Now that Ashland Creek Press is over a year old, we’re starting to get out and about to show off our books — and we were happy to have made an appearance at the Wordstock Festival in Portland this year. We enjoyed meeting new readers as well as talking with fellow authors and publishing colleagues…it’s always a joy to be surrounded by people who simply adore books.
Among the most entertaining parts of hanging out in our booth was seeing children glimpse our old Underwood portable, which we’d brought along to keep our typewriter notecards company. The very young children (under six years old) and even a few older kids (eight to ten) looked at this typewriter as if they were gazing upon a T. rex. Most of them had no idea what it was or what it did, and we and/or their parents had to explain that this used to be how people wrote books, and also letters (the quaint idea of letters, of course, requiring a whole other explanation…). They looked at the typewriter in wonder and disbelief…which was fun but also made us feel pretty old.
I especially enjoyed being at Wordstock to see a few friends and to attend their wonderful readings: Maria Semple read from her new book Where’d You Go, Bernadette, and Donna Miscolta (below, with Kim Faye) read both fiction and nonfiction: excerpts from an amazing essay about her multicultural family and a passage from her novel When the de la Cruz Family Danced. (For more notes on the weekend of Wordstock — and other great writerly things — visit Donna’s blog.)
I also enjoyed sitting in on a couple of panels, including The Art of the Ending with Natalie Serber, Brian Doyle, and Jon Raymond, moderated by Lee Montgomery. I always love hearing how authors come to the endings of their works, and Lee Montgomery got things going by asking panelists to talk about how they approach endings as well as to read a favorite example or two. Natalie Serber, author of the short story collection, Shout Her Lovely Name, said she is most interested in “the sloppiness of life” when it comes to endings — “endings that honor mysteries and mess.” She read the ending of James Baldwin’s story “Sonny’s Blues” one of her favorite endings.
Brian Doyle, editor of the University of Portland’s Portland Magazine and author of the novel Mink River, cautions that often its the penultimate paragraph rather than the last one that is the true ending (this, I find when I’m writing nonfiction, is almost always true for me). “Sometimes you end by stepping sideways,” he said, meaning taking a step to the side and leaving the ending open, leaving a “sonic absence” at the end of a piece. He shared a few Chekhov endings as among his favorites.
Screenwriter and novelist Jon Raymond mentioned the importance of getting the story as a whole to come together as something that’s as vital to a good ending; he agreed with Natalie about art reflecting the messiness of life but said he also likes endings that are “shaped the way life often isn’t shaped.” He shared endings from Marilynne Robinson’s Gilead and Cormac McCarthy’s The Road.
In all, it was a great weekend — especially getting the chance to visit with Jasmin Singer and Mariann Sullivan of the wonderful organization Our Hen House, at Blossoming Lotus. (Note to anyone looking for great food/wine/beer/cocktails in Portland: Blossoming Lotus is now among my restaurants ever, in no small part because it has an excellent happy hour.)