How do authors go about the revision process?
In novelist and U-M professor Peter Ho Davies‘ new nonfiction book, The Art of Revision: The Last Word, he observes, "As a teacher of writing, I’ve often been struck by the sense that revision is an overlooked, underaddressed, even invisible aspect of our work: the ‘elephant in the workshop,’ if you will."
Davies goes on to discuss approaches to revision, the need for it, and a number of examples.
Theories of writing, such as “write what you know,” do not lend themselves to revision well, Davies says, because writing instead serves as an act of discovery. The medium of typewriter or word processor changes the process from painstaking typing to countless drafts as new versions are saved over the previous one on a hard drive, useful in some ways and less deliberate in others. An author’s questions become, “What’s changed?” and “How do I know when a story is done?”
Davies proposes that "a draft might be seen as an experiment designed to test a hypothesis.” This perspective on writing reveals to the writer what they are thinking and then also guides revision. That hypothesis may or may not prove right as the writer proceeds. Davies says, "You make a choice, pursue it, discover it was wrong, and … go back to the previous draft. Is this wasted time, wasted endeavor? I’d rather call it a successful experiment."
In "Alien Miss," Ann Arbor poet Carlina Duan explores the multiple identities Chinese Americans inhabit
Carlina Duan’s new poetry collection, Alien Miss, delves into the history and experiences of Chinese people, particularly how immigrants and their families face or have faced marginalization in the United States and also how they find success. Poems go back to the Chinese Exclusion Act barring entry to the U.S. for Chinese laborers and are later contrasted by cozy family meals while growing up in America.
The contrast stands out, as one line reads, “I pledge allegiance. to history, who eats me.”
These disparities between experiences pepper the poems. Family with its relationships and histories figures strongly into the experience, as in the poem “Love Potion”:
In Hypergraphia and Other Failed Attempts at Paradise, Jennifer Metsker’s poems articulate a bipolar person's thoughts as they unravel. The poems show the mind making associations outside of rules as obsessions, fears, and beliefs take hold.
One of the poems, “Beta Waves Are Not Part of the Ocean and We Prefer the Ocean,” brings us to a psychiatric ward. People living there take on feline qualities and have cleaning duties, noting, “There’s no escape / from being a tidy cat.”
Amidst the mind’s chaotic adventures, the outlook remains bleak because:
On January 1, AFC Ann Arbor announced the first signing for its 2022 women's team: Emily Eitzman, a University of Michigan college student who made her debut in 2019 with the semi-pro soccer club as a 17-year-old student at Saline High School.
But Eitzman never stopped working with AFC Ann Arbor despite her two-year playing gap for the team.
And AFC never stopped working for Ann Arbor and the greater Washtenaw community.
On the Corner: A new book about Zingerman’s Deli details the Ann Arbor institution's satisfying history
If you live in Ann Arbor long enough, you will inevitably be asked about three things: University of Michigan football, the Art Fairs, and Zingerman’s Deli.
Since 1982, people have flocked to Zingerman’s for top-of-the-line sandwiches and outstanding customer service. The story of how the business grew from a 1978 idea hatched between restaurant colleagues Ari Weinzweig and Paul Saginaw into a nationally known business is covered in Micheline Maynard's new book, Satisfaction Guaranteed: How Zingerman’s Built a Corner Deli into a Global Food Community.
Maynard is a longtime journalist, educator, and frequent guest on both radio and TV. Her career includes writing as a columnist at The Washington Post, a contributor to The Takeout, Medium, and The Ann Arbor Observer, and as the author of The End of Detroit and The Selling of the American Economy: How Foreign Companies Are Remaking the American Dream.
The genesis for the book began before the COVID pandemic.
Out of the "Shadows": Jazz vocalist Olivia Van Goor explores lesser-known songs on her debut EP and returns to Blue LLama
“None of them are any of the classic standards like ‘Fly Me to the Moon,'" Van Goor said. "I intentionally chose standards that most professional working jazz musicians know, but not all of them. The two that are standards are ‘Willow Weep for Me’ and ‘No Moon at All. ... I did the Detroit Jazz Workshop two years in a row, and the first time I sang ‘Willow Weep for Me,’ and the second time I did ‘No Moon at All.’ I picked my milestone moments with learning the music.”
Those milestone moments also serve as a timeless journey through a spectrum of emotions ranging from hope to heartbreak. Each When The Shadows Fall track waltzes, swings, and bops from one era to the next.
“I was really inspired by Veronica Swift, and she’s one of the best jazz vocalists of the time right now," Van Goor said. "On her last album, she took some musical theater songs that haven’t been taken by any of the legends and turned into standards and did them in that format.
“If you listen to an old recording of ‘Shadow Waltz,’ you’ll notice the style is completely different (from my version). I arranged all of the songs, and that’s my biggest originality to it, except I wrote the lyrics to ‘Hershey Bar.’”
Talk, Talk, Talk: Zach Damon's "Ann Arbor Tonight" puts a local spin on the late-night TV chat format
At age 6, Zach Damon discovered his love of public speaking.
The future Ann Arbor Tonight host-producer was an ambassador for March of Dimes and spoke at different events in the early ‘90s, including the National Athletic Awards at Detroit’s Fox Theatre.
“I remember being in the audience because it was a pre-taped show and seeing the great energy and the great camaraderie of the business in general,” said Damon, who was born with cerebral palsy and grew up in Ann Arbor. “Everyone was so encouraging, and they’d say, ‘Zach, you can do anything you want to do, and if you want to work in media one day, then you can do that.’”
Damon also became inspired watching TV sportscaster Greg Gumbel and author-journalist Mitch Albom serve as hosts of the awards show. In that moment, he found his purpose.
“I remember seeing one of the broadcasters on stage doing his thing, getting the cues during the show, and then presenting," he said. "I remember at one point looking at the stage and saying to myself as a 5 or 6-year-old … I’d really like to be that person … and that’s where I felt most comfortable.”
Damon carried that dream with him throughout his teen years. By his junior year at Ann Arbor’s Pioneer High School, he aspired to host a late-night talk show.
“I was talking to some buddies of mine who were in the film and video club, and I said, ‘It would be really neat to have a late-night show in Ann Arbor and call it Ann Arbor Tonight,” said Damon, who’s inspired by The Tonight Show and Saturday Night Live. “I was sitting on my bed, and they were like, ‘Yeah, whatever, Zach.’ I always have these very big ideas, but I really felt that they were possible if you just put the action toward it.”
Grains, Beans, Seeds, and Legumes: Chef and U-M alum Abra Berens offers recipes and social context for them in her new book, "Grist"
When you start paying closer attention to a food or beverage, you notice more details among different types or brands. Experts who focus on wine or coffee, for example, are able to discuss the nuances and tasting notes of unique varieties.
But those aren’t the only foods and drinks that foodies and cooks can get to know on a deep level.
Abra Berens, a chef, author, former farmer, and U-M alum, brings this level of attention to beans, grains, legumes, and seeds in her new cookbook and guide, Grist. She writes about how her interest in grains took root:
Utah poet laureate and U-M grad Paisley Rekdal considers the implications of cultural appropriation in literature in "Appropriate: A Provocation"
Instead, Appropriate consists of letters addressed to a student who is a new writer, and this structure offers a different, more conversational, and inquisitive tone. This recipient is not based on any specific person but inspired by many students and colleagues. The letters refer to the student as X.
Early on, the first letter defines the subject of cultural appropriation as being about identity. It is also, “an evolving conversation we must have around privilege and aesthetic fashion in literary practice.” Rekdal’s examples of the issue—both positive and negative, including hoaxes in which authors pretend to have another identity—demonstrate how important attention to the topic is.
Rekdal offers ways to understand, analyze, and navigate cultural appropriation. Rekdal asks many questions and also offers a list of them for evaluating one’s own work to let the reader consider what their answers are, too. She includes her own experiences from teaching, participating in conversations, and writing appropriative works herself.
You might be wondering whether cultural appropriation should just be off-limits, but Rekdal brings a more nuanced view, one that acknowledges some literature as effective and other literature as harmful. She writes to X, “When we write books that appropriate the experiences and identities of other people, X, we enter into the system in which we all participate but over which we individually have very little control.” This issue is so risky that Rekdal anticipates this question of “Do you opt-out?” The matter cannot be distilled so simply, though, because Rekdal offers instances when authors successfully write other identities than their own.
The question then becomes about what factors contribute to literature that engages in cultural appropriation working or not working. The answer changes, in part, based on the current moment in history and politics, notes Rekdal:
Despite the pandemic, music organizations on the University of Michigan’s campus are thriving. Students are yearning to hear music over loudspeakers, dance in sweaty houses, and produce their own songs, and organizations like Empty Mug are here to provide, whether through having concerts, recording live videos, or releasing music.
Fia Kaminski, one of the presidents of the organization, sat down with us to talk about Empty Mug's present, past, and future.