Check out the mission of Write-a-House:
Our mission is simple: to enliven the literary arts of Detroit by renovating homes and giving them to authors, journalists, poets, aka writers. It’s like a writer-in-residence program, only in this case we’re actually giving the writer the residence, forever.
And here’s the best part, how you get to keep the house: be a literary citizen.
The WAH Author-in-Residence will also be expected to:
- contribute content to the WAH blog on a regular basis.
- participate in local readings and other cultural events
- use the home as their primary residence.
- In general, they will be responsible home owners, engaged neighbors, committed city residents and good literary citizens.
Apply for a residency and spread the word.
On her blog, Journeys and Destinations, Lori May offers a roundup of links about Lit Cit.
In print. Online. Everything. Hooray!
That itself is literary citizenship!
I couldn’t be happier to see so much discussion of late on the topic of literary citizenship. This is a topic near and dear to me and one I’ve had the pleasure of discussing at a number of MFA programs and community writing events over the years. We can never discuss this topic too much. Our involvement in the community—as writers, as readers—only nets good, as far as I’m concerned. Whether helping a small press get off the ground through volunteer hours, or sharing a recommended read with a booklover at work, a little good goes a long way in fostering not only our literary and cultural communities, but our regular old day-to-day life as people.
Over at the AWP site, Roxane Gay offers eight questions writers should ask themselves.
One of them is: Are you a good literary citizen?
Good literary citizenship can also extend to how you comport yourself when participating in social networks. Are you relentless in promoting your own writing, sharing the same link more than two or three times? Do you send direct messages or private Facebook messages to strangers, promoting your latest project? Of course you should promote your work but take care in how you promote your work and consider sharing the good news about the writing of others, if you are so moved.
Mostly, literary citizenship is the importance of remembering that no one is alone in the writing world. Conduct yourself as such.
Read the whole essay here. It’s awesome.
Over at the Ploughshares blog, Stephanie Vanderslice talks to Tasha Golden about teaching Literary Citizenship and other “professionalization” topics in MFA programs. Good stuff!
The two central myths are one, that literary citizenship is all about self-promotion, and two, that it’s connected deeply to the “marketplace.” For example, a lot of students (and a lot of authors who clutter my Twitter feed with tweets about their own publications and nothing else) think that literary citizenship and platform-building means nothing more than promoting their own work.
In reality, it’s about completely saturating yourself in the literary culture—and then curating and promoting the work that interests you, so that other people will find it and care about it as much as you do.
Truly, one of the most exciting things about book culture these days IS that it’s so incredibly social and interactive. That is the essence of the course I teach at Ball State University: Literary Citizenship. I want to show my students all the ways in which they can engage with book culture.
They can engage in ways that weren’t available to me. I try to imagine what it would have been like in 1990 to be 21 and have at my disposal tweets from Margaret Atwood and pictures of Amy Tan’s dog. Like it wasn’t no big thang.
That is unfathomable to me.
I was a Mark Richard fan
Mark Richard was a writer who made an enormous impression on me early in my apprenticeship. I think of him in a star constellation that includes Andre Dubus, Annie Proulx, Dennis Johnson, Amy Hempel, Tobias Wolff, Tim O’Brien, and Stuart Dybek, writers who published collections in the 80’s and early 90’s–basically, what I read when I took my first creative writing classes, the first writers who first made me go, “Wow.”
What if, after reading Mark Richard’s story “Strays” in Best American Short Stories 1989, I’d been able to friend or follow him?
(No different than the way that I friended Ethan Rutherford the other day, because he’s got a new collection out that I’ve heard about, The Peripatetic Coffin.)
Richard was in his early 30’s at the time with a book just out, The Ice at the Bottom of the World. I was interning at Interview magazine in New York City, and the book review editor, Mark Marvel (yes, that was his real name) had a review copy of Ice on his desk. He saw me checking it out. “Take it,” he said.
I read it immediately.
When I went to graduate school a year later, I found others who liked his work, and I loaned out this book a lot and spread the Gospel of Mark Richard. I’ve taught his work for many years, too.
What if there’d been an Amazon.com or Goodreads? Maybe I would have gone on one of those sites and written a glowing review.
If there had been blogs back then, maybe I would have had one and written about how much I loved that book. Maybe Mark Richard would have retweeted or reposted my blog post.
Maybe if book culture had been more social and less hierarchical in 1990, more people would have known about Mark Richard and the amazing stories in Ice at the Bottom of the World and Charity. Maybe he wouldn’t have had to start writing for Party of Five.
Maybe Mark Richard and I would have been internet acquaintances. Maybe I could have met lots of other Mark Richard fans via Facebook, Twitter, and blogging, and together, we could have catapulted him to literary stardom.
The problem would have come, of course, with Fishboy, his second book, which I read and (honestly) did not like at all. Would his publisher have sent me an ARC? Would I have felt compelled to post an early review and “make it good?” Would Mark Richard have courted fans like me to post reviews via his blog or Facebook author page? Would he have offered us a prize if we pre-ordered?
If you are my age, I know what you’re thinking: My God, it’s so ABSURD!
The difference between fandom and reviewing
And this is what my students do not understand about the difference between the world they know (as it is now) and the world I grew up in (as it was). I’m not saying the past was better. I’m not saying that book culture–as it exists today–is a bad thing. Only that it is a vastly different thing.
The week we discussed book reviews in my Literary Citizenship class, I told my students, “This week, we look at the dark side of literary citizenship.” It’s hard, I think, for undergrads to understand why this all matters.
One of my students started her weekly blog post this way: “As I sat down to research and write this blog about book reviewing, I caught myself thinking, ‘Ugh, I don’t really care about this.'” This sentiment was echoed by many students, many of whom informally review books all the time on their blogs, Tumblrs, Goodreads, and other social media platforms. They talk about books all the time. What’s the big deal?
This link in particular got their attention: about a reader who changed her Amazon.com review of a book she’d received in advance, which irked a well-known writer (and/or her husband) and legions of fans.
Some of my students have been reviewing books for awhile and (even before taking the class with me) were receiving books to review from publishers and authors. But was it book reviewing that they’d been doing really? Rather, I’d say they were experienced at “talking up” books–not reviewing books. They are FANS of particular books and authors and genres (like YA). The internet makes this participatory kind of fandom possible. It was these students especially that I wanted to think through the ethics of book reviewing in the social media age. One of these students confessed:
“I totally agree with this post that says Twitter makes it hard to avoid being too nice. I like being friends with other writers! I like being buddies! But when I know a writer is following me or will notice mentions of them in a tweet, I don’t want to give them a bad review. I think of them as a person whose feelings I don’t want to hurt.”
I assigned Jennifer Egan’s book, A Visit from the Goon Squad, especially the last story “Pure Language,” which is set in a slightly futuristic New York City, the Capital of Publicity, at a time in which even “word of mouth” can be bought.
To a person my age or older, “Pure Language” sends chills down the spine. To my students…eh, not so much.
They recognize that there’s a problem. How are we ever going to know what’s really good and what’s hype? But none of them could offer a solution to the problem–other than “I just won’t review books I don’t like.”
I shouldn’t have expected them to have an answer, really, (not fair) and in the end, I hope I was able to convey not just HOW to review books, but why doing so ethically and well really does matter.
That is why I call this class Literary Citizenship. Not Literary Friendship. Not Literary Connections. Not even Literary Community. Because that second word–citizenship–implies responsibility.
Here are some of the best reflections from my students on the issue:
Rachael Heffner: “I’ve done a couple reviews of books, but I don’t know what can be constituted as a review or just an enthusiastic post about a book. Who’s to say?”
Indeed. Who’s to say?
Sarah Hollowell: “You read book reviews trying to figure out if you want to read something. My hope is that I’ll build an audience that trusts my opinion on the types of books they want to read. I don’t want to tell them that a book is great, because more than likely they’ll realize it’s not and they’ll either 1) think I’m lying or 2) think I have bad taste. Both of them fill me with dread.”
I’m so happy that my students want to be credible and taken seriously. It’s a source of great relief to me.
Kiley Neal: Reviewing books is an art in itself, one that should not be taken lightly, especially by people who are dedicated to reading and writing. This is our community, and if we don’t take care of it, who will?
Michael Cox: The reviewer’s paradox is likability vs. credibility.
Indeed! That’s the paradox.
And because he grew up on a farm, John Carter compares book reviewing to livestock judging. It’s an apt metaphor!
One student quoted a wonderful poem by my colleague Peter Davis, which I’ll include here:
POEM ADDRESSING THE READER
AND EXPRESSING A BEAUTIFUL HOPE
I am very appreciative that you’ve taken the time to read this poem. I hope you like it. Let me know what I can do to improve it. I know that we all have different tastes and different ideas about what comprises good writing. Hopefully, we can agree in this instance. If you have very strong feelings about it, one way or another, you should write a review of the book in which this poem appears. If this poem is being published in a journal and you are unaware that it is also in a book, you should look it up. It is possible it is not yet in a book. You could even try reaching me, or something. You could google me. A review would really be nice. Something formal so that I feel it’s legitimate. I’m actually only half interested in this poem so far, but I’m also feeling a small mania about it. I have reason to believe that I’m very, very good and that you’re leaning closer and closer and closer and that at any particular instant you may kiss me on the cheek.
I gave the Discovery 2013 interns some “Summer Homework.”
Many of these students were in my Literary Citizenship class this spring, but some were not, and so we’ve decided to spend the 10 weeks leading up to the conference doing some training via “homework.”
Every Friday by 3 PM, they’ll engage in something I call “Charming Notes.” It’s a version of what Carolyn See prescribes in her book Making a Literary Life. They’ll be required to friend or follow or engage with five people, writers, magazines, agents, or publishers in order to expand their literary horizons. (We did this in my class during Spring 2013, and it worked wonders.) One of those five must be an “active” note–meaning they have to say something to the person, comment on a blog, send an email or message, not just passively follow someone.
Every other Friday by 3 PM, they’ll post to their blog. I’ve told them that these posts can be:
- journal entries
- book reviews/what they’re reading
- commentary about articles they read while preparing for MWW
- interviews with writers
- a roundup of links to helpful articles or information
- fearful questions and anxieties
- a response to someone else’s blog post
- I’ve recommended that they use my blog Literary Citizenship for inspiration, esp. the links in the right-hand column.
I’ve warned them: “You can blog about or share your own writing, but primarily, the goal is to be interested in what other people are doing, not what you’re doing.”
They must read ALL of each week’s posts (5 or 6) and comment on them. In a sense, they will “workshop” each other’s posts, but in a supportive, helpful way. Such as, if they think the post could be formatted more attractively or they catch a typo, they should tell the person in our private FB group (only we see that). But if they want to engage in a conversation with the post, they’ll do that in the comments section.
Basically, I’ve created a blog circle.
Ultimately, I want each intern to find the community they need and blog about whatever they need to blog about, but I also want them to form a community among themselves.
The internet is about circles and communities and connections. Our job is to find the right ones to plug into.
A metaphor: going online at first is like being a boat drifting in the middle of the ocean. You write into a void. No one can find you. You’re a needle in a haystack. You’re not even a ping on anybody’s radar.
What you have to do is find some other boats and tie yourselves together. Not just any boats. The right boats. Boats like you.
Hang out with them. Talk. Learn. Eat. Plus, you’re more visible to search parties.
Who’s in your blog circle? If you don’t have one, think about how to find one.
An example: I just proposed a panel for AWP 2014 in Seattle on teaching novel writing. The first people who came to my mind were people I’ve met via social media who share my interest. John Vanderslice comments on my blog “The Big Thing” quite often because he teaches a similar class. Then there’s Roxane Gay and Jon Billman, with whom I talk about the subject on Twitter from time to time.
They sent me Charming Notes, or I sent Charming Notes to them.
That’s the benefit of being online, I think: that when particular opportunities arise, names come to mind.
The essence of literary citizenship is to shine a light on others. Very happy to see that Alison Barker found her way to literarycitizenship.com for this post for the Lighthouse Writer’s Workshop. Very happy to be mentioned and shine a little light on Lighthouse. They do great things there.
Sometimes a Lighthouse craft experience shows its great value after a bit of time has passed. Lauren Groff brought a lot of game to the Lighthouse Grotto last month. Since her visit, my writerly engines have put-putted along on the fuel of inspiration and literary compassion she emanated.
I had intended to use two blog posts to cover the goodness that flowed from the Groff Fly-By Writers’ weekend. I thought I would try to pluck several activities and gems from her two craft tribunals, Narrative Structure and the Art of Narrative Time to provide practical advice and exercises for those Lighthouse members who weren’t able to attend the weekend. And then I let a lot of time pass after my first post, a hurried, enthusiastic summary of her teaching approach, the aura-stamp left on my notebook from her teacher vibe, if you will.
As I returned to my Groff notes…
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I really like this post. I think it speaks to what I’ll call “Literary Citizenship Burnout.” And how important it is to find your own way of feeling “connected,” or why you might need to disconnect as well. Very honest description of what creative writing students face once they’re out of school.