Love's Pressure Valve
Once again grief knocks down my door, tosses the furniture, grabs my throat, and slams me up against the wall. Grief has no manners. It’s not polite, or thoughtful, or kind. Grief is a punch to the gut and then another. It doesn’t stop when you’ve had enough, when you cry uncle, when you tell it you did your best and to leave you the fuck alone. It’s like birth, noisy and painful and messy, no way out but through.
I have grieved many times for a teacher’s passing, both my parents, all my grandparents, an uncle, two cats, three dogs, friends. Sometimes the grief is small, a jolt that snaps my head. Other times, it’s a tornado ripping me to pieces.
My dog died this week. She was nearly seventeen and we’d been together since she was five months old. She came to me as a rescue, a thin, mangy puppy with bright, intelligent eyes, atomic speed, and a sweet, irrepressible spirit.
Of all the memories that I have of my great great grandmother from the first thirteen years of my life, the one that I remember most of all occurred in the tiny kitchen of her small home, tucked away in the orchards of Live Oak. I was in sixth grade, and she was teaching me how to sweep the right way, a skillset that my mother had still yet to properly impart upon me; she was too busy smoking weed and sleeping with her latest boyfriend.
I was in the kitchen cleaning up after dinner when I heard the glass shatter. I simultaneously took a deep breath, closed my eyes, and waited for the inevitable outburst.
I was deceived by the feel of her supple cheek that day after she died. She was like a green limb reaching for the sun, severed at the whim of the wind, the tree’s canopy of little protection. When illicit Oxy’s calming wind blew into her veins did she suddenly realize what she consumed was coated in fentanyl poison? Was it like being in the eye of the hurricane where there is calm for a moment before chaos takes over or was it like floating away on her favorite pair of Nike Airs™?
The phone rings. I see the vet clinic’s number and my throat goes dry. I feel a jolt of anxiety. Although there can be no more bad news, I don’t want to talk to them. I just want all this to go away, to be one of my nightmares. “Mosi’s ashes are ready for pickup,” says the receptionist softly.
I thought about writing this story as fiction: two women, a later-in-life, larger-than-life friendship that changes both of them, a sudden fatal illness. Fiction can fix the broken, prevent the disaster, turn around the inevitable. The child can be saved. The bad guys can be caught. The terminal patient can beat all odds. By choosing fiction, I could change the ending of our story, Diana’s and mine. I could keep her alive. But no. If I did that, it wouldn’t be our story anymore.
On the day after Thanksgiving 2022, I dragged my husband to a thrift shop outside Boston to look for a book I'd donated nearly twenty years ago. It started as a Twitter dare the week before. I was chatting with some pals about a book an ex-boyfriend gave me when I was twenty and we were at the height of a love affair that lasted seven years. My ex died in February, and I was having a hard time talking about it; most people didn't seem to understand why I was so upset about the death of a guy I broke up with so long ago. The easiest thing to do, sometimes, was to play it for laughs; at least that way I got to talk about it a little, with strangers who didn't know me well. "Why don't you go look for it?" someone said. "You never know, and it'll be a great story if you find it."
My mother’s eyes registered my arrival, but without her dependable smile. The bones of her face were sharp and craggy, her nose slightly humped from a childhood fall, her eyes blue and deeply set. Tita, who cared for her, had dressed her in her brightest blouse and hung a necklace round her neck. Mom was crooked in her chair and not pretending, while a cheerful string of rainbow-colored letters on the mantle shouted happy birthday for her eighty-ninth and last.
“Dear Poo, I’m sorry I’m writing this in a letter, I just couldn’t bring myself to tell you face to face…”
We’d been in our new house just a couple of weeks when my dad—Da—left a letter and, with it, left us. He was gone. And none of us knew what gone meant. Mom couldn’t tell me where he went or why. She called Grandma to try to decipher his note. Whatever sense they made of it wasn’t shared.
When my ex-husband told me his father was dead, he said it casually. The way you'd mention an alma mater, or that you'd lived abroad for a while.
"My dad died five years ago," he said. We were at work, in a courtroom with no privacy, dressed in our lawyer suits. He reached down to tug up his socks when he said it. I remember searching for significance in how he announced his tragedy while adjusting his outfit. It made me wonder if his father's death was an easy thing to bear. Or if it were so painful he needed to reveal it in the bright bustle of a courtroom, with busied hands. He usually seemed so guarded.
You may be thinking, “You should be grateful she lived to be so old.” I am grateful, immensely so, but grief kicks the hell out of gratitude. I remember telling a colleague how old my father was when he died and watching her dismiss my grief. As if the fact that he was eighty-two and I just turned forty meant I didn’t have the right to miss him. He was old. Of course, he would die. But that has nothing to do with grief. Grief is about the hole in your gut when someone you love leaves. Grief is about the moments you go to touch the other, speak to them, turn around to look and find the air empty. Grief is about the loss of presence, even if it’s smelly feet or an annoying habit of telling you what you already know. It’s the bare shelf in the refrigerator where you kept their favorite food, the corner of the couch where they napped, the sounds of their living. Grief is about the missing, the longing, the wishing.
When my father died, followed twelve years later by my mother, regret laced my grief. No matter how hard I tried, I wouldn’t have the relationship I wanted with either of them. Grief held the loss of a future I couldn’t reach. When my dog died early Wednesday morning, I was spared the pain of regret. She and I lived well together. She had a good life, and this was the natural and inevitable outcome. She died peacefully with the aid of a kind vet. My partner and I stroked her fur and told her we loved her. We let her go, felt her leave, and were grateful for the privilege of having known her.
Grief is love’s pressure valve; the harder the grief, the deeper the love, the bigger the loss. Come on you bastard,I tell it, do your worst, and it does. And then it passes, leaving me calmer, softer, balanced. My mantra is let grief come; let grief go.
I will always be connected to my lost people and animals. I hold this tight as another wave pushes my face to the floor. With time, the grief will tire and fade. With time, I’ll be left with the strong, sharp memory of those I’ve lost, and the love, always the love.
-Randall Van Nostrand
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 11 CT
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.
Randall Van Nostrand’s stories have appeared in Chantwood Magazine, Bards & Sages, and The Rappahannock Review. www.randallvannostrand.com
I laughed when they called to schedule it, when I put it in my calendar over the faint traces of where you’d been. I’m not surprised. This much I’ve learned about grief—that it’s cruel in how it compounds, strata over strata of reddened rock.