What I Read (September 2018)

  1. Erotic Stories for Punjabi Widows by Balli Kaur Jaswal
  2. Let’s Talk about Love by Claire Kann
  3. The Arrangement by Sarah Dunn
  4. Baby Teeth by Zoje Stage
  5. Any Man by Amber Tamblyn
  6. Two Dark Reigns by Kendare Blake
  7. Gilded Cage by Vic James
  8. What We Lose by Zinzi Clemmons
  9. Tarnished City by Vic James
  10. My Not So Perfect Life by Sophie Kinsella
  11. Starfish by Akemi Dawn Bowman
  12. Bright Ruin by Vic James
  13. Vox by Christina Dalcher
  14. Are You Sleeping by Kathleen Barber
  15. Black Magick, Volume 1: Awakening, Part One by Greg Rucka & Nicola Scott
  16. Monday’s Not Coming by Tiffany D. Jackson
  17. Artemis by Andy Weir
  18. Monstress, Vol. 1: Awakening by Marjorie M. Liu & Sana Takeda
  19. Monstress, Vol. 2: The Blood by Marjorie M. Liu & Sana Takeda
  20. Monstress, Vol. 3: Haven by Marjorie M. Liu & Sana Takeda
  21. Suicide Squad, Volume 1: Kicked in the Teeth by Adam Glass
  22. Black Magick, Volume 1: Awakening, Part Two by Greg Rucka & Nicola Scott
  23. Little Darlings by Melanie Golding
  24. Hannah-Beast by Jennifer McMahon
  25. Still Lives by Maria Hummel
  26. Tradition by Brendan Kiely
  27. Oak Avenue by Brandi Reeds

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2 April 2018

I didn’t not follow the Day 2 prompt for NaPoWriMo, which encourages participants to write a poem “that plays with voice.” I just didn’t challenge myself to use voice in a different way than I have been using it recently. The poems in my Predictive Text series frequently conflate “you” (second-person point of view) with “I” (first-person point of view), and since the “I” in these poems is a loosely fictionalized version of me (that is, me, Gillian actual), this fluidity between pronouns allows readers to imagine the events in these poems as happening to them. In theory, this shift in point of view that positions readers as the speaker of the poem should make the details of the poem feel more universal (as opposed to highly personal). In theory.

Currently, my Introduction to Creative Writing students at Wheelock College are reading Citizen by Claudia Rankine, a book which uses “you” to challenge the reader’s position in a powerful and evocative way. If you haven’t read Citizen yet, put that book on hold at your local library tout de suite! In the meantime, you can read excerpts here, here, here, and here. Afterwards, try to answer the question I asked my students to reflect on:

In Citizen, Claudia Rankine addresses “you” throughout the book. Where do you recognize yourself in the encounters described in Citizen, if at all? What perspectives or angles of experience were you surprised to inhabit, and why? How does Rankine’s choice to use second person point of view affect your experience as a reader? How does Rankine’s choice to use second person point of view affect your experience as a citizen?

(question courtesy of the National Endowments for the Arts reader’s guide for Citizen)

I’ve posted my 2/30 draft below. It disappointed me right away, and I’ve already revised it multiple times, but here’s the original version:

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