On sweetweird and hopepunk šŸŽ™ļø šŸ“ššŸ“ŗšŸæ

Transcript:

Hello friends. I wanted to write a blog post about sweetweird and its relationship to hopepunk and other narrative aesthetics, we’ll call them, because they’re not exactly genres. But I am having some peripheral neuropathy today. And so I’m giving my wrists a break, and I’m gonna just record a podcast and then I’m going to upload the transcript with it so it’ll be effectively a blog post.

So sweetweird. Sweetweird, in case you are not constantly on the science fiction and fantasy internet as some of us are, is a term coined by Charlie Jane Anders. She first coined it in her book. I think it’s called Never Say You Can’t Survive and it’s like half-memoir, half-writing craft book, and she proposed it as an alternative to grimdark. So in case you’re not familiar with grimdark, it is fantasy or science fiction that’s set in a really hopeless, gritty world, and the most commonly thrown around examples are the are the Game of Thrones TV series/the Song of Ice and Fire books, or what I think is an even better example, The Blade Itself. So there’s really no one redeemable in those stories.They are fantasy stories without real heroes. When there are people who seem to be heroic like Jon Snow, things go badly for them. The general sense is that the world is terrible, and it’s just gonna stay terrible, but let’s read about some interesting happenings. Grimdark was fine.

Until 2016, when a lot of people started to feel that things went very badly, myself included. And so from 2016 to 2019, there was a bit of a shift that author Alexandra Rowland noticed and they called this shift hopepunk. Hopepunk is stories, especially fantasy and science fiction, but a lot of people have offered other examples, where the world is terrible, and it’s not going to ever be fixed 100% but it is worth fighting to do what we can to improve it anyway.

So in addition to being opposed to grimdark, this is also opposed to the idea of noblebright, which is where you get things like Lord of the Rings, where you have some foreordained hero who is guaranteed to save us all and they have a birthright. My easiest go-to example of noblebright is Buffy the Vampire Slayer. Some people would say it’s something else. But Buffy has a destiny. There is an evil. She’s the one girl in all the world chosen to fight it and she consistently defeats it. New evil springs up, but it’s not the sort of ongoing, miserable world that she’s in. It’s that sometimes new evil pops up and that’s just when we happen to be watching her show because it’s probably not as fascinating to some people to watch she and her friends hang out. I would watch that, but not everyone would. And so Buffy is a great example of noblebright.

Angel, which is technically a spin off of Buffy, is a great example of hopepunk and it’s one of the examples Alexandra Rowland gave and it’s one of my favorite examples not just because I love it very much, but also because it sort of is quintessentially about this. In season two of Angel there’s an episode called “Epiphany.” And there’s a great quote from it, written by Tim Minear who is one of my favorite writers and himself, I would argue, a pretty hopepunk kind of guy, based on what we know about him from his writing, which is all we can know really. He also wrote the show Terriers, which I would argue is also hopepunk. So check that out. But the quote is,

“I guess if there’s no great glorious end to all this, if nothing we do matters, then all that matters is what we do.”

That is as mission statementy for Angel as you can get. And it is the most hopepunk arrangement of words I think you can have and you see it going on through season two of Angel all the way up to the very last moments of season five when it’s very clear that these heroes are fighting a war that they cannot win. And they do it anyway. And there’s a great moment and a great quote there that I don’t want to spoil in case you’re a person who hasn’t watched Angel, but the world around them is horrid. It’s never going to get 100% better. The forces they face are not readily defeated. They keep coming back. They’re not like Buffy where new evil comes. It’s the same old thing coming back over and over again. And so that’s hopepunk, in a nutshell basically, I think is Angel.

So sweetweird. Charlie Jane Anders offers as a different response to grimdark and alternative to noblebright and a lot of people myself included at first were like, “Wait, don’t we already have hopepunk for this?” but then as I learned more about it, I saw that they are related, sweetweird and hopepunk. I call them cousins, but they’re not identical. And the quick way I like to say this is that hopepunk is global. And sweetweird is local. So in hopepun,k you live in a hellscape and every day you muster your energy and you go out and you fight the bad of the world. And you just keep doing it because it’s worth doing. And I think from 2016 to 2019, that was a storytelling mode that we really needed. Because it felt like all right, we can do this. We’re going to have to fight it every step of the way. And it will keep coming back. But we can do that we can improve the world at least a little bit by doing that. And even into 2020 hopepunk was really something that seemed good.

But now it’s 2022 and I would say I don’t know about y’all, but I do know about y’all. We’re all exhausted. We live in the hellscape and it’s hard and it doesn’t always feel like we can make a difference. It feels like the places where we can make a difference are small. Sweetweird is an alternate way of approaching the hellscape. So the little phrase that I’m very pleased with myself for coming up with in the comments on Gwenda Bond’s newsletter about sweetweird, is that sweetweird is about the idea that even within a hellscape you can create a haven.

I think the best example of this is The Owl House and I’m gonna go to that in a minute. But just a quick shout out to The Book of Mormon which posited this in its big finale way back in 2011 with the idea that we can make this our paradise planet. And you know, that does sound bigger than sweetweird, but the idea I think is still there. So The Owl House is not the only example Charlie Jane Anders offers. She suggests many trends, especially in animation. I haven’t seen all of them. I am a little familiar with Steven Universe and Adventure Time and I’ve watched all of the Netflix She-Ra and I think those are sort of stepping stones on the path but that The Owl House, which I also have not seen all of but have seen enough of to have a sense of its vibe, is sort of the perfected sweetweird.

So in The Owl House, Luz, a middle-school-aged, I believe, girl longs to live in a fantasy world and just so happens to find herself in one instead of ending up at summer camp like her mom had planned for her. And immediately she’s very excited because she’s met a real witch and there’s this great moment in the pilot where they leave the witch’s house and Luz sees this fantasy world she’s ended up in for the first time and the place is called the Boiling Isles. And it is miserable. It is a literal visual hellscape. It looks like a terrible place to be. There are a lot of bad things happening there all the time. It’s a harsh and unfriendly world. But Luz and Eda the Owl Lady, the witch that she works with, and King the tiny, adorable ā€” it’s not actually cat but a lot of ways feels like a cat to me ā€” creature bent on world dominatio,n and then Luz’s school friends, and then over time Luz’s frenemy/love interest Amity, all build this sort of cocoon of love together. I would say that sounds more lurid than I meant it, but they create this group of people who all love and care for each other in the middle of the hellscape and they’re not trying to turn the Boiling Isles into not-a-hellscape. The Boiling Isles are a hellscape. It’s where they’re at. And so they are creating their own place here.

And so for me, the thing that makes the most sense with sweetweird in our current moment is that sweetweird is the story we need when we’re too exhausted for hopepunk. When we need time to recover and to remember that we are people who can do things. But we’re not ready to go out and be the people doing those things in the face of the horrible world we live in. Then we can retreat to these spaces of love that we have built for ourselves. And so that’s sort of the purpose in my mind of sweetweird and the distinction between sweetweird and hopepunk as a visual aesthetic.

A lot of the examples of sweetweird are a very specific vibe that is not one that resonates with me though I’m very happy so many people have found them resonant ā€” specifically, Adventure Time and Steven Universe and The Owl House. But I have lately been into woodland goth which is a whole other blog post but I think can be related. Except there’s you know ominous fairies and stuff. But but still this idea at least in the book I just read, War for the Oaks, which is basically one of the first books to ever be an urban fantasy, even in the face of a giant fairy war, the main character Eddi builds a little band of people who all play together, and their music is related to fairy and to magic, but it also is its own thing and the connections they build with one another stand independent of that big fairy war. So it’s a similar idea, though the book itself is not sweetweird.

All right. That was a lot more than I realized I had to say and I’m super glad I said it out loud instead of typing it. I will post the raw transcript with this with maybe a few corrections because it seems Otter.ai does really not understand hopepunk as a word but yeah, that’s that. I hope you have enjoyed listening to and/or reading this and I hope if sweetweird sounds like the story aesthetic for you that you go out and enjoy a lot of it. Bye

This transcript was generated by otter.ai


How to Make a Star Wars Reference

Hello, friends. I want to talk about something from Stranger Things 4 that is brilliantly done. And thatā€™s a Star Wars reference.

There are a lot of iconic quotes from Star Wars (and I mean the whole shebang, not just A New Hope). ā€œUse the force, Luke.ā€ ā€œLuke, I am your father.ā€ ā€œI love you.ā€ ā€œI know.ā€ ā€œDo or do not. There is no try.ā€

People use these to varying effect, with varying degrees of acknowledgement. Sometimes itā€™s hackneyed, though I canā€™t think of any examples right now.

Sometimes itā€™s brilliantly used to reveal character, like in 30 Rock:

Liz Lemon says, ā€˜I love you.ā€™ Criss Chros replies, ā€˜I know.ā€™

Liz says, ā€œI love you,ā€ Criss says, ā€œI know,ā€ Liz says, ā€œYou Soloā€™d me,ā€ and then youā€™re certain that this is a love that will last.

But in this case, not only is this a Star Wars reference, it is a Star Wars reference that is then diegetically marked as a Star Wars reference.

Star Wars is 45 years old. Itā€™s hard to make a Star Wars reference feel fresh. But Stranger Things 4 does, and hereā€™s how (spoilers!):

This beautifully mimics this scene from The Empire Strikes Back:

The 20-to-1 odds of rolling a 20 on a 20-sided die make it line up extra beautifully with Han Soloā€™s odds of 3,720-to-1.

ā€œNever tell me the oddsā€ is something that most Star Wars fans will recognize as a reference, but in Star Wars it isnā€™t said with the gravity of so many of those other commonly known phrases. Itā€™s something that people who like Star Wars okay, or are dimly aware of it, arenā€™t super likely to recognize. And itā€™s something that doesnā€™t take you out of the flow of the scene in Stranger Things. Weā€™re not stopping the action to make a Star Wars reference: weā€™re making a Star Wars reference in much the way actual D&D players do, in the context of the actions surrounding the game.

I think this is probably now my favorite use of a Star Wars reference. Sorry, 30 Rock.


Responses to the chat during my #FanLIS2022 presentation

The chat runs by much too quickly to scroll with it while presenting but I love the vibrance of #FanLIS2022 chat so I wanted to go through and respond to people’s comments from my presentation, in addition to answering direct questions. So here we go!

procrastination and indecision then instantaneous dissertation topic is such an adhd mood

I’m not diagnosed, but you’re not wrong.

embodied fannishness

YES. More studies on how fans express their fandom with their bodies, please.

I’m kind of curious to see how many Cosplayers base their information process on others'.

This is a great question. I only got at individual practices and how others' shared resources are an influence, not shared process, but I did have 2 participants collaborating on an epic Yuri On Ice wedding cosplay who used similar curation methods. I wonder if groups that frequently collaborate have more commonalities in their information practices.

I feel there is some modesty that comes with cosplayers and that would refrain them to define as creators

I think that’s right. They don’t necessarily identify as creators, though I did have 2 participants refer to themselves as “makers.” But whether they’d use the term or not, the position they put themselves in with both trial-and-error and documentation of their construction processes is information creators.


Some of my tweets from #FanLIS2022 Day 1

I was able to recover my Noter Live log, yay! I’ll go back and collect the tweets from after my reboot later.

Dr Suzanne Black:

has been joined by a cat. This is the most important thing to know about the FanLIS Symposium.

Every technology/platform seems to impose a taxonomy because you have to for organization.

JSA Lowe:

sharing about visual/material design of fan-bound texts. I'm ([@KimberlyHirsh](https://micro.blog/KimberlyHirsh)) obsessed with the desire to make them look like books from a particular era (pulp, 80s or 90s mass market) and even distress them so they look used.

Dr Naomi Jacobs:

Fanbinders learn so many different skills related to design and craft.


šŸ”–šŸ––šŸ“ŗ In reply to Star Trek: Discovery Has Problems (& How They Can Be Fixed)(Trek News) by Bill Smith

In reply to Star Trek: Discovery Has Problems (& How They Can Be Fixed) (Trek News) by Bill Smith:

I agree with Smith’s assessment of Discovery. Each season, the stakes are bigger. In Season 4, they were literally extragalactic. Once you’ve broken the galactic barrier and made first contact with a species living beyond it, where else is there to go?

The race to solve the puzzle box is exhausting. The hyperfocus on serialization leads to a lot of intriguing threads being introduced and tied off more quickly than I would like. For example, in Seasons 3 and 4 we saw what looked like they were going to be mental health crises for Detmer (PTSD from the jump into the future), Tilly (depression related to existential crisis), and Culber (burnout). In Detmer’s case, I don’t recall being shown the road to recovery at all. Tilly seemed to have two episodes of feeling bad that were magically fixed by deciding to become an instructor. And Culber I guess just really needed a vacation?

I really enjoy Discovery. In fact, I enjoy it so much that I wish there were more of it so we would have time to devote a whole episode to each of these characters.

I love Michael Burnham. But I also love so much of the rest of her crew. TNG started with a focus on the bridge crew and especially Picard, but opened up to give us time to get to know O’Brien, Barclay, and more. I wish Discovery had the breathing room to do the same.

I especially agree with Smith’s point here:

One of the things that Star Trek: Discovery did exceedingly well in Season 4 was First Contact with Species 10-C, the originators of the Dark Matter Anomaly.

It was its own challenge in unlocking the mystery of the DMA and I thought that aspect was something that the show did really well. It took this concept of seeking out new life and new civilizations and put a 32nd-century spin on it.

Discovery really leaned into that first contact situation hard and it worked. For 56 years, Star Trek has taught us that the unknown isnā€™t always something to be feared, but we should always strive to understand. There isnā€™t always a ā€œbig bad villainā€ when the puzzle is assembled or, sometimes, we find out that we are the villain however unintentionally.

These are the types of stories that have always found their way into Star Trekā€”from Gene Roddenberryā€™s first script right up to todayā€™s iterations of the franchise. These are Trekā€™s roots and when Discovery revisits them, it works brilliantly.

Watching everyone work together to make first contact with the 10-C was exhilarating. It had all the delight of Picard figuring out the speech patterns in “Darmok” with an added bonus of getting to see a bunch of different people work together, leveraging each of their specialties to shine. This is foundational Trek stuff and I love when Discovery puts a spin on it.

I hope the writers will go a little softer in Discovery Season 5, giving it room to breathe. I look forward to seeing what they do.


šŸ”– Read How I Build My Common Place Book

šŸ”– Read How I Build My Common Place Book (Greg McVerry)

McVerry generously summarizes his workflow:

  • Document impetus of thought (often after the fact)
  • Collect initial bookmarks
  • Ask in networks, bookmark your queries
  • Collect research, and block quotes or use social annotations
  • Begin to formulate thoughts in random blog posts
  • Start to draft the long form thought
  • Publish an article on my Domain.

How to remove timestamps and extra lines from a Zoom transcript using Notepad++ or BBEdit

In case it would help other people, here’s how I did it. I would have something that looked like this:

9
00:00:36.900 –> 00:00:40.560
Kimberly Hirsh (she/her): Do you agree to participate in the study and to have the interview audio recorded?

With the help of this guide from Drexel and replies to this Stack Overflow post I now can remove the number, the timestamp, and the two extra lines created when I remove those. Here’s how I do it.

  1. Open the VTT file in my advanced text editor.
  2. Use the find and replace feature.
  3. For the thing to be replaced I use the regular expression ^[(\d|\n)].*$. You don’t need to know what a regular expression is. Just copy and paste that little code bit into the “Find” box.
  4. Make sure either “Regular expression” or “GREP” is selected.
  5. Click “Replace” to test it once and be sure if it works.
  6. If it works, click “Replace all.”

For BBEdit:

  1. Paste ^\s*?\r in the “Find” box.
  2. Make sure the replace box is empty.
  3. Repeat steps 5 and 6.

For Notepad++: 7. Then switch so that “Extended” is selected instead of “Regular expression” or “GREP.” 8. Paste \r\n\r\n in the “Find” box. 9. Put a single space in the replace box. 10. Repeat steps 5 and 6.

I hope this is helpful!


šŸ”– You should read Josh Radnor's Museletter.

Josh Radnor writes a beautiful newsletter. It always feels like a gift. Here are some gems from the latest issue - italics are emphasis from the original, bold are mine.

There are no unwounded people. Wounding and trauma are features and facts of being a human being.

Why is it that Iā€™m convinced my life should be linear and predictable, devoid of obstacle, conflict, and challenge, the very elements that make a story engaging and worth telling? Donā€™t I want to live a great story?

Nothing is the heaven or hell I want to make it out to be.


On my first year as a doctor (of philosophy)

As I mentioned earlier, I defended my dissertation a year and a week ago. It was a joyous defense, with my committee cosplaying and my friends and family able to attend via Zoom. My BFFs were there, plus lots of people Iā€™ve met online. It was amazing and fun and at the end of it I was WIPED OUT.

Exactly one year ago today, I spent about 10 hours formatting my dissertation so I could graduate. That was not my favorite part.

Some people leave their PhD with a job in hand, whether in academia or industry. Other people, people like me, have no idea what comes next.

What came next for me involved a lot of sleep.

But there was other stuff, too!

A lot of the past year has been focused on parenting stuff, as my kid switched from remote preschool to F2F preschool. A lot of it has involved managing my health, trying different interventions and seeing what felt doable.

Iā€™ve done some work for Quirkos, including writing two blog posts. I really enjoyed that work. I like figuring out what to say, how to say it, and how to make it meet a clientā€™s needs. Content writing/marketing is on the table as a bigger potential stream of income for me in the future, and I like that.

Iā€™ve done a bit of sewing: I made napkins, a blanket, and a pillow. I have fabric ready for making a maxi skirt. I love sewing, but it always feels like a bit of a production to set up. Itā€™s not! Itā€™s actually fast and easy! But it feels like it is, which means I donā€™t do it as often as Iā€™d like.

I completed Wā€™s application for Public Service Loan Forgiveness and consolidated my loans so I can start that process, too.

I applied for some jobs, not a ton, but maybe close to 10? I wasnā€™t scattershot: I picked out particular organizations I wanted to work for (like NoveList) or industries I wanted to work in (ed tech, libraries). I had meetings about three potential freelancing gigs but none of them panned out and that was fine.

I spent all of last summer as a Pool Mom, which was amazing: I would take M to the pool first thing in the morning for swim lessons and then he and I would just hang in the water for an hour or two. I loved it.

I presented at MIRA, ALISE, World View, Micro Camp, and FSN NA.

I got caught up on Star Trek: Lower Decks and Discovery. (That reminds me, new Picard today, yay!)

I participated in Micro.blog writer and reader groups sometimes, as well as continuing my participation with the Creative Adventurers community via Discord video chats (something else to look forward to today!).

I got vaccinated.

I got consultations about our broken driveway and eventually went with the choice suggested by our arborist: having Will use a sledgehammer to smash up the parts that were sticking up. This saved us thousands of dollars in driveway refinishing. I had consultations and scheduled work with the arborist and the electrician.

I had lunch with friends.

I let a lot of things go in all different areas of my life.

And I got my dream postdoc, which is huge and made me feel that the not-having-a-plan thing was worth it because I wouldnā€™t have been available to apply to this postdoc otherwise.

I know thatā€™s just a chronicling of what I did, but I needed that before I could really reflect.

Life isnā€™t super different aside from the not-working-on-a-dissertation part. I donā€™t feel different. I do get confused whenever someone calls me Dr. Hirsh.

My postdoc is for one year with the possibility (dare I say expectation?) of a one-year renewal. I have no idea what Iā€™ll be up to come January 2024. Iā€™m privileged to be able to say that thatā€™s okay.

So whatā€™s life like, having been a doctor for a year? The biggest difference is that because I hadnā€™t been immersed in research from last April through December, I have to go back now and review my notes on earlier processes more when I need to do a technique Iā€™ve done before.


šŸ“š Book Review: NOT YOUR AVERAGE HOT GUY and THE DATE FROM HELL by Gwenda Bond

If you make a purchase through a link in this post, I may earn a commission.

Book covers for NOT YOUR AVERAGE HOT GUY and THE DATE FROM HELL by Gwenda Bond

Do you wish Dan Brown books were sexy and full of pop culture references? Do you like your religious artifact stories with comedy and kissing? Have I got the books for you!

Gwenda Bondā€™s books are always The Most Fun and her madcap fantasy romance duology is no exception.

First up, NOT YOUR AVERAGE HOT GUY:

Callie is a recentish college grad with no particular direction in life but a great love of books, learning, and creepy religious lore. She also works at her momā€™s escape room. When Callie designs an immersive culty room and puts a book in it that is ACTUALLY an arcane artifact, cultists come to claim it and try to use it to release a demon on earth to bring about the end times. But instead they summon Luke, the super sexy prince of Hell. Wackiness ensues as Callie and Luke must team up to find the Holy Lance (thatā€™s the Spear of Destiny for you The Librarian fans) and keep it from the cultists (who donā€™t actually know that Luke isnā€™t the demon they were trying to summon). To do so, they travel through painful demon magic, bopping around the world in a way that would make an Indiana Jones map look like Charlie Kellyā€™s conspiracy board:

Charlie from Itā€™s Always Sunny in Philadelphia in front of a conspiracy board covered in documents and yarn. Text reads ā€˜Is the Holy Lance here? Or is it here?ā€™

Because you know how romance works, you know that they figure it out and get a Happy For Now. Itā€™s important that itā€™s a HFN because a Happily Ever After wouldnā€™t leave room for the sequel:

THE DATE FROM HELL

Callie and Luke are happily dating now and they have an amazing date planned. But they also have a bit of a revolution planned: Callie wants to petition Lucifer to reconsider the damnation of people like Agnes, a 12-year-old girl who really probably should not have been sent to hell and certainly isnā€™t an adult by modern standards. Lucifer agrees to a meeting ā€” on the day Callie and Luke are scheduled to have their big date. Which also happens to be the same day Callie is supposed to be helping her mom with a big escape room event to raise the money to make repairs after the mess she and Luke got into in NOT YOUR AVERAGE HOT GUY. Lucifer says that Callie and Luke have 72 hours to prove that they can redeem someone who deserves to be released from hell. The person he chooses is Sean, a lost-Hemsworth-brother-type/international art thief who oh, by the way, is a Grail seeker. More wacky hijinks ensue, more traveling by map, and more Arthuriana than you can shake Excalibur at. (Excalibur isnā€™t in the book to my recollection, by the way.) I briefly found myself thinking for a moment, ā€œHow wild is all this Arthuriana just happening in Callieā€™s real life?ā€ before remembering that OH YEAH HER BOYFRIEND IS THE PRINCE OF HELL.

Because itā€™s a romance, it ends with a tidy Happily Ever After (leaving Gwenda free to work on other romances like MR. & MRS. WITCH). Callie figures a lot of stuff out, so does Luke, and they get to be together, yay. (And if you consider that a spoiler, romance probably isnā€™t the genre for you.)

What I loved

So many things! But hereā€™s a partial list:

  • The meticulous attention to detail with respect to all the mystical artifacts
  • Callieā€™s supreme nerdiness
  • Detailed Escape Room stuff
  • Pop culture references aplenty (Wondering if you share Callieā€™s opinion on Season 4 of Veronica Mars? Read THE DATE FROM HELL to find out!)
  • The love that radiates from Luke whenever Callie Callies all over the place - seriously, I havenā€™t read this much warmth in a romance novel since I donā€™t know when (because warmth is different than heat)
  • Lilith. I just love her, okay?
  • Porsoth, a polite Owl Pig Demon who is a bit stuffy but can get scary when necessary
  • The affection Callie has from her mom, her brother Jared, and her bff Mag (who uses they/them pronouns and nobody ever makes it a thing)
  • What Gwenda does with Arthur and Guinevere, canā€™t say more or itā€™ll spoil you but big ONCE AND FUTURE graphic novel vibes

I canā€™t think of them all. If this isnā€™t a ringing endorsement, I donā€™t know what is: My whole family is going through a rough time right now and it makes it hard for me to immerse myself in a book. I would often read a chunk of THE DATE FROM HELL and then step away from it for a few days, but I ALWAYS CAME BACK. There are a lot of non-mandatory things Iā€™m abandoning in life right now, but this book kept me returning.

What I need to warn you about

I really canā€™t think of much. I guess if you donā€™t like people being playful in stories about holy artifacts maybe skip these?

What I wanted more of

I canā€™t think of anything here either. Everything was exactly what it needed to be.

Who should read this

People who like Indiana Jones AND Sabrina (the Harrison Ford version). People who donā€™t know what to do with themselves and want to see somebody who also doesnā€™t know what to do with themself succeed at stuff. People who want a romance that is hot but not explicit. People who wished their were more badasses who were badass for reasons other than their ability to engage in combat (Callie is a badass and no one will convince me otherwise). People who need more fun in their lives.

Highly recommend.

Book: Not Your Average Hot Guy
Author: Gwenda Bond
Publisher: St. Martinā€™s Press
Publication Date: October 5, 2021
Pages: 320
Age Range: Adult
Source of Book: Library Book

Book: The Date from Hell
Author: Gwenda Bond
Publisher: St. Martinā€™s Press
Publication Date: April 5, 2022
Pages: 336
Age Range: Adult
Source of Book: ARC via NetGalley


Notes from the LX2017 magazine

As you may have noticed, I’m reading up on Learning Experience Design. LXCON 2017 resulted in a beautiful magazine. I highlighted this bit:

To reach a desired learning outcome you want to focus on four different types of learning objectives: insight, knowledge, skill and behavior. These learning objectives are about who you are, what your views are, what you know and what you choose to do.


My Current Productivity Stack (including scholarly tools)

I am a productivity hobbyist and have a bad habit of chucking my whole system every once in a while to try and adopt somebody elseā€™s from scratch. This never works, though, and I inevitably end up rebuilding my own Frankensteinā€™s monster of tools. I started feeling this itch again recently, and after briefly flirting with Tiago Forteā€™s PARA method, decided to go back to basics and look at what I already know works for me before spending a lot of time switching things up.

Personal Productivity

Hereā€™s what Iā€™m using right now. I based the list on what kind of things are in a productivity stack on this Pleexy blog post.

Personal Task Management

I donā€™t like using software for this. Thereā€™s something about the feeling of pen on paper that makes me prefer it intensely. It does mean that my tasks are not linked to relevant email messages, as Tiago Forte suggests they should be, but I can use email labels to hold things for later in a sort of David Alleny method with folders like Waiting For, Read/Review, and Reference.

So because I prefer to do task management on paper, I use the Bullet Journal method and its companion app. I do a pretty vanilla implementation of the core collections and add custom collections as appropriate.

The notebook I prefer is a large hardcover squared Moleskine/. Iā€™m experimenting right now with the expanded edition, since I usually go through a couple notebooks a year. At first I didnā€™t like the added weight or feeling of it in my hand, but now Iā€™m used to it and it doesnā€™t seem that different from the regular one.

The pen I prefer is the Pilot G2 07 in black.

I also use tabs with my notebook: 1ā€ ones across the top to mark the future log, this month, this week, and today, and 2ā€ ones down the side for collections.

Calendar

The Bullet Journal Method includes a way to calendar, and I do use it some. But I mostly use Google Calendar for this. Itā€™s useful for collaboration - my colleagues and my husband all use Google Calendar, so itā€™s easy to schedule things with/for them this way. I also schedule a lot of recurring tasks and appreciate being able to search to see when something happened in the past.

Note taking

The Bullet Journal is great for note-taking, too, but I have a tendency to ignore notes once I get them on paper. For short notes that I want to be easily accessible, I use Google Keep. I use recurring reminders with these. For example, I have a list of all my meds and a recurring reminder to fill my cases with them, and a list that pops up every day of stuff M. needs to be ready to go to school.

Longer notes end up in my blog, which I host on Micro.blog, or in Google Docs. This is an area where I could grow. If I decide to really get into personal knowledge management, Iā€™ll probably experiment with some other tools. Iā€™ve tried Evernote and Notion in the past and neither of them is quite right for what Iā€™d imagine doing.

Focus

I use Forest, but I use it pretty inconsistently. When Iā€™m in flow, I donā€™t really need this kind of app. As I do more writing, though, I might use it more.

Time management

I could use Forest for this, too, and I might. So far I donā€™t do a lot of time tracking.

Habit tracker

These never work for me, so I donā€™t bother with one.

Automation

I donā€™t do this much, either. I like a bit of friction in my workflow. As I keep refining it, I may discover areas that could benefit from automation, though.

Scholarly Productivity

Scholarly productivity requires its own specialized set of tools. Hereā€™s what I use.

Citation management and reading

I use Paperpile for both citation management and scholarly reading. It integrates seamlessly with Google Docs for writing. It has its own built-in reader interface available on web or mobile. It costs about $30/year and I love it. It has completely eliminated lots of document-syncing headaches I had in the past when I used Zotero.

Literature tracking and notes

I use the labels and folders in Paperpile, along with Raul Pacheco-Vegaā€™s Conceptual Synthesis Excel Dump method for this. I track a given body of literature using a Notion spreadsheet I created. You can get it (pay-what-you-can starting at $0) here.

Keeping up with literature

I use a combination of Google Scholar alerts and journal alerts for this.

Mind-mapping

I use bubbl.us.

Writing pipeline

I track my writing pipeline in Notion, with a database that lets me view it as a list or as a kanban-board according to stage in the publication process. I have a pay-what-you-can (again, starting at $0) template you can download for that.

Revisions

I have a revisions database in Notion for each paper, as well. I havenā€™t made this available as a template yet, but I plan to soon. Sign up for my Newsletter if you want to find out when it goes live. It will be pay-what-you-can like the others.

Permissions

If you are using images from othersā€™ work in scholarly publishing, you will need to obtain and track permission to use that work. I do that in a Notion database. You can get my template. (As always, pay-what-you-can, $0.)

Areas for growth

There are two big gaps in my productivity stack right now. One is the difficulty in serendipitously serving up notes to myself. The kinds of connections that build creativity arenā€™t readily available using Google Docs or Keep. I started to build a personal wiki for this purpose but I think the amount of labor required to keep it up was too high. Iā€™ll probably play with Notion for this some more, but I might just keep putting stuff on my website and occasionally scrolling through categories there to find connections.

The other big gap is REVIEW. I donā€™t have a solid review process. Iā€™ve tried timers and time blocking and so far they havenā€™t worked for me. But I know all of this would work much better for me if I dedicated the time to review it, so I will keep working on figuring that out.

I hope itā€™s been helpful for you to read about my productivity stack. Whatā€™s in yours?


7 Things to Do Before You Start Your PhD

Itā€™s the time of year when people are announcing their PhD acceptances. If you are psyched to be doing a PhD, yay you! I have some advice for things you can do to make it easier. If you are already into your program or even graduated and havenā€™t done these yet, itā€™s never too late to do them. But I wish Iā€™d done all of them before beginning my PhD, so if you can do them ahead of time, I think it will go better for you.

1. Choose a citation manager.

Youā€™re going to be reading a LOT of scholarship: articles, book chapters, conference proceedings. Youā€™ll read some assigned by your professors and some you find for your own work. If you start out capturing all of them, itā€™ll be easier to find them later when you reference them in your own work.

You have two options here: something that will grab references for you and build citations and reference lists, or doing it manually.

Software that will do it for you

There are a lot of options for the former. I personally use Paperpile. It integrates with Google Docs, which is where I do most of my writing. It has mobile apps and includes a reader that will save your highlights and annotations. It costs about $30 a year.

Iā€™ve also tried Refworks, Zotero, and Mendeley. I recommend looking at the features for each option and choosing the one that looks like it will match best with your anticipated workflow. Paperpile is good for me because I like to read on a tablet and it requires no extra steps to set that up. Think about your plans for reading and your plans for writing.

Know that this is a pretty low stakes choice, as most of these have an export option that will let you move all of your references to a different manager easily.

Doing it manually

You can do this manually if you like, though it can get unwieldy if you start to build up a large collection of resources. (I currently have over 3500 in my Paperpile library.) To do it this way, I recommend setting up a spreadsheet according to Dr. Raul Pacheco-Vegaā€™s Conceptual Synthesis Excel Dump method. (If youā€™re a Notion user, Iā€™ve got a pay-what-you-can template for doing this.)

To create the references to include in your bibliography, you can either build them manually or find them in Google Scholar and click ā€œCiteā€ to get a list of formatted citations.

If you go this route, you should be meticulous about keeping track of which references you use. I would recommend building your reference list as you write rather than waiting until youā€™re done writing.

2. Choose a way of storing readings.

With Paperpile, Zotero, and Mendeley, this is handled for you. If you use Notion, you can use their web clipper to gather readings. You can also just download readings into a folder you manage yourself. If you do this, I recommend backing them up to the cloud using Dropbox or Google Drive and backing up to an external hard drive for extra security.

3. Figure out how you prefer to read.

Knowing this preference will save you time later and help you build a reading-writing-citation environment. You might like to print things on paper, read them on your computer screen, or read them on a tablet or phone. Try all of the options available to you to figure out what you like best.

4. Look for information on your university libraryā€™s website about help with research.

Is there a specific librarian assigned to your department? Learn about them. Maybe even get to know them. You are not bothering the librarian. The librarianā€™s job is to help scholars with research. You are a scholar. The librarian will work with you.

Does the library provide instruction in how to use databases? Sign up for a session. Do they offer topic guides? See if thereā€™s one close to your research interest and get familiar with the resources included in it.

5. Learn to read and take notes.

This is the most important one. Donā€™t be like me and spend hours of your PhD reading every paper in excruciating detail. If you are in the social, natural, or applied sciences, check out Dr. Raul Pacheco-Vegaā€™s Abstract-Introduction-Conclusion method as a starting point, then dig deeper into readings that feel especially important for your own work.

Track everything you read, keep notes on it, and later you wonā€™t have to work as hard to hunt it down. Again, I recommend setting up a spreadsheet according to Dr. Raul Pacheco-Vegaā€™s Conceptual Synthesis Excel Dump method. (If youā€™re a Notion user, Iā€™ve got a pay-what-you-can template for doing this.) Dr. Pacheco-Vega also has a lot of wisdom to share on note-taking techniques, so look at those and see what might work for you.

6. Develop an elevator pitch for your research interests.

Youā€™re going to have to introduce yourself and your research interests to people, a lot. Try to get down a quick explanation of your research interests. This will change over time.

For example, in my application, I said I was interested in researching how connected learning could fit in school libraries. Then, I said I was interested in interest-driven learning in libraries. Now, I am interested in how connected learning as manifested through fan activity contributes to information literacy and practices. (Would I need to define some of those terms? You betcha. In that case, I could say Iā€™m interested in how fans engaging in activities like cosplay and fanfiction learn through those activities, as well as how they find, evaluate, use, create, and share information.)

7. Get a hobby or two.

A hobby gives you something to do thatā€™s not school, and thatā€™s important. Ideally, itā€™s something you will have begun learning before school starts so that youā€™re not, say, simultaneously trying to understand Marxist geography and the sociology of space while also learning to knit. If you can get more than one hobby, even better. I like having a solitary one and one that will lead you to interact with non-school people. In my MSLS days, my principal hobbies were baking cupcakes and being in the Durham Savoyards. During the PhD, they were tinkering on the IndieWeb and doing improv comedy.

There are a lot of other things you might do to make your experience go smoothly, but if youā€™ve got these seven down, youā€™re going in with a strong foundation.


Fostering Information Literacy Through Autonomy and Guidance in the Inquiry and Maker Learning Environments - Koh et al, 2020

Koh, K., Ge, X., Lee, L., Lewis, K. R., Simmons, S., & Nelson, L. (2020). Fostering Information Literacy Through Autonomy and Guidance in the Inquiry and Maker Learning Environments. In J. H. Kalir & D. Filipiak (Eds.), Proceedings of the 2019 Connected Learning Summit (pp. 94ā€“101). ETC Press.

This is a quick note that I’m really excited about this conference paper I found that builds a bridge between connected learning (my broad research interest) and information literacy (my specific disciplinary interest). I’m going to explore it more and dig into the connection later, but I’m psyched to find a new paper on this.


Why I like St. Patrick's Day ā˜˜ļø

I originally posted this on Facebook on March 17, 2016.

I’m only 9% Irish, but I sure love Saint Patrick’s Day. I think most of my affection for it comes from St. Patrick’s Day 1991, when my sister, our mom, and I arrived at our Tallahassee church for the last round of the church’s progressive dinner, and my dad, who had been living in Durham for more than a year, surprised us by showing up. Will and I have a picture from that Saint Patrick’s Day hanging on the wall of our parlor.


Wordle Walkthrough - 03/14/2022

As promised, here’s a walkthrough of my thought process for playing Wordle. This is the game for 03/14/2022.

I begin most games with the word ATONE. This uses 5 of the 6 most frequent letters used in English (etaoin).

After this, I know that the word will have T and E in it. I have eliminated one possible position for each of those letters.

My next goal is to do two things:

  1. Systematically eliminate other location possibilities for T and E.
  2. Include as many of the remaining letters from the 12 most frequently uses letters as possible (i shrdlu).

So I try TIERS, which moves T to the beginning and brings in I, R, and S.

This locks E in the middle position, tells me that I chose the wrong position for T, and lets me know that S will be in there somewhere, but not in its current position.

I actually get a bit less strategic now. I only have two more possibilities for where T could go, so I figure I’ll try it at the end, as that seems more likely than the next-to-last place. That leaves me with 3 possibilities for S, so I start with the first of those. Now I’ve got to fill in two letters. So far I’ve got S_E_T. I try not to repeat letters this early on, which eliminates a lot of possibilities. I look at what’s remaining from letter frequency (HDLU). I consider and reject words with repeats like SHEET and SLEET. I think through other possibilities and settle on SLEPT.

Now I’ve got 4 out of 5 letters and know their positions, since L is in the word by not where I put it first. I’m looking to fill in the blank for S_ELT.

This is when I just start looking at the keyboard and plugging letters in. Swelt? Shelt? Skelt? Sbelt? Those aren’t words. What about SMELT?

At first I think that can’t be right, it’s just a joke word as in “He who smelt it dealt it.” But then I remember no, you can smelt iron, because smelt means “to melt or fuse (a substance, such as ore) often with an accompanying chemical change usually to separate the metal” (Merriam-Webster. (Also it’s a legitimate past participle of “smell” so " He who smelt it dealt it" is perfectly good English .)

So I try it.

Boom.

I hope this is helpful as you build your own Wordle workflow. Take care!


How I win at Wordle (when I win at Wordle)

I don’t share my daily Wordle result, but I do play it most days. I get it in 5 or fewer tries 94% of the time, 3 or fewer 32% of the time. I wanted to share what I do in case it spares anyone else some frustration.

The first key is to memorize this combination of nonsense words that will help you remember English letter frequency: etaoin shrdlu.

I try to start with a word that uses five of those letters.

Next there are two tricks I rely on most of the time:

  1. Familiarity with common letter combinations/placements
  2. Systematic movement of yellow letters

The first one involves things like knowing that H is often part of a two-letter combo like SH, TH, or CH, and that these combos usually occur at the beginning or end of words. Likewise thinking about how there are vowels in most words, different things that often come before E at the end of a word (like ATE, ACE, ALE), or how two letters often appear together (like UI).

As for the second: once I get a yellow letter, I try words that use that letter in different positions so I can eliminate places where it doesn’t belong.

The last thing I do before random guessing is look at the unused letters on the keyboard and try to build words combining them with the pieces I already know.

I hope this has been helpful. I’ll try to post a sort of “play-aloud” with screenshots and my thought processes soon.


Life stuff, health stuff, and the Wheel of Fortune (tarot card, not game show)

My sense of routine and timing and goal-setting has been completely exploded over the past month or so. The routines I put in place to help me cope in the face of my momā€™s illness werenā€™t really doable last week because M was home from school Wednesday through Friday for a teacher workday and conferences. Just today am I beginning to claw some of that structure back.

Today I did morning pages. I did a tarot reading for Pisces season. (The overall gist was one of recognizing abundance, not worrying where it would come from, and letting go of the need to try to create a perfect balance.) I had a smoothie. I filled one of my three medicine cases. (Two more to go!)

I cleared several small items off my to-do list. Soon, I will get down to work-work, continuing to analyze the documentation thatā€™s going to help us develop a typology of the challenges library staff face when implementing connected learning.

Iā€™ve had headaches almost continuously for a few weeks, partly due to hormone shifts, but maybe also partly due to stress. I had two cycles where I thought my body had sorted out my PCOS a little bit but here we are on Day 44, no new cycle in sight (a normal menstrual cycle is 40 or fewer days long from the beginning of one period to the beginning of the next). This is fine, or rather, not catastrophic. But disappointing.

I spoke with my doctor the other day. My Hemoglobin A1C is high - thatā€™s the number that says how my blood sugar has been over the course of the past few months, as opposed to the glucose measurement that really only tells you about the past 24 hours or so. (That one was high-normal.) My LDL cholesterol was high, too - but total and triglycerides were good, so letā€™s celebrate that!

My doctor recommended two new supplements and I asked about a third. One of the ones she recommended was corn silk for kidney function. When I eat things with whole corn, corn flour, or corn meal in them, I get joint pain. Iā€™m going to try the corn silk and see how it goes, but am prepared to stop it quickly if it causes pain and ask her for other possibilities.

She also recommended berberine for cholesterol and blood sugar, and agreed with me that it would be good to try GABA to improve the quality of my sleep. And she said it was smart of me to up my l-tyrosine when I noticed clinical signs of declining thyroid function (increased fatigue and decreased body temperature).

I write about these things because my life is a constant set of calculations relating to how to handle different conditions and the fact that my health will never be ā€œfixed.ā€ Chronic illness is not a problem to be solved; it is a condition to be managed.

I bought this Art Oracles card deck at the North Carolina Museum of Art when we were there to see the Mucha exhibit in December and I keep the Frida Kahlo card pinned on my corkboard because it says, ā€œConvalescence lasts a lifetimeā€ and that is something I need to keep in mind.

Oracle card depicting Frida Kahlo

I donā€™t expect Iā€™ll ever get a tattoo, but inspired by both my own experiences with chronic illness and having recently read Ninth House, if I ever did, I think it would be the tarot Wheel of Fortune, and probably the Wayhome Tarot version.

Several tarot cards from the Wayhome Tarot layered on top of each other in a spread. The Fortune card is prominent in the foreground.

(That picture is from the Everyday Magic website.)

The thing is, wherever you are on the Wheel, three things are true:

  1. At some point, things will be better than they are now.
  2. At some point, things will be worse than they are now.
  3. You will be back here again.

It would be good for me to keep these truths in mind at all times.


The middle-school-Kimberly-to-grown-up-Kimberly pipeline

I’ve been reading the Future Ready with the Library posts at the YALSA blog and it’s got me thinking about the skills I was building in middle school and how they have persisted and how I’ve leveraged them throughout my career.

In middle school, I spent my out-of-school time practicing theater, reading books, and coding in BASIC. I volunteered one summer at the library. (My memory of this is that somebody at school decided I needed more to occupy me and sent me to the counselor and when she asked my interests, “reading” was the only one she could figure out how to match with a volunteer opportunity.)

In my career, I’ve been an educator and public speaker (both use my theater training), a librarian, and a web editor (HTML is pretty easy if you’ve got a handle on BASIC). I use knowledge and skills from all of these domains as a researcher, too.

It’s fun and cool to think about the connections between that me and this me.


I will never not be a caregiver.

I realized as I was helping my family in the face of my mom’s return to the hospital that there will never be a time when I’m not a caregiver and that given my family’s medical woes, I am much more likely to need to drop everything to caregive than many other people. It would be wise to design my life to accommodate this fact, rather than hoping for some imagined time with minimal caregiving responsibilities. Even if I get my own conditions well-managed, even as M. grows and becomes more independent, I will still benefit from the flexibility I need as a parent of a young child and a chronically ill worker.

This is a radical shift in my thinking about the future. I’ll write more about it as I tease out what it means for my planning practices and daily life.


Write Source 2000: The book that started my obsession with writing craft books šŸ“ššŸ“

I own a lot of writing craft books. Thereā€™s the obvious, like Stephen Kingā€™s On Writing and Anne Lamottā€™s Bird by Bird, but I also have more obscure ones like Richard Toscanā€™s Playwriting Seminars 2.0. I have books about how to write romance, like Gwen Hayesā€™s book Romancing the Beat and books about how to write science fiction and fantasy, like Ursula K. Le Guin: Conversations on Writing. I have books about writing for different audiences, like children, and in different formats, like screenwriting. I have purchased many more of these books than I have read. In a sense, I have a whole little antilibrary devoted to writing craft.

As I was doing my morning pages this morning, I thought about my affection for freewriting and realized that it first started in seventh grade, when our teacher assigned us the textbook Write Source 2000. This was 1993, so adding 2000 to the end of things made them seem very futuristic. The cover of the book, which can still be purchased used, was very shiny. Itā€™s got a pencil-shaped space craft on the cover and kids looking up at it through a telescope. The third edition is available via the Open Library. I had the first edition, but I suspect theyā€™re very similar. The cover design is the same.

A lot of my initial affection for this book was because of its quality as a material object. The shininess of the cover. The fact that it was a trade paperback, unlike most of our textbooks. The page layouts inside were attractive. And the authorial voice was conspiratiorial:

Weā€™re in this together. You and I. Weā€™re members of an important club - maybe the most important club ever.

The book focuses on learning across settings, writing as a tool for learning, and metacognition (though it just calls it ā€œlearning to learnā€). I did not realize that this had been my jam for almost 30 years, but I suppose I shouldnā€™t be surprised.

Iā€™m pretty sure I still have my copy somewhere. If not, I definitely carried it around with me at least through college. I thought about buying it again but now that I know I can read it on Open Library, I feel okay holding off.

This book was the first book I read that talked about how to write, and I loved it for that. Iā€™m pretty sure I was the only kid excited by this textbook. (It also had new-book-smell, which for my money is equal in joy to old-book-smell. Really, if itā€™s a book in pretty good condition, I probably like how it smells.)

I canā€™t find the source right now because Iā€™ve read so much of her stuff, but sometime Kelly J. Baker wrote about the idea of writing as a career never occurring to her. It didnā€™t occur to me, either, though I did it constantly: in my diary, in journals, at school. In fifth grade I wrote a series of stories using the vocabulary list words, and it was all extremely thinly veiled autofiction where the characters names were just my classmatesā€™ names backward. They ate it up.

I started and left unfinished tens of science fiction stories about my own anxieties as a middle schooler, and in high school I wrote a silly childrenā€™s book (I think it was called The Hog Prince), Sailor Moon and Star Wars fanfic, and short plays (the plays were in Latin). In college, I wrote more fanfic, all of the school writing assignments, and blog posts.

As a teacher I wrote lesson plans and assessments. As a librarian I participated alongside my students in NaNoWriMo. Working in higher ed K-12 outreach, I wrote blog posts and newsletters.

Writing is, it turns out, a potential career, but itā€™s also just part of life.

During the next couple of years as I work as a Postdoctoral Scholar, Iā€™m thinking about what Iā€™d like to work on next. Iā€™m pretty sure it will involve reading and writing, because those activities are almost autonomic for me. I donā€™t know beyond that.

But maybe itā€™ll involve actually reading more of those craft books.


Theory to practice: Donā€™t let the perfect be the enemy of the good

As we work on the Transforming Teen Services for Equity, Diversity, and Inclusion project, one thing I have to be reminded frequently is that creating Connected Learning programming does not require providing for all three spheres: interests, relationships, and opportunities. Frameworks like Connected Learning begin as more descriptive than prescriptive: they say, ā€œThis is whatā€™s been happening,ā€ not ā€œThis is the only way to make it happen.ā€ People like myself latch onto the aspirational qualities of this description and feel that if they canā€™t create a Connected Learning experience that encompasses the whole model, we shouldnā€™t even bother trying.

WE ARE WRONG.

Interests are the sine qua non of Connected Learning, so if librarians or educators start there by genuinely figuring out what youth are interested in and building their programming around that, theyā€™ve gotten started in that direction. When CL happens spontaneously, the relationships and opportunities often come about through the course of the activity. When I started doing community theater as a teenager, I built relationships with peers and adult mentors and I had opportunities to learn things about theater production, to serve on non-profit boards, to act as a stage manager and a publicist. These aspects were not built into the environment explicitly for my benefit; they were natural byproducts of me participating in my interest.

So if youā€™re a librarian or educator considering implementing Connected Learning, please donā€™t be overwhelmed by the multiple spheres and various possibilities. If youā€™re building from youth interests, you can bring in the other components over time.

The creators of Project READY had the same problem: we shared frameworks that itā€™s easy to feel you must implement perfectly or not at all. We discussed Dr. James A. Banksā€™s framework for multicultural education, which has four levels of integration, ranging from the contributions approach (what we sometimes call the ā€œheroes and holidaysā€ approach to culture) all the way to the social action approach, in which students actually work to solve social issues. It can be easy to see models where youth contact government officials and make social change and think, ā€œWell, I donā€™t have what I need to do that, so this model has nothing for me.ā€ But there are two other levels in the model, the additive approach incorporating new multicultural content without changing curricular structure and the transformation approach which involves reshaping curriculum to center multiculturalism rather than adding it on. If your current approach is at the contributions level, moving to the additive approach is preferable to giving up on the whole framework.

As with improving the nutritional quality of your diet, adding more movement into your day, or any habit change, moving in the right direction is preferable to not moving at all. For example, if you learn you have some youth at your library interested in cosplay, maybe you start by hosting some simple no-sew project events. Then over time you can find out if there is a cosplay charity organization in your area and find out if any of those cosplayers would be interested in sharing their expertise, and the youth might build relationships with them as well as each other. And those cosplayers might then introduce the youth to opportunities like participating in contests or engaging in charitable cosplay themselves. You didnā€™t start with all three parts, but you moved in the direction of Connected Learning at each stage.


Essays on essays on essays

Iā€™m still thinking about essays after reading Jackson Arnā€™s ā€œDot Dot Dot Dot Dot Dotā€‹ | Against the Contemporary American Essay. Arn references other peopleā€™s writing about the essay without actually linking to that writing, but I have managed to track them down.

The essay, James Wood wrote in The New Yorker, ā€œhas for some time now been gaining energy as an escape from, or rival to, the perceived conservatism of much mainstream fiction.ā€

This refers to James Woodā€™s Reality Effects, which discusses John Jeremiah Sullivanā€™s essays.

For Brian Dillon, such an authority on the essay that he authored a book called Essayism, itā€™s ā€œunbounded and mobile, a form with ambitions to be unformed.ā€

The full title of Dillonā€™s book is Essayism: On Form, Feeling, and Nonfiction.

Mary Cappello, one of the most respected essayists around, claims the essay is actually a ā€œnon-genre,ā€ mutating too fast for diagnosis.

This is a reference to Mary Cappelloā€™s book Lecture. You can read the relevant excerpt at Literary Hub. I prefer Cappelloā€™s full description:

Midway between a sermon and a bedtime story, the lecture is knowledgeā€™s dramatic form. Nonfictionā€™s lost performative: the lecture. Cousin to the essay, or its precursor: that non-genre that allows for untoward movement, apposition, and assemblage, that is one part conundrum, one part accident, and that fosters a taste for discontinuity.

Assemblage and discontinuity seem key to the essays I enjoy reading, so I appreciate Cappello pointing them out here.

Arn turns to the personal essay boom of the 2000s, especially the 2010s, and mentions other writersā€™ explanations for the personal essayā€™s popularity.

Vivian Gornick, writing in The Yale Review, traces it all the way back to her youth, via the waning of modernism and the rise of the Holocaust memoir; Jia Tolentino, writing in The New Yorker, suspects the feminism-inflected internet economies that helped make her a star.

Arn refers to Gornickā€™s The Power of Testimony and Tolentinoā€™s The Personal-Essay Boom Is Over. Tolentino then cites Laura Bennettā€™s Slate piece, The First-Person Industrial Complex.

Bennett mentions ā€œpersonal essay habitatsā€ like ā€œGawker, Jezebel, xoJane, Salon, BuzzFeed Ideas.ā€ Bennett says

First-person essays have become the easiest way for editors to stake out some small corner of a news story and assert an on-the-ground primacy without paying for reporting.

Arn also mentions this, that the lack of money for publishing outlets to spend on funding writersā€™ experiences as fuel for writing makes the personal essay more appealing because everyone is an expert on their own experiences. Bennett goes on to discuss publicationsā€™ and editorsā€™ potential exploitation of new writers who think theyā€™re ready for a sensational personal essay to go public and only learn after the fact that they were not. These point to a more structural concern than much of Arnā€™s discussion of The Contemporary American Essay, which tends to focus on the ways individual writers engage in navel-gazing, write disconnected from broad sociopolitical issues like climate change and the impact of the Internet, and work so hard to be likable.

Bennett points to a gendered element to the personal essay boom, as well:

On its face, the personal-essay economy prizes inclusivity and openness; it often privileges the kinds of voices that donā€™t get mainstream attention. But it can be a dangerous force for the people who participate in it. And though the risks and exploitations of the first-person Internet are not gender-specific, many of these problems feel more acute for women. The reasonā€”aside from the fact that the ā€œconfessionalā€ essay as a form has historically attracted more women than menā€”is that so many of the outlets that are most hungry for quick freelancer copy, and have the lowest barriers to entry for publication, are still womenā€™s interest sites.

While Tolentino asserted that the personal essay boom was over in 2017, Arn points out that most of the essays in The Contemporary American Essay are personal, constantly making ā€œIā€ statements. They are also ambivalent, not just about the form of the essay itself, but about whatever theyā€™re writing about. Arn catalogs several times the essayists use ā€œperhapsā€ or ā€œmaybe,ā€ seeming to hedge their bets in fear of upsetting anyone with a firm, declarative statement.

Reading all of the examples Arn pulls out from The Contemporary American Essay, I got the distinct feeling that these essayists were all just reading each othersā€™ writing, going ā€œAHA so THATā€™s what an editor wants,ā€ and then putting their own spin on it. It feels like they read the first few pages of Austin Kleonā€™s Steal Like an Artist but never got to the remixing part. The frequent use of etymology as an in-road to an essay, the perhapses and maybes - I havenā€™t read the book, but based on Arnā€™s description there is a sameness to the essays in it.

In the middle of the piece, Arn says

The Contemporary American Essay (letā€™s call it TCAE) is not the contemporary American essay. I hope not, anyway.

As I was sharing some of the most hilarious-to-me essay quotes with W., I realized that I read essays and most of them donā€™t make these moves. Yes, there are a fair number of Steven Hotdog essays in my reading, but each of them seems to make the Steven Hotdog format fresh. Why am I getting essays that donā€™t read this way?

I realized that itā€™s probably about my genre of choice. TCAE is all about literary nonfiction. This can be treated as a synonym for creative nonfiction, but I prefer to think of it as a subgenre, or a mode of writing. The writers are deliberately Writing Literature. The essays I read tend to be cultural criticism, usually about pop culture, or deft at connecting personal experience with shared experience. They are published in venues that have a specific focus rather than in general interest publications like Harperā€™s or The New Yorker. Instead, theyā€™re in Literary Hub, Electric Literature, Catapult, Tor.com, StarTrek.com. My favorites are often public writing by PhDs. These are the kind of things I want to write, too.

As often happens, Iā€™ve come to the end of this blog post and am a bit deflated and lacking in a conclusion, so Iā€™ll just point you to one of my favorite essays:

Youā€™ve Reached the Winter of Our Discontent by Rebecca Schuman

In which Dr. Schuman ruminates on the cool Gen X guy as he enters middle age, and how cool isn’t even a thing anymore.


What even is my writing voice, anyway?

That critique of the essay piece I read and linked yesterday has sent me down a rabbit hole of other writing about essays. Iā€™ll put together a list of links soon; for reasons I donā€™t know the original piece at The Drift didnā€™t contain links or citations for the other pieces it references, but I have used my librarian skills to track them down.

This has me thinking about my own writing voice and what it is. I think it varies. Of course I have a standard academic writing voice, but Iā€™m thinking for more personal writing. Mostly blogging.

I think I have two voices.

One is my Big Sister voice. This is vaguely didactic but not moralizing. Itā€™s an attempt to be helpful. This is the voice I use when I write about my experiences as a doctoral student and tips for doing research.

The other voice is more lyrical, vaguely witchy even, and also fragmented. This is the stream-of-consciousness voice, the more vulnerable voice. This is the voice I use when Iā€™m writing about my feelings.

These two voices add up to a fairly accurate representation of my headspace. Big Sister is when my mind is sharp, Iā€™m feeling good about myself, and I believe Iā€™ve got help to give. Fragmented dream voice is when Iā€™ve got brain fog, when Iā€™m feeling weak, or when Iā€™m feeling woo woo.

I think theyā€™re both valuable, though Big Sister voice is probably preferable for more audience-focused writing and fragmented dream voice for when Iā€™m writing primarily for myself. For a while, I thought I should pick one and go all in on it, but now Iā€™m happy to have these two different voices. They are both me, both verbal representations of my vibe.

What about you? Or your favorite writers? What kind of voices do they have?

Right now, Iā€™m in awe of writers who can write something that feels scholarly and beautiful at the same time. Sarah Kendzior is great at this. Hiding in Plain Sight is a terrifying book, an important book, and a gorgeously written book. I donā€™t think I knew those could all line up before reading that. I think thatā€™s the kind of voice I would like to develop. Maybe if I can get my two voices to play together Iā€™ll be able to make it happen.


How to write an essay (buyer beware, I donā€™t have the answer)

How does a person write an essay? Iā€™ve been trying to figure out. The thing is, itā€™s a versatile form. So versatile, I canā€™t pin it down.

There are the essays they teach in grade school.

My eighth grade Language Arts teacher called the five paragraph essay a cheeseburger essay. I think she really liked Jimmy Buffett. This pop culture reference was not as hot in 1994 as you might imagine.

So thereā€™s a basic format, cool cool cool. The cheeseburger essay is best for persuasive or argumentative writing, I think. In tenth grade, we had to write narrative essays. I wrote mine about the day I almost had to go on stage as Fern in a production of Charlotteā€™s Web where I had originally been cast as an Owl. I was really proud of this piece of writing. I included a ton of sensory detail. I probably have a copy of it in one of my juvenilia boxes. (Yes, of course I have juvenilia boxes, plural, for when I donate my papers somewhere. If you know me, you are not surprised by this at all. I am exactly the kind of person who would label the boxes full of her childhood writing ā€œjuveniliaā€ and move them from house to house rather than throwing them away.)

My tenth grade English teacher praised my essay but gave it something less than a perfect grade. When I asked her what was wrong with it, she said, ā€œI just would have written it differently.ā€

I was incensed. She couldnā€™t have written it at all. She didnā€™t have the personal experience. This was, to my mind, extremely unhelpful feedback. How could I improve my writing if the problem was simply that I wrote it like myself?

In college, we wrote papers. These were mostly persuasive/argumentative or research-based. (Pssst, all great research-based writing has an argument. Wendy Laura Belcherā€™s book _Writing Your Journal Article in 12 Weeks can help you figure out yours.)

I wrote about Furor and Pietas in the Aeneid. I wrote about the extended wine metaphor in Horaceā€™s Ode 1.11, the source of the aphorism ā€œSeize the day.ā€ (The actual translation is ā€œpluck the day.ā€ Plucking the grapes is the first step in winemaking, but Horace uses it at the end of the poem. He begins the metaphor by saying we should strain the wine of life, arguably the end of the process, and works backward from there. I was really proud of this paper. Itā€™s the result of my only all-nighter.) I wrote about the validity or lack thereof of AP testing. I wrote about the Takarazuka Revue.

Most of these papers got good grades but when I read them now, I cringe. Their arguments are weak. Their evidence is thin. But they were good enough for class.

But good enough for class isnā€™t the kind of essay I want to write anymore. I want to write essays that mean things. Preferably that connect pop culture with life in significant ways. Like my essay about the Star Trek episode ā€œPeak Performanceā€ and impostor syndrome.

The thing is, I really thrive with a model. So Iā€™m looking at models for essays. And Iā€™m reading excellent essays, by Sarah Ruhl, by Kelly J. Baker, by Jess Zimmerman. (Jess Zimmermanā€™s Women and Other Monsters is probably the closest to the kind of writing I want to do.) By tons of other authors on Literary Hub, Electric Literature, and Catapult.

Theyā€™re all different, which is fine. It means, though, that I have to build my own model by combining these, rather than just following one.

I need to Steal Like an Artist.