Dear Reader,
Yesterday’s blog post got me really curious about my short stories from days of yore, so I started hunting. An email inbox I’ve had for a very long time now yielded four from its depths. I perused Dropbox and found another one or two and so many drafts of my various novels.
Word Raccoon was determined.
Then we located one of our external hard drives (We were told we only have ever had one but we swear we had/have two and if the one we did locate only has a few things from 2007 and then things forward, where are the files from before then because I’m quite sure we were backing things up in 2006.) and the literary gods, after much conferring, handed over a few more stories.
WR wasn’t finished. She knew there was a fistful of flash drives in her electronics drawer.
Bingo. More.
But not everything.
For instance, she remembered splicing a collection of short stories together and sending them out at least once. In fact, she remembered posting about it in a Facebook writing group she regularly chatted in at the time.
So she went to the group, which has been largely inactive for some time but not yet archived, thankfully. She searched. She found her comment about the stories and, more importantly, the month and year she was putting the collection together.
She searched her email again, adding a couple of key words. And, as Jose Monkey says on his “find me” videos, “that was it.” (WR is amused by so many things.)
The rejection email for the collection led us to Submittable, which is basically our literary playground at this point but somehow we’d missed this: the rejection was still there.
Did…did that mean our submission was there?
Doubtful. I mean, I don’t think they store the submissions themselves anymore, just the info.
Obviously, I clicked on it just to see.
It led to a page that announced it was not found.
WR drooped.
“Hang on,” I told her. “Let’s look around.”
So I closed my eyes and clicked on a different tab with my submission. There was a link…the material said it downloaded. Holding my breath, I clicked on it to see if it would open, and there it was.
Here’s the table of contents:
Though She Didn’t Yet Know It
- Collioure Shall Always Be Collioure
- There Are a Few Things
- Hunger Pangs
- A Mother of a Story
- Though She Didn’t Yet Know It
- Indiana Farm, Sunday Afternoon
- The Bolus
- After Birth
- The Color of Flowers
- The Secret Shopper
- Desserted
- I Win Things
- World Hunger and Shit Like That
- The Found
You might think I began re-reading these last night.
I did not. Not yet.
I will say that at least two of them have been published.
I’m both excited and scared to read these. I already have so many observations to make about the titles and what I do remember about them, and I ran across other stories that made me think, gorl, you should have included THIS and taken out THAT. (There’s a novella “anchoring” the stories. WR says that means “taking up space because I want to write more food stories but don’t have time before the deadline.”)
What I do remember, with barely glancing at some of these, is how strange and weird a writer I was. I remember coming upon a group of grad students during a residency freely discussing one of my workshop pieces (which you weren’t supposed to do outside of workshop) with what sounded like awe, and I was proud.
I didn’t write weird for attention. I did it because the world was strange and confusing and cracked to me then. Everything about my life was changing and I was just trying to keep up. My writing was a haven.
Then slowly, things changed. About my life. In my writing.
Here’s what I think happened with my writing: I’m not blaming any one mentor, but collectively they tried to tame the weird, which, to be fair, was their job. (The style, etc. Not the subject matter.)
I was asked if “x” really had to be a part of my novella. Another person said he was floored when a certain word entered the story unexpectedly. (It wasn’t profanity. It was the big O.)
To me, the unexpectedness was the curveball it needed to keep it from seeming twee.
While I wasn’t ashamed of my previous work, I became ashamed of how loosely I held the pen while I wrote, of how I had allowed emotion to drive the work without having much of a clue where one sentence would end and the next might begin.
My more traditional work began receiving attention and approval. I have never been an approval seeker, yet writing comes with publication (which I bucked against), literary friendships, and another kind of life to appreciate. There was a lunch where I became the unwitting and unexpected center of attention, peppered with questions about my writing by literary people I respected. I didn’t know what to do with that.
I’m grateful for my mentors. I truly am. One of the best once told me I’d listened to him too much, and he was right but I needed for him to say that for me to know it was true. (It was about an academic paper, but it was important for me to hear, and how often does someone realize what they’ve done!)
Where I think I needed the most help was at the level of language, because I knew I was playing fast and loose (WR, is that now TWO clichés in this post? Is it going to be that kind of morning? She’s not even listening. She just drank a Coke Zero and is blissing out.) with it sometimes. And there are punctuation niceties I still have to look up every damn time and also, I don’t care. I know I should, and I have opinions, but there.
All of this to say that while I have adored the freedom poetry has allowed me, giving me back those wild, ecstatic, days of writing, I also think it has given me permission to trust that earlier writer again.
I think it will be fun to look back over these stories.
Maybe I’ll just start my writing career all over, refusing to soften the weird.
Why not?
Turns out the writer I was looking for may have been sitting on a flash drive all along. I want her back.
Literary discoveries in whatever form that takes for you, too, Reader,
Drema
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