Every Wind a God
The coconut palm in the field behind my house worships the wind. Its feather duster head sweeps low, bows to the earth like a holy roller in ecstasy, and then snaps back skyward—defiant—in an elastic, resurrecting leap that blasts the law of gravity.
Makani is the generic name, but there are as many Hawaiian words for wind as there are regions and towns. Here in Hawi, on the northern peninsula of the Big Island, we call the wind Apa‘apa‘a. It means strong. Very strong. So strong, its gusts have been known to dash elite cyclists to the ground, rip off ceramic tiles from upscale roofs, and loose countless sheets and pillowcases into the atmosphere.
From my perch on the back lanai, I admire the ancient palm, a navigational landmark old-timers still use to tell you how to find the turnoff to Upolu. Go makai right after that big palm tree in the field where Bothelo grazes his cattle. Can’t miss it! The pili grass below the tree’s smooth white trunk shuffles in the wind like a deck of cards. The quivering green stalks wrap around a coconut that’s come loose in the wind. Yellow-brown in the fierce Pacific sun, the coconut rests on its side trustingly, a perfect burnt offering.
On this seventh day, church has come to me. Heady sweet plumeria, more pungent than burning incense, has sent me into a trance. I put down my mug of coffee, stand up barefoot in my sweats and untie my hair. Thick lengths of my Spanish Moss strands fall past my shoulders and then levitate in a singular current of Apa‘apa‘a.
Praying during the first grief-soaked month following my father’s death felt rote to me. Awkward. I had taken on the obligation of saying the Mourner’s Kaddish every day for at least a month before realizing I had forgotten how to pray. A professor in college who gave me a C on a paper about James Joyce’s Ulysses said I was like a blind woman trying to describe a painting in front of her. That’s how it felt saying the Kaddish.
The last time I went to the church of my childhood, I wore my collar—my hot, plastic, clerical collar. I felt obvious and tender in it, like a burgeoning zit, like everyone would stare. And yet, I wanted them to stare, I wanted them to look at me and be amazed.
We held our hands in prayer. “Te lo pido, señor.” That week, it was my turn to visit Marco at the Elizabeth Detention Center, a contract detention facility in New Jersey used by Immigrations and Customs Enforcement to detain immigrants determined to be “suspicious” or “illegal.”
I am seven years old. It’s time for communion in my United Methodist Church in a small town in mid-Michigan. After watching communion by intinction happen for so many years from the sidelines, I am excited when my mom tells me it is okay for me to line up in the center aisle with her and slowly shuffle forward, waiting for my time to tear a piece of bread off the soft, white loaf and dip it in the grape juice.
The coconut palm in the field behind my house worships the wind. Its feather duster head sweeps low, bows to the earth like a holy roller in ecstasy, and then snaps back skyward—defiant—in an elastic, resurrecting leap that blasts the law of gravity.
Last year - I came out of a chaplaincy year that wrecked my idea of what I thought I wanted for my ministry.
But what do they say – make plans and God laughs.
God laughs and I get whiplash.
I am Clergy. My name isn’t on a roster for it anywhere; there’s no organizing body that ordained me and all my fellow clergy; I didn’t attend a seminary school. Still, I am Clergy.
We’d never had a woman pastor before.
When the United Methodist Church in my small, rural, mostly Mennonite town found out that the Bishop assigned us a female pastor, the conversation around town was in full force.
Don’t you want that baby doll?
She’s pretty and you could dress her and feed her.
How else will you learn to be a good mommy?
Girls wear dresses, not pants. Those are for boys.
You’re not a little boy.
True worship? It is radical freedom I feel as the air becomes a whirling dervish dancing around me.
Should I say a prayer or sing a hymn? Those might be proper and orderly responses to the divine. But this morning’s wind has stripped me of my doctrinal defenses. I am gob-smacked. Awe-struck. Aware. I rush out of the house, take the turnoff to Upolo Road, and walk makai down a one-lane black-top. On either side are stands of keawe trees, their twisted trunks doubled over because of the constant barrage of wind. The road is virtually a wind-tunnel and the air rushes past my nose so fast, it’s hard to inhale. I drag my toes, grip my quads, struggle to keep vertical.
Here, the wind has a voice, shouting something I can’t understand.
About a mile downhill, the eco-blades of a turbine revolve slowly, slicing the wind into electricity and thrumming rhythmically. When the Vesta wind turbines were first installed, Kohala Surety said Upolo was the windiest place in the universe—valid witness that our wind is a supreme being. Soon a dozen whirring propellers appeared and revolved above the field, gleaming white and holy in the screaming wind.
The temptation to scream too, overtakes me. I open my mouth, but all I do is let out a croak. I pause and look up and down the road, satisfied that I am alone. I lift up my arms. Raise up my head. Then I scream into the wind, giving my voice to the Apa’apa’a as an offering. The guttural sound comes from so deep, I feel my lungs vibrate inside me, and the racket I make is almost indistinguishable from the wind.
Almost as if we are one.
-Linda Petrucelli
Many writers feel drawn to write about their lives but struggle with uncertainty: Why this story? Why now? And who is it really for? This workshop is designed to help writers move beyond doubt and toward clarity by focusing on the deeper meaning and purpose beneath their story.
In this interactive, craft-forward session, participants will be introduced to the Memoir Compass, a practical framework that helps writers articulate their motivation (why they are writing), mission (who the story serves), and message (what meaning or insight the story carries). Through guided reflection and writing exercises, participants will begin shaping a personal narrative rooted in intention rather than overwhelm.
This workshop is ideal for writers interested in memoir or personal narrative, as well as fiction writers drawing from lived experience, who want to move forward with greater confidence, focus, and direction.
Some of the most compelling creative nonfiction begins with the feelings we are tempted to avoid: anger, resentment, shame, fear, or the sense that we have an axe to grind. In this six-week workshop, writers will explore how to follow that emotional heat toward deeper, more honest work—without sacrificing compassion, complexity, or craft. Through close readings, writing exercises, discussion, and constructive feedback, we’ll consider how to transform strong feelings into writing that reaches beyond catharsis and connects with readers.
IT’S NO SECRET THAT FEEDBACK IS AN IMPORTANT PART OF THE WRITING PROCESS.
In fact, we argue that it might be the most important part of the process.
But it’s hard to find a writing community. It’s hard to find the people who are willing to take the time and the effort to read your work and give the feedback you really, truly deserves.
That’s where HerStry Critique Groups come in!
HerStry Critique Groups are small groups of 6 women who gather online for 6 weeks to share their writing, give constructive feedback and gain skills as writers.
Weekly online sessions last approximately ninety minutes, with three women sharing their work each week. Writers of all genres and levels are welcome and you may share both works of fiction and nonfiction.
Sessions take place on Mondays 7PM CT, Tuesdays 11AM CT, Fridays 11AM CT
WHAT’S INCLUDED IN THE HERSTRY CRITIQUE GROUPS?
Six 90 minute live workshop sessions
Three 20 minutes sessions in the “hot seat” to get you work critiqued
Written and verbal feedback from your fellow workshop participants
A weekly in depth edit and critique of your work from the group leader after each session
Weekly writing goals and accountability check ins
Full video recordings of each session to keep for your records
Say goodbye to the lonely, stuck in your head writing life!
LET’S WRITE!
From conception to submission. Let’s make summer sizzle with stories.
Writing a short story doesn’t happen in one session. It takes multiple drafts to get it exactly right, to create characters that come to life for the reader and a world they can’t stop thinking about. In this seven week course we will work on a single short story from conception to submission ready. The seven week session will include generative brainstorming sessions, short story craft talks, multiple workshops for feedback from fellow writers, and detailed line by line feedback and edits from your instructor. Plus, we’ll talk about submission venues, cover letters, and when to know if your story is ‘finished.’
IT’S NO SECRET THAT FEEDBACK IS AN IMPORTANT PART OF THE WRITING PROCESS.
In fact, we argue that it might be the most important part of the process.
But it’s hard to find a writing community. It’s hard to find the people who are willing to take the time and the effort to read your work and give the feedback you really, truly deserves.
That’s where HerStry Critique Groups come in!
HerStry Critique Groups are small groups of 6 women who gather online for 6 weeks to share their writing, give constructive feedback and gain skills as writers.
Weekly online sessions last approximately ninety minutes, with three women sharing their work each week. Writers of all genres and levels are welcome and you may share both works of fiction and nonfiction.
Sessions take place on Mondays 7PM CT, Tuesdays 11AM CT, Fridays 11AM CT
WHAT’S INCLUDED IN THE HERSTRY CRITIQUE GROUPS?
Six 90 minute live workshop sessions
Three 20 minutes sessions in the “hot seat” to get you work critiqued
Written and verbal feedback from your fellow workshop participants
A weekly in depth edit and critique of your work from the group leader after each session
Weekly writing goals and accountability check ins
Full video recordings of each session to keep for your records
Say goodbye to the lonely, stuck in your head writing life!
October 7, 14, 21, 28, November 4 and 18 CT
There is no class on November 11.
WRITING THE SEX SCENE.
Writing a sex scene can be delirious fun, a harrowing challenge, a literary milestone—possibly the most important part of building your short story or book. In our six weeks together, you’ll experience just about every possible emotion as you explore the erotic in different modes: comic, tender, harrowing, soul-shattering … because it really is all about the characters’ feelings, not just the mechanics. So we’ll talk about tone. Vocabulary. Metaphor. Sensory detail. How to get big emotions on the page … and when to pull back and let the reader’s imagination go to work.
This is a course for writers who want to explore the intersection between the novel and short stories, and would like to weave their short stories into a story cycle (or collection of "linked stories" or "composite novel"). This is also a class about the interaction of form and content, and how one influences the other. We will read works of interlinked stories by writers from diverse cultural and ethnic backgrounds, focusing on modern classics and contemporary practitioners of these hybrid forms. Weekly discussions will center on elements of craft, such as the expansion and compression of time, setting as an organizing and connecting principle, character development within and between stories, structure and plot for interconnected stories, and responding to literary influences in the same genre.
This six-week course guides writers through the literary submission process, offering insider insight and practical tools to help you get your work into the world. We’ll demystify everything from reading submission calls to writing cover letters and choosing the right journals. Along the way, we’ll workshop short bios, develop submission trackers, and build personalized plans that align with your voice and goals.
By the end of the course, you’ll walk away with a polished piece ready to send, a tailored submission list, and the confidence to navigate the lit mag world with clarity and purpose.
Ideal for writers of literary fiction, poetry, personal essay, memoir, and hybrid forms.
Tension feels tangible to a reader, an active experience. But from a craft perspective, tension is often a function of restraint, palpable from what is withheld, delayed or left unresolved. Why do some stories feel urgent even in stillness while others fall flat despite dramatic events? Our impulse to resolve tension often comes from a deeply human instinct to seek coherence and moral clarity, but resisting that instinct creates compelling narratives. When we let characters misbehave or allow ambiguity in their actions, we pull readers closer to them.
This course examines tension as a narrative force. We’ll consider how writers can counter the impulse to resolve too quickly, to justify wrongful acts or to redeem a character’s behavior. By looking at ways to sustain tension without escalation into spectacle, we’ll experiment with evoking it in the ordinary and the unspoken. The class will combine close reading, craft reflection and writing prompts to practice distinct approaches to writing tension. This course is designed for writers working in fiction, nonfiction, and hybrid forms who are interested in deepening the psychological and structural complexity of their work. Ultimately, tension is what compels the reader to turn the page.
In this generative writing workshop, ecologist and poet Anne Marie Wells will introduce participants to some of today's eco-poets and essayists and guide participants through a series of writing prompts that will use the outdoors and personal experience as inspiration for creative expression. No writing experience is necessary to participate.
Linda Petrucelli was ordained in the United Church of Christ in 1983. A feminist theologian, Linda holds theological degrees from Yale Divinity School and Chicago Theological Seminary. She was a missionary in Taiwan, working for the rights of indigenous fishworkers and served as a national executive with her denomination, overseeing global humanitarian relief. Since 2000, she has lived in Hawaii and served small, rural parishes. In 2018, she retired to her home in Hawi where she writes flash fiction and memoir. You can read her tiny stories at jackrabbitfiction.com
I came home to wisps of white paper blowing through the screened-in porch like feathers in a chicken coop. Rosie, the rescue puppy, was sitting on haunches with head bowed and tail wagging sheepishly, white exclamation points in the black spots of her scruffy fur. The trail of paper led from the porch, through the dog door, to the living room floor, to the black leather cover of my grandmother’s Bible, her name in gold on the lower corner.