Tuesday, March 25, 2014

Deadlines!


  • If you are entering the haiku contest, the deadline is today. Please submit that work... It is only 3 lines :)

  • I would love all of your work submitted to the yearbook. If you missed Friday's deadline please e-mail your work directly to Ms. Rudy. Her e-mail address is susan.rudy@rcsdk12.org

  • If for some reason you did not turn in your portfolio, you can turn that in today for LATE credit. 

  • Coffee House is NEXT THURSDAY. Please choose a piece and get going on your Group Poem.

  • There is an open mic at Equal Grounds on April 1st. Extra credit will be given to those who attend. 

  • Reminder: We will meet on the 2nd floor on April 1-3. This will be a time to rehearse for coffee house, workshop, read, discuss, etc. 

  • If you are all set with all of the above, please begin your next short story and/or your pages for LAMBENT. 

Let me know if you have any questions!

P.S. The Gannon event is this Thursday. If you would like to join us, please let me know. 

Wednesday, March 19, 2014

Bell Work
Please read Raymond Carver's "Little Things", which is posted here:
http://www.wsfcs.k12.nc.us/cms/lib/NC01001395/Centricity/Domain/796/little_things.pdf

We will have a group discussion when you are done. 

Work Time

1. If you haven't turned in your portfolio, please get that in today. 

2. Please choose what writing you would like put in the yearbook. I would like to submit that to Ms. Rudy TODAY.

3. Choose a piece to share in class on Friday. We can only have a circle if people SHARE/DISCUSS. We will be taking a picture and be recorded for the senior video on Friday.

Need a prompt? Go back to the 3 a.m. & 4 a.m. breakthrough stuff or look at one of the links below.
http://www.writersdigest.com/prompts
http://www.warren-wilson.edu/~creativewriting/Prompts.php
http://www.litbridge.com/creative-writing-prompts/

4. Create work for the Virgilio Contest

The Nicholas A. Virgilio Memorial Haiku Competition for Grades 7-12

Founded by the Sacred Heart Church in Camden, NJ, and sponsored by the Nick Virgilio Haiku Association in memory of Nicholas A. Virgilio, a charter member of the Haiku Society of America, who died in 1989. The Haiku Society of America cosponsors the contest, provides judges, and publishes the results in Frogpond and on the HSA Web site.
Deadline: In hand by March 25, 2014. Entries received after that date will not be accepted.
Eligibility: Any student in grades 7 through 12 enrolled in school as of September 2014 may enter.
Regulations: Submit up to three haiku per student. All haiku must be previously unpublished, original work, and not entered in any other contest or submitted elsewhere for publication. Please follow the guidelines carefully. Publication is defined as an appearance in a printed book, magazine, or journal (sold or given away), or in any online journal that presents edited periodic content. The appearance of poems in online discussion lists or personal websites is not considered publication. Judges will be asked to disqualify any haiku that they have seen before.
Submissions: Each haiku must be on three separate 3" x 5" cards. The haiku must appear on the front of each card; your name, address, age, grade level, and school (please include the school address) must appear on the back of (only) one of the cards for each haiku. Please do not send self-addressed stamped envelope with your entries. All winners will be notified. Winning haiku and commentaries will appear in Frogpond. Do not use staples for any purpose. Failure to follow this format will make it impossible to judge an entry and may result in the disqualification of a submission without notification.
Entry fee: None.
Submit entries to:
Tony Virgilio
Nick Virgilio Haiku Association
1092 Niagara Rd
Camden, NJ 08104-2859
Adjudication: Judges named by the HSA.
Awards: Six haiku will be selected and each awarded $50. The winning haiku and list of winners will be published in Frogpond and on the HSA Web site. The high school of each student winner will receive a one-year subscription to Frogpond.
Rights: All rights revert to the authors after publication.
Correspondence: Please keep a copy of your haiku; entries cannot be returned.
To see an anthology of past winners, visit the Nicholas A. Virgilio Memorial Haiku Competition Collection.



Monday, March 10, 2014

Hint Fiction

If you are in a slump or need something to give you a burst of creativity, please give hint fiction a try!

Hint Fiction
Portfolio Requirements
  • Writing Portfolios are due Monday, March 17th
  • Please include polished/workshopped pieces of quality fiction. Remember we are looking for quality rather than quantity.
  • If you are having trouble writing your reflection, please ask for help. 
Please enter the following contest for Double Extra credit!

http://www.susqu.edu/academics/10602.asp


Thursday, March 6, 2014

Vignette Writing


Introduction

The highly acclaimed Latina writer Sandra Cisneros was born in Chicago on December 20, 1954.
A graduate of Loyola University with a degree in English, she has worked as a teacher to high
school dropouts at Chicago’s Latino Youth Alternative High School, a college recruiter, and a counselor. She has also taught writing as a writer-in-residence at several universities. Cisneros
has won numerous awards for her writing, and her books have been translated into as many as
10 languages.

Cisneros attended the University of Iowas Writers Workshop, and while she was there, she
finished the manuscript for My Wicked Wicked Ways, a book of poetry. During her time at the
Workshop, she found her true literary voice, that of a Mexican woman. She found that her
writing could reflect her distinct and special ethnic and cultural background, and she has
written several books that express what others couldnt; these books are The House on Mango
Street, Loose Woman, and Woman Hollering Creek and Other Stories.

The House on Mango Street, which won the Before Columbus American Book Award, is probably
her most widely read book and has sold more than 500,000 copies. This novel is a series of 44
related vignettes narrated by Esperanza Cordero, a Latina girl growing up in a poor Chicago
neighborhood. Together these vignettes draw a memorable portrait of the barrio, its neighbors, its
young children, and Esperanzas friends and family. This highly acclaimed novel is studied by
students of all ages, from grade schools to universities, throughout the nation and the world.
In her poetry and stories, Cisneroswriting reflects her personal experiences and perspectives
as a Chicana. In these writings, she represents her community in an honorable way and shows
the diversity of her characters, who are searching for self-identity, independence, and cultural
acceptance. Much of her poetry deals with the places she has traveled, and blends Spanish and
English to enrich the text.

Cisneros has lectured throughout the United States, Mexico, and Europe, and is still writing.
She lives in San Antonio, Texas.

What is a vignette?
Author Ann Mackie Miller describes a vignette as “writing that is prompted by a particular focus. It might be a character, an event in your life, a setting or an observation. Each vignette stands on its own, a little slice of life that is usually particularly vivid and is written from your point of view.” (I really like her definition!)
Vignette- a short, descriptive sketch that may stand alone or be part of a larger work.


Resources 

Tuesday, March 4, 2014

Bigfoot Stole My Wife

Good Morning,

Please use first period to workshop and polish your latest writing piece. Reminder: If you did not want to continue with your reincarnation story, you did not have to. You could turn in what you finished on Friday and work with a new piece of writing of your choice. If you have questions on this, please ask!

When you finish workshop/writing, please read the following short story posted here. Remember to post an insightful comment to what you read and respond to what you peers say.

Bigfoot Stole My Wife
By Ron Carlson


The problem is credibility.

The problem, as I'm finding out over the last few weeks, is basic credibility. A lot of people look at me and say, sure Rick, Bigfoot stole your wife. It makes me sad to see it, the look of disbelief in each person's eye. Trudy's disappearance makes me sad, too, and I'm sick in my heart about where she may be and how he's treating her, what they do all day, if she's getting enough to eat. I believe he's beeing good to her -- I mean I feel it -- and I'm going to keep hoping to see her again, but it is my belief that I probably won't.

In the two and a half years we were married, I often had the feeling that I would come home from the track and something would be funny. Oh, she'd say things: One of these days I'm not going to be here when you get home, things like that, things like everybody says. How stupid of me not to see them as omens. When I'd get out of bed in the early afternoon, I'd stand right here at this sink and I could see her working in her garden in her cut-off Levis and bikini top, weeding, planting, watering. I mean it was obvious. I was too busy thinking about the races, weighing the odds, checking the jockey roster to see what I now know: he was watching her too. He'd probably been watching her all summer.

So, in a way it was my fault. But what could I have done? Bigfoot steals your wife. I mean: even if you're home, it's going to be a mess. He's big and not well trained.

When I came home it was about eleven-thirty. The lights were on, which really wasn't anything new, but in the ordinary mess of the place, there was a little difference, signs of a struggle. There was a spilled Dr. Pepper on the counter and the fridge was open. But there was something else, something that made me sick. The smell. The smell of Bigfoot. It was hideous. It was . . . the guy is not clean.

Half of Trudy's clothes are gone, not all of them, and there is no note. Well, I know what it is. It's just about midnight there in the kitchen which smells like some part of hell. I close the fridge door. It's the saddest thing I've ever done. There's a picture of Trudy and me leaning against her Toyota taped to the fridge door. It was taken last summer. There's Trudy in her bikini top, her belly brown as a bean. She looks like a kid. She was a kid I guess, twenty-six. The two times she went to the track with me everybody looked at me like how'd I rate her. But she didn't really care for the races. She cared about her garden and Chinese cooking and Buster, her collie, who I guess Bigfoot stole too. Or ate. Buster isn't in the picture, he was nagging my nephew Chuck who took the photo. Anyway I close the fridge door and it's like part of my life closed. Bigfoot steals your wife and you're in for some changes.

You come home from the track having missed the Daily Double by a neck, and when you enter the home you are paying for and in which you and your wife and your wife's collie live, and your wife and her collie are gone as is some of her clothing, there is nothing to believe. Bigfoot stole her. It's a fact. What should I do, ignore it? Chuck came down and said something like well if Bigfoot stole her why'd he take the Celica? Christ, what a cynic! Have you ever read anything about Bigfoot not being able to drive? He'd be cramped in there, but I'm sure he could manage.

I don't really care if people believe me or not. Would that change anything? Would that bring Trudy back here? Pull the weeds in her garden?

As I think about it, no one believes anything anymore. Give me one example of someone believing one thing. No one believes me. I myself can't believe all the suspicion and cynicism there is in today's world. Even at the races, some character next to me will poke over at my tip sheet and ask me if I believe that stuff. If I believe? What is there to believe? The horse's name? What he did the last time out? And I look back at this guy, too cheap to go two bucks on the program, and I say: its history. It is historical fact here. Believe. Huh. Here's a fact: I believe everything.

Credibility.

When I was thirteen years old, my mother's trailor was washed away in the flooding waters of the Harley River and swept thirty-one miles, ending right side up and neary dead level just outside Mercy, in fact in the old weed-eaten parking lot for the abandoned potash plant. I know this to be true because I was inside the trailor the whole time with my pal, Nuggy Reinecker, who found the experience more life-changing than I did.

Now who's going to believe this story? I mean, besides me, because I was there. People are going to say, come on, thirty-one miles? Don't you mean thirty-one feet?

We had gone in out of the rain after school to check out a magazine that belonged to my mother's boyfriend. It was a copy of Dude, and there was a fold-out page I will never forget of a girl lying on a beach on her back. It was a color photograph. The girl was a little pale, I mean, this was probably her first day out in the sun, and she had no clothing on. So it was good, but what made it great was that they had made her a little bathing suit out of sand. Somebody had spilled a little sand just right, here and there, and the sane was this incredible gold color, and it made her look so absolutly naked you wanted to put your eyes out.

Nuggy and I knew there was flood danger in Griggs; we'd had a flood every year almost and it had been raining for five days on and off, but when the trailor bucked the first time, we thought it was my mother come home to catch us in the dirty book. Nuggy shoved the magazine under his bed and I ran out to check the door. It only took me a second and I holldered back Hey no sweat, no one's here, but by the time Ireturned to see what other poses they'd had this beautiful woman commit, Nuggy already had his pants to his ankles and was involved in what we knew was a sin.

It if hadn't been the timing of the first wave with this act of his, Nuggy might have gone on to live what the rest of us call a normal life. But the Harley had crested and the head wave, which they estimated to be three feet minimum, unmoored the trailer with a push that knocked me over the sofa, and threw Nuggy, already entangled in his trousers, clear across the bedroom.

I watched the village of Griggs as we sailed through. Some of the village, the Exxon Station, part of it at least, and the carwash, which folded up right away, tried to come along with us, and I saw the front of Painters' Mercantile, the old porch and signboard, on and off all day.

You can believe this: it was not a smooth ride. We'd rip along for ten seconds, dropping and growling over rocks, and rumbling over tree stumps, and then wham! the front end of the trailer would lodge against a rock or something that could stop it, and whoa! we'd wheel around sharp as a carnival ride, worse really, because the furniture would be thrown against the far side and us with it, sometimes we'd end up in a chair and sometimes the chair would sit on us. My mother had about four thousand knickknacks in five big box shelves, and they gave us trouble for the first two or three miles, flying by like artillery, left, right, some small glass snail hits you in the face, later in the back, but that stuff all finally settled in the foot and then two feet of water which we took on.

We only slowed down once and it was the worst. In the railroad flats I thought we had stopped and I let go of the door I was hugging and tried to stand up and then swish, another rush sent us right along. We rammed along all day it seemed, but when we finally washed up in Mercy and the sheriff's cousin pulled open the door and got swept back to his car by water and quite a few of those knickknacks, just over an hour had passed. We had averaged, they figured later, about thirty-two miles an hour, reaching speeds of up to fifty at Lime Falls and the Willows. I was okay and walked out bruised and well washed, but when the sheriff's cousin pulled Nuggy out, he looked genuinely hurt.

"For godsakes," I remember the sheriff's cousin saying, "The damn flood knocked this boy's pants off!" But Nuggy wasn't talking. In fact, he never hardly talked to me again in the two years he stayed at Regional School. I heard later, and I believe it, that he joined the monastery over in Malcolm County.

My mother, because she didn't have the funds to haul our rig back to Griggs, worried for a while, but then the mayor arranged to let us stay out where we were. So after my long ride in a trailer down the flooded Harley River with my friend Nuggy Reinbecker, I grew up in a parking lot outside of Mercy, and to tell you the truth, it wasn't too bad, even though our trailer never did smell straight again.

Now you can believe all that. People are always saying: don't believe everything you read, or everything you hear. And I'm here to tell you. Believe it. Everything. Everything you read. Everything you hear. Believe your eyes. Your ears. Believe the small hairs on the back of your neck. Believe all of history, and all of the versions of history, and all the predictions for the future. Believe every weather forecast. Believe in God, the afterlife, unicorns, showers on Tuesday. Everything has happened. Everything is possible.

I came home from the track to find the cupboard bare. Trudy is not home. The place smells funny: hairy. It's a fact and I know it as a fact: Bigfoot has been in my house.

Bigfoot stole my wife.

She's gone.

Believe it.

I gotta believe it.