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1. Trisha’s February non-fiction reading


Even when I was a teen, I’m not sure I read any YA non-fiction, preferring adult non-fiction instead. Since one of my reading resolutions for this year was to read more non-fiction, I thought I should also make an effort to read more YA non-fiction. So I borrowed a couple of acclaimed YA non-fiction books, Invisible Allies and the second edition of Invisible Enemies, both by Jeanette Farrell, and An American Plague by Jim Murphy. I also borrowed two adult books, The Ghost Map by Steven Johnson and The Spirit Catches You and You Fall Down by Anne Fadiman, that I had long been meaning to read. While all five books have their merits individually, I think I got more out of each book by reading them as a group. I’m not sure if I consciously chose to borrow these books as a group because I suspected they’d work so well together or simply because they were the first non-fiction books that came to mind. In any case, the first four books all deal with the effects of culture and the movement of people around the world on medical issues, particularly those related to public health, some more explicitly than others.

~really long, so click below to read the rest~


cover of Invisible EnemiesIn Invisible Enemies, Jeanette Farrell tells the stories of seven infectious diseases (smallpox, the plague, leprosy, tuberculosis, malaria, cholera, and AIDS) and their effect on people. She begins by discussing medical beliefs in historical times, then focuses on one disease per chapter, describing the microbe that causes the disease, the disease in history, attempts at treatment (basically, completely misguided prior to the acceptance of germ theory), the identification of the cause of the disease, efforts to contain or eradicate the disease, and the current state of the disease. Due to this format, Farrell does not have much space to explore each disease in depth, but she still manages to write with clarity, engaging readers while conveying a lot of information. However, what especially interested me were the differences between this book, which I read first, and those by Johnson and Murphy.

Cholera has existed in the Indian subcontinent for over 2,000 years. However, it was not until the early 19th century that a cholera epidemic hit British soldiers in India and eventually spread around the world. Farrell devotes several pages in Invisible Enemies‘ chapter on cholera to London’s cholera outbreak of 1854 and the man who traced it to a water pump on Broad Street. It’s the most epidemiological part of the entire book, and as there is something about epidemiology that I find extremely fascinating, I was glad that I had already borrowed Steven Johnson’s The Ghost Map.

cover of The Ghost Map by Steven JohnsonThe Ghost Map is ostensibly about the aforementioned cholera outbreak and the two men who discovered its root. However, the scope of the book is wide, since part of Johnson’s framework is that one must understand how the era, and the common beliefs of the time, came to be, in order to understand why John Snow and Henry Whitehead were the right men to investigate the cause of this particular outbreak of cholera.

Snow was a doctor of some acclaim for his study of and medical practice concerning the use of gases for anesthesia. But he also had an interest in other medical issues, and eventually turned his attention to cholera. Whitehead was an Anglican reverend whose intimate knowledge of the Golden Square community, the epicenter of the outbreak, enabled him to work in conjunction with Snow and to ultimately identify the first person who became ill in this particular outbreak. Unfortunately, according to Johnson, Whitehead’s role in the investigation is often minimized or simply overlooked; he is not mentioned in Farrell’s account at all. (Also, while Farrell credits the Broad Street pump with starting Snow’s investigation of the companies supplying piped water to London’s homes, as Johnson shows, Snow was convinced that cholera was spread via water and was already collecting statistics on cholera victims and the water companies that supplied their homes with water. He saw the Broad Street outbreak as another means of discrediting the miasma theory, which blamed sicknesses such as cholera on foul air, and those who considered cholera among the lower classes a sign of their inferiority.) Much of the book, the parts I found most interesting, discusses the growth of London and the epidemiological investigation. It’s when Johnson becomes a futurist and starts discussing urbanism, the possibility of pandemics, and terrorist attacks that I became bored.

cover of An American Plague by Jim MurphyThe titular American plague of Jim Murphy’s book is Philadelphia’s outbreak of yellow fever in 1793. (Not to be confused with the Memphis outbreak in 1878, the subject of Molly Caldwell Crosby’s The American Plague.) Whether or not you’ve read Laurie Halse Anderson’s Fever 1793, Murphy’s book makes for fascinating reading, especially with Paraguay’s current outbreak of yellow fever hitting the news.

Philadelphia had already been hit hard by several different diseases in 1793. When people began dying in late summer, sharing the same horrific symptoms (Murphy identifies a sailor as one of the first, if not the first, persons to die of yellow fever, and later says water casks on ships were the perfect method for transporting yellow fever-carrying mosquitoes), many doctors did not believe that the culprit was yellow fever. Yellow fever was among the most feared diseases of the era, and Murphy, using numerous primary sources, writes of various “remedies” for yellow fever and how these attempts at curing were based on the beliefs of the period. He also shows the far-reaching effects of this particular outbreak on American history and government. Like The Ghost Map, implicit in Murphy’s narrative is the belief that the outbreak—why it occurred, peoples responses to it, and attempts at ending it—cannot be separated from the events and medical theory of the period. The historical context is essential to understanding the outbreak, and to look at cholera in 1854 London or yellow fever in 1793 Philadelphia without noting this context is to not fully comprehend a diseases causes or effects.

(Sidenote that may be of interest only to me: Murphy and Farrell differ in their very brief mentions of the failure of DDT in the campaigns exterminate the mosquitoes responsible for spreading yellow fever and malaria, respectively. Farrell focuses on the effect of DDT on the food chain—DDT was also ingested by roaches, which were eaten by lizards, which became sick, thereby sickening the cats who ate the lizards, etc.—and the evolution of DDT-resistant mosquitoes. Murphy discusses the lack of funding to fully eradicate the disease-bearing mosquitoes as well as the “concern about health risks and environmental problems associated with the use of DDT,” specifically mentioning Rachel Carson’s Silent Spring as well as her prediction that DDT would only worsen the problem by creating mosquitoes resistant to DDT and other pesticides.)

Reading these books, you can see how, as trade goods and people began moving rapidly around the world, so did sickness and disease. Unlike the above books, the subject of Anne Fadiman’s The Spirit Catches You and You Fall Down is notcover of The Spirit Catches You and You Fall Down microbes or epidemics, but the treatment of young epileptic girl. Still, like the Johnson and Murphy books, understanding culture is essential to understanding how and why this particular situation arose. Plus, it could not have occurred if the world was not shrinking and people did not have the ability to move halfway around the world in a relatively short (evolutionarily speaking) amount of time.

Of course, epilepsy is the Western diagnosis. For the parents of Lia Lee, Hmong immigrants, it is obvious that the correct diagnosis is quag dab peg, “the spirit catches you and you fall down.” While Hmong know that quag dab peg can be dangerous, it could also have been seen as a blessing, since “Hmong epileptics often become shamans.” When one of Lia’s seizures scared her parents enough to send them to the emergency room of the county hospital, it led to a series of confrontations between Lia’s parents and the doctors and social service providers who all thought they were acting with Lia’s best interests at heart. The doctors prescribed medicines, the Lees thought the medicine was making Lia sick, the doctors were unable to convey the Lees why they must give Lia Western medicines, the Lees continued to try to heal Lia with traditional methods, and so on. Both sides were unable to communicate with the other due to linguistic and, most importantly, cultural barriers. Fadiman writes gracefully and sympathetically about a very difficult situation, and if you read just one of these books, make it The Spirit Catches You and You Fall Down.*

cover of Invisible Allies by Jeanette FarrellI suppose Farrell’s Invisible Allies is the odd book of the bunch, since it examines the many ways microbes benefit humans. Following the same format as Invisble Enemies, Farrell looks at just a few of the millions of microbes that are beneficial to humans. These advantageous microbes dwarf the number that are dangerous to humans, and the ones that Farrell discusses here all happen to be at least partly related to food production and consumption (cheese, bread, chocolate, and the microbes in our intestinal tracts, and the final chapter which focuses on sewage and cleaning polluted waters). It’s easy to think of the negative effects of microbes on our lives, making this book an intriguing, if sometimes slightly disgusting, look at how we benefit from them.

* Also, it so clearly and devastatingly shows how certain values and aspects of belief systems are not universal. Schools and public libraries must also deal with cultural clashes, not to the same potentially harmful effect, obviously. But as some of our libraries are increasingly patronized by immigrants, I think it’s important to keep in mind that publicly funded institutions such as public schools and libraries may (literally) be foreign concepts and that other conceptions of property and group ownership may differ from what we value as American public service providers. Okay, off my soapbox now. On another note, it does have teen appeal, especially for those considering entering a medical field. I was reminded that I wanted to read this book after noticing that one of my teens had requested it from another library.

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2. Psychology of Revising: Gifted and Talented

5 Days on Psychology of Revising

For six years, I've taught the Novel Revision Retreat across the country and I've thought a lot about the psychological issues that writers face as they face the work of revising a novel. It's interesting that most psychological discussions of writing involve writer's block. Not much discussion of everyday issues of a working writer. Of course, I'm not a psychologist: these are just my observations. Your experience for any particular novel may vary widely from this!

Hope
Fear and Humility 1
Fear and Humility 2
Gifted and Talented
Perseverance

Gifted and Talented


If you have finished a draft of a novel (however messy!), you are Gifted and Talented. ( description–pdf).

The fact that you are Gifted and Talented has an important implication for revising your story.

First, I’ve talked with Gifted & Talented Teachers about how their students learn. When they learn something new, there’s a stage where they are very uncomfortable. Usually, GTs learn quickly and easily; they catch on. But sometimes the material is more difficult than usual, or more complex, or more puzzling. For some reason, they don’t catch on. They are unsure of what to do next.

At that point, GTs get uncomfortable and since they are rarely uncomfortable with learning, they often bail out. Anger, frustration, fear, impatience–do you experience some of these emotions when you face a revision that just doesn’t seem to be working?

First, the very fact that writing well is a process of revision is frustrating to a GT. They are used to getting things right the first time around. Maybe the first obstacle is embracing writing as a process.

Once you accept the process, though, you must also accept that facing difficulties in the revision process is normal! But if you’re a GT (and you are!), then it’s doubly frustrating because you so rarely face things that are hard. When I do the Novel Revision retreat, I warn the writers that they may hit a brick wall sometime during the weekend. The process of thinking about revision may start to overwhelm them.

Forewarned is forearmed. I try to head off the problem of frustration by warning that it is inevitable. When revising your story, you will face difficulties. This is normal! Let me say that again: Difficulties are normal. To be expected. Inevitable. A normal part of the process.

You have two choices: face them squarely and deal with them; avoid them and quit. And of course–you can’t quit!

As a GT, you are uniquely qualified to solve difficulties in revising because you do catch on quickly. You know how to locate and use resources that will help. You absorb information from a wide variety of sources. Given a day or so, you could probably tell me 30 ways that others have solved similar problems.

If you have a complete draft of a novel done, you are Gifted and Talented. That’s good news. It might mean you have a lower threshold for frustration, but in the end, it means you’ll make it through the writing process in great shape.

Take the Giftedness Self Test. What character qualities do you most identify with? We know how the positive things like strong vocabulary will affect your writing. What qualities make it harder to revise and how do you deal with them?

Tomorrow: Perseverence

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3. Psychology of Revision: Fear and Humility, Part 2

5 Days on Psychology of Revising

For six years, I've taught the Novel Revision Retreat across the country and I've thought a lot about the psychological issues that writers face as they face the work of revising a novel. It's interesting that most psychological discussions of writing involve writer's block. Not much discussion of everyday issues of a working writer. Of course, I'm not a psychologist: these are just my observations. Your experience for any particular novel may vary widely from this!

Hope
Fear and Humility 1
Fear and Humility 2
Gifted and Talented
Perseverance


Top 10 Ways to Stop the Sting of Critiques


Yesterday, we talked about the fear and humility of receiving critiques. Here are my slightly tongue-in-cheek Top 10 Ways to take the Sting out of Critiques!

  1. Avoidance: Have someone else read the critique for you and only highlight the good comments. Read only the highlighted comments.
  2. Revenge: Give the creep back an ever harsher critique than you just got.
  3. Denial: Write out the reasons why the critiquer is totally off base. Ignore all suggestions.
  4. Excitement: Fake excitement about the critique and tell everyone you know exactly what's wrong with the story and how you plan to fix it.
  5. Suspicion: Read each comment with the suspicion that the critiquer is trying to get your manuscript out of the running, so their own manuscript will do well. Therefore, you can safely ignore any comments you want to.
  6. Surprise: Allow each comment to be a revelation at how far off base this critiquer is.
  7. Pride: Take pride in your ability to "take it" from the tough ones.
  8. Loneliness: Understand that you and you alone are in the situation of receiving harsh critiques; such things have never been written about any manuscript and will never be written again.
  9. Forgiveness: Realize that the critiquer has sinned by so harshly criticizing your story and at some point they will have to come and ask for forgiveness; be ready to give it gracefully.
  10. Hope: Find hope in the good things the critiquer noticed, and Hope in the process of revision.

How else do you deal with the Sting?

Tomorrow: Gifted and Talented.
If you have a full draft of a novel, you are indeed Gifted and Talented. What does that mean as you revise?

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4. Psychology of Revising: Fear & Humility 1

5 Days on Psychology of Revising

For six years, I've taught the Novel Revision Retreat across the country and I've thought a lot about the psychological issues that writers face as they face the work of revising a novel. It's interesting that most psychological discussions of writing involve writer's block. Not much discussion of everyday issues of a working writer. Of course, I'm not a psychologist: these are just my observations. Your experience for any particular novel may vary widely from this!

Hope
Fear and Humility 1
Fear and Humility 2
Gifted and Talented
Perseverance

Fear and Humility: I Don't Want an Honest Critique



     No, don't tell me what's wrong with this novel. I don't want to hear it. Minor problems? OK, I'll fix those. But major structural, plot or character problems–don't tell me.

     Cynthia Ozynick says, "Writing is essentially an act of courage." When I get an honest critique, my courage fails me. I fear the revision needed: I won't ever be able to "get it right." Obviously, I thought that I had communicated my intentions well in the first draft, or I would have changed it before you read it. But you say that you don't understand, or that I'm inconsistent, or that I'm unfocused. How could that be? I see it so clearly. And if my vision of my story is so skewed, then how will I ever get it right?

     I fear that you're right and I'm wrong. But how can I be sure? This is my story and it comes from my psychological leanings, my background, my research. How can you tell me what is right for my story? If the story doesn't communicate what I want, then, yes, I need to revise. I repeat: Obviously, I thought it did communicate what I wanted, or I would have revised it before you saw it. Do you just have a different vision of the story because of your psychological leanings, your background? Are you trying to envision what I intended, or are you envisioning what you would have written? Where does your ego slam up against my ego? And where does your objective appraisal need to push my ego back into line with what it really wants to do anyway? Perspective is hard to achieve.

     I fear that all my hard work–all the months spent thinking and rewriting– will be wasted. As a novelist, time haunts me. To write a novel isn't the work of a week or a month. It takes many months, a year, a year and a half. More. It's a long, long process. Your revision notes mean that the time is extended, and that without any guarantee of being finished even then. Meanwhile, that means that I'm a year older, that it's a year in which I couldn't write anything new (even if I could find the courage to begin again).

     I fear your honesty; I need your approval (or someone's approval; if not yours, then whose?). Will it crush me emotionally if you don't "like" my story? I gloss over the approval part of critiques and agonize over the "needs work" assessment. Is there a way for you to only show approval, yet open my eyes, so that I recognize what needs work? I'd rather recognize it for myself than have it pointed out.

     I fear that my standards are too lax. I want to be finished, I want to have this story out there. I want to have written, but in the throes of writing, I want the end of the process long before the story is really finished. Submission comes too early and then I get rejections. Then, it's harder than ever to revise. But waiting is excruciating. Typical advice: Put the manuscript in a drawer for three months and then pull it out and read it with a fresh eye. What? Waste three more months? Never. It's done and ready to send out. (Ok, maybe it isn't, but I can't stand looking at it one more time and in three months, my editor could read it and buy it. OK, maybe they won't buy it until I revise, but three months? Isn't there any other way?)

     Critiques, especially honest and on-target critiques, are fearful things. I know that I need them; but they are painful, emotionally draining, and confidence shaking.

     But I need them. OK, can you give me a minute? Let me find my mask of courage. There. I have it on. Now bring on your best critique!



More reading:

Other thoughts on critique of an artist and humility.


Art and Fear: One of my favorite books on the psychology of making art. It deals with fears about our unworthiness, fears of critiques, fears of displaying our art and much more.

Tomorrow: Fear and Humility 2

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5. Psychology of Revision: Hope

5 Days on Psychology of Revising

For six years, I've taught the Novel Revision Retreat across the country and I've thought a lot about the psychological issues that writers face as they face the work of revising a novel. It's interesting that most psychological discussions of writing involve writer's block. Not much discussion of everyday issues of a working writer. Of course, I'm not a psychologist: these are just my observations. Your experience for any particular novel may vary widely from this!

Hope
Fear and Humility 1
Fear and Humility 2
Gifted and Talented
Perseverance


HOPE



Once we finish a draft of a novel and start thinking about revising, there is hope.


In her slim volume, Writing Past Dark: Envy, Fear, Distraction and Other Dilemmas–in the Writing Life, Bonnie Friedman starts like this:

“The happiest I’ve even been was departing before dawn to the bus station in Madrid. The tiny bread shop and the tobacconist were still dark. The wet pavement gleamed when a city bus heaved past. Ahead of me lay unknown towns and countrysides that matched names I knew only from a map, and a new friend who was herself departing just then from across Madrid clutching a plastic bag like mine that was filled, like mine, with an egg-and-potato sandwich and a tangerine. The world was doors opening in all directions. I felt free, and awake, and full of laughter.
“Writing has often been just like that for me.”


That’s hope.


It’s the feeling that we are at the top of our game and building on this solid draft, we can accomplish something unique, special, earth-shattering.


We need that hope at the beginning, or else we wouldn’t start. We know that it will be long and involved and at times discouraging to dig into this story and start messing with it. We know that the results are uncertain. We need that hope.


When Pandora opened the forbidden box, she released all the world’s evils. It sent the world into despair. But then, Pandora opened the box once more and found Hope waiting. Though Hope seemed weak, it was the strongest of the things released that day.


Hope, not optimism.

Optimism is a general outlook on life, or is based on positive thinking. Hope is an emotional response, in our case, the response to a specific task of recasting a story into a stronger form. It is based not on positive thinking: I know I can do this revision well. For me, it’s based on my hope that the writing process will come through for me again.

Hope, not despair.

Despair has enough play in the life of a writer: witness the steady stream of rejection letters that we receive. But when I face my story, I forget all that. It belongs to the world of submissions and that’s not the world that concerns me when I’m revising. While revising, my loyalty is to the story, the characters, the language–what does this story need to come alive? How can I tell this now familiar story in the strongest way possible? I hope that the process will reveal the best way to tell this story.

Not false hope.

Am I indulging in false hope? No. False hope would be based on laziness, unwillingness to try. I approach revision with an open attitude and try to find ways to work with the story better. I use a variety of writing strategies to find new ways into the story. I may fail, yes. But my hope is based on process, work, past experience of struggling through difficulties in telling a story.


Here is hope: When I look at my story I realize that there’s one more thing for me to try. Hope sends me forward into revision.

Interesting links:

A rather academic essay on Hope: Revision Hope: Writing Disruption in Composition Studies. Julie Jung argues that the uncertainties of writing offer the spaces for rethinking.



Emily Dickinson’s poem, Hope.


Discussion?


Tomorrow: Fear and Humility #1.

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