Create Destroy

by Danielle Service 

USS_Wrangell_(AE-12)_replenishing_USS_Massachusetts_(BB-59)_in_1945.jpg

We boarded the USS Massachusetts at Battleship Cove in Fall River, Massachusetts, near the windy edge of the Atlantic Ocean on a late March morning. A hint of sun and one hundred and fifty-six seventh graders with a smattering of adults hit the deck. Twelve or thirteen year olds with ebullient and nervous and hyper bodies bounced on grid metal with overnight bags. I their teacher scanned, frantic to search for where could they get into trouble and the answer here, on this World War II destroyer that had traveled over the Atlantic through that war, was everywhere. It was a battleship, for Christ’s sake. 

When a teacher sees that everything in or out of sight has the potential to hurt the children the tendency is to relax. If you can’t control the situation, you realize you don’t have to. I stopped screaming for them to stay within bounds and let them explore, surrendering to the situation, letting go of the reigns.

It was loud and chaotic and I could not figure out where I was at any given time, crawling up and down the stairs and calling after kids, our voices echoing on the metal hull as we passed Nazi flags and makeshift mess halls decorated for tourists with the names of fallen soldiers. Later that night, the energy of the ship got to me. We’d finished with the storyteller and some enterprising schmuck had opened the snack bar at 8 p.m. to give the children coffee and candy before we could put a stop to it. By the time the movie went on in the downstairs hall, all was chaos, overexcited adrenal glands, wanton chip wrappers, and Nazi ghosts. We teachers gave up at around 9:30 and while the movie played we sat in the back choking back hysterical laughter at the absurdity of the situation until we had to tell a kid to pick up his stuff and he got attitude.  

Our voices echoed off the metal and my teacher friend turned and said “This is Hell. This is literally the definition of Hell.” I fell on the floor laughing and almost wet my pants so I went to the bathroom and the Nazi flag in the hallway stopped my giggles. 

We all spent the night on swinging platforms stacked by chains and I pretended I was a soldier at war. I got up sleepless, crept about the ship, prayed for peace, did some light yoga on the deck, honored the fallen. 

The next morning, we toured Battleship Cove. In the Torpedo Room of the USS Lionfish, a Navy submarine, I thought about humanity’s dual instincts: to create, to destroy. Creation makes sense; it’s natural and steeped in love, the most powerful force in the universe. Destruction doesn’t make sense due to its violence, and I’ve struggled to understand how the two coexist. But in the Torpedo Room it came to me: we are born and then we die. Life and death are the only two absolutes, so of course creation and destruction are equal forces. I sagged with relief, felt better than I had in a long time, and went to tell everyone who would listen. 

That epiphany fueled my faith in the universe for weeks. One Saturday night I told my friend Laura about it at a Mexican restaurant. “It reminds me of something Mr. Rogers once said,” she quipped. “He said that deep and simple was far more essential than shallow and complex.”  

“YES,” I hollered, waving a chip with cheese. “It’s like Occam’s Razor! The simplest explanation is the best one!” Our laughter echoed off the mosaic tiles. We’ve been friends for thirty years. It was April vacation and a beautiful night. Summer was six short weeks away. Anything could happen. 

The next day I drove my teacher friend – the one who’d said “this is literally the definition of hell” – to Massachusetts General Hospital to see our thirty-seven-year-old friend and colleague who had suddenly, inexplicably, been diagnosed with ovarian cancer. At the Mexican restaurant I had had no idea of the seriousness of ovarian cancer. Even on the drive to and from Mass General I had had no idea of the seriousness of ovarian cancer. It had been a month since Battleship Cove and I’d been riding the crest of my faith in the universe’s wisdom that whole time. Much like letting hundreds of teenagers loose on a battleship, I’d lost the idea that I could control anything – and I was fine with it.

It wasn’t until I saw our friend’s scar from low abdomen to chest and went home to google, that the potential truth of the situation hit me, a torpedo to my stomach. The cancer had, in a few short months, made its way from her ovaries to her ribs. Our friend and colleague has a four-year-old and a one-year-old and a husband who is a cop and was an officer in the Marines.  

The problem with having faith in the universe is that if you believe with all your heart in the absolute truth of love and creation you also have to accept when destruction rears its ugly head. We’re born and then we die – duh. But chemo is an atom bomb. The Allies defeated the Axis powers, their plan to take over the world. Surrender often trumps a fight, and honoring the duality of opposites is a skill: creation, destruction. I pray, still, for one over the other.  


Danielle Service is a graduate of The Mountainview Low-Residency MFA in Fiction and Nonfiction. She currently teaches seventh grade Language Arts and yoga in New Hampshire. ​​​​​​​

The Magic Wand

8080034547_603dd97955_b.jpg

Please note that the names and details have been changed to protect the silly.

Twelve kids gather around my 3D printer. Their fingers and noses are pressed against the plexiglass. From a distance, it looks like a blue fish is being conjured out of nothing. Up close, the nozzle deposits hair-thin layers of molten plastic. This is happening at about the speed of drying paint, but they’re transfixed nonetheless. When the kids ask what they can print, I say anything they want.

A few light up; the object of their desire is instantly visualized. Others let their jaws drop, too stunned by the rush of power to think clearly. And then, of course, there are the limit-testers.

Anything?” “What about a million dollars?” “Can I make something bigger than the earth?” “No… bigger than the GALAXY?”

I say sure, why not? The class pauses, furrowing their brows and looking at me for the first time. A couple of them even believe me for a moment. But then they start to grapple with the physics of it and realize I’m just letting them think it through. I’m going to be one of those adults and this is going to be one of those classes where the teacher keeps them on their toes. They sulk briefly at the lack of resistance, but quickly recalibrate their requests.

They think I’m just doing it to keep them in check, but wish-fulfillment is a powerful thought experiment. Hypothesizing about what could go wrong takes paranoia, but imagining best-case scenarios takes vision. As a kid, I had a teacher who called it “the magic wand.” The power is yours: what would you do with it?

In the classroom, the kids create 3D designs. They all face away from me, working on standard-issue black laptops. From where I stand, I can see their dreams take form… for the most part. I spot Solitaire on one of the screens, which is instantly alt-tabbed when I approach.

Solitaire Boy is on the small side for fourth grade, and all business. I ask him how it’s going. He says fine, he’s just not sure what to make yet. There’s an obvious subtext to our conversation: he’s promising to pretend to work if I promise to look the other way. I suggest he take a break to look around at what the other kids are doing for inspiration, and then I let him be.

I help out some of the other children with the topography of their dream-things, giving Solitaire Boy a few minutes to himself. When I come back, he’s not at his chair, but leaning over the shoulder of one of the other children. There’s a small galaxy taking shape on his screen.

“What’s he making?” Solitaire Boy asks me.

“What are you making?” I ask Galaxy Boy.

He grins at us. “I dunno!”

Solitaire looks downright offended. He asks how you can make something you want without even knowing what you’re making. Galaxy just giggles. He presses a few keys and all the objects vanish.

“Look – I made everything so big you can’t see the edges anymore!”

Solitaire’s had enough. He returns to his seat and starts arranging shapes on his screen. He declares that he’s going to “at least make something that’s realistic.”

By the end of class there is a menagerie of animals, videogame characters, and abstract art. When I come to Solitaire’s screen, I see he’s built a tiny ladder. I ask him if it’s what he’d like to print, and he says yes, it’ll be useful for his pet hamster.

Solitaire listens with glee as I explain to Galaxy that he cannot, in fact, print something that’s 9.99x10⁹ centimeters tall and also invisible. But Galaxy just smirks, deletes everything he’s made so far, and calls up a plain, simple sphere. He hovers over the radius number entry and looks up at me.

“What are the maximum dimensions again?”


Passing By: Thirty-seven words and eight entries

by Garrett Zecker

watch-fashion-accessories-clothes-157627.jpeg

I teach a workshop with mainly seventeen and eighteen-year-old writers. I recently assigned a short task: write your name and age at the top of the page, then write a piece about yourself using only the exact number of words of your age. I completed the task along with them. While I had twice as many words to work with, when I listened to them share their work I realized that I had little more insight than they did. Below, I have reproduced my activity and interspersed each line with an excerpt from a journal entry. These dated excerpts interlineate an experience from the ensuing years since I was my student's age. 


I keep journals 

April 5, 2000 (18) – I made an appointment to see a counselor. I will tell him about the last time I saw a counselor and that none of it really helped. It was all about talking about how the world treats me...but it didn't stop the world. 

I record an imperfect life 

November 29, 2006 (25) – Every day it seems I am looking at the work I am doing, the work to come, the payoff and potential rewards, and I think how I am twenty-five and do not want to be stuck with some of this or have to settle. 

Days, joy and torment, all words 

January 19, 2010 (28) – The clinic was at a library – a nice one – and I waited inside. 

Imagine, a manual 

August 30, 2011 (30) – I cried on stage in front of hundreds of people. It was a pure sorrow. A sorrow arisen from the show being over and so much of my life having passed and at joy. The joy of having had something so wonderful and amazing I helped create. Something beautiful and true with so many amazing people. 

"How To Be A Man" 

June 17, 2013 (32) – I am scared. I am an impulse. I am darting back and forth in a cage like a tiger. I am dying and I have never been happy. How much time do I have left? I'm a terminal case. What is the struggle for? What? 

Words fail often as my heart 

August 6, 2013 (32) - I remain frustrated, feeling like I am doing all the work, and thinking how resentful I am in ways that go all the way back to the beginning. The apartment. The jealousy of my friends. No need fulfilled unless I take care of it. Money. My brain starts despairing, thinking of ways of being satiated... 

My audience my mirror 

November 9, 2016 (35) – It's Carl Sagan's birthday and I really miss my friend. 

Books buried beneath the earth 

14 November 2017 (36) - I've needed to simplify. A lot. And I am trying and trying not to mess everything up, even at the expense of things I really, really want and need. And then I also want my heart to be quiet and still. To not be so anxious and mean and irritated at absolutely every last thing. 


Why do we care about grammar?

by Jillian Avalon 

grammar-389907_960_720.jpg

As writing students, we spend a lot of our time in the classroom considering craft and its various elements. These elements range from dialogue and scene to complicated balancing acts like narration and metaphor, and these elements are crucial tools for our writing toolbox. But no toolbox is complete without a hammer, and while it isn’t glamorous or even pleasant, grammar is just as critical an element as any of the others our teachers spend time on. Grammar skills are often more assumed than taught at universities, but not all of us have a sufficient, shiny hammer in our toolboxes.

I recently taught a grammar workshop to my grad student peers and in preparing my materials, I stressed over the lack of shared experience in the subject. We all came to the MFA with various experiences as writers, as students, as people. Some of us studied grammar for an English degree, but others of us don’t have English degrees. Likewise, some of us learned primary school writing when grammar and sentence diagramming were staples; others of us are products of a more liberal approach to the basics. I decided to test my methods on someone who had no knowledge or desire to learn grammar, in hope that teaching her would mean I could reach all comers in a single lunch break: I tried to teach my sister how to diagram.

ME: So here’s your sentence: I love pizza. Let’s start simple. Where’s the verb?

SISTER: (Points to pizza)

Disheartening is the best descriptor. I decided my sister was maybe not the best starting point, as after a brief recap of parts of speech she continued to get them muddled. Thankfully, everyone in my workshop had the base knowledge of grammar required for diagramming. But my attempts to teach my sister did make me think about a question I get frequently as an English teacher: Why do we teach grammar?          

I’ve seen other writing students ask this; some of them even teach English, like me. Sometimes it’s diagramming specific, sometimes it really is “Why do we care about grammar?”

We all recognize the importance of grammar as writers, but it can be tempting to shrug it off as unnecessarily hampering, a bar to our creativity, an antiquated set of rules. In some cases, we should feel free to brush off some of the tiny particularities of grammar. Breaking rules of punctuation or capitalization or even agreement can be powerful tools and statements in creative work. Provided, of course, that we do these things purposefully.

Beyond the outwardly obvious pedantic correction of others’ mistakes, understanding grammar makes me a better writer, a better reader, a better communicator, a better scholar, and a better linguist. Grammar isn’t about knowing a set of rules and sticking to them rigidly (although it can involve that), it’s about knowing how people communicate in various registers, recognizing the differences, and adjusting to those differences. It’s about recognizing and adapting to the change of language over time and place. It’s about thinking about the evolution of our words from where they entered our language to how we use them in our own work. While grammar is flexible and can be bent to create endlessly creative sentences, understanding the standards of that grammar bending is essential to clear and effective communication with a reader.

I may not be able to teach my sister the parts of speech in an hour, but I can refine my knowledge of British conversational verb structures to write British characters. Likewise, you may not master commas (really, who has time for all the uses of commas?), but maybe you’ll master the use of commas for subordinate clauses. Yes, there’s a lot of grammar, but if we all take small steps toward learning the basics and build from there, we’ll be better readers, better communicators, and better writers, one comma at a time.


Eric's Workshop

by Phil Lemos

3880417061_7c12b39a47_b.jpg

PROFESSOR: Well, thanks for reading an excerpt from your submission, Eric. That was certainly chilling.  So, I’ll open this to the group now.  What do we like about this?

(Silence)

PROFESSOR: What do we think?  What’s working here?

STUDENT A: I dunno I thought it was kinda ‘meh.’

PROFESSOR: So, two things.  Typically, we want to start with something the author has done well.  And I think if we want to be helpful to Eric, then I think it’s important that we give him more specific, concrete examples of what we’re talking about.  Do we have any examples of what was so ‘meh’?

STUDENT B: I just wasn’t buying it.  First of all, you have this country, Oceania, that isn’t in Australia where Oceania is in real life – it’s like, the entire Western Hemisphere plus England, because this seems to take place in London.  Yet London isn’t part of England?  It’s like, there’s no way this would ever possibly happen.

STUDENT C: Yeah, I’m Canadian, and there’s no way we’re letting Oceania annex us.  

PROFESSOR: OK, let’s talk about world-building.  How does—

STUDENT B:  What is Airstrip One?  Why does Winston live in an airport?

ERIC: He doesn’t live in an airport, Airstrip One is—

PROFESSOR: Remember, Eric, you’re still “in the box.”  You’ll get a chance to address these comments at the end.

STUDENT D: It’s just really hard to suspend disbelief here.

PROFESSOR: Could you elaborate on that?

STUDENT D: These characters believe whatever this Big Brother guy tells them.    He spreads this nonsense like, 2 + 2 = 5, and they’re always talking about how they’re about to win the war, but it never happens and—

STUDENT C: Why do they keep fighting? Who fights a war for 10 or 15 years?

STUDENT D: – and, anyway, the rank and file characters believe everything they’re told.  It’s just really insulting to the intelligence of humans in general.  These prominent people spread whatever factoid they want, and this segment of the population believes it, no questions asked?  That’s not how it works.  People have brains.  They can think critically.

STUDENT C: Wait…I’m confused.  Was Big Brother the president?  Or the host of the TV show?

ERIC: NO!  Big Brother was—

PROFESSOR: Eric, I think I’ve established the rules.  If you continue to interrupt we’re going to have to stop the workshop.

ERIC (muttering under his breath): This is ridiculous.

STUDENT E: Why are they so mad at Emmanuel Goldstein?  And why is it that all the scheming bad guys have to be Jewish?  Like, for once, could the bad guy be German? Or Muslim?

STUDENT C: This is more a comment than a question – you should use a grammar check before you submit these workshop samples, because there were a lot of sloppy grammatical errors.

PROFESSOR: Do you have any examples?

STUDENT C: Well, for starters, Thoughtcrime is two separate words, not one.  “Thought” and “crime.”  Same with doublethink.   

STUDENT A: Yeah, I noticed that too.        

STUDENT B: Me too.

STUDENT C: You’re not using the words correctly.

(Eric crumples up his paper.)

PROFESSOR: Does anybody have any other questions?

STUDENT B: I mean, yeah but, I feel like there are too many questions to go over here.

(Silence)

STUDENT C: You know what this piece needs? More of a Gone With the Wind thing to the love story.

PROFESSOR: OK, so now we can turn thing over to you, Eric.  Do you have any questions for us?

(Silence)

PROFESSOR: Eric? This is your opportunity to address some of the things we discussed about your workshop piece.  You seemed like you had some things to say earlier.

PROFESSOR: Well?

ERIC: Never mind, I think it’s pretty obvious that we’re all beyond hope. (Grabs his papers, gets up from the table and leaves.)