I am often asked what I mean when I say that my photography and writing inform each other. Photography, storytelling, and, yes, life… it’s all about what we see, how we convey it to others and whether we can make it meaningful.
When I look at the world through the lens of my camera, I see so much more. My field of vision might be more limited, but everything becomes more focused, limned with greater clarity of shadows and light. Life resolves into aesthetic patterns and colors, giving definition and meaning, and making the ordinary everyday more noteworthy and memorable.
It’s as though my lens has the magic ability to see through to the essentials of a moment or of a personality, to tell me story that I might have missed if it weren’t for my camera’s eye view.
I often think about my photography when I’m writing… visualizing what I want my readers to see, focusing my words as I would my camera lens. To go even further,Read More
When I first read Anges de Mille’s retelling of a discussion with Martha Graham about the role of dissatisfaction in creativity, I recognized myself in it, as I expect most artists do. And I took Martha Graham’s advice to heart, hoping I would remember it during times of uncertainty in the value of my work.
When I shared it on Facebook, it hit a resonant chord with many of my friends, a number of whom reposted it. However, Rita Ashley replied, “Hmmm. Let me ponder this. Am I less of an artist if I am satisfied with a work I produced? If I cannot see a need to change, improve or correct?… Is dissatisfaction a requirement to be a good/great artist?
I realized that Rita has a very healthy pride in her creations that I sometimes also feel. But that doesn’t make my dissatisfaction less of a driving force in all my creativity.
It’s a discontent not just with my art, but with the world around me, and my uncertainty about my ability to find the words or images that can help me (and others?) understand, deal with it, perhaps explore the questions that might — if we’re very lucky and persistent — find solutions.
Or, if I’m to be precise, I’m driven by a combination of confusion, concern, and dissatisfaction. I can be pleased with a single creation (sometimes), but my body of work is very incomplete. I have so much more to say, to try to understand.
What drives your creativity? When, if ever, do you feel you’ve reached a point of completion?
A few years ago, Daniel and I were writing profiles of prominent professional photographers for Lexar Media’s Website SayCheese.com (which has since been discontinued). They were feature stories about the photographers’ philosophy, style and adventures, with some tips and tricks thrown in. The pieces were a delight to do because of the people we got to spend time with and watch at work.
At the time, I was at a trade show party (I think it was PhotoPlus in New York City), when someone said, “You absolutely must profile… [name withheld to avoid his embarrassment]” for SayChesse. I didn’t know the photographer being recommended, but he happened to be present at the party, just on the other side of the room. So I went over to him, introduced myself, and asked him what he shoots. His reply was an energized discourse about his camera equipment. When he finally took a breath, I smiled, told him how nice it was to meet him and walked away. Daniel and I never wrote a profile on him for SayCheese or any other publication.
What that photographer had lost sight of is that photography isn’t about the camera, it’s Read More
I am haunted by questions.
So much I don’t understand.
When I was a child, perhaps my questions were simpler.
Why did that boy pull my hair?
How does the moon stay in the sky?
What if I don’t eat my spinach?
When my mother didn’t have ready answers, she would make up stories. And I never wondered at that ability. After all, she read such enchanting stories to me from books. Why shouldn’t she have tales ready at hand to answer any question I might have?
As I grew up, conventional wisdom says I should have put aside childish things.
Mother taught me quite a lot. I don’t remember any of it having to do with being conventional.Read More
The Atheist in the Attic is a “fictive reconstruction” of a meeting between the philosophers Gottfried Wilhelm Leibniz and Baruch de Spinoza, told from Leibniz’s point of view. An intriguing read, it sent my mind in a variety of different direction. At one point, I took a discussion of the differences between a poet and a philosopher and considered how it might apply to different kinds of novelists. I’ve decided that I’m essentially a philosopher; no surprise there. As I wrote in the essay, “I write to understand. My characters and plots are formed in a subconscious that churns with confusion or concern about how the world functions (or fails to function). As I write the story my characters tell me, I find myself posing questions that [as Delany wrote in The Atheist in the Attic] “reflect and even explain the differences and forces that relate them all… hold them together… or tear them apart.”
Please read the essay here, and let me know what you think. What kinds of authors do you prefer to read — poets or philosophers, as defined by Delany’s book? And if you’re a writer, are you a poet or philosopher… or something else?
“I just take hundreds of photos and then fix the best one in the computer,” the woman bragged.
I can’t count the number of times I’ve heard similar statements. But this particular occasion was during my gallery talk at one of my American Hands exhibit. The woman beamed with pride, identifying with my artistic endeavors and wanting to share something of her accomplishments with me.
One of my friends, a highly respected writer, has been known to answer these kinds of statements with the Infinite Monkey Theorem: “If an infinite number of monkeys bang on an infinite number of typewriters for an infinite number of years, eventually they’ll produce the complete works of Shakespeare. Does that make those chimps genius playwrights?”
I have a very different attitude about these accidental artists. I’m delighted when people explore their creativity, and identify with me as a photographer or writer. When someone is inspired by my presentations, pictures or stories, it makes the effort I put into them so very worthwhile. As I explain in my American Hands mission statementRead More
This morning I learned of Ursula K. Le Guin’s death. I’m still not quite ready to process the fact that she no longer walks this earth.
Early in my fiction career, I was privileged to study with Ursula at a small Canon Beach workshop, just a walk along the ocean edge from her home. Each day was an awakening… and sometimes a terror. She was a tough taskmaster with so much to share and teach. I’ve no doubt that she was just as tough (if not more so) on herself. But she was also so very supportive and encouraging. In many ways, it’s because of her that I didn’t give up on my fiction, my idealism and my dreams.
I am finding it difficult to work today in the wake of learning of that she is gone. And yet, I can hear her voice in my head, as I long have and I expect I will for as long as I live. Today, she is chastising me to write, to work, to find my voice and use it.
Thank you, Ursula, for all you have given to all of us. Not only one of the great writers of our time, but a great inspiration.
I’m not sure when I last wrote. At least a year. No, it was more like a year and a half, except maybe for a couple of essays and one or two very short poems. I’m not talking about the reviews and features that currently represent the bulk of my livelihood, but my core writing. The novels, stories, poems and essays that reach through my throat into my gut and haul out my voice through my heart.
I write because pouring myself out onto the keyboard is how I have always tried to make sense of a senseless world. I don’t understand the pain we cause each other, the hate, the distortion of love. War and tribalism. Walls between individuals, between tribes and nations, that are built up brick by brick over years of preconceptions and propaganda. So I create stories to try to help me find the right questions to ask that might yet explain the inexplicable. Perhaps, I can also use it to try to navigate my way through the morass of this new world that now envelops me.
I write because through words, through Story, I have long discovered myself. So I shall write with the hope of rediscovery, not of the woman I am or have been, but this new woman I am now forced to become. Without my compass, without the living breathing other soul who lived within me, by my side, facing each morning as a new adventure to be shared.
Where do I start? At the end? That’s one simple sentence. Three words. Daniel is dead. In my novel The Winter Boy, I wrote, “How people die shapes our world.” Read More
I sit at a blank screen, knowing it’s time to write. That’s what Daniel would tell me to do with the jumble of emotion, pain, emptiness that has consumed me.
Some years ago, I saw a man attack another with a broken bottle. We were in Philadelphia’s Chinatown, a normally high decibel neighborhood, with sidewalk traffic as dense as the streets. Families with scampering children and couples arguing or holding hands and business folk, tourists, conventioneers, and yes, the always present hungry homeless folded in on themselves. Crowds of people walking too fast, or strolling and reading window menus, or juggling large grocery packages festooned with pictographic Chinese words. And somewhere behind the neon signs and fatty aromas, a verve of hidden life, mysterious, almost alien, yet so very familiar.
However, that wasn’t the Chinatown we saw that night. The hour was so late that the tiny corner restaurant we chose was an island of unresolved energies on a nearly darkened street. (Or at least as dark as any street in Chinatown gets.) I saw no pedestrians through the large plate glass windows during our entire meal. Just the incessant rain and the puddling reflections of a sleeping city. While we waited for our check, Daniel went into the men’s room. That’s when it happened. A sudden, vicious eruption of fists and blood, of glass gouging and slashing, unintelligible screams and flung furniture. Read More
During the blog tour for The Winter Boy, Sally appeared on numerous websites, answering questions about her writing, her characters, what inspires her, and so forth. For each interview, she gave fresh, new responses that provide interesting insights into how she works and thinks.
In addition to posting links to some of the many fabulous reviews her novels have been receiving, periodically I will post some of these interviews.
Here’s an excerpt from her interview on the Book Goodies website:
“What inspires you to write?”
“I write to try to understand, to attempt to make some sense of our human condition. I weave tales that put characters I learn to love into difficult, if not impossible situations, and then I try to tease out answers, or — at least hope to instigate ideas that might lead to – if not solutions, then maybe some better understanding of the problems.
“I often picture a hospital newborn nursery, filled with tiny bundles of unshaped humanity. Which one will be the philanthropist or artist or teacher? Which one the corrupt politician or drug dealer? What is it that can take an infant — so full of hope and potential — and make him or her hate? Read More