creative process

Spitsbergen Journals 1

Spitsbergen Journals 1

Between June 14 and July 2 I participated in The Arctic Circle‘s expeditionary residency, an arts-and-science-driven voyage on a barkentine sailing ship up the west/northwest coast of Svalbard, Norway. During this trip I absorbed the landscape (sea, mountains, ice, river, sky) and worked on my novel-in-progress, which is largely set in Svalbard. Here is the first installment of selected journal entries that I made during the trip.


Oslo, Norway
June 13
I’ve been up for 27 hours. Two planes, two trains, two buses and a whole lot of first-day-in-a-new-city flailing. Special train or regular? Why doesn’t my credit card work in the ticket machine? Am I on the right bus? No! Yes! But no matter, I got to see the Viking ships. Millenium-old oak carved with serpent heads, spirals, knots. So much grace in the craftsmanship. Metal puzzles, remnants of woven tapestries, bridles, jewelry. And to think that this most beautiful ship, filled with riches, was the burial place for a Viking noblewoman (perhaps a shield maiden). The actual burial chamber was there in the museum too, a peak-topped tiny cabin of charred wood, reconstructed post pyre. I wonder if the oils from her earthly husk infused those old beams and if she haunts this place. Wood, copper, iron, stone. Woven sails, ships full of men each sitting on his own sea chest as a bench. Moving silently through fjords to the open seas. Rambling now just to savor this day. Turning toward the sea, welcome the allies and ghosts of this journey. Rest in it, the woven shawl, the braided rope, the metal and stone baubles.
Longyearbyen, Svalbard
June 15
I am here. Shale and snow patch. Barnacle geese, Svalbard reindeer, snow bunting, glaucous gull. One small moss campion cushion glimpsed while walking back to New Town. Passed a tipi full of people blasting the Jackson 5. So many children here, playing outside in snowsuits. There is an Arctic Nature Guide school here…be still my heart. Random coal buckets and mining infrastructure scattered across town, and an old boarded-up mine high on the mountainside, hanging over this place like a ghost. The landscape something out of myth – citadels, battlements, precipitous heights. Rivers of shale flowing down and turning to moss and then the sea. All of it beneath a thick overcast.
Longyearbyen, Svalbard
June 16
Last night I hiked to the abandoned mine. Up scree that changed from brown to red to a soft black sand that must be coal. Above the mine little auks gave me a true welcome to this place: their ominous, insane laughter mocked the human presence here. My eye constantly travels up to these stone faces above me. I try to read the expressions in pinnacle and crag. Many-faceted meaning many faced. You can search those stone faces all you want, all you can handle for as long as you can stand the mystery of unanswered questions. Inside the mine, treacherous going. Would hate to break a leg before the trip really begins. I inched inside for just long enough to sense jagged icicles and missing floorboards. Broken equipment, graffiti in many languages. I’ll stay out in the perpetual daylight instead. It’s 1 am. Time to head down to the valley and see what else is stirring.
Isfjord, underway
June 17
Yesterday we boarded the good ship Antigua, which is a square-rigged barkentine and part of the Dutch Tall Ship Fleet. I was met by three spectacular female wilderness guides: Theres, Sara and Åshild. Purple sandpipers, northern fulmars, a puffin and arctic terns. Standing at the rail, my heart full to bursting. My cohort is amazing. Already conversations about ethereal Norwegian doppelganger spirits who slip between different dimensions of reality, chapter 42 of Moby Dick, ravens. Everywhere I step I trip over inspiration. The sea at first bordered on emerald and then shifted to a strange, white-cast blue. As if the color intends to be friendly and yet within the white opacity you sense only death.
Break open preconception. Toss habitual modes overboard. How can I take a cue from these improvisers, my companions? Some of them shipped supplies that did not arrive in time for our departure. Some counted on a trip to the Longyearbyen hardware store but it was closed. Mia rolling her tarpaper down the mountain. Amanda collecting vintage ropes and spinning paper to rope like some patron saint of seafarers. I hold my story, The Gyre, in my cupped palms. It is time to lose my knowledge and move the book forward into new territory. Listen: where is it?
by Stacy Carlson

The Next Big Thing

The Next Big Thing

“The Next Big Thing” is a viral self-interview sent through the ether chain-letter-style by writers, to spotlight new or forthcoming projects. My friend, poet Mira Rosenthal, tagged me for the interview; you can read Mira’s interview here.


What is the working title of the book?
The Gyre
Where did the idea come from for the book?
The compost heap of my subconscious, I suppose. More specifically, the idea was born the moment I stepped off of a Beaver bush plane into the peculiar, unforgettable light of an arctic summer. For two weeks I rafted down the Canning River in northern Alaska. We watched foxes, owls, bears, and even saw a wolf make its way across the vast tundralands. By the end of the trip I had no words to express the way that landscape had changed me, and I took that as a writerly challenge. At that point, even though I had not yet developed the story elements that would become The Gyre, I knew I would write a book whose heart is in the far north. I wrote a little bit about that trip to Alaska here and here.
What genre does your book fall under?
Literary fiction set in a version of the past (which is not really past).
What actors would you choose to play the part of your characters in a movie rendition?
Hmm, I’m going to skip this one. I don’t want to provide a replacement for the wonderful work of a reader’s imagination at play with a writer’s intention.
What is the one sentence synopsis of your book?
Three wildly different people ride their ambition (both worldly and spiritual) north to Spitsbergen, where they become sun crazed in summer, enchanted by the aurora in winter, and altogether enmeshed by the strange layers of folklore present even in the most remote, arctic archipelago.
How long did it take you to write the first draft of the manuscript?
About three years.
Who or what inspired you to write this book?
I am motivated by a desire to contribute to a literature of the arctic that does not center around themes of exploration.
What else about your book might pique the reader’s interest?
There’s an ax fight!
Also, I made a video about The Gyre as part of a Kickstarter fundraising campaign to raise money for an amazing research and writing residency I’ll be doing this summer. Check it out!

You can contribute to the project here.

Will your book be self-published or represented by an agency?
Hopefully represented by my current agent.
My tagged writers for next week
The wonderful poet Caroline Goodwin, who also looks northward — to Alaska — in some of her work.
by Stacy Carlson

Exuberance is Beauty: William Blake and the Brooks Range

Exuberance is Beauty: William Blake and the Brooks Range


When I sat down to write a few words about my journey to the Brooks Range in Alaska, I stared at the blank screen for a ridiculous amount of time. Finally, a random memory lodged itself in my mind. I couldn’t shake it, so in a writerly leap of faith this account of Alaska’s remotest region begins ten years ago on a crowded London subway.
            I was studying literature. Specifically, I was on my way home from a pub crawl, when I pulled out a copy of William Blake’s The Marriage of Heaven and Hell. It was a halfhearted attempt to prepare for class, but as I read the poem I felt as if a beloved friend had just slid into the seat next to me: How do you know but ev’ry bird that cuts the airy way, is an immense world of delight, clos’d by your senses five? Across a span of 300 years, this voice articulated ecstatic wonder toward the world: The howling of wolves, the raging of the stormy sea, and the destructive sword, are all portions of eternity too great for the eye of man. Blake’s exultation appealed to something essential inside my own heart. Exuberance is Beauty! said he, and I agreed.
The following week, I turned in a paper on the subject of Blake, but when the professor handed it back to me he had a blatant expression of scorn on his face: “Chalk up another one for Blake. That’s the sad thing about Blake fans: they all think they’re the only one.” I was crushed by this dismissal. Apparently my identification with Blake was a tired cliché.
            I sense the legacy of this incident in moments when I hesitate to speak freely and deeply about what moves me. And here’s where the Alaskan wilderness comes in:  When we travel in a wild landscape, our “normal” ways of thinking are quickly replaced by a soul-scouring rapture that will clarify our understanding of human nature as well as the environment around us. My journey in Alaska was filled with this rapture and exuberance. I believe we humans are in great need of these sensations, and it is out of a sense of urgency that I describe my experience here.
            We had flown in from all corners of the country for an eleven-day trip on the Canning River. We were eight people in two rafts, all wearing binoculars. During sunlit nights, we sat on tundra ridges watching semi-palmated plover and short-eared owls. Infinitely changing angles of light took our breath away, and we had run out of words to express our amazement at where we were. Observing a wolf, we wondered what we humans thought we were doing on the planet.
On the ninth day we spotted a bird’s nest from the river. High on a cliff face, the nest was massive and disheveled and held three gyrfalcon chicks: two sleeping, one tottering around the periphery. They were huge bumbling things, fuzzy gray with blue-tinted old man’s faces. The tottering one settled down and regarded us with one eye open. The two sleepers awoke, and all of us by the river gasped as the chicks bumped each other and nearly knocked the totterer out of the nest. We worried when one of them choked on the stringy remnants of a meal. They stretched their winglets. They cried out for food. They fell asleep, leaning precariously near the edge of the only world they knew. We rooted for them with all our might. We were a line of comrades in rain pants and goofy smiles: two teachers, a man who led African safaris, a metal sculptor from New York City, a retired lawyer and two guides who were as excited as we were. Our world became the world of the chicks, creatures that would eventually fly over tundra and snow, over that part of the map we call “refuge” and the part we call “petroleum reserve.”
            Who are we if we cannot protect what is fragile? What have we become if we do not speak out for the things that ignite our rapture and evoke our love? We will live in that hell we create when we know what is right yet we go on living as if we do not. He who desires but acts not, breeds pestilence, says Blake, and I agree.
My cynical professor had it exactly backwards: it is not sad, but amazing that Blake’s words (not to mention experiences of the wild) empower us with passion. Our rapture is a compass by which to direct our energies. By following this instrument, we will steer ourselves back to a life in which we do what is closest to our nature: we love and delight in each nest of chicks as if they were our own blood. We protect their home as if our own children lived there.
by Stacy Carlson

AMONG THE WONDERFUL Inspires Original Artwork

AMONG THE WONDERFUL Inspires Original Artwork

A singular pleasure I’ve experienced since the publication of my book is one I did not expect: Seeing the art that my book inspires. Apart from the book jacket, I hadn’t even thought about this aspect of the book’s life out in the world. But on August 19, 2011, I walked into Swankety Swank boutique, which is filled with vintage and steampunk clothing, jewelry, furniture, and art, and the first thing I saw was a small, lovely depiction of a group of animals called The Happy Family. Maybe because I’ve experienced my fair share of synchronicities, my first thought was, “Wow, what a coincidence that someone made this painting and it is here, in the place where I’m about to give a reading.”
It was only after I saw a second painting, of a bearded woman and a giantess (and titled “Among the Wonderful”) that I realized San Francisco artist Rebecca Schumacher had chosen to use my book as inspiration for her own work.

I remain so grateful that an artist would feel moved to paint scenes from my book. It is extraordinary enough that the book has readers who invite my characters and the world of Barnum’s Museum into the intimate space of their own imaginations. That artists are making visual art out of it really blows my mind.

Soon after the book’s publication, my friend, artist Daniel Gallegos, sent me an image of a painting he’d made with sumi ink. He wrote:

“I was riding my bicycle on the Upper West Side of Manhattan when I came across this building. There are two larger buildings next to it. When I made the sumi ink painting I took the two larger ones out to give it the feeling of New York during an earlier time. I’ve since found others in the area. I’ve seen a few old mansions that even have gardens between the larger apartment buildings. Some of these buildings are even made of wood! These remind me of  the buildings that you describe during Emile’s walk out of the city to the countryside.”

A few months later a review of my book was published in the New York Times. And right there beside the column was something I hadn’t expected: a fabulous illustration by Kris Mukai.  

Recently Sarah Lawrence Magazine excerpted Among the Wonderful. One of the reasons I pursued this opportunity so fervently with the magazine’s editor is because the magazine is so well designed. I knew that if they published my piece they would do something beautiful with it. And they did. The spread includes this absolutely stunning illustration by Daniel Krall.

In mid October I went to the Pacific Northwest Booksellers Association fall trade show in Portland. I was invited to participate in an evening event wherein 20 authors, myself included, spent about 15 minutes at each of 7 or 8 tables full of booksellers pitching our respective books. It was a wonderful opportunity, and I wanted to give each bookseller a small token of appreciation (and something to remember Among the Wonderful by). I have always loved hand-letterpressed books and cards, so I decided on a handmade bookmark featuring an excerpt from the book. I quickly found Milkfed Press, in Alameda, and immediately hit it off with Victoria. We collaborated on the design and when I saw the bookmarks I was just thrilled. She did an amazing job.

And how could I forget the first original artwork of all, made by the amazing Clyde Peterson during his work on the book’s original website? Clyde read the first 50 pages of the book before it was even finished and created these layouts. When I decided to work with Clyde to redesign the site, I was really sad to see these go. I still hope to re-incorporate them in a future version.

by Stacy Carlson

Digging It Up: Notebook For a Novel

Digging It Up: Notebook For a Novel

I spent an hour this morning reading my old journals. I was looking for the account of a specific trip, but almost immediately I was sucked into a time warp that spit me out in a cozy little Dutch bakery in Ballard, circa 1999. In rushed the drizzly Seattle autumn, its golden October roses, ships coming and going in the city’s many canals, and the essence of my old neighborhood with its docks and cobbled streets, and, always, that Seattle overcast warmed by the lights of a thousand coffeeshops twinkling in the distance…okay, perhaps nostalgia waxes a bit poetic…but all of it came back to me through my untidy scrawl, and with it came a profound appreciation for that time in my life, when I carried my journal with me most days, and I made time to scribble and dream in its pages. Usually tucked into a comfortable armchair in one of those coffeeshops, and espresso fueled, I chronicled daily life, sure, but also the process of writing my first novel, the unpublished Crescent. Everything about that book was rooted in the northwest, my ancestral home, and for a period of four years or so I dug into that fertile soil, read oral histories, spent weeks in the Skagit Valley, where the mythical town of Crescent lay, and pioneered my way through my first book-length manuscript.

In 2006, excerpts of some of my journals from that time were published by Impassio Press in In Pieces: An Anthology of Fragmentary Writing, under the title “Digging It Up: Notebook For a Novel.” Although the journal excerpts are now more than ten years old, I still recognize the voice, excited and daunted by the prospect of writing a novel, fascinated by craft and the flow of imagination. I have grown and evolved as a writer since then, of course, and I do not spend as much time in coffeeshops as I used to. I find that I produce fewer pages of journals, and more pages of fiction. This is fine, but I miss the intimacy of those old journals, and I’m grateful that a glimpse of that world is visible for anyone who might wish to dig into it. If you’d like to read “Digging It Up,” it’s available at Google Books. Just go here. If you love fragmentary writing, please purchase In Pieces here.

by Stacy Carlson

Among the Wonderful has a cover designer

Among the Wonderful has a cover designer

My novel, Among the Wonderful, will be published in August 2011 by Steerforth Press. The seven-year preamble to that sentence was a wild, encompassing journey, one that is fodder for a future blog post. But right now I am overcome with a particular glee, one that celebrates the embodiment of a specific, strange aspect of the book: the cover. Among the Wonderful is still ethereal. It exists in zeros and ones, on virtual paper, saved somewhere inside a square icon with the file extension .doc. I know there are thousands (millions?) of Kindle users and other e-book connoisseurs who already accept the electronic medium for literature, but….not me. I dearly hope I never lose the passion I nurtured as a kid in the old Shorey’s Books, in a subterranean corner of the Pike Place Market. I blew my allowance on books that just felt good in my hands: a biography of Emanuel Swedenborg with a particularly smooth leather cover; a mid-century edition of the Cupid and Psyche myth, complete with lithographs sandwiched between onion-skin paper; an oversized, cardboard-sleeved Pudd’n Head Wilson. My point is that a book’s physicality mattered a great deal to me then, and even more now. I suppose during the seven years it took me to write Among the Wonderful, the book’s amorphousness was sometimes a point of frustration. I couldn’t hang it on the wall and invite my friends to behold it. It wasn’t even propped on an easel, a tangible work-in-progress. Sure, people read parts of it, but it was just weird how invisible the whole project was. And of course I daydreamed about what the cover might look like. I came up with some ideas myself, but mostly I thought about how amazing it would be to see what imagery someone else’s imagination would conjure upon reading the story. Now, amazingly, I’m on the brink of finding out.
Last week, my publisher wrote me a terribly nonchalant note to let me know that John Gall, artistic director at Vintage, will be designing my cover. (Here’s a portfolio of his work.) It is one of those developments where each time I forget and then remember this amazing news, a sensation kindred to Christmas morning when you’re seven years old comes over me. I am honored, thrilled, and grateful. Huzzah! Gall’s covers are modern, surprising, and clearly the work of an inspired mind. I can’t wait to see what he dreams up for the book. Stay tuned for more news on the book’s journey into print.

by Stacy Carlson