Wired: A Literary Conversation on Mental Health – Tickets On Sale Now!

We are excited to announce that our first Literary Conversation of 2020, Wired, will be held on Thursday, February 27. Tickets can be purchased here.

According to the NIMH, almost twenty percent of American adults live with a mental illness. From social anxiety and depression to bipolar disorder and schizophrenia, mental illness is becoming more prevalent in today’s society and everyday dialogue.

To combat the continuous misunderstandings about this topic, authors Zack McDermott (Gorilla & The Bird) and Esmé Weijun Wang (The Collected SchizophreniasThe Border of Paradise) have relived their highs and lows in the pages of their work to not only break the stigma of mental illness, but also to humanize it. They will be joined by author and cultural critic Isaac Fitzgerald (The Rumpus, BuzzFeed Books) in this discussion of mental health and literature today.

The onstage discussion will be followed by a Q&A with the audience and a book signing. Books will be available for sale.

This event is co-sponsored by GWU’s Colonial Health Center as part of the PEN/Faulkner Foundation’s Literary Conversations series.

Black Lives Matter Week of Action

Ten percent. In 2018, that was the percentage of published children’s books that featured a character who was African or African American. Ten percent.

The total percentage of children’s books featuring African or African American, Asian Pacific American, Latinx, or First Nations characters was only 23%. That’s still less than the number of children’s books that featured an animal or inanimate object (27%), and significantly less than the number of children’s books about white characters (50%).*

The public school population in DC is composed of 90% students of color. When less than a quarter of children’s books show any characters of color, the representation gap between students’ identities and the characters in the stories they read is a stark problem. 

Narratives serve as vehicles of culture, language, and identity–affirmations of who we are in the world. As Rudine Sims Bishop notes, “Literature transforms human experience and reflects it back to us, and in that reflection we can see our own lives and experiences as part of the larger human experience.” In this way, stories can become mirrors, validating our lives and experiences. 

At PEN/Faulkner, our education programs provide DC students with mirrors that reflect back who they are. We donate books so that students can build their own personal libraries; conduct author visits in classrooms for enlivening, enlightening discussions; and offer writing workshops in which young people can tell their own stories. 

We have actively widened our circle of partner authors to include a more diverse list of authors and books. As one educator recently told us, not only are visits with authors an opportunity for students to meet a writer in person, “It is also important for students to see writers who look like them and [who] can share with them their lived experiences.” 

From February 3-7, DC schools will recognize the Black Lives Matter Week of Action in Schools. Built on the momentum and actions of the national Black Lives Matter movement, this week is an opportunity for schools to bring Black Lives Matter into their classrooms to examine injustices at the intersections of race, class, and gender.

As part of the week, PEN/Faulkner authors have been invited by educators to join in the discussions. Keeping in mind the need for better and deeper representation in children’s literature, several authors will join the week’s actions, including Jason Reynolds, the newly named National Ambassador for Young People’s Literature; Alan King, a poet whose recent collection tackles masculinity, fear, and the reality of Black lives in joy and sorrow; and L.Y. Marlow, a writer and activist whose fiction and nonfiction about the lives of women and girls of color doubles as empowerment to help them face their inner and outer monsters.

BLM Week of Action in DC area schools is sponsored by the DC Area Educators for Social Justice and Teaching for Change. We are proud to play a part.


* Data on books by and about people of color and from First/Native Nations published for children and teens compiled by the Cooperative Children’s Book Center, School of Education, University of Wisconsin-Madison.

Celebrating Our Education Programs

The name PEN/Faulkner may conjure images of literary delights, from dynamic authors in conversation to our prestigious, peer-juried awards in fiction and the short story. Alongside these nationally-reaching endeavors, we bring more than one hundred writers to schools across our home city of Washington, DC every year to engage students in the power of the written word.

PEN/FAULKNER’S EDUCATION PROGRAMS AT A GLANCE

For more than 30 years, our Writers in Schools program has personalized literary
expression by bringing renowned authors to classrooms in some of the city’s lowest-performing schools. We donate a copy of each writer’s book to every student in each
classroom we visit, and students prepare burning questions ranging from “How does your experience of racism impact your writing?” to “Do you like Mambo sauce?” (a condiment specific to DC culture). When writers visit, conversations are enriching and
enlightening—for everyone. Writers sign copies of students’ books…and sometimes they get asked to sign hoodies, tennis shoes, water bottles, and even students’ arms. Young people in our education programs make genuine and meaningful connections to writers, and they often find the power to share their personal narratives as well.

In the past few years, we’ve deepened our work with young people by expanding our literacy efforts—through identity-based and language-based programming such as Nuestra Voz; by returning to schools more frequently in order to spend more time with students; and by adding writing programs both during the school year and in the summer months. We believe in expanding young people’s compassion and knowledge about the world through the written word by creating opportunities for exposure, connection, and new ways to grow.

When the winner of our recent Youth Essay Contest, Queenal Ayaba, read her personal essay about the impact violence and war in her home country of Cameroon has on her at our recent Gala, Senator Patrick Leahy sought her out after the reading. He told her she shared a powerful story, and he encouraged her to stay in touch. Author Michael
Cunningham told us how impressed he was by students in a recent visit—and how they
gave him hope for the future. And poet DaMaris B. Hill emphasized how crucial democracy is, conducting her time with students through a collective and wholly democratic approach to the discussion, all while weaving in references to Shakespeare, Angela Davis, and Ida B. Wells.

We’re honored that educators invite us to their classrooms again and again to join in the journey of learning with their students. With more than 90% of our partner schools
designated as high-poverty, the power of narrative, and the encouragement for youth to
shout their personal stories, is especially needed.

WE ARE PROUD OF WHAT WE DO

Voices from PEN/Faulkner Interns: Sabrina Sthay

This fall, PEN/Faulkner had the privilege of being joined by three amazing interns. Before they left us, they each wrote essays inspired by their time in the organization. It’s our honor to share them with you. We started with a piece by Anique Jones, continued with a piece by Demory Hobbs, and we’re wrapping up with this essay by Sabrina Sthay:

CELEBRATING DEAF AND HARD OF HEARING AUTHORS

We now live in a time in which diversity is not only crucial, but cherished in our workplaces, school systems, and even social settings. It is due to my hearing loss that I have always been fascinated by the growing attention paid toward the Deaf and hard of hearing  communities. 

I was only four when I lost my hearing, but it never stopped me from wanting to excel in the world. I knew I had my place in a world of flowing creativity and literature. I’m not the only one with such rich passions, but sadly, the fine arts and literary achievements of those who are Deaf and/or hard of hearing are not often celebrated. In honor of some of these individuals, I want to recognize them and their achievements.

Stephen Colbert 

Colbert is well known on The Late Show and The Daily Show, but he has also written three books and is an author for the Tek Jansen comic book series. What you may not have known about Colbert is that he became deaf in his right ear when he was a young boy due to a severely perforated eardrum. 

Donald Harington 

Entertainment Weekly recognized Harington as “America’s Greatest Unknown Writer.” The surrealist author of the Stay More series, Harrington has received multiple rewards, including the Oxford American Lifetime Award for Contributions to Southern Literature, The Robert Penn Warren Award for Fiction, Arkansas Writers Hall of Fame, and the Porter Prize of Literary Excellence. When Harington was 12, he became ill with meningitis, which left him hard of hearing in both of his ears. Nonetheless, he pursued his writing and had a 22-year teaching career at the University of Arkansas as well. 

Marlee Matlin 

Matlin is an idol in the Deaf community. She has conquered so much! When she was nearly two years old, she became sick and lost her hearing. Today, she is not only a mother, but an actress, author, and an activist for the Deaf community and other causes. She has penned the following books and memoirs: I’ll Scream Later and Deaf Child Crossing. She also co-authored Nobody’s Perfect and Doug Cooney.

David Wright 

Wright is a South American poet who suffered from Scarlet Fever when he was seven years old. Due to his illness, he became deaf.  He has written a collection of poetry and an autobiography Deafness, A Personal Account. He has also translated The Canterbury Tales and Beowulf. 

Cece Bell 

Bell is another award-winning author and graphic novelist. Her book, El-Deafo, is based on her childhood and the struggles she encountered growing up deaf. The book was the recipient of the Newbery Medal Honor and Eisner Award. 

Sara Novic 

Sara Novic is the author of the book Girl at War, a coming of age story set in Yugoslavia. Girl at War was named one of the best books of the year in 2015 by Bookpage, Booklist, and Electric Literature. It was also the Alex Award Winner and a Los Angelos Times Book Prize Finalist, and it was Longlisted for the Baileys Women’s Prize for Fiction. In a post in The Guardian, Novic talks about her progressive hearing loss, the struggle to overcome stereotypes, and the benefits of being deaf. 

The successes of these authors, who face similar challenges to me, is not only empowering and hopeful for me, but magnificent. I’m glad that as we increasingly celebrate literary diversity, we are beginning to hear the voices of Deaf and hard of hearing writers, too.

Voices from PEN/Faulkner Interns: Demory Hobbs

This fall, PEN/Faulkner had the privilege of being joined by three amazing interns. Before they left us, they each wrote essays inspired by their time in the organization. It’s our honor to share them with you. We started with a piece by Anique Jones, and we’re delighted to continue with this essay by Demory Hobbs:

UNRELIABLE NARRATORS

This year, I’ve been thinking a lot about storytelling: the stories we tell others and the stories we tell ourselves. I’ve been thinking about how these stories differ. I’ve been thinking about how we usually aren’t perfectly honest, how sometimes this is intentional and other times we don’t even realize what we are missing. And other times, we are telling the truth the best we can handle it.

In fiction, I love an unreliable narrator. An unreliable narrator is one whose credibility is compromised, so the reader must read between the lines to uncover the truth. Just like in life, narrators are unreliable for many reasons. 

There are two broad categories for unreliable narrators: There are intentionally unreliable narrators, misleading and persuading the reader to side with their usually villainous view. (Think Humbert Humbert in Vladimir Nabokov’s Lolita.) Then there are unintentionally unreliable narrators, whose naivety prevents them from giving the whole picture. (Think the child-narrator Jack in Room by Emma Donoghue.)

Unreliable narrators do more than entertain. This point of view can be an important literary device in illustrating the complex consequences of trauma. This is a category that lies somewhere between intentional and unintentional untrustworthiness, because the narrator is most notably hiding the truth from themselves. 

When a person experiences a traumatic event, the brain goes into defense mode. Sometimes, this means doing its best to block out the event. This is called dissociative amnesia, in which the memories of the traumatic event or details surrounding it are buried deep within the mind. This can involve small details, like not remembering how you got home after an accident. It can also be much more substantial; with childhood trauma, some survivors will have no idea something significant happened until years later. As trauma survivors look back on their lives, they have no choice but to fill in the gaps, trying to make sense to themselves and to others.

With some important life events, we recall every detail. Maybe you remember the exact tie you were wearing when you got a big promotion or exactly what you ordered at the coffee shop when you first met your significant other. So some might wonder: how can something affect your life so much if you barely remember it? The phenomenon can be hard to understand and hard for survivors to explain.

Unreliable narrators can be employed to illustrate the missing pieces between trauma and memory. With this type of unreliable narrator, readers can sense there is something untrue in the tale, but they do not feel lied to. They follow along as protagonists hide from some truths and uncover others. Every instance of trauma is nuanced, and everyone responds differently. Even so, I have broken up the use of the post-trauma narrator into three categories.

Aware Narrator, Unaware Exterior: Sometimes, the narrator remembers the trauma they have endured but is unable to retell it or accept it. This narrator depicts his trauma in a seemingly unrealistic, even fantastic, way (example: Life of Pi by Yann Martel). He may be struggling to explain within the context of the story, meaning the other characters don’t believe or understand, or he may be directly addressing the reader. The reader discerns that something terrible happened and that the narrator is struggling to cope with it. There may be a gap between the narrator’s knowledge and the reader’s, but the reader understands that the narrator is not intentionally lying but rather is working hard to relive and fully convey a painful memory. This type of narrator is useful in allowing the reader to understand how unspeakable trauma is dismissed or accepted by those outside it.

Unaware Narrator, Aware Exterior: Other times, the narrator does not remember the traumatic event or its consequences, but the characters they interact with know what has happened. This narrator will have her credibility undermined at every turn in the story, but neither the reader nor narrator know why (example: The Woman in the Window by A.J. Finn). This dissociative amnesia is paired with other, more obvious mental struggles. In Finn’s novel, it is diagnosed as agoraphobia, but any type of anxiety or perceived paranoia fits. What’s important for the success of works like these is that the reader knows everything the narrator knows, yet understands that this knowledge is not the whole truth. The narrator has no obvious motivation for lying but seems to be doing so compulsively. Either along with the narrator or through the other characters’ dialogue and actions, the reader is eventually able to see the trauma the narrator has blocked out, which explains the paranoia and strange behavior she has exhibited. By having the perspective of the seemingly crazy character, the reader can realize how disorienting and scary it is to think you are telling the truth and not be taken seriously.

Unaware Narrator, Unaware Exterior: A third use of the unreliable narrator to illustrate trauma is in cases when neither the protagonist nor the people around them are aware of the trauma they have experienced (example: Stephen Chbosky’s Perks of Being a Wallflower). This is an extreme case of dissociative amnesia, usually related to child abuse. In this case, the reader knows everything the narrator knows, and may pick up clues leading to the truth before the narrator realizes. The reader is on the same journey as the narrator who is struggling to understand his own mental and emotional weaknesses without a full picture of what has influenced him. The reader witnesses the pivotal moment in the narrator’s life when something causes him to remember the trauma he has closed off. In these cases, the reader is able to see how the knowledge of this trauma can shape his understanding of himself and the world even years after it has occurred.

Voices from PEN/Faulkner Interns: Anique Jones

This fall, PEN/Faulkner had the privilege of being joined by three amazing interns. Before they left us, they each wrote essays inspired by their time in the organization. It’s our honor to share them with you, starting with this piece by Anique Jones:

LOOKING THROUGH THE GLASS

A small bookstore sits between a chic & casual wine bar and Turkish café in the entrance of Georgetown. It’s atypical. There aren’t defined rows or a plethora of subjects to choose from. There are two floors, the second smaller than the one below it. It looks like a generational town-home; smells of old wood, paper, adhesive, and ink; and seems as if it had its furniture removed to accommodate a lifelong worth of wisdom. There I stand in front of a glass window that emanates a peaceful aura, looking at an elderly couple take their glasses off and put them back on to read the premises of books. In that moment it seems as if a distinct world exists behind the window, a world that escaped from a pretentious neighborhood dripping in name brands. The fluorescent store sign calls my name and, before I kn0w it, I am on the top floor with Pema Chödrön’s Living Beautifully with Uncertainty and Change in my hand.  

I flip to a random page and start reading. 

“When we resist change, it’s called suffering. But when we can completely let go and not struggle against it, when we can embrace the groundlessness of our situation and relax into its dynamic quality, that’s called enlightenment.” 

Pause. What? I slide the book back into the middle of the stack. I circulate the mom-and-pop shop two, even three, times. 

*  *  *

I ended up in the same spot with the same book in my hand. Ten minutes later, I was handing the girl at the registerwho had a soothing voice, wavy brown hair, and angelic facial featuresa $20 bill.

In that moment I posed this question: How can it be possible for one to lead a beautiful life in the midst of uncertainty and change?

As I stood with the book in my hand, I entered into a period of reflection. My thoughts ruminated. It was almost as if I was looking for a definitive answer to tell me what was beautiful about a life absent of certainty and thrilled for change. In the course of my life, all I had ever experienced were the negative effects of uncertainty. As for change, that was always a complex process I had to grapple with. So, was Chödrön telling me that there was an answer to fix the troubling emotions that came with uncertainty and change, like a textbook solution or a definition to a word?

Hadn’t I just spent the entire summer meditating on books that spoke of the importance of remaining grounded in the most difficult of times, that taught me the meaning of joy, and that championed peaceful living? Hadn’t I been living alone in a studio apartment in Foggy Bottom trying to find my happy place, teaching myself how to fight destructive emotions that plagued me?  So, now, was this all wrong? I was supposed to not fight? And not remain grounded but ease into every single one of my feelings?

Yes.

Plot twist. You thought I was going to say the exact opposite of what I just said; that I was going to put up a fight against the concept of Living Beautifully with Uncertainty and Change, but I have done neither. 

Why?

Because it was in that moment of contemplation that I was able to piece my questions and thoughts together. I realized that the decisions I have made throughout my lifetime have dictated my future, but they were all made with a leap of good faith. When I applied to ten-plus colleges, did I know which one I was going to choose? Did I know whether or not George Washington University was a good fit for me? Was I really prepared to leave my family and New Jersey behind? Could I have ever predicted that the major I intended on pursuing my degree in would change within the course of my first semester? The answer is no, no, and no.

This blog post hasn’t been written for me to thoroughly analyze all of the above. Rather, I have been interested in shedding light on a topic that perpetuates in society: that the human experience pits individuals against themselves. We live this life wanting to be certain about every decision we make: love, family, career. But the groundbreaking truth is that we will never know whether X decision was right until we have gone through the experience. Maybe it will take more than these words for that to sink in. That is okay. However, I must say that if you stop and think for one moment about your greatest life experiences and lessons, you will find how that is true.

If I had not looked through that glass window, I may have never discovered that the beauty in life rests in uncertainty, change, and the pursuit of happiness. If one thing is certain, it is that those three concepts are inevitable to the human condition. As I closed the book after reading the last page, the glass window was no longer the one from Georgetown. It was a mirror.

Giving Tuesday, December 3

At PEN/Faulkner, we’re excited about the work we do in our local community. In the last year, we gave free books and author visits to thousands of DC students, and we brought dozens of major authors to our city to inspire critical conversations. We need you to keep that momentum going. Our goal is to raise $10,000 to support our Writers in Schools program and our Literary Conversations series.

The holiday season is fast approaching. Just after Thanksgiving, people around the world will make a huge impact by participating in Giving Tuesday, a global day of giving back. We invite you kick off this season of generosity strong by helping us keep making a difference in DC. You can donate directly, or you can set up your own fundraising page and reach out to your network yourself.

Your support makes a big impact. Even $15 on Giving Tuesday can make a significant difference by putting a new book into the hands of a DC student. $60 covers the cost of an hour of writing instruction in a DC classroom, and $300 helps us honor the writers who give their time to our education programs.

As an added incentive, we’re offering supporters a few special thank you gifts: signed copies of last year’s PEN/Faulkner Award finalists!

  • Call Me Zebra, by Azareen Van der Vliet Oloomi, our PEN/Faulkner Award-winner
  • The Overstory, by Richard Powers
  • Love War Stories, by Ivelisse Rodriguez
  • Don’t Skip Out on Me, by Willy Vlautin
  • Tomb of the Unknown Racist, by Blanche McCrary Boyd

For a donation of $100, you can select the book of your choice.* For $250, we’ll send you any three of those titles. And if you join our team and raise at least $450 for PEN/Faulkner, we’ll send you all five!

* Supplies are limited — there are only 30 copies of each title available! We’ll be sending around a form for you to select your top choices once the day is done.

Our mission is to celebrate literature and foster connections between readers and writers to enrich and inspire both individuals and communities. Thank you for helping us achieve that goal, and happy holiday!

Read the RISE UP! Essays from PEN/Faulkner’s 31st Annual Gala

On Saturday, October 26th, PEN/Faulkner hosted its 31st annual Gala at the Katzen Center for the Arts. The theme for the evening was “RISE UP!” and 10 incredibly talented writers wrote three-minute essays and poems about what those words meant to them. We were very lucky to be joined by such powerful voices. Here’s what they had to say. You can read the essays below in the order in which they were presented, or go straight to your favorite author by clicking on their name: Nell Freudenberger, Matt Klam, Alice McDermott, Francine Prose, José Rodríguez, Queenal Ayaba, Rachel Louise Snyder, Nafissa Thompson-Spires, Katrina Tracy, and Azareen Van der Vliet Oloomi.

Nell Freudenberger

A few weeks ago, the New York Public Library asked me to speak to the conservators, a group of generous donors, about my recent novel.  I was very grateful for the invitation–partly because I love the library, and partly because writing fiction entails spending a lot of time alone at a desk doubting yourself.  For that reason, outside affirmation from institutions–like the incredible PEN/Faulkner Foundation that we’re celebrating tonight–is hugely meaningful for writers.

My novel is about a white physicist named Helen whose best friend, a black screenwriter named Charlie, has recently died.  When I went on book tour to promote it, I expected questions about race.  I worried that the reviews would take me to task for getting race, and racism, wrong.  When I confided this worry to my sister, she said, “You’re white, the book has black characters, we live in a structurally racist society, you’re racist, I’m racist, we’re all racist, and of course there are going to be reviews like that.” She is a lawyer, and she tends to put things bluntly.

But the thing was, the reviews barely mentioned race.  Almost none of the questions I got on tour touched on that subject, and when they did, they often lumped it together with gender, as if it was one, vaguely dirty word—why did you decide to write about raceandgender in this book?  And so I wasn’t prepared for the conservators, a group of white people who seemed to want to talk about race to the exclusion of everything else.  Specifically, several people wanted to know why “it was necessary” for Charlie to be black, what function it served in the plot.

To answer that question, I talked about Claudia Rankine’s advice for white authors, her suggestion that we could help chip away at the “white is normal” problem in fiction.  I mentioned Jess Row’s recent book “White Flights,” which examines a turning away from the subject of race among white authors–what he calls “wishful thinking as a way of making art.”  Some young library staff members jumped into the discussion to help question the idea that characters begin in whiteness, and only change their pigmentation according to the demands of narrative.

As we were talking, one of the current library fellows, a black American fiction writer, came out of his office and left the room, without giving our group a second glance.  Probably he hadn’t heard us from inside his office; probably we were just a babble of voices, and he was still in that pleasant foggy state that exists between writing or reading and the rest of the world.  That’s the place most writers would like to be most of the time.  Who doesn’t prefer doing the work to sitting around talking about it?

And so, I think that ‘Rise Up’ might have different meanings depending on who you are.  It certainly was that novelist’s prerogative to rise up out of his pneumatic desk chair and go home, or go out for a drink with friends after work, while I sat with the conservators, trying to explore why a character can be black without the plot hinging on her identity.  I say this not to disparage any of those library donors who spoke up, or to presume what the quiet ones were thinking.  The point is that this might be the job of the white writer now: a job that many of us, myself included, have taken too long to embrace, danced around too delicately.  For us, rising up might really mean sitting down, both in the figurative sense of making room for everyone else, and the literal one, of sitting in rooms with our parents and grandparents, talking out the problems we inherited and the ones we have made ourselves.

Thank you.

Matt Klam

600 years ago, in 1419, a priest led his congregation in protest through the streets of Prague but things got out of hand and they stormed the town hall and took the judge, the mayor, and several councilmen and threw them out a window where they fell to their deaths. When the King heard the news he died of shock. 80 years later, in the second ‘Defenestration of Prague’ (‘defenestration’ means to throw someone out a window) another mayor was tossed out a window, and 150 years after that  two regents and a secretary were defenestrated  — they fell 70 feet into a pile of manure and survived. This past July, I was at a writing conference and these incidents were mentioned in my workshop. All summer, I’d been in a panicky state of mind, and July was the hottest month every recorded, I’d been freaking out about mass extinction, burning rainforests, melting tundra, and the people in charge making it worse — and I was trying to keep it all inside because I felt angry and hopeless, and for the rest of that day I thought about who I’d throw out a window, reminding myself to clear the area below of manure.

That night — I was sitting on a bench eating ice cream, chatting with a poet friend who was also teaching a that conference. We discussed summer travels, writers we both knew who won awards they didn’t deserve, her incredible sex life because she’s young and single, then bumbled into an analysis of the psyche of a certain malignant, self-absorbed, shameless narcissist who’s been really tapping the patience of the universe lately — and fell silent. We were afraid. Hoping to lighten the mood, I tossed off one of those questions I sometimes use on friends. “If you could do something that you don’t do because it’s bad for you — but you could do it without any repercussions,” I asked, “what would you do?” I thought she’d say drink vodka for breakfast or fly to Spain. She looked at her ice cream and said, “I guess I’d kill a bunch of people.” Please note: this woman, this poet, has a big, boyish laugh, and has posed at least once for a publicity shot in a field of flowers. Her poems are personal strategies to understand American violence. It’s not exactly news that people are angry, but I was relieved to hear her articulate what I’d been feeling. I think this is what my favorite writers do — say what we can’t admit. And this is the challenge of our moment: Letting in the world, wishing we didn’t, but if we don’t we’re all alone. Then I told her how they used to handle it in Prague, and we made a list. And by honoring the feelings, not the impulses to action but the rage, fear, shame, and exhaustion behind those circling thoughts – at least for a moment then –  I felt hope.

Alice McDermott

And then there’s this: I’m 5’2”.  I know from long experience that if everybody rises up, I’m not going to see a thing.  Just backs and backsides.

There’s a metaphor here, somewhere.

So I’m at one of those massive book festivals and I slip into the audience for a panel discussion by three young fiction writers.  Ten minutes in, one of them declares from the stage, “I’m sick of novels about someone’s Irish grandmother.”

I sink down in my seat.

Another agrees, saying we’ve had too many immigration stories from white Europeans.

I sink further.

The third contends that the publishing world should declare a moratorium on such stories, make way for new voices, for the immigration experiences not yet described.

When the panel is over, I move toward the door, grateful that I’ve never been the kind of writer people recognize.  But a woman stops me.  We look somewhat alike, that is, there’s Irish in her DNA.  “I thought you’d get up at the q&a,” she says.  “I thought you’d tell them that all stories are valuable.”

I apologize, but argue for the novelists’ youth, their energy, their determination to be heard.

I can see I disappoint her. “Everybody needs to be heard, “ she insists.

I agree wholeheartedly.  “But maybe not all at once,” I want to add.

Some months later, a reader sends me a review of a novel about Irish Americans in which the reviewer admits that a summary of the plot sounds “as fresh as a pint of last week’s Guinness.”

The reader asks me: Can you imagine the same kind of joke being made about the literature of any other nationality?  By way of example, he offers some substitute words, offensive food slurs directed at other ethnicities.  He urges me to write to the reviewer. Be aggrieved for us, he says.  We have our grievances, too.  Stand up for the Irish.

Similar entreaties arrive from Catholic readers who are tired of hearing their faith so easily maligned.  Speak up for us, they say.  I begin to wonder if I’m being asked to rise up, or to shout down.

My father, the orphaned child of Irish immigrants – I know, you’ve heard the story –  was full of admiration for the Jewish kids in his New York neighborhood.  Because they were the only other kids he ever saw in the library.   Because they were always studying.  The word Yeshiva, he liked to point out, means to sit.

“Before you shoot your mouth off,” he would tell us, “go sit in the library.”

Sitting is out of favor these days, I know.  Although it is the assumed position of all of us who write, or read.  And it’s a lovely verb: to sit, to occupy an official seat, to preside, to be still, to remain, to be fixed or settled.  It provides the root for such words as: assiduous – to sit down to.  Or dissent – to sit apart.  Or séance – a sitting session meant to evoke spirits.  And even – in the spirit of evoking spirits both liquid and ethereal – that wonderful word out of Irish folklore: banshee.

I’m reaching for a metaphor here, but it seems a simple proposition, one especially relevant to the cacophony of our aggrieved, combative times:  there is wisdom in knowing when to rise up; there is wisdom, too, in knowing when to sit down.

Francine Prose

Every year, in my literature class at Bard college I try to teach at least one story or poem by a South American or Eastern European writer, Roberto Bolano, Mariana Enriquez, Zbigniew Herbert, Nadezdha Mandelstam, a story or poem in which authoritarianism is in the background or foreground, a story or poem that reminds my students how rapidly a society can change—overnight, in some cases—from a democracy to a dictatorship.  I don’t know why it seems so important to make them think about  the fragility of democracy. Forewarned is forearmed, I used to think, or anyway something like that.

Always I used to say: we’re not there yet. One difference is: we’re not used to living in a  society in which people just disappear. I tell them about the mothers standing, day after day, in the plaza in Santiago, Chile, with the photos of their children, missing for years, then decades. Or about the 43 students who disappeared in one night, only recently, in the Mexican state of Guerrero. The Argentine citizens who were dropped from helicopters over the sea, the Russians who vanished into the Gulag.

We’re not there yet, I’d say.

This summer, newspapers ran stories about 2000 children who had been separated from their parents at the US Mexican border and were unaccounted for. Have they disappeared? The stories about them have disappeared. And the children, the adults  who languish in cages, in cells, sleeping on cement floors, covered by Mylar blankets. Have they disappeared? Do their families know where they are? Does anyone?

So we’re there now. It’s happening now, as we eat our delicious diners and gather to chat with our friends. It’s happening now, in our country, right now. Concentration camps. Our democracy is in danger.

Rise up.

José Antonio Rodríguez

On Standing Before the Repurposed Warehouse in My Hometown

I would really like for the frog
To make an appearance. Its diminutive body
Slick with that permeable skin
Unexpectedly resting on the road,
Surely finding its way to the grassy patch
By the enormous warehouse.
Having just rained, the inch-long frog
Has come alive, rare and resurrected
From the sun-scorched earth of McAllen, Texas.
See, its presence reminds the speaker
Of his own childhood summers away from this town
All the way up in the Texas panhandle
With its onion fields, the pre-dawn shift, the burlap sacks,
The metal shears, and the frogs (entire communities
It seemed) unstoppable across the dirt rows.
Yes, this frog on the road should make an appearance
As some kind of symbol by the warehouse,
That cross-less compound down the street
From the speaker’s old middle school.
The galvanized steel walls,
The poles with the recognizable flags,
The front doors with the signs “No smoking within 10 feet of this entrance” and “No photography”
On the glass, tinted dark of course,
Chain link fence with privacy slats
Tall around the rest of the structure,
And the corner entrance with the motorized sliding gate
For the buses with the metal-barred windows,
Also tinted,
And the undocumented children silent in them.

I should warn you, their brown-eyed stare could break you.
Does it matter whether members of Congress
Have already shown up to see for themselves?
Let us say this fact is nonessential,
That it draws attention away from the purpose
And the speaker with his own Mexican memories
Of hunger and futile prayers. We must bring this back
To the poem’s charge –their foil wrappers,
Their recorded cries and coughs, their play pretend
Of calling each other hermano, hermana, madre –
Inadequate attempt against erasure –
Their blinding nights, their uniformed overseers,
Their bloodshot eyes.

Say we name every part of them, every last one,
That we might reconstitute something
Of who they were before this –
The long walk, the despair,
The sacking of their country’s mines –
Might it be like touching the hand of God?

And if we called out their names
All the ones dead and dying
Felipe Gomez Alonso
Carlos Gregorio Hernandez Vasquez
Jakelin Caal Maquin
Mariee Juarez
Josue Ramirez Vasquez
Darlyn Valle
Juan De Leon Gutierrez [1]
Could they then rise up from the concrete floor,
Past the cages, the eye-burning ceiling lights,
Past the flags, the reach of the city’s thrum,
Until they turned to see it all
And remembered the beauty they once were?

[1] Names taken from article “Why are migrant children dying in US custody?” by Nicole Acevedo, 5/29/2019, nbcnews.com

Queenal Ayaba

The Lion Anger Has Resurrected 

My homeland lived a happy life for years until 2016 after I left. I was just 14 when I left Cameroon to come to the United States. A few months after my departure to the U.S., teachers and lawyers from the English-speaking regions of Cameroon decided to lead a strike because they had been marginalized for many years. I thought everything would be okay after the strike, but I had no idea that it was the beginning of a war.

The sorrow that built up in me started to melt. Each day, my friends from Cameroon sent me video clips about people being killed like birds being hunted.

You could see the veins and skeletons of people laying on the floor; some had deep holes in their heads to the point that you could see the eyes staring at you like they wanted revenge. The water that had been held deep in my eyes started pouring out and dripping on the ground like stormy rain.

“Make we na come oh.”

“Ma house di burn.”

“They don finish me oh. Ma pickin don die. They don burn my house.”

“Watti I don do?” said a man in one of the videos sent to me by my friend.

Sometimes seeing children witnessing their parents being killed, and some losing their homes, terrified the anger in me. Communities were completely vacated to the point where you could only smell the dust of innocent dead souls crying for revenge.

Each day, many family members lost their young boys or men because the men of our land were mostly targeted by the French Cameroon armies. A huge percentage of the population, especially women and children, suffered from starvation, lack of water, and no access to healthcare.

Sometimes, armed men attacked schools in the English regions, and one week wounded more than 20 people, including children. Throughout the torture that I faced seeing the spirits of the innocent dead, weeping and crying, I knew deep in me that there was a cheetah who wanted to rise up and make a change, but I did not know how. The ashes that held together firmly in the fire started flaking off.

“Where is the flame that is burning in me,” I said. I could not bear to see more houses burning and people fleeing from their homes and villages.

The rage in me arose when I saw women being raped and executed randomly.

Only a few people each day had the chance to flee and find shelter in the jungle despite the wild animals that live there. I knew at this point that holding back my pain would not be a solution. As an Ambazonia, the sorrow in me already evaporated. I could not stand all the tears from my lost ones and their voices speaking to me. Les yeux étaient rouges comme du feu.

As an English Cameroonian, I felt like I was spiritually with those in Cameroon that were standing up for their freedom with confidence. No sitting back, for the power in us was like a lion that was ready to unceasingly killed many gazelles, hares, and other animals. We were never bound to join up with the French Cameroon as one community. For the ancestors of the past signed a treaty with them guaranteeing the respect of our cultural identity.

I felt like the tears of the dead babies that had been killed by the French armies and that started haunting the armies; for they cry deeply in the army’s ears day and night and haunt them in spirit. We have become each and everyone’s leader, protesting for our freedom, and fighting for what belongs to us, including our land and lives. We cannot let troops of the French armies escalate on our backs and arrest all our main important leaders.

For the young men of our land called the Amba boys — the Red Dragons — and Tigers have risen up to defend us Ambazonians. They have built up an army with rockets on their backs and sprung up, ready to fight for the independence of us Ambazonians.

Each day in the videos, I hear gunshots from the Amba boys back and forth with the armies on the other side, while people close their doors and windows, looking for a safe spot under their beds.

Rachel Louise Snyder

Rise Up: Cambodia

The third floor of the Tuol Sleng Genocide Museum is closed to the public. Crude cells cobbled from splintering wood or brick make up the first two floors, along with a small museum of photos and information about the 1975-79 genocide. Once, there was a map of Cambodia from human skulls on the wall, but the map has been moved, to the outskirts of the city onto the most well-known killing field. I say well-known because there are many killing fields. There are killing fields in far reaches of the countryside that are only partially cleared. When I lived around the corner from Tuol Sleng, there was no public explanation for why the top floor was closed, but my neighbors needed no explanation. The third floor, they said, was thick with ghosts.

One day, I paid the entry fee, and snuck up to the third floor. It was a spontaneous decision. There were crumpled up receipts, palm fronds and dead leaves from flame trees and enormous dust balls and crushed cans of Beer Lao. A television antenna, yellow plastic bags, a smattering of straws. As on the other floors, the ochre and white tile bore dark stains that some say is blood, but after so many decades is more likely mold. The shutters cracked the bright sun into lattice on the floor.

The neighbors laughed when I told them I’d gone to the third floor of Tuol Sleng and then they asked why? Why would I do such a thing? They told me I had disrupted the ghosts. There was no telling what might happen now.

Cambodians, by and large, do not fear ghosts. Rather, ghosts are like trees: ubiquitous, necessary and even urgent for sustained life. But they can also grow gnarled, interfering with nature in obstinate ways.

By the time I’d lived in Cambodia for a year or two, I grew used to the busloads of Australian and Chinese tourists who emerged from Tuol Sleng in stunned silence. After five pm, though, when Tuol Sleng-the-genocide-museum closed, Tuol Sleng-the-night-parking-garage opened. For two thousand riel, or fifty cents, we could park our cars there so long as they were gone by morning. Our neighbors kept Camrys and Land Rovers there. We’d knock at the gate, and guards would roll out of their hammocks to direct us by flashlight. A television hooked up to a car battery entertained them with soccer late into the night.

The ghosts were there, I knew, but quiet, understanding perhaps that the necessary and urgent utilitarian need of a new generation can summon its own kind of reclamation.

Nafissa Thompson-Spires

I can’t remember the first time I got in trouble for something I said, but it was likely a pre-language facial expression, a half-smile misinterpreted as a frown, or a look in my eyes that suggested disrespect. In preschool, I was paddled for talking during naptime at a private school that still used corporal punishment. Saying the wrong thing got me booted from kindergarten, literally less than a week into the new school year, when I lamented that the teacher did not give us the homework I had come to expect at my Montessory-style preschool. That teacher held a meeting with my parents and the principal to have me tested (read: removed from her class) and pawned off on the first-grade teacher.

But precocious, inquisitive five-year-olds were not welcome in first grade either, which came with the homework I requested but also a mousy teacher’s aid with a Trunchbull knack for embarrassing children. If you spoke while Ms. Ivey was speaking or if you said anything she didn’t want you to say—and the broad ambiguity of the latter category posed the issue for me—she punished you by forcing you to wear a giant red mouth, mimeographed, cut out, and carefully laminated, complete with elastic red band to secure the mask over your mouth and ears.

Never mind how it would look for a white teacher to make the handful of black kids in our grade wear the oversized overly red lips we grew up seeing on the random cartoon coons they forgot to censor from our Bugs Bunny and Tom and Jerry reruns. This teacher believed in colorblindness and equal-opportunity law enforcement. She had washed her own white son’s mouth out with liquid bathroom soap at school when he used a PG curse word, so I—black, unrelated to her, and already labeled a problem, smart but a problem—was certain to end up wearing those red lips. My previous goals of beating everybody at everything gave way to a new one: avoiding being forced to wear the mask riddled with the germ strains of a dozen other six-year-olds. Somehow I dodged wearing the lips while also placing in the speech competition that year.

But later, at a different Christian school, I was not so successful. There, I learned a host of things could get one—me—sent to the principal’s office: using, for instance, the words or “weenie” or “racist.” I received nearly the same punishment for chewing gum outside of the classroom as a white student did for wearing blackface on Halloween. And on the books, his official crime was mooning someone, not the brown face paint he wore while pulling down his pants. In high school, when I reported a student for calling one of the only black girls on our campus a racial slur, the principal called me in not to thank me for bravely coming forward but to explain that black people, too, could be racist. I don’t believe Brian, the student who used the slur was ever punished. And I know my school did nothing to the group of nerdy boys and girls I had known since elementary school, who, around the time of Columbine, suddenly started wearing black trench coats and chanting “white power.”

But I learned a valuable lesson from those red lips and the cowardly, misguided chastisement of the administrators in my life. I learned not to stifle, as these institutions wanted me to do, but instead that there was no amount of stifling that would ever make me acceptable, and thus, I could become louder, angrier, scarier, more problematic, and still be treated the exact same way as I was when I tried to be respectable, to shrink myself down, to avoid humiliation or reprimand. What I’m trying to say is that I ended up wearing those big red lips no matter what I did. Respectability, I intuited—though I have to frequently recall this lesson—doesn’t protect you from the insidiousness of the white gaze or the inherent all-encompassing violence of white supremacy.

As more and more tenured academics, university administrators, and journalists are losing their jobs for stating facts about racism, our presidency, queerphobia, and Islamaphobia, the threats of retribution are only intensifying. Students a few weeks ago burned the books of Jenine Capo Crucet. The message, everywhere, is clear: you will be humiliated for telling the truth; you will be punished. But more than ever is the time to speak up, to shake off the choking fear.

In addition to teaching at a university, where race, racism, and the importance of ethical writing are foundational to my pedagogy, I now get paid to visit campuses, often predominantly white, and talk about these issues. (In other words, I get paid, well, to upset racists). And nothing could have prepared me more for the hostile eyes I sometimes encounter on these campuses, for the people who play devil’s advocate with the facts of my humanity during Q&A sessions, than that red laminated lip mask. The threat of that mask freed me, started to unbutton me, even at the age of five, from my starched childhood. It unmoored, year by year, my deep fear of disapproval. It taught me that being pointed and laughed at is a terrible feeling, indeed, but a worse one is knowing exactly what is right and choosing not to act for fear. I reject, then, both the discursively violent mask and its more perfidious performative power, the self-subjugation of silence. And doing so, I hope, has and will make all the difference.

Katrina Tracy

Sometimes You Stick Out 

As a Russian-American, I go to Russia every other year to see family, and with every passing year, I feel more disconnected. Maybe it’s because I don’t speak perfect Russian, or maybe because my brother speaks even worse Russian than I do. Perhaps it’s because of the political tension that has been between our two countries for decades, now instigated by conspiracies and political comments.

We go to Serpukhov, a place that sees little foreigners. It recently got inducted into the golden ring, the name of cities that have special tours, this year. Everyone just assumes everyone is from around there, or at least from Russia.

My brother and I were swinging on the swings. My shirt stuck to my back, the sky was blue, with fluffy clouds overhead. A cloud passed, throwing us into shade. A boy and a girl came to the playground. The boy was tapping away at a phone. The girl occupied herself with the seesaw.

After a while we did the usual introductions, and maybe because of our small accents and stumbles, they asked us where we were from.

It felt like I was walking around with a sign on my forehead that read, “American.”

Maybe I could lie and say I’m from Kyrgyzstan–technically true, my mother grew up there–but I didn’t know any Kyrgyz and what if they asked? So after a second of deliberation, I reluctantly said it.

“I’m from America.” My brother liked the attention they gave us then, their faces had a look of almost-masked shock, changing into a calculating look. Like, “What questions do you think we can get away with?” I gritted my teeth and hoped my brother didn’t say anything silly.

“What type of car do you have?” The boy started.

“A Honda.” If I had met someone from a country I had never been to, I would ask more interesting questions, like about the differences in weather, or what language is spoken.

“Hmmm, well I guess that’s a respectable car.” He peered at me disapprovingly, as if saying, do better. “What car does your mom drive?”

“We only have one car.” I said. Staring at me in shock, he swiftly changed to another topic.

“Who is cooler, Obama or Putin?” Honestly, I can’t remember what I answered. I wanted to fit in, so I struggled with the question.

Either way, he wouldn’t believe me. All he would remember from that exchange was that we were Americans. I hated it. All I wanted was to be “normal.” There, in Russia, I will always be the odd one out.

“Anton!” I called my brother. “We have to get home, sorry.” I told him. He started to protest, but I took him by the arm, leading him away from their piercing eyes, looking at me like I was an elaborate vase on display. But they weren’t looking at how intricate and colorful the vase was. They were looking at the price tag.

Hurrying into the apartment I quickly shut the door behind us. My grandmother’s apartment was small, so I got to the window quickly.

Stealing glances, I saw they were still there. I would go outside to play only when they were gone.

I flopped onto the couch. Most kids I had met in Russia were perfectly nice. They would let it drop after I would explain, “We are visiting our grandmother.” I would tell my brother, “Don’t say anything about where we are from, let me talk if they ask.”

When we go to Moscow or other cities, it isn’t strange to see someone who isn’t Russian. But every so often, a person will stare at you, or come up to you and tell you that they have never met an American before. That hurts.

I don’t want to be singled out like that. Can’t people understand I’m just like them?

Later, I found myself thinking about those kids, and what they had said. In America, I never shy away from the fact that I’m Russian. Why should this be any different? I was tired of evading questions.

When I go back again, I will rise up. I am American. But no less Russian. I hope I can summon the courage not to hide. I won’t tell everyone, shouting it around the street, but if someone asks, I won’t tell a half-truth like I have before. I am proud, and I hope I can teach my brother to rise up and be proud, too.

Azareen Van der Vliet Oloomi

We are unable to post Azareen’s piece at this time as it is still in the publication process. Stay tuned for more information!

Don’t Miss Our First Literary Conversation of the Season!

PEN/Faulkner’s first Literary Conversation will focus on the role of graphic novels and comics in today’s world of visual media. Tickets on sale now!

What happens when the visual arts meet the literary arts? For years, comic books and cartoons have dominated the realm of visual storytelling in print. Now, with the rise of the graphic novel, the potent, vivid immediacy of illustrations is being united with long form prose to redefine 21st century literature. With their incredible diversity of style, graphic novels are telling stories across genres, including memoir, historical fiction, and young adult fiction. Join the PEN/Faulkner Foundation for an evening of conversation with some of the biggest names in graphic novels, as they talk about artistic collaborations and the evolution of storytelling in a new era.

Featuring:

Ebony Flowers
Edgardo Miranda-Rodriguez
Gene Luen Yang
Scott McCloud (Moderator)

Buy your tickets today!