Forty years ago this month, I took a job as a student pastor in a small nondenominational church in a blue-collar community south of Chicago. I was a middler at the University of Chicago Divinity School–Chicago Theological Seminary, married with an infant daughter, and broke. The church offered $50 a week and a house with three bedrooms, bath and a real back yard.
The child is sitting up in bed, propped against pillows. She is six years old. Her homebound teacher, Mrs. Williams, is due any minute. She is fond of Mrs. Williams—a white-haired lady with a pleasant quavery voice.
Avoid haphazard writing materials. A pedantic adherence to certain papers, pens, inks is beneficial. No luxury, but an abundance of these utensils is indispensable. –Walter Benjamin, “The Writer’s Technique in Thirteen Theses”
In her chapter on novel writing in this collection, Doris Betts decries writing teachers who ask their students whether they really have anything to say. It’s the wrong question for a writer. As Betts asserts, “Only allegorists start from that end and work backward.
I recently gave a seminar on memoir at a public library in Talladega, Alabama. To emphasize the importance of place in all good storytelling, I asked the audience to write a paragraph describing a room they remembered from childhood.
Frederick Buechner, 76, is a Presbyterian, but he attends an Episcopal church. He’s ordained, but he’s never been a parish minister. His first book (A Long Day’s Dying) was not supposed to sell many copies, but it turned out to be the only best seller of the 32 books he’s published.
My brother was the first to call. We chatted about Barry Bonds: What justice is there in his going four for 27 in the 1991 play-offs as a Pittsburgh Pirate (our favorite team as young fans), and then, as a San Francisco Giant, hitting 73 home runs, four of them in his last six times at bat? Suddenly my brother let me have it. “Are you sure it was the Second Inaugural?” he asked.