So Long, Farewell

By Stephanie Kartalopoulos 

May 13, 2014. The temperature in Manhattan is supposed to range between 60-70 degrees this week with mostly sunny skies. The trees are in full bloom; small, strange spiders are starting to pop up in the most random places—they’re skittering across a computer keyboard, crawling around a bulletin display in Eisenhower Hall, peeking up from shower drains; and purple and white irises are in bloom all over campus. This is not the scene for a Von Trapp song at the end of the day. This is, instead, Kansas State in the early half of May.

The entire campus is under the throes of one great big caffeine buzz: many students are cramming for their final exams. K-State Creative Writers are revising their poetry, fiction, and creative nonfiction and trying to beat early drafts into the kind of wild submission that will inch them closer and closer to greatness. Faculty members are grinding their elbows into their desktops while grading projects and papers. Everyone is looking forward to the  blissful idea that seems almost within arm’s reach: 

Summer Vacation.

The cliché is that “summer vacation” means easy novels to read, simple part-time jobs in cupcake shops to make enough money for beer during the Fall 2014 football season, and lots of easy, long outings spent nursing a glass of wine late into the night, with little to no consequence, in the back porch bar area of pick-your-choice restaurant in Beachy Town, USA, with a bunch of easy-going friends. The cliché is that “summer vacation” is the time when you think you can stay young and carefree forever. The cliché is, well, a total cliché. 

Around here, we know a different reality. Let’s try this instead:

Summer vacation: \SUM-mer vay-CAY-shun\ noun;

  1. The time when student creative writers can dive deeply into creative projects that don’t need to work within a professor’s writing prompts (or graduate writing project requirements) but that are entirely their own.
  2. The time when faculty creative writers can write freely and blissfully with a much smaller “to do” list interfering and the wonderful gift of free time to play, research, visualize, and mold ideas until they become sketches, drafts, and then, hopefully, journal-submission-worthy pieces of literature.
  3. The time when everyone can be free with their imaginations, live life, experience new things, and lose themselves in the richness of the world around them. These memories-in-the-making, after all, will find their way into poem drafts, essay paragraphs, and plot elements or character development for future works of art.

We’re looking forward to this and hope that you are too. And we hope that you’ll tune back in to the blog come late August when the Fall 2014 term starts up. Have a great summer, everyone.

Stephanie Kartalopoulos is a Visiting Assistant Professor at Kansas State University and recently completed her Ph.D. in Creative Writing and Literature from the University of Missouri. Her poems have recently appeared or are forthcoming in journals that include Laurel Review, Harpur Palate, Phoebe, 32 Poems, Subtropics, Columbia: A Journal of Literature and Art, Grist, and Barn Owl Review.

On the first Driptorch Fiction Reading

By Dillon Rockrohr

Seventy-two people filled the rows of K-State’s little Campus Creek Amphitheater on Friday evening to hear local fiction writers share their work. The ingredients of the moment—a sun just starting to set, a breeze arriving and exiting, a perfect warmth, and the sounds of stories— coalesced into a truly satisfying first gathering of the Driptorch Fiction Reading Series. 

The first Driptorch event featured work by four writers: undergraduates Ora McIntosh and Cormac Badger, graduate student Hamza Rehman, and instructor Chris Nelson. The pieces covered a diverse scope of themes and voices — from Ora’s coming-of-age tragedy about two boys who meet at camp and support each other through the turnings of life to Cormac’s hallucinogenic account of a deadbeat’s spirit journey and the elk-man who confronts him there; from Hamza’s magical realist narration of a painting at the Beach Museum, the painting itself a depiction of a story by Borges, to Chris Nelson’s second-person history of a small southern town backdropped by the Blue Ridge Mountains, forgotten once and remembered again. In less than an hour and a half, we lived so many lives.

Driptorch developed out of a conversation between a few of us undergrad creative writers and Professor Katy Karlin. We mentioned our desire to see the creative writing community in Manhattan become something vibrant. We dreamed up a community in our Little Apple with creative writing weaved into its fabric, where the craft of storytelling comes in from the margins and where writers sharing their work with each other and the community is celebrated. We see the spark of this sort of place in fantastic events like Poetry (and Short Prose) on Poyntz. With Driptorch, we hoped  to add to that by opening up an outlet specifically for fiction. Maybe we could help turn the communal spark into a controlled burn. 

To be honest, we had no idea how many would make it out to a reading put on by four undergrads who had never organized an event before. Then seventy-two people gathered, students and faculty and community members, to enjoy the stories in the sweetly convivial atmosphere. This tells us that Manhattan is a town that values creative work. The creative spark is not so dim here; it is pulsing with life.

In reflecting on the reading, on the significance of storytelling and why it feels so human, I imagine ancient meetings by primal fires, the assemblies of villages in moonlit town squares where a figure stands to tell the town its history, its myth, and I wonder if it might have felt much like Friday evening. Something so fundamental exists in the stories told by human voices that feels different than the silent scanning of words. There’s life in them, relationship, truth even in the fiction. We cannot make whatever we want of the person reading; there they stand, and they’ve got something to tell us. We feel the rocks underneath us, catch the other humans in our peripheral vision, sit in the tug and pull of the wandering breeze, and listen to the reader spin fictions unwrapping subtle truth. To exploit the metaphor of the driptorch — fiction, like art, like poetry, consumes and burns up the reality around us, ever so carefully, in order to make the real come alive to our eyes once more.

For all these reasons, we can’t wait to do this again, and we’re planning the second installment of Driptorch for this fall. We hope to make this a monthly event next year, and in order to do so, we are already looking for new readers. If you would like to share your fiction with us and the Manhattan community, please send a submission of your work to A big thank you to everyone who came out to the first, and let’s make this thing happen again.

Dillon Rockrohr is a junior double-majoring in English and philosophy. In the fifth grade, his team won sixth place in a national Bible quiz competition.

The Neverending Process

By Ginny Vincent

Over the past year, I’ve written a draft for a novel and worked closely with my professor to revise the first chapter. I went through eight drafts of the chapter. Some of the drafts had minor changes, while others went through major revisions such as rewriting whole scenes or changing the roles of characters. The process was tough, but in the end that chapter became my best writing ever. My prose no longer had any redundant phrases, and my world and characters weren’t flat caricatures. However, I’ve still received feedback from people, and I’ve spotted areas where a concept isn’t quite working, the description isn’t enough, or the phrasing sounds wrong. Even though I have become a stronger writer over the last year, I know there are still areas where I can improve. The first chapter is still not perfect.

My novel is set in the world of Ila where humans and beings called cuna have been at war for centuries. My protagonist, Sayriah, has struggled for her whole life to keep the fact that she is half-human, half-cuna a secret. However, when her heritage is revealed, she must discover who she really is and decide which side of the war she is really on. My revisions of the first chapter have focused on building the world of Ila and creating Sayriah’s voice. I had to get to know Sayriah—her interests, dislikes, personality, and quirks—in order to know how she would respond to the world and events around her. For instance, the feelings she has about her mother color the language and phrasing I use when Sayriah thinks of her mother’s death. While I have made great strides in Sayriah’s character, some of the technology I created for the world still doesn’t feel like it belongs yet. I’ll have to keep that in mind as I start the revision process for the rest of the book.

Of course, it seems daunting to think about all of the revision I have to do to the other fourteen chapters. If I’m still not done with the first chapter after eight revisions, how many revisions am I going to need for the rest of the novel? Five? Twelve? What if editors and readers keep coming back to me with more suggestions or concerns? What if I keep finding things that need to be improved? When will I ever be done revising?

Answer: there will always be something to change.

Just like for every author, it doesn’t matter how long I spend writing the piece. It doesn’t matter how many drafts I go through. It doesn’t matter how much of my soul I put into the writing and then have to rip out during the revision. There will always be something else that could be added, cut, revised, etc. Different readers will have different ideas about what could make the story more believable, more unique, more concise. Even a concept I thought sounded good at first can seem flat or trivial the next time I look at it. It’s the nature of writing.

William Faulkner once said, “In writing, you must kill all your darlings.” That became my motto over the last year every time I went back to start another revision. It hurt to delete those passages and sentences that I loved so much, and sometimes I resisted taking them out for a few drafts. But my writing was only sub-par because of them, and so they had to go. Although I loved Sayriah’s snarkiness towards her captain, the whole exchange made the captain into a buffoon rather than the cold, analytical man he was supposed to be. I think that’s the hardest part about being a writer. You write these scenes that you enjoy and came as inspiration while you were in the shower, but no reader will ever get to experience them because they don’t fit into the story. I always feel like I need to save a copy of those scenes somewhere just so I can pull them out one day to show to someone and say “See, isn’t this a neat scene? It held the plot back and made the character seem too perfect. But don’t you like the way I phrased this, and can’t you just picture the landscape here?” In the meantime, though, I go back to my writing and find a few more darlings to kill.

At some point, I think I’m just going to have to give up. Well, not “give up” as in accept defeat and never again believe that my novel is publishable, but I’ll need to give up the idea of revising. I’ll have to tell myself to stop. I can work and re-work on my writing. But I can’t keep changing my writing forever. I can’t keep listening to the ideas of others. I can’t keep questioning my own skill. And I can’t keep forcing perfection on the world in the story when perfection doesn’t exist in reality. If I never stopped revising, never thought that my novel was complete, then I’m pretty sure I’d go crazy. In fact, I’d probably end up hating my writing. It would become a dirty shirt that no matter how many times I washed it or how many different homemade tricks and store-bought stain-removers I used it would still have one ugly stain on it somewhere. Something like that is better off in the trash.

So eventually I have to say “Enough is enough. Yes, there’s probably a comma splice in there somewhere. Yes, there’s probably an item that needs to be described more or less. But at this point, at this moment, it’s the best it can be. And that’s enough for me.”

Ginny Vincent is a second-year master’s student in the K-State English Department. Her focus is young-adult fantasy. She is originally from St. Louis but plans on staying in the Manhattan area after graduation. Her next goal is to find a job as she musters the strength to finish revising her novel and hopefully get it published.

On Summer Reading


Tuesday, April 22: sunrise 6:39 AM and sunset at 8:10 PM (according to’s schedule). Projected high of 73 degrees. The weather has hopefully surpassed the early spring turbulence. The prairies are buzzing with new life, the magnolia trees have begun their spring bloom, and the (Flint) Hills are alive with the sound of music. And there are approximately 2.5 weeks left of classes before the intense week of final exams, projects, and portfolios. Even with looming deadlines, K-State creative writers are always thinking about their next writing project and dreaming of the next book to read. Some of this semester’s bloggers chime in on their most anticipated summer reading and hope that you can find suggestions for your own evolving reading lists:

"I’m looking forward to reading A Hitchhiker’s Guide to the Galaxy series by Douglas Adams. It’s my husband’s all-time favorite book, and it’s been on my reading list for several years now. I finally started reading it a couple of weeks ago, and I love it so far, though it’s been put on hold until the end of the semester. It seems to defy all the rules of fiction writing I’ve ever learned, and yet it’s brilliant. I can’t wait to finish it.” —Lacey Brummer (

"I am looking forward to reading The Porcupine Year by Louise Erdrich. It is actually a children’s chapter book, the third in The Birchbark House series. We read the first two novels in Lisa Tatonetti’s Louise Erdrich class last semester. I really developed an appreciation for Erdrich’s unique writing style and the perspective she offers into Anishinaabe culture, and I am looking forward to relaxing with an easy read about little Omakayas, the narrator of the series.”—Stephanie Hutaff (

"The first book I’ll get back into is the fourth of the Game of Thrones series: A Feast for Crows by George R.R. Martin. I love the intrigue that has been three books in the making. I want to see which of my favorite character set lasts to the end of the book…A Feast for Crows has a little something for most fans of fantasy. There are dragons, ice zombies, castles, royal families, continental wars, and local political squabbles, frequently involving murder and trials that may or may not be rigged. The descriptions of scenery, dress, and battles is breathtaking without being too heavy-handed all the time. I’ll admit here or there I stop caring what color those roofs are when I’m not going to focus on them for more than this second. Yet the plot can kick right up in a moment and really absorb me.” —Fetch Sellers (

"There are a lot of books I want to read this summer, but one I’m most excited to read is Eleanor and Park by Rainbow Rowell. Not only is the author from Nebraska (Midwest represent!) and the story set in the ’80s (give me all the ’80s goodness), but also the book itself has gotten a lot of critical acclaim since its release. I adore YA realistic fiction, and this one is sure to please.”—Heather Etelamaki (

"I want to re-read The Brothers Kamarizov (Dostoevsky) and As I Lay Dying (Faulkner) this summer. I haven’t read them in years, but I keep recommending them to friends, and it reminds me how wonderful they are. I love re-reading books during the summer, especially novels, and I’m looking forward to having the time to work through Faulkner and Dostoevsky. They’re not traditional summer reads, but you can’t read Russian novels in the winter, too depressing.”—Sam Killmeyer (

On Writing and Selfishness

By Cara Hillstock

Morbach, Germany, 2013: I’m lying on a bed in a spare bedroom, listening to my grandfather watching odd sketch comedies in the living room and my grandmother watering flowers on the balcony. The clock tower of our village chimes one in the afternoon, and I almost fall off the bed. The collection of short horror stories I was reading was so creepy, I have to see what the author had to say about them. But when I turn to the afterword, I find this instead:

"Writers love their words. They have to. They spend much of their time isolated, hunched over a keyboard, squatting at a screen until their eyes burn and their spines scream and their wrists stiffen in protest. And all they have to show for the sacrifice is a scattering of glyphs that sometimes seems to have no meaning in any language. To then assume that barrage of symbols will take on a comprehensive narrative and satisfying arc is truly an act of arrogance.

"But writers go one step further—we expect people to not only read the words, to not only piece them together into a coherent story, but we demand adoration for our act. And, occasionally, a little bit of cold coin." — Afterword: From the Ashes, Ashes, Scott Nicholson

Reading this set off a surge of anger that I could only communicate to my grandmother through a flurry of inarticulate German-esque sputtering. After she walked away, shaking her head, I had to sit for a little bit to calm down and figure out why, exactly, I was so bothered.

The author acknowledges the arrogance of writing directly, before anyone has the chance to call him out on it—as if to say that because he knows what he’s doing is stupid, it’s okay. He knows writing is dispensable in our culture and that to “demand adoration” for it is ludicrous when placed in a practical context. So he beats you to the punch. Nicholson’s afterword taps into a kind of defense, a maneuver many artists tend to use when faced with the fact that their craft has no practical value to the world. Writing isn’t growing food, it’s not tending to wounds, it’s not building houses. Artists spend their whole lives subject to a barrage of criticism because they should have a “real job,” something helpful that contributes to the future of society, or at least our wallets—teaching, managing, or accounting. It’s no wonder we are on the defensive about our art. But why do we feel the need to defend ourselves in our books, in our journals, in the confines of our own heads? Why do we feel the need to justify ourselves and our craft, even when no one is asking?

It is obvious that one who writes is one who believes himself or herself worthy of having written. We write because we believe we have something to say, something worth reading. It’s arrogant — not because we presume that our worthless selves have something important to say, but because everybody in this world has something equally meaningful to say, and we’re just the assholes who think we deserve to be published for it. We’re not doing anything special, or particularly important. In this, Nicholson’s afterword has a point.

But when confronted with the reality of the selfishness and lack of practical value of our craft, we try to pretend it’s somehow a noble and selfless endeavor. To make ourselves feel less like terrible people for choosing to do something that has personal value to ourselves but not to the practical world at large, we try to fool ourselves into thinking we are writing to set the world “right” in some small way. We force in morals and lessons. We add token minorities. We side-eye the future of the planet. We stop writing what is natural to us and instead hope to change the world and make it more accepting, or fair, or just. Miniatures of The Celestine Prophecy, small moments like the woman in Housewife Down who is respected during her trip to India – unlike the vain women who flew with her – because she looked up the dress code before going.

Writing is selfish. We write because we have something to say, and because we feel the need to get something out. We write because it feels good to us, not necessarily to other people. We can’t avoid this reality. Even when we present people with a new perspective in the hopes that they’ll learn something from what we’ve written, we’re generally hoping they’ll shift their perspective closer towards what we think is right. Even when we hope what we say will have some impact, we’re still waiting for other people to take the action.

Cara Hillstock is a junior in English with an emphasis in creative writing. She is currently writing for a top-secret video game collaboration and will appear in the movie Hell Town.

On Time and Writing Processes

image A conference with Julianna Baggott (above) helped graduate student Heather Etelamaki think about time, her anxiety about it, and about putting it to better use.

By Heather Etelamaki

In junior high and high school, I wrote nearly every day, both in the morning and right before bed. I was mostly a notebook kind of gal. The two novels I worked on over the course of five years were written in wide-ruled notebooks with bright, solid color covers or with Lisa Frank illustrations splattered over them. I didn’t notice problems until I started rewriting one of the novels in a new notebook—a three-subject with a royal blue cover and no pockets—sharpening the characters and reworking scenes. The sap was alleviated, but my main character was still not fully there, and the plot and alleged romance therein were falling apart. I didn’t know where to go, and so I moved on to other stories.

I still write fiction and am determined to write young-adult novels. These days, I still write in notebooks but not exclusively, and I don’t do the kind of writing I did in high school anymore; unless I have a solid stretch of time, I’m only able to sit down for 15 minutes or so to write. These little spurts aren’t doing the work they should be.

After having the opportunity to meet with Julianna Baggott during her visit to Kansas State last week, I found myself even more aware of my current writing process. In my conference with her, we discussed the idea of practicing writing for 10,000 hours, which builds off Malcolm Gladwell’s idea in Outliers and which, Baggott explained, breaks down to three or four hours a day every day for ten years. Practice is how you grow and improve. Baggott herself works on many projects at the same time and has published such a breadth of work across all genres—there is no doubt she has surpassed her own 10,000 hours. I’ve done a lot of writing in the last ten years, but not enough to achieve results like that. 

Outside of the revelation of 10,000 hours, I’ve always had a preoccupation with time. The manuscript I shared with Baggott, for instance, is set around 1997-98, and relies heavily on a nonlinear timeline. In the three drafts I’ve worked on, I have arranged and rearranged scenes to find the flow that works best with the plot. I’ve been conscious of what is referenced—everything from arcade games to the music videos the characters see on MTV. Time not only drives everything we know, but it also tells us where we are and how far we’ve come. It shapes our perception of the world.

Time also brings me anxiety, and in my conversation with Baggott, I felt that anxiety start to set in. I fear I’ll never be able to write like I did as a teenager again. I thought about the fifteen-minute writing increments on my to-do list  each day and about all the writing I could do if I were a vampire a la Twilight who never had to sleep again. Fifteen minutes isn’t nearly enough.

Despite this, I think a lot about writing and felt a great kinship with Baggott’s belief in writing in the head, which she sees as a small part of the 10,000 hours. She explains that writing in your head is a way to visualize setting and action and try things out: language, various scenarios for plot, and character motivation. It’s still writing, just in your head. I often spend solitary roadtrips home in the writing headspace—I play out scenes and find myself drawn to scenarios with my characters that don’t make complete sense until I’ve written them down on the page. I sometimes even talk to myself, working through characters and their reactions to new situations. I pretend I’m explaining them to someone else: this is what she feels and thinks. Trust me. I know these things.

Time, once again, makes me nervous. I often find myself without a spare moment to write things down, and I worry that all that time in my head will have been for naught. When I was a teenager, there was no question in my mind about the words spilling onto the page. But now, after so many hours in the day working through my characters and plot in my head, I lose things. Sometimes I remember, but other times, details disappear. I often forget to follow through from brain to paper, and in that disconnect, I do  a disservice to my own writing practice. When I do sit down to record it, there’s often writer’s block.

“But what do you do when you’ve written something in your head and you go to commit it to paper and it doesn’t work out?” I asked Baggott. Again: time and anxiety. The fear that I will never make real the stories in my head. That even when I do, the stories will never work even after all that time spent in my head. She told me to just work through it. Sometimes it’s going to work well, but often it’s bad writing. And you just keep moving forward, rewriting over and over again. In other words, it’s after the initial push where the story comes alive. It’s about being fearless.

Baggott closed our conference with the advice to be selfish with my time. Selfish. That word stopped me. It’s something I try not to be—after all, I grew up being taught to be considerate of others, to share. But even as these thoughts crossed my mind, I realized that she was telling me to be a different kind of selfish: to take charge of my time, to carve out whatever time works best for me right now at this moment, to break that fear that comes with time. I even thought about it in the same way I take charge of time in my fiction, whether that is situating my characters in a specific place and time, or arranging and rearranging the nonlinear timeline. You’re ready, Baggott told me. Your talent deserves time. Give yourself two hours of solid writing, at the very least. Exhaust yourself.

As I wrote  this, I slowly approached three and a half hours of writing time. I listened to the Divergent soundtrack, and I kept going back to play the first five songs over and over again. In between bites of scrambled egg and toast, I picked up where I left off with this post the previous night. I wrote seven poems for Poet in a Box, and then I returned to this post. My new goal is to get back to the kind of writing I did in junior high and high school. Fearless writing, with no questions, with faith that everything will get done. Sneaking it in between grading and lesson-planning and writing papers. Writing and reading every day, until I have to pull my brain away.

Heather Etelamaki is a first-year graduate student in the creative writing track at Kansas State University. She spends a great deal of her free time recording childhood memories in notebooks, thinking about what it would be like to go to concerts in the 1980s, and drawing parallels from Disney and superhero movies to Frankenstein and The Strange Case of Dr. Jekyll and Mr. Hyde. 

On National Poetry Month

By Stephanie Kartalopoulos and the students of English 463 

Tuesday, April 1: the day after March, which came in like a bone-chilled lion and left like a windy, 70-degreed little lamb. The day when we start to think that April’s showers might bring May’s flowers. April Fool’s Day. Sure, April 1, is all of these things, but it’s also something more: the first day of National Poetry Month. 

Huh? What’s that?

You see, the Academy of American Poets created National Poetry Month in 1996 to bring more visibility to poetry and the ways that we celebrate it as a vital part of American culture. Schools, publishers, bookstores, libraries, poets, and poetry enthusiasts all across the country celebrate it differently. Interested in having a “Famous Poets Costume Party” where you dress up as Elizabeth Bishop and serve a cocktail called “The Skunk Hour” to your friend who dresses up as Robert Lowell? Go for it! Want to hold your own poetry memorization throw-down with your friends? Go ahead! Want to mimic NaNoWriMo but with poem-a-day prompts? Just do it, baby! All of it works. There are so many ways to celebrate poetry and enjoy the idea of poetry and poets.

This term’s English 463: Introduction to Poetry Writing classes are celebrating National Poetry Month in style. We’re talking about revising our first drafts and thinking about the “business” of poetry and what it means to submit your work to literary journals. We’re sharing our favorite poems. We’re reading Gabrielle Calvocoressi’s second poetry collection, Apocalyptic Swing. Ten thousand kinds of “fun” will find their way into each poetry workshop. It’s true. You’re jealous. You want to be there.

But before that, there must be, in true American style, a grand kick-off. English 463 students got together for a fun Sunday night of sweets and stanzas. Essentially, we ate a lot of chocolate desserts; created improv-style group narrative poems that revolved around the themes of books, YouTube videos, and the paleo diet; and played poetry games that involved breaking into teams and speed-writing lines towards collaborative poems. Whenever we had ties, we dropped it like it’s hot, poetry style: with rap-poetry battles. We got silly and laughed a lot. The sounds of our voices escalated along with our sugar highs (and there are no chocolate cookies left over and no chocolate banana bread to testify to this. It was awesome.). When we played our poetry games, we included farm animal noises. We used big, ambiguous words like hope, fear, and dreams—the words that are often considered “no no” words in the poetry classroom—on purpose. To put it in street-talk terms, things got real.

We even wrote down, on note cards, what poetry means to us. For your enjoyment and to kick off whatever amazing National Poetry Month celebrations you can imagine for yourself, here are some words on poetry from the Spring 2014 English 463 students:

I like poetry. Whether it’s nonsense or an epic, it’s pretty neat.

Poetry is a path into a person’s mind that is vague and complex. I find it as an adventure.

Poetry, to me, is saying the unsaid, what people cannot voice.

Poetry is a lighter next to two unlit candles.

I love the depth of emotions that poetry can access while still being unique to every person that reads it.

Poetry is the most creative form of writing because it gives you the freedom to express a feeling but hide it through symbolism.

Poetry is a dirty sink.

Poetry can bridge you to yourself, if only the proper materials were placed in plain sight.

Poetry gives emotions personality.

Poetry is a medium for pure expression—it’s mostly written, and I feel I can best express thoughts and feelings through rhyme and short haikus. Especially when it’s off the top of my head.

Poetry is a dead laptop propped up on knitting needles.

Poetry should make your heart ache.

I love poetry because it allows you to express yourself in a creative way. Poetry rocks my socks!

I’ve always felt like poetry came from everything—a good conversation, a bad conversation, a series of questions. It’s the way a worm wiggles out of dirt. But more than anything, it’s my pain, my sorrows, my happiness, my fears. Poetry is my only true outlet that I’m not afraid to share.

Poetry is amazing because of its density. I think that those able to portray feelings and ideas in such a short space are incredible!

Poetry is what cannot be properly said in regular conversation.

Poetry is the inner thoughts of the weird parts of your brain that stay latent.

Poetry, to me, means filling in the blanks: capturing the good, the bad, and the ugly aspects of life.

Poetry can be whatever you want; it can come from everywhere.

Poetry is for EVERYONE—it doesn’t discriminate. 

We, the collected voices in Section A and Section B of English 463: Introduction to Poetry Writing, wish all of you a fantastic National Poetry Month!

This post was written by the students in the Spring 2014 sections of English 463 and their teacher, Stephanie Kartalopoulos, who is a Visiting Assistant Professor at Kansas State. The students in English 463 include improv actors, a philosopher, dancers, fiction writers, a Ryan Adams fan, a haiku enthusiast, a burrito slinger at Chipotle who participates in the KSU Marching Band, a geologist, and a Women’s Studies major. 

On the Importance of Being Human

By Sam Killmeyer

One of the job candidates who came a few weeks ago said to me, quite emphatically, that if I really wanted to continue on to a Ph.D. program and stay in academia, I needed to remember to be human.

I laughed, thinking his advice was offhanded, but he was serious. He asked what hobbies I had, what I loved to do that informed my writing. He said he boxed, went fly-fishing, and without those things he wouldn’t survive. He spoke to academia’s competition, the posing, presentation, the imposter syndrome—that sinking feeling that you’ve somehow tricked everyone around you into believing that you are intelligent or well read. And as he spoke, I was reminded of how every time I step in front of the classroom to teach, whether I’ve prepped or am winging it, I recite what has become my Graduate Teaching Assistant (GTA) mantra: fake it until you make it.

And though I often feel like an imposter in graduate school, I feel that the community at K-State reminds me that I am competent, that I am still human and not just a computer or an actor or a product packaged on an educational assembly line. My professors know my name; we share beers at candidate receptions and are continually asked ‘so what?’ Academia is such a competitive place to live—my mother sends me many emails about poets’ day jobs—and as Ph.D. decision letters are mailed or journals accept work, we are explicitly compared to each other and implicitly compare ourselves. We often wonder who is the best or the smartest or most well-connected in a field where rankings are ultimately a matter of opinion or interest—no wonder I think any publication I receive is sheer luck.

I suppose this competition is part of a contract we accept by entering academia (and English in particular, where grants are few and poetry books sell mainly to other poets). But I’m writing this post while sitting in on a lecture about how kidneys work at KU Med with my boyfriend (there’s a delicious lunch afterwards) and wondering if studying the human body is different than studying the literature those bodies create. In the previous hour, I’ve tried diligently to figure out what each diagram on the Power Point means. I think one was a cell membrane; at the very least, I patted myself on the back for remembering what ATP meant. Eventually, though, I’ve begun to take the graphics more as abstract expressionism or smiling monster faces. 

This lecture is so much different from the classes I attend every day. I’m currently in a lit theory course, where lecture could be encouraged, but instead we learn by feeling our way through a text, usually blindly, in a group discussion format. I’m not sure if it’s a science/humanities binary or a giant med school/small masters program binary, but one of my favorite things about studying English is that anyone who has read the book can take something from a class. Here, I am learning how cell transport works, and the lecture is surprisingly lucid, but I have no idea how this membrane fits into the larger system or what I will take away from this hour.

One of my favorite things about studying English, though it got me in trouble working in high schools, is that there is never only one right answer to the best questions and that these questions are ones everyone has asked, from fellow grad students or my grandma. I’m sure the same is true for med school, but it seems to take a lot of prerequisites to get to a class with the good questions whereas anyone can pick up a novel and start asking. On revision days, I often wish writing could be precise in the same way that this lecture is. But in the end, I think it’s the exploration that makes it stick and makes it worth studying, the grappling with a particular passage that remains years after the book is closed. 

When I grapple with texts or with my own writing, I find a fundamental need to respond, to argue with Charlotte Bronte over the wordiness of her novel. And I think that move to response is what I miss most in this kidney lecture and what I really see as the difference between feeling like a imposter or feeling a human. My response is my engagement with both academics and the world. Perhaps that’s my writer’s mentality, or perhaps everyone in this lecture hall is responding through the notes tapped out on their keyboards, but there hasn’t been a single question and I know I couldn’t hold my tongue as long as they can. And I suppose that’s why I study poetry rather than medicine.

Though this blog will be posted as we return to the mid-semester grind, right now it’s spring break, and I’m in a classroom trying not to laugh at a graph depicting flow rate in a gradient from pale yellow to deep gold. I’m an imposter in a kidney talk and I’m thinking about being human. About how being human is more than a collection of function cells but about taking up boxing. Because I am a better writer, and happier person, when I am engaging fully with the world around me—whether in a classroom or hiking a mountain.

I didn’t go on any grand adventures this week, but I did repot some plants, spilling dirt across white carpet as a philodendron fell from its hanging pot. I danced at a wedding. Painted (terribly). Read some Lorca and went rock climbing. I haven’t read all the classics; I haven’t even read the theory for next week. But I did eat some excellent tacos.

By the time this post is published, I’ll be back in the daily schedule of readings and teaching and trying to keep my head above the paper. It will be harder and harder to remember to do those things that remind me I am human. 

But while the candidate urged me to remember to be more than academia, I also think that there’s no better place than grad school to remind us to be human. I spend so much time thinking about humans, about how art influences life, and I really believe that literature, and art in general, is meant to help us live more fully and engage authentically with this world. This morning I read a Lorca poem about bull fighting and afterward needed to go for a run, play some soccer. The energy in his lines was transferred to me, and the same thing happens when a good poem somehow comes out of my pen, energy to be added into the world.

Lorca says that we write in the face of our own mortality, that true art is inspired by death because death reminds us to live. The posing and imposter syndrome that permeate academia are constructions,  constructions built to support reading and writing. Probably because we can’t justify our ends as easily as medicine, the worth of a poetry workshop is not as easily measured as board certification. But I think writers and those who study English should embrace this ambiguity, stop comparing ourselves to the sciences, and remember our humanity. Let’s get out of the ivory tower once in a while, camp in a dugout on the bank, and go fly-fishing. Doing so would remind us that we’re human: we’re fallible, and we can write from there.

Sam Killmeyer is a second-year graduate student studying creative writing. She’s a bit behind on grading but did manage to hike the Konza before the spring burning.

On Suzanne Roberts, Scalpels, and Stories…

imageA one-on-one conference with visiting writer Suzanne Roberts (above) created some initial anxiety for M.A. student Lacey Brummer but then led to insight.

By Lacey Brummer

I learned early on to embrace sharing my creative writing with peers and professors. It’s become a vital part of my writing process, where I let my story go from my own head and let readers color in the parts of the world that I didn’t see. Granted, that embrace usually comes after the fact. It’s always intimidating to know that people are going to approach my creation with a scalpel and maybe even a butcher knife. I usually require a good amount of mental preparation, working myself up to apathy, distancing myself from my work so when the knives come out, they don’t cut me, too. Some critiques still sting and stir up my self-doubt—it’s almost impossible to avoid. But there are always suggestions and critiques that spark a fresh idea, help me solve a problem I’ve been stuck on, give me a renewed interest in my writing. That’s what I live for as a writer—an hour or a day or a week later, when the other nicks and scrapes start to heal. 

Sharing my writing with an outside professional, someone not normally invested in my academic success, on the other hand, was an entirely new experience for me. That “professional” status seemed a world apart from my student world of learning and struggling and messing things up. On Friday, I was one of several K-State creative writing grad students scheduled to meet with Suzanne Roberts, author of Almost Somewhere: Twenty-Eight Days on the John Muir Trail and one of K-State’s visiting writers, to talk about one of my stories. Logically, I knew the feedback process would be about the same as a classroom workshop. Logically, I knew I should be excited for the opportunity to get one-on-one feedback from such an accomplished writer. But my mind doesn’t always listen to logic, and in the morning before our conference, I was all sorts of anxious. One-on-one meetings tend to be more intimidating for me than group settings, where I don’t have to be the center of attention. And somehow, meeting with a professional writer outside of my academic bubble made the stakes seem higher, and I felt an increased pressure to prove myself as a real writer, as someone who belonged in this profession.

My anxiety ebbed a little bit when Roberts walked into the conference room and introduced herself. She was friendly, nothing at all like the holier-than-thou “professional” I had envisioned, and she wore a fun, colorful dress not unlike something from my own closet. Logic regained its footing in my mind. Roberts is only human, I told myself. She’s friendly. She’s here to help me. This is a good thing.

The plot of the story I’d sent Roberts centered on rock climbing. I’d never tried it before (as you might imagine, there aren’t many opportunities to rock climb in Nebraska, where I’m from), but the gravity-defying sport fascinates me, and it seemed like a fun thing to write about. It’s always been on my list of extreme sports, along with surfing and skydiving, that in theory, I wanted to try but in reality seemed impossible or too terrifying to even attempt—something, in other words, reserved for my imagination, and therefore, for writing.  Most of what I knew from rock climbing came from TV and movies, and I did a little research online to learn the vocabulary, the equipment, and the logistics. Unfortunately, my class deadline came too quickly, so I didn’t have a lot of time to research, but I hoped my details were at least plausible.   

As it turns out, Roberts is quite familiar with rock climbing. Until she revealed this to me, our conference had started out quite well, and I was feeling optimistic.  She had asked me what I was most worried about in my story, and, while I didn’t like being put on the spot to answer a question, she agreed with my answer that my ending needed some work. We chatted about what I had been intending, how it maybe wasn’t working, and it felt almost like I was talking to a classmate, a professor, someone on relatively equal grounds. But when I didn’t have any other questions, she jumped to her next order of business—rock climbing. When she told me that she had done quite a bit of rock climbing, I could tell by her voice that I had gotten things wrong. This brought on quite an “Oh, crap” moment. I braced myself for an attack, waiting for her to disparage me for all of the details I got wrong: You have no business writing a story about rock climbing.  

Her actual words weren’t much better. “There are some technical issues,” Roberts told me. “Most of this story would never happen.”  Her tone, however, was much nicer, and a moment that could have made me feel two inches tall became an enjoyable conversation. She shared her knowledge of rock climbing, giving me insight into the lingo that I might not have learned online. While she emphasized the importance of accuracy in writing a believable story, she did so by sharing a funny story about one of her students who refused to read a piece because in a single scenic paragraph, it described the behavior of hawks incorrectly.

With those technical issues out of the way, and a potentially awkward conversation transformed into a very helpful one, we talked about other details of my story—the characters, my narrative style—and my own writing goals. By the end of the conference, I felt invigorated, excited to get back to my story and revise. In other words, despite all the hype and anxiety of talking to a published author outside of the classroom, the conference was the same as most other workshop experiences. 

Workshop is always going to be a little painful. I’ll always have a few scratches to show for it. In this case, it was a giant gash right through the plot of my story, and a whole lot of self-inflicted bruises. But that’s what my story needed, and I know I’ll never be a writer if I can’t handle the sight of blood. 

Lacey Brummer is a first-year M.A. student in English focusing on Creative Writing at Kansas State University.

‪On Finding Connection in Jake Adam York’s Poetry

imageTwo couplets from “Self-Portrait in Plate-Glass Window” by Jake Adam York (above) inspired and saddened Kansas State English major Ora McIntosh.

By Ora McIntosh

While reading Jake Adam York’s book of poetry Persons Unknown, I was captivated most by two couplets from “Self-Portrait in a Plate-Glass Window”:

The quiet holds them the way
dark will hold all color

and one memory will look like another
and staying will seem stranger than having come

‪Perhaps it was instinct that dictated my enjoyment of these particular lines. By this, I mean something in York’s poem briefly made contact with something in me, and as a result I decided I liked those lines. I felt a sense of sadness having read those lines, and part of me wonders what the driving force was behind why I liked them. However, the aspiring creative writer in me was unsatisfied with merely “liking” something. Thus I endeavored to discover why it was that I was so drawn to this part of this poem. After a lot of thinking and re-reading I realized I enjoyed “Self-Portrait in a Plate Glass Mirror” so much because it spoke to a certain truth: hurt and triumph can never truly be forgotten, especially in the case of the African American. In fact, the very mention of quiet in the poetry  draws on these ideas because for so long African Americans were silenced and eventually a time came when noiselessness could no longer satisfy.

‪In chapter 18 of Ralph Ellison’s novel Invisible Man, a character called Brother Tarp gives the narrator a link from the chain he once wore, presumably an artifact from his subjection to a chain-gang. For nineteen years he wore that chain. Long after he’d freed himself, Brother Tarp still walked with a limp, still carried the chain from a past he could not so much as forget. The fact that he kept the chain seemed that much more confusing to me. I couldn’t stop wondering why Brother Tarp would keep such an object on his person at all times. Don’t misunderstand: I fully comprehended the “signifying,” as Brother Tarp later says, that the object holds (a reminder of his history as well as why he joined the Brotherhood in protest), and as such, I could understand keeping the link as a reminder of his past. However, for a while I could not fathom why this character would keep the link wrapped up in cloth and stuffed in his pocket at all times.

After reading York’s poem, I was able to understand that, much like those York lines I am so drawn to, Brother Tarp held onto that chain the way “dark will hold all color.” Whether beautiful, ugly or in between, the darkness absorbed all and reflected a shade only a combination of elements could bring about. I feel that this is the statement York was trying to make: that African Americans are like a canvas and they take in all the colors painted upon them, all the gentle brushes and stabbing strokes, and they hold onto them and never let go.

‪Making a connection like this is interesting to me in that I feel better able to understand the dynamics of American culture. For example, the complication of our nation’s racial history and the concepts our nation celebrates during the month of February demonstrate the fact that slavery and segregation are things not easily forgotten. This is not just because such events and institutions shaped our country, but also because many individuals refuse to let the past lie, much like when York expresses how the “dark will hold all color.” In fact, the second couplet from the four lines above speaks directly to this culture and history because York is drawing on the bizarre conditions of entering a place and failing to leave despite the bad conditions one is forced to live in by staying there.

See, it isn’t so much strange that slavery happened or that social inequality occurred because humans are bound to make errors. Instead, what’s strange is that, though York’s poem was just published four years ago and explores our inability to move beyond our nation’s history of oppression, poems like York’s are still relevant and necessary today. “Staying will seem stranger than having come,” York’s poem expresses, and isn’t it? Americans pride themselves with having come a long way in regards to social and racial equality. However, York brings to our attention that we haven’t quite let such things go. For example, despite our nation’s testimonies of fairness, housing discrimination (many times due to race) still occurs. So maybe it isn’t strange that injustice happened in the first place. Maybe what’s strange is that despite the fact that we see the injustices, thanks to individuals like Jake Adam York, Rosa Parks and Martin Luther King Jr., we still hold onto them like so many vibrant colors. Maybe what’s strange is that we stay the same.

Ora McIntosh is a senior English major with an emphasis in creative writing and a member of the McNair Scholars Program at Kansas State University.