Why We Don’t Invite Editors or Agents to Sirenland

This is a repost from our old blog, but it bears repeating.

A number of people have written to us asking if there are going to be agents and editors at Sirenland this year.  No, there won’t be.  Here’s why:

1. It’s about the writing: Those of us running Sirenland have our own agents and editors and among us we know dozens and dozens of other agents and editors. Those agents and editors often press cards into our hands and let us know that should we desire their presence in Positano they would drop everything and be there for the price of a coach plane ticket. I can’t blame them. It’s one of the most beautiful spots on earth.  But if you ask those same agents and editors how many clients of theirs are the result of writers conferences they will generally admit that we’re talking the very low one-figures.  We believe strongly that it’s about the writing, that a piece of work that is ready to be published will be published.  Our focus is on the page, on helping our participants become better writers, giving them the critical skills and other tools to be successful throughout their lives.  So, once again, thanks to everyone who’s handed me a business card. I’ve put them in a file.

2. It’s about the writing: When agents and editors are in the room there is naturally some competition among writers for their attention.  Competition among writers should happen in the marketplace, but not at a writers conference.  We do everything we can to create a supportive environment where participants will spend their free time and time at cocktails or wherever talking about their work, helping and sustaining each other.  We’re proud of the fact that many past participants in Sirenland continue to stay in touch with each other and share work.  Several writing groups have formed and meet regularly.

3. It’s about the writing. There are no shortcuts to literary success.  Writing is hard. Writers conferences are short. The point of Sirenland is total absorption in work and in the environment. Positano is a uniquely inspiring place. We want participants to talk and think and read and eat and drink and hike and swim and get massages and skim stones into the sea.  Relaxation and total involvement are big parts of creativity. Anxiety about making the most of your 30-minute meeting with an agent is antithetical to doing your best work and growing as a writer.

We’re not saying that marketing and promotion have no place in a writer’s career. We just don’t want to lure writers onto the planes, trains and automobiles that it takes to get to Positano by dangling the possibility of making a life-changing connection.  Participants have made life-changing connections at Sirenland, but it’s been with each other and, ultimately, with their own work.

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Interview with Peter Cameron

Thanks to Carol Richards for pointing me to this interview with Peter Cameron, who will be teaching at Sirenland 2011.

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LA Times Review of “The Wake of Forgiveness”

The Wake of Forgiveness

‘The Wake of Forgiveness’

by Bruce Machart

A richly told tale of brother against brother and sons against father.

By Susan Salter Reynolds

October 24, 2010

Houghton Mifflin Harcourt: 310 pp., $26

Lavaca County, Texas — one moment it’s a place you’ve never been, the next it’s a place you can’t forget, a place that comes to mind when you call yourself American, even if you grew up on a tree-lined street in Connecticut. What happened? Same thing that happens when you read Willa Cather, William Faulkner or Cormac McCarthy. How else could you possibly know what the wind in the pecan trees sounds like, what mesquite smells like or how fast-moving clouds can make a person feel particularly small and helpless?

Yet Bruce Machart’s “The Wake of Forgiveness” is also Greek tragedy, art based on universal human suffering, joy and pain. It is an extraordinary novel in which the characters are watched and not just by their author or their readers. The clouds in the dramatic Texas sky beat out the time; the trees look down on the action and pronounce their moral judgments, and the moon, well, the moon holds the long view. The moon in so many scenes is the calm, the wise antidote to the crazy human drama unfolding below. It is a rare novel that makes a reader feel he has fallen through a crack in the earth and is swimming in the subconscious aquifer. How did he do it?

This is Machart’s (pronounced Mah-heart) first novel (a collection of stories called “Men in the Making” arrives next year). He teaches English at Lone Star College in Houston, and his work has been published in leading literary magazines: Story, Glimmer Train and Zoetrope. It is clear he is in it for the long haul. This is pure literature; an emphasis on language over plot; risky, complex and often unlikable characters and that echo, that ripple that flows forward into the future and backward into myth.

As in Greek tragedy, Machart has an eye for the moments in which fate turns, lives change, regret is not yet a glimmer in a character’s eye. “The Wake of Forgiveness” begins on such a moment. Vaclav Skala, a Czech immigrant and farmer in Lavaca County, wakes on a February morning in 1895 covered in his wife’s blood. The baby, Karel, their fourth son, is born, but his wife, Klara, dies in childbirth. Vaclav reverts to the violent rage, his former state of equilibrium, that will shape the lives of his sons and for all we know generations of Skalas to come. The boys are raised, “bereft of the feminine tenderness that, to young boys, is nothing shy of sustenance.” We see the world through Karel’s eyes for the 30 years of the novel.

The most important thing in Lavaca County is land and, after that, horses. Vaclav, full of bitterness, cares more for his horses than his sons, who grow up literally yoked to the plough, working their father’s vast acreage. It is never enough. Vaclav bets a few hundred acres on a horse race with his Scots-Irish neighbor, Patrick Dalton. Karel rides — he cheats as instructed by his father and wins. But when a wealthy Mexican rancher named Villaseñor moves to the area, starts buying up land and offers his daughters, including the beautiful Graciela, as brides for the Skala boys, the real tragedy begins. Vaclav at first refuses, but he cannot resist a horse race: If he loses, his three oldest boys will marry Villaseñor’s three daughters and 600 acres will go to the new families. Karel will stay behind with his father.

These midnight races are dark paintings — flickering firelight, the low moon and the sound of a pistol shot: “the sky hangs swollen and sickly above the distant horizon as if the whole mass of the heavens has been wounded and gauzed with clouds and backlit feebly by the diminishing moon.” Machart becomes some kind of enormous, sensory radar, picking up the sound of twigs as they fall through the blackjack oaks, the cries of possums carried off by barred owls, the smell of lavender and beeswax in Graciela Villaseñor’s hair, the boll weevils in the cotton, the way a foot slides into the stirrup. We are inside Karel’s consciousness as he rides the race — all the night sounds and also the idea of his mother: “he can’t help now but imagine himself curled up and floating inside her, his blood an extension of hers … his heart beating only so long as hers refuses to stop.” The moon “slips out brightly from the clouds just long enough to oversee the goings-on below, and when it ducks back under cover there comes, from out north in the pastures beyond the creek, a sound like slow-tearing parchment that grows steadily louder in its approach. This is a rainfall that will defy the almanac….”

In the aftermath of the race, Karel stands, beaten, and in love with Graciela, who will be married to his brother. It is a familiar story — brother against brother, sons against fathers. Rage taken out on the animals and the women, revenge taken if not in this generation, in the next. But Machart brings a richness of language to the story. It echoes from the novel outward. Time shudders and jumps — 1895 to 1910, to 1924 and back. “[A]ll that’s left is the caustic certainty that there’s no moving forward unbridled, that the weather-checked harness will never give, that the weight of all that is dragging behind will know no abatement.”

For all the lyrical language, know that the action does not stop. Almost all of it is in the wrong direction, as though gravity had been replaced by violence. And yet the novel is not predictable. With all this omniscience, all the ingredients of tragedy, the reader does not know who will die, who will be the human sacrifice. “A horned owl, banking now with a wing dipped vertically, arcing across the pasture and leveling off again, gliding out toward the running horses in search of field mice or nesting coveys of quail or a young opossum lagging too far behind its mother.” Fate may unwind the story, but it is the small, graceful moments that will alter its course.

Salter Reynolds is a writer in Los Angeles.

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Jim Shepard’s Ploughshares

Jim Shepard is the editor of the current fiction issue of the Journal Ploughshares.  The issue contains fiction by Sandra Leong (Sirenland 2010), Charlie Baxter, Aimee Bender and others. Jim’s introduction alone is worth the cover price, but there’s also a profile of him by Robert Cohen, in which Jim admits that he was paid “a king’s ransom.” for editing this issue.

If you’re in Boston, go see him.  Otherwise, he’ll be in Positano next March.  That should be fun, too.

Oh, and Jim’s story, “The Netherlands Lives with Water,” appears in in Best American Short Stories 2010.

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Welcome to our new blog and Website

After four years we’ve updated our website. We’ve fired the old designer (me) and gotten involved with a professional. We still want to open the site to anyone Sirenlander, past or present, who wants to post information, promote a book, or cross-post from a personal blog.  Let me know know and I’ll hook you up.

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Jonathan Woods in NY Magazine & reading at KGB

Sirenlander Jonathan Woods has more good juju for his Bad Juju: New York Magazine just rated his book, Bad Juju & Other Tales of Madness and Mayhem, as highbrow brilliant on their Approval Matrix for the week of April 26, 2010. (see pic). He’ll also be reading on Sunday, May 23rd @ 7 pm with Teddy Wayne in New York City at KGB Bar. Stop by, and bring your friends!

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Huffing and Puffing: Montepertuso to Positano

You work out five days a week, you do a fair job in the nutrition department–you consider yourself to be in good shape. That is, until you find yourself at a writers conference in Positano, Italy, and one of your fellow fiction writers (yes, I’m talking about you, Cindy Martin!) casually mentions she and some others will be walking up to the hamlet of Montepertuso for lunch. Would I like to come along? There’s a terrific restaurant up there. Well, yes I would, thank you very much!

And my new friend, Holly, you come, too!

As soon as our workshops broke at 12:30 then, off we went. Cindy and her husband, Cal, led the way for the half dozen plus of us who came along that day. They’d been to the conference before and had done this hike several times then, and they had done it the day before as well. How tough could it be?

Montepertuso sits 1,137 feet above the Mediterranean, a fact I only learned after I was home and googled it, but even now the height doesn’t seem very daunting. High enough to afford spectacular views, but don’t I sometimes climb 2,000 feet on the treadmill at my gym back in New York? Well, bless that treadmill and its smooth rubber belt, its rhythmic pace, its predictability.

Because it wasn’t the steepness of the climb as much as it was that instead of hilly pathways leading up, we found ourselves faced with ancient stone steps. (I emphasize ancient, because they are much higher than modern steps and therefore far more taxing. They are also more irregular.)

Fifteen hundred steps. A couple hundred less, incidentally, than the more famous 1700 steps that lead from Positano to Nocelle.

Ten minutes in, I used the excuse of a photo opp to collapse against a wall and let my lungs do their work. I couldn’t remember the last time I’d been so out of breath. How much longer? I inquired of Cindy and Cal, those show-offs at the front of the pack. I was going for a breezy tone, but instead I was wheezy. Cal threw me a smile over his shoulder and laughed, brushing my question off as if it were merely rhetorical.

Holly came over to lean against the wall with me, shooting me a look I read as, what did you get us into here? I liked Holly. I hoped she wouldn’t hold this all against me.

Yet, though I would barely have thought it possible, the view as we ascended was even more stunning than it was down at our hotel. The sun danced on the sea and dazzled the multicolored jumble of houses on the mountain opposite. We were surrounded by citrus trees, lemon and orange, and in the narrow stone lanes, soccer shirts and jeans and sheets hanging on laundry lines frolicked in the refreshing pre-spring breeze.

We took our pictures, we caught out breath, we were ready again. This wasn’t so bad. Really it wasn’t.

Not five minutes later and already my breath had deserted me again. I couldn’t afford any more conversation if I was going to make it to the top. We were all new acquaintances, anxious to get to know one another, but that would have to wait. I wouldn’t be able to talk to anyone when I was dead.

Up, up, up.

Presumably, if you climbed without stopping it would take about half an hour to reach the top. We set foot in Montepertuso about 45 minutes after we began. But we made it. My clothes might have been soaked through with my exertions, my hair might be dripping down my neck, but we had reached our destination and in just a few steps we’d reach the restaurant where we’d cancel out everything we’d just accomplished with a feast, Italian style.

Holly and I attempted as best we could to take a shower in the bathoom sink and when we went out to the dining room, the smiling Paolo welcomed us with a glass of Prosecco. Now this was my kind of place!

Il Ritrovo (www.iltritrovo.com), which means the meeting place, is special. I’d be lucky enough to eat here twice during my time in the area (yes, I undertook the hike a second time).

Because we were a large group, Paolo suggested he bring us large platters of antipasti, followed by a variety of homemade pastas. First there were plates of fresh seafood–marinated anchovies, shrimp, mussels, icefish (that was a new one for me)–and charcuterie–prosciutto, speck, salami. There were grilled vegetables and there were cheeses. Pastas included a linguine with fresh mussels, a pasta with a simple but divine cherry tomato sauce and, the hands-down favorite, a thick tube pasta with a cream sauce of provolone and walnuts. And all the while, the wine flowed as freely as the conversation.

Afterward there were cookies and biscuits and tiny cakes along with not only the ubiquitous Limoncello but homemade liquers made of blueberry and apricot.

We didn’t want to leave–ever!–and not just because we were thinking of the long walk back down to Positano (a walk that would seem easier, but just have a little heart-to-heart with your knees and see what they think).

Just outside the restaurant, near the railing overlooking the sea more than a thousand feet below, we gathered together so Paolo could snap our picture. I will treasure this photograph always, not only for the memory of that hike, of that meal, but because it contains the smiling faces of some of the new friends I made on my trip–new friends who I hope to be calling old friends years down the road.

I see it in my mind. Five or ten years from now, at one of our book signings.

“Cindy,” I say (or Holly or Allison or Claire or Gail or Greg or or or), “remember that climb to Montepertuso?”

And Holly will laugh and say, “Yes, I remember how you almost fell off the mountain on the way down!”

“That was funny,” I’ll say, probably with tears in my eyes, because I’m sappy that way.

- Jude

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Jim Shepard on Close Reading

“Improving as a reader is something you have to do to improve as a writer.”

In this brief talk from Sirenland, Jim Shepard outlines how to improve as a reader.

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Musical Interlude at Sirenland 2010

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Arrivederci

Our last day in Positano, and Antonio Sersale, our dear host, just passed me this message he wanted to forward on to everyone who attended this year. Thank you for making it such a wonderful conference. – Hannah

Arrivederci…

I am standing by the entrance of the Hotel, my hands are waving goodbye, the sun is in my eyes, clouds playfully chase each other over the horizon, smiling faces zoom by on motorcycles.

The last participants of Sirenland are leaving, emptiness engulfs me, my world was filled for one week, writers walking with books soon to be published, teachers with papers filled the silent corridors of the hotel, waiters walking softly not wanting to break the spell, now silence, the wind, the sea. How slowly a cosmos is created, how suddenly it is gone.

I remember the readings, our tears, the laughter, each writer embracing us with his words, words and faces that will remain. A world came briefly to Positano. Now it is gone. I walk through the classrooms where so many hopes came to life, the furniture stares at me, I want to ask each chair what was felt. Only silence, the secret will remain.

New faces arrive, each filled with hope. I welcome them, I embrace them and as I do I wonder if all Sirenlanders feel the emptiness I feel each and every time I look at that furniture.

Ciao,
Antonio

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