The Chairs
Growing up in our family of five, money was short, so my mum used to supplement my dad’s wages by sewing curtains at home. Our former living room became her sewing space, with the dining kitchen at the heart of our home.
Every day we feasted on homemade food and American TV imports. After lunch, with no video player or (of course) internet, it was a choice of afternoon westerns (my mum’s Saturday choice) or weekday American imports, from Falcon Crest to Knight Rider.
Being the youngest came with special privileges, like extra time on the one comfy lounger chair, feeling all cosy under a homemade quilt in winter, with nothing much to worry about – as it should be when you are a child.
Hindsight is a wonderful thing, and so, despite my rose-tinted glasses, I recognise that my childhood was different from the one I would have given my children: too much overprotection, too many hours indoors, watching TV, not enough responsibilities. But we were never short of the magic ingredient: love.
One summer, you could tell one of the dining chairs was on its way out. Because the chairs got termites, so the wood was falling apart. My parents were working-class folks: no holidays abroad, no unnecessary expenses, and my sister was the first one in our family to go to university. So it should come as no surprise that they had no savings or contingency plans to buy a new furniture set, and were also wary of bank loans or overdrafts.
Everything in Maine was blissfully damp, from the sheets to the mornings to the paperbacks. Blueberries, by the time they made it into our pancakes, were still wet. Ponytails remained lake-stained all the livelong day. It was only when we laid our heads on the moist flannel pillowcases that we felt something akin to dry. Even then, one good squeeze and we could have wrung juice from the blankets.
It was a perfect August day, and the Wolf River was clear and cool. The leaf canopy of spruce and cottonwood sparkled overhead, like shards of brilliant green glass backlit by intermittent bursts of sunlight.
Dave and I were trying out the twin red kayaks that his kids had given us the previous Christmas. Everyone agreed we had been working too hard, and the weight of a business we could no longer save was taking its toll.
I want to write a story about the decapitation of glorious women. A story about the mighty falling. A story about heads tumbling in baskets. A story about the mouths that posthumously moved and eyes that blinked even after the head was severed. A story about the wigs that flew. A story about the heads that rolled.
The death of Dianne, my ex-husband’s mother, opened a wound. The service was in California. I wasn’t invited. I didn’t ask if I could be there. Instead, I agonized over whether my daughter should go. She was in the middle of her college semester and travelling to India in a week. My ex-husband and I argued, he bought tickets without consulting me, and I worried it was too stressful for her to make both trips.
I’m always sweating. I get on the subway—I’m sweating. I clock in at work—I’m sweating. I’m asking the server where the bathroom is—and woohoo, I’m sweating.
I would hope you’re reading this with tears streaming down your face, but I doubt it. Our relationship has not always been an easy one, volatile at times, distant at others. But never let it be said I didn’t love you. Very much. I don’t know how you feel about me. We don’t talk about such things, apparently. But now I’m about to die and there are some things you should know.
In 1970 one drop of rain hitting the ground every ten inches constituted a ten-inch rain in Tempe, Arizona, home of Arizona State University and me, my freshman year in college. Wetback referred to a co-ed who made out on the arid soil after the sprinklers ran in the morning, not migrant workers. People spit on soldiers coming back from Viet Nam. The Women’s Movement quaked on the cusp of exploding. And me? Well, before Titanic, before Leonardo Di Caprio declared himself King of the World, I stood atop the footbridge over University Boulevard and surveyed the student-lemmings who marched along the sidewalk.
You write the thing in a flurry in November. You write it in response to a journal’s call for submissions. The journal has feminism in the name. You consider yourself feminist in the “women are equal (and also kickass)” way, but you’ve never written a *feminist* essay before.
The other day, I was walking outside to eat my lunch. I prefer to eat outside as it gives me an opportunity to see the sun, get some fresh air, and get away from the noise that permeates an open work space. The path I take to the outside takes me through the cafeteria/eating hall area.
What to do about the chairs? My mum bought a spray and used it on the chairs. It was supposed to stop the unwanted invasion (but it only temporarily halted.) Then we waited and adapted to the new circumstances: avoided using the most damaged chair, sat carefully on the chairs. A few years later, we inherited second hand furniture from close relatives, and with that, we said goodbye to the chairs – except that as a symbol, they live in my memory.
From those beginnings came a horror of living beyond my means. It planted the seed of buying reduced food and supermarkets own brands, of getting bargain toys of charity shops, or wearing my coat until it falls apart and owning just three pairs of shoes: one for winter, one for summer, one for the rest of the year. Saving up to purchase things is still an impossible dream, but one I always strive towards. And, having married someone brought up in a middle-class household whose views are no less entrenched than yours, money, as you can guess, is a sticking point in arguments.
Rightly or wrongly, our upbringing has shaped who we are, and we must acknowledge this. Because our paths have converged but our pasts will never disappear from sight. Because history is well and truly alive in everything we do. Because erasing the past would be an impossible task, so we can only aim for clear mind, open heart and flexible compass that would allow us to negotiate our present and build our future every day ahead.
-Eva Oliver
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.
Eva Oliver is a communications professional and mum. She lives in the UK with her family. She has been writing all her life, both in Spanish (her mother tongue) and English. Eva often delves into non-fiction and memoir to explore issues around identity, disabilities and inclusion, and the challenges that our society faces. She blogs on The Critical Thought https://thecriticalthought.wordpress.com/
The day after my twin sister's wedding I curled up in the corner of my parent's kitchen and fell asleep. At the time I said I was sitting there because the rest of the house was already overtaken by relatives. I said I was sick because my adrenaline had finally run out. As maid of honor, adrenaline was all I had been running on for a long time. But I've had a long time to think about it now.