Good Books for Teachers

What books and stories do you like to use when you teach creative writing? What examples of powerful writing do they demonstrate? How could these be used with your writing students? Email your favorite books to books@bobbooneteacherhangout.com.

ER Meet is a book of connected short stories by Aimee Phan. The subjects are survivors of the Vietnam War. Some stories take place in Vietnam others in the United States. The writing is spare, tight and powerful. It's hard to find a better example of “less is more.”

Who's Writing This, edited by Daniel Halpern. Halpern asked numerous well-known writers to reflect briefly on the “fictional persona,” the “behind the scenes alter ego” that accompanies creation. Who is really controlling the pen? The result is: Who’s Writing This? Fifty-five Writers on Humor, Courage, Self-loathing, and the Creative Process.

Each writer contributed a short essay (and often a whimsical self-portrait) that vary/varies widely as to approach. Some are snapshot reflections of their process, some deep, and some silly.

All told, they are a celebration of self-knowledge and artistic expression. Each writer has their own individual muse, and it is interesting to hear how each author perceive their own.

March, 2009

Noted two-term American Poet Laureate, Billy Collins is known for his ability to be user-friendly and "accessible" -- a term apparently he loathes -- he prefers "hospitable." He has gained broad popular appeal and mostly critical acclaim. He is recognized for his witty descriptions and wry comedic observations. Collins' book, Nine Horses, is a nice collection of poems. Most are quiet meditations about everyday life. Collins attempts to find beauty in the simplicity of life. He writes about animals, trains, jazz, insomnia, parades - mostly using plainly stated language but with wry twists.

Rooms

After three days of steady, inconsolable rain,
I walk through the rooms of the house
wondering which would be best to die in.

The study is an obvious choice
with its thick carpet and soothing paint,
its overstuffed chair preferable
to a doll-like tumble down the basement stairs.

Collins has often times been compared with Robert Frost. This book, however, fails to inspire on a Frost-like level. Nine Horses is full of comfortable prose, but isn't as magically transformative as The Road Not Taken. A writing teacher might use Nine Horses or any one of Collins' many books to illustrate that poetry does not have to be stiff and distant.

In Wordplaygrounds John O'Connor offers concrete, tangible, practical lesson plans as well as great observations on poetry, students, teaching, and life. He intersperses his own casual/non-regimented classroom prompts and ideas with many student writing examples to make his points. His classroom activities range from simple - list making, word associations - to the more complex - metaphors, using historical personas - and even venturing into Performance Poetry. Above all his emphasis is on making poetry fun and accessible for everyone - he really wants to show that you shouldn't FEAR or be intimidated by poetry. Even a novice could 'teach' a poetry class using this book as a guide - and that's saying a lot.

In the chapter Avenues to the Past, O'Connor focuses on using memories as a source for artistic material. He points out, "What and how we choose to remember say a great deal about who we are." His suggestions range from using sensory descriptions and photographs to unlock memories to juxtaposing 'unrelated' memories.

Stories of the Poets, by Suzi Mee profiles poets. Her essays summarize the "story" of a particular poet and his/her work. ISBN 0-590-35584-8

February, 2009

In The Writing Life Annie Dillard shares short, semi-rambling essays about her own writing and life experiences. While she writes eloquently, parts are rather sparse and oblique. This is not a "How To" manual on the forms and conventions of fiction writing. Dillard is practical, advising that, "appealing workplaces are to be avoided. One wants a room with no view, so imagination can meet memory in the dark." This is about as nuts and bolts as she gets. Dillard does impart her own wisdom throughout, encouraging writers to, "spend it all, shoot it, play it, lose it, all right away, every time. Do not hoard what seems good for a later place."

Much of The Writing Life has to do with the frustrations writers can feel: "It should surprise no one that the life of a writer – such as it is – is colorless to the point of sensory deprivation." Some of Dillard’s insights are wise: "There is no shortage of good days. It is good lives that are hard to come by." Others amusing. When trying to explain her profession to a "member of the real world" she notes, "as I spoke he nodded precisely in the way that one nods at the utterances of the deranged."

Ultimately, The Writing Life illuminates the dedication, absurdity and risk-taking that encompass a writer’s life in a friendly manner.

What It Is (2008) by Lynda Barry is part memoir, part collage and part creativity guide workbook. Written in the graphic novel form (a graphic novel is a type of comic book, usually with a lengthy and complex storyline similar to those of novels, and often aimed at mature audiences) Barry shares her life story and offers advice through colorful, thought-provoking images and quirky narrative pages.

Barry's work addresses themes of intolerance and childhood angst in a playful tone full of self-irony and self-criticism. What It Is speaks to the process of artistic creation - How do artists summon memories? Do memories have mass? Do they have motion? Do they have inertia? What do real images feel like? Where is a story before it becomes words? What are thoughts made of? These unanswerable questions are juxtaposed with pictures and amusing drawings designed to make one think. And to inspire.

What It Is is a fun, witty book. It is insightful and user-friendly, whether you feel like skimming its whimsical pages or reading in depth. If you're stuck creatively or experiencing writer's block this book will help you.

November, 2008

Stephen King's book, On Writing (2000), is part memoir, part writing manual. King shares lots of revelations about his life and work - his childhood, early influences, his battle with substance abuse and his continual development as a writer. His life happens to revolve around writing so the two overlap for an enjoyable mix. The book's friendly conversational tone inspires and empowers without being sentimental. The focus is always on what it all means to the craft of writing.

On Writing is divided into five parts. The first, "C.V." is autobiographical - a series of snapshots from King's life; the 2nd, "The Toolbox" contains basic yet crucial advice to the aspiring writer on such fundamentals as grammar and vocabulary ("the adverb is not your friend"); the 3rd, "On Writing" talks about core ideas - technique, how to organize a writing work place and structure your day ("the biggest aid to regular production is working in a serene atmosphere."), and how to get an agent; the 4th, "On Living" details the near-fatal accident and injuries he sustained ("It occurs to me that I have nearly been killed by a character right out of one of my own novels.") and the role his work played in his recovery ("Writing is magic, as much the water of life as any other creative art.") ; the 5th section, "And Furthermore..." takes the reader through the process of a first draft and revision. "And Furthermore, Part Two" is a list of the best books King has 'recently' read. He gives high marks to The Elements of Style throughout his book. King stresses the link between writing and living at all times.

King's commonsense advice ("write tight and no bullshit; stress character and situation over plot; the key to novel writing is following the story") interspersed with his own personal stories (he liked Cujo and regrets that he was too drunk at the time to remember writing any of it) makes for an enjoyable read. His personal stories draw you in, but he manages to give advice in such a pragmatic, likable way throughout the book that one comes away inspired to be a better writer. King considers being a READER a key component to being a good writer, so take the advice of a master storyteller (and teacher) and read this.

AMERICA AMERICA by Ethan Canin

This is a big novel with lots and lots of plot.. It takes place in New York State in the early seventies. The world is real and so are many of the characters. But the story is made up. Canin does a good job maintaining suspense throughout. He does an even better job building scenes. Anyone trying to write a traditional novel should read this to see how Canin keeps his story moving.

The New Writer's Handbook 2007
Edited by Philip Martin

This book collects the best of recent articles on craft, creativity, and career advancement in the professional writing field. It covers general writing techniques and marketing tips with practical, cutting-edge advice, wisdom, inspiration and information. The writers and styles are diverse, brief and to the point. Over 60 authors of note have added their thoughts in this collection of articles about writing. Some articles relate to fiction, others to non-fiction. Many have appeared in magazines or author web sites/blogs. The contributors are experienced and range from award winners to writing instructors to journalists.

This is a premier annual anthology for on-going professional development for both aspiring and experienced writers. A grab bag collection with scope and depth that has been compiled and arranged thoughtfully. There is a lot to browse through and the quality is consistently good.

The 2007 guide contains six clearly broken down sections: Creativity, Motivation & Discipline
The Craft of Writing
Pitching & Proposals
Marketing Your Work - good "How To" guide
Internet Skills - must read for any self-promoting author
Literary Insights & Last Words

Of note: The Benefits of Messiness, What Dr. Seuss Can Teach Us, The Invisible Writer.

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