and transitional times, but documentary poetry, with its arc beyond the interiority of the lyric and toward the external realities of the material world, has an especial urgency in these difficult days.