May is Ehlers-Danlos Syndrome Awareness Month. As someone with this rare genetic disease, I want to do my part so more people are aware of it. I hope someone will see these photos and say, "Hey, I can do that" and won't wait decades, getting sicker and sicker, before they are diagnosed.
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| This is one of many EDS "party tricks." If you cover my pants with your hand, my head looks like it's on backward. |
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| Cute EDS Awareness t-shirt. |
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| This is the EDS "gang sign. Take your thumb and touch your forearm |
As I read the novel, I was impressed with the novel’s
pacing, character development, and artistry. I was transported by the Italian
setting, which is so integral to the plot and characters that this story could
not exist in any other time or place.
Ms. Annesi adds another dimension to her novel. An artisan
fabric that weaves itself into all aspects of the plot, becomes not only a
metaphor for the characters’ growth, but a character itself. It is only as the
shuttle interlaces people in its web that we see the beautiful couture silk of Gia’s
dress and life.
Highly recommended! Click here to see the novel on Amazon.
What is autofiction
Why do writers choose the genre?
How can writers select and transform important life events, turning points, and discoveries into stories?
Autofiction usually is described as a combination of
autobiography and fiction. Although this makes the term easy to remember, it’s
more accurate to equate the nonfiction aspect with memoir. The main reason is
that where autobiography usually covers a person’s entire life, memoir typically
focuses on critical aspects of the person’s life, or a segment of it or a
running theme that ties selected events together. Regardless of how autofiction
is defined, there are practical reasons why writers work in the genre.
Most people go through a number of seminal events and turning points throughout their lives, with epiphanies along the way—moments where a sudden flash of insight illuminates the writer’s understanding of herself, her world and the people around her. These elements often become part of stories in a natural way. For example, if we’re writing a scene where the main character moves from one part of the world to another and we’ve done the same, we’ll instinctually draw on our experience to write this section of the story. What makes the segment autofiction is when what happened to the character leading up to the move, the realities of the move itself, and what results afterward (including flashes of insight into what it means to undergo a major shift in geography, externally and internally) forms the bulk of that section of the story. We’ve seen that poor (or fortunate) soul who’s moving halfway around the world, and she is us.
Writers also write autofiction because they want to revisit certain life events, changes and discoveries in order to better understand their lives and the people in them, and convey what they’ve learned in the form of story. This is especially true when there’s a particular theme involved, such as what it means to have a dual heritage. The underlying principal is what Vivian Gornick refers to in The Situation and the Story, on the art of personal narrative. “Every work of literature has both a situation and a story. The situation is the context or circumstance … the story is the emotional experience that preoccupies the writer: the insight, the wisdom, the thing one has come to say [about the circumstance].” Here, the writer has gone through something he wants to recall, explore and reveal, and has come to the written page to speak of it in a way worth remembering.
So how does a writer transform life into stories? In reality, most writers, especially those who have been writing for a while, have an innate longing to explore some key event in their lives. It could be a move, career change, or life change. It could be something they’ve always wanted to do but haven’t been able to. Taking time to look back is an important step in deciding which aspects of life to cover. Even more important is “why”. What is it that makes the event, turning point or discovery worth writing about, worth spinning out an entire story for? The answer usually has to do with how much of an impact the event had on the writer. If it made a lasting impression on her, it could have the same effect on readers.
My new novel, What She Takes Away (Bordighera Press, May 2023), is a work of autofiction. Set largely in Italy, the story is based mostly on events in my life and my mother’s, and the lives of her family. The actualities, especially the discoveries, were worth writing about because they shaped our lives. And if they shaped our lives, they’ll likely have impact the reader’s life. Isn’t that what the best stories aim to do?
The weaver’s shuttle of story turns in What She Takes Away when aspiring fabric designer Gia Falcini receives a gift from her estranged father in Italy that sparks a journey to his hillside village and new stepfamily, the country’s style capital and a rare local textile mill that could shred Gia's aspirations or offer a legacy worth taking away.
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Thursday, March 3 from 4:45-6:00 pm Eastern, I'd encourage you to attend "Exploring Duality in Identity, Experience, and Tradition for Writers and Writing." (It is free.) Adele Annesi, one of the writers involved, is a gifted novelist and this is sure to be excellent.
Here's more information: Critical and creative works often reflect two sides of identity: experience and tradition. Experience explores what it means to be between two cultures, lifestyles, habits, languages, genders, heritages, realities, and selves. Tradition reflects on customs, touchstones, and figures.
For vacation, we traveled to San Jose del Cabo, Baja California, Mexico. Here's what it was like.
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| Snorkeling |
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It's been a busy summer! I've been working on a new novel, which allows me to stay inside and out of the heat and humidity. But my husband and I ventured out for a wedding. It was wonderful.
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