Preserving a Family Oral History

This week we reach back into the archives again. The post that follows was originally published on July 9, 2014. It was written by Julie Demoff-Larson and is titled “Preserving a Family Oral History.”

____________________

My father has this knack of storytelling that I wish I had inherited. Yes, I can spin a tale on paper, but his talent resides in the oral tradition. Many holidays and late night discussions around the dining table end with Dad captivating us with stories of his youth and that of my grandfather. As an adult, it is those stories of my grandfather that peek my interest the most. I often think of how much of his story has already been lost through the version my father tells. And there certainly are many facts that I cannot relate to my children. It becomes necessary to write down as much as is remembered, and as early as possible to carry on these stories.

So, how do we preserve a family’s history without having our ancestors here to fill in the missing information that is vital to the retelling of the story? Through research?  Well, that all depends on what kind of research we are talking about. A writer can look to community archives to see how people lived during a specific era, but that doesn’t quite represent what has happened within an individual family. This reminds me of Jeanette Walls first two books. The first, The Glass Castle, is a memoir of her childhood looking back at her parent’s dysfunction and mental illness. Nothing is lost because it is her story. In her second book, Half Broke Horses, Walls labels it as a “true-life novel” based on her grandmother. Walls initially intended it to be a biography, but soon realized there were too many gaps to fill in the story. So, the question becomes is it better to write a family oral history as fiction, or maybe as a hybrid between fiction and nonfiction?

A biography can be restricting because the audience expects the reading to be based on fact, including time and setting. This is extremely hard to accomplish because it is speculative. Capturing emotion, personalities, and drama on the page requires flexibility. We all know there is some give in creative non-fiction when it comes to enhancing language to create depth, but it does not allow for grand embellishment that creates new scenarios within the story — that would be fiction.

Advice to those wanting to record the oral history of your family: write down what you know, what you can find out, and research community archives for customs and norms, and then combine with your imagination. 

Meet Cathy Day, Keynote Speaker for the 2016 Steel Pen Creative Writers' Conference

The Steel Pen Writers’ Conference Committee is please that Cathy Day has signed on as the Featured Speaker at this year’s event. It is always inspiring when a leader in the writing community shares their excitement. I had the honor of tapping into Cathy’s thoughts and ideas surrounding her creative process and commitment to the writing/reading community. I hope you enjoy what Cathy has to offer here, and you can hear her speak more on these subjects at the Steel Pen Writers’ Conference on November 12, 2016. Registration is ongoing and can be accessed through www.inwriters.org.

Julie Demoff-Larson: The Steel Pen Conference hosts a wide variety of attendees in various states of their writing career. What benefits do you feel emerging writers can gain from conferences/workshops?

 

Cathy Day: The chance to feel like a “real writer” for the day. Once you experience this, you’ll want to do whatever you can to keep that feeling with you when you go home. It inspires you to commit to a writing regimen, to become part of a writing community, and to send your work out into the world.

 

JDL: What will you be offering at the Steel Pen Conference this year?

 

CD: I’ll be delivering the keynote address about a subject that’s near and dear to my heart: literary citizenship. So many people come to conferences looking for an answer to the question: “What’s the secret to getting published?” I think that the answer is to worry a whole lot less about your own needs and to make the world a better place for books in general. We’re living in a historical moment when more and more people want to be writers but bookstores are closing and publishers can’t make ends meet. If we devoted even a little bit of our energy to addressing this, we’d all be better off.

 

JDL: Tell us about the genre you write in. How do you go about gathering research? What inspires you to pursue a specific topic or plot-line? 

 

CD: Most of my fiction is based on truth. I call it fictional nonfiction. I’m usually inspired by Indiana subjects—the circus, the Colts, Cole Porter—and then I start reading and digging around. This phase of this process is about discovery. I don’t know what I’m looking for exactly, but some things just grab me. Then I ask myself why these things have traction. Usually, it’s because they touch on what really matters to me—as a human being and as a writer. I also look for what’s not there. Fiction is a great way to tell the untold story or to offer another explanation.  

 

JDL: What was the path that led you to novel writing? Or was novel writing a natural fit and where you first started? How has your writing voice, style, and method changed over time?

 

CD: Honestly, I don’t consider myself a novelist yet. My first book was a collection of linked stories, what some call a novel in stories. My second book was a memoir. The book I’m working on now is a novel—so if it gets published, then I’ll be a novelist! I was taught to write using the short story as a model (something I've written about at length), and I’ve figured out how to write a novel by teaching the subject, by studying a lot of novels, and (honestly) by watching great television series like Mad Men, Friday Night Lights, Breaking Bad, and The Wire—which have become the great social novels of our time.

 

JDL: What are you working on right now? What did you do to prepare for this work?

 

CD: About nine years ago, I thought I’d write a novel about Cole Porter. He and I share a hometown. I got a research grant to visit his archives at Yale and visit his homes in New York and Williamstown, MA. But I quickly realized that I was more interested in Linda, his wife. She had a fascinating life long before she met Cole. I know that “The Famous Cole Porter” is what will bring readers to my book and to my character, but I’m trying to minimize his presence so that the reader can really see Linda.

 

JDL: What advice would you give to an aspiring writer?

 

CD: Nobody—no degree-granting institution, no teacher, no editor, no association—grants you the status of writer. You don’t need anyone’s permission to be a writer. You have to give yourself permission. It’s an almost completely internal “switch” that you have to turn on and (this is harder) keep on.

Cathy Day teaches the craft of fiction and creative nonfiction. She’s the author of The Circus in Winter, a novel-in-stories, and Comeback Season, a memoir. She’s been teaching creative writing for over 20 years, most recently at Ball State University. She speaks on topics related to her historical research and teaches literary citizenship (how to advocate for books and writers in the digital age). She maintains numerous blogs related to her interests, which enjoy approximately 75,000 unique visitors a year. You can find her website at www.cathyday.com.

 

Give Me Some of that Good Ole Christmas Tradition

by

Julie Demoff-Larson

 

I love Christmas. Although I am not a believer in the religion, I am a believer in the magic and tradition that encompasses the holiday season. I love the lights. I love the music. I love to bake cookies and nut rolls just like my grandma taught me—and I even share them. And I especially love the traditions that have been passed down along with the new ones we have started.  

 



As we move through this technology driven world it is so easy to lose parts of our family history. Some of my favorite holiday moments are when my father and uncle have shared stories about growing up in an immigrant rich neighborhood.  Or my grandmother’s telling of her Christmas mornings in the hills of Kentucky. When they were excited just to receive one large apple and one large orange in a stocking. We tried that a few years back with all of the great-grand kids and they were confused and disappointed. Thank god for gift cards.

In my house, we host an all adult party the week before as a respite from the hustle and bustle and exchange ornaments on Christmas Eve—all new traditions that we have implemented. My favorite new tradition happens to be about books—children’s books. About ten years ago I started giving my mother a children’s Christmas book as a gift. Each year I search for something new with beautiful rich illustrations. I look for stories that offer a twist on the holiday season. Most of these books offer new traditions as well as a take on old ones, but they are hard to find. Why aren’t there more available? So, here is a grand idea, we should all write a children’s book that incorporates family traditions. Even if you don’t plan on sending it off for publication, it would make a great gift for family and friends.  

Let’s keep our stories and traditions alive by writing them down and passing them along. There is an audience for such writing. I know I want to read them, all of them.



Travel and Experience: Write Something Interesting

by

Julie Demoff-Larson

 

World traveler? Jump in your car and head down the highway for a spell visitor? Walk the streets of your hometown voyeur? However you approach travel, there are certain elements that make travel writing interesting. Yup, this blog post is about travel writing. I have loved travel writing ever since I was a young girl. The National Geographic setting on the wicker clothes hamper in my Grandma’s bathroom caught my attention early on. I loved the photography and the stories about all things foreign to me. As I look back and continue to read as an adult, one thing jumps out at me. In travel writing, the element of discovery is prevalent. However, it is not the landscape or the visuals that capture the reader, but the moments of realization, human connection, and life changing events that make the piece compelling.

We don’t have to limit travel writing to far-off lands or even to the seasoned pros. Many literary journals are looking to publish writing about interesting places, cultures, and happenings. And writers don’t have to travel far to find research for a great travel story, because ideas do come from life experience after all.  What fun, quirky, historical, or weird stuff is going on right where you live? What goes on in your environment that doesn’t happen anywhere else? Think about these things as you begin to write about the local flavor.

Be sure to stick to specific moments and you will see a greater impact in your storytelling. Don’t leave out the background setting details, because it is important to transport your reader to an unfamiliar place. However, you don’t want it to be the focus of your piece, just a supporting role. I was reminded of this when I read the piece “Where You Go” by Lee Olsen, which was published in the first issue of Blotterature, as he takes the reader on a drive through a foreign country in a cab. It is the observations, conversations, and interactions with people that make his work special. 

And read a variety of pieces in publications that specialize in travel writing. Of course read National Geographic, but a few others to consider are Trainless Magazine and Nowhere Magazine. Both offer a wide variety of story themes and beautiful visuals. Study the writers and their use of technique to help improve your work. Good luck and happy travels.



National Hispanic-Latino Heritage Month: The Nuyorican Movement

by

Julie Demoff-Larson

With the upcoming celebration of National Hispanic-Latino Heritage Month (September 15-October 15), I thought it would be nice to take a look through my collection of books and see what authors, novels, and collections written by Latino authors still stand out for me. I have always been drawn to literature that is steeped in folklore and tradition while mixing contemporary settings and ideals, so it wasn’t surprising to me to find a number of Nuyorican works scatting in the mix.

The Nuyorican Movement began in the late 1960s and early 1970s in several New York City neighborhoods such as East Harlem and South Bronx. The movement was a way to validate the Puerto Rican population that had long been ridiculed, marginalized, and discriminated against. The term Nuyorican was first penned as an insult, but artists and writers living in the area transformed the word’s meaning into a symbol of Puerto Rican pride.  The movement gave way to numerous Puerto Rican visual artists, writers, and musicians who were creating work based on their cultural experiences while living in New York.

One of my favorite Nuyorican writers is Nicholasa Mohr. Her work depicts the everyday lives of Puerto Rican families living in El Barrio, Spanish Harlem where she grew up. The realities of the world the characters live in do not overshadow the compassion, humor, or loyalty the community thrives on in her stories. Mohr’s short story collections and novels in such as El Bronx and In Nueva York are not just for adults, but are appropriate for YA readers as well. These books open young readers up to new cultures and are helpful to understand the historical context of immigration. Mohr’s children and young adult books have won numerous awards including the New York Times Book of the Year.

Other Nuyorican authors you may enjoy:                                                                            

• Abraham Rodriguez
• Bonafide Rojas
• Bimbo Rivas
• Charles Rice-Gonzalez
• Ed Vega,
• Esmeralda Santiago
• Felipe Luciano
• Giannina Braschi
• Jesús Colón
• Jesús Papoleto Meléndez
• Luz María Umpierre
• Miguel Algarín
• Miguel Piñero
• Nancy Mercado
• Nelson Denis
• Pedro Pietri, founding father of the Nuyorican Poetry Movement
• Piri Thomas
• Sandra María Esteves
• Shaggy Flores
• Tato Laviera
• Victor Hernández Cruz
• Judith Escalona
• Jack Agueros
• Julia de Burgos

 

 

 



Preserving Family Oral History

by

Julie Demoff-Larson

 

My father has this knack of storytelling that I wish I had inherited. Yes, I can spin a tale on paper, but his talent resides in the oral tradition. Many holidays and late night discussions around the dining table end with Dad captivating us with stories of his youth and that of my grandfather. As an adult, it is those stories of my grandfather that peek my interest the most. I often think of how much of his story has already been lost through the version my father tells. And there certainly are many facts that I cannot relate to my children. It becomes necessary to write down as much as is remembered, and as early as possible to carry on these stories.

So, how do we preserve a family’s history without having our ancestors here to fill in the missing information that is vital to the retelling of the story? Through research?  Well, that all depends on what kind of research we are talking about. A writer can look to community archives to see how people lived during a specific era, but that doesn’t quite represent what has happened within an individual family. This reminds me of Jeanette Walls first two books. The first, The Glass Castle, is a memoir of her childhood looking back at her parent’s dysfunction and mental illness. Nothing is lost because it is her story. In her second book, Half Broke Horses, Walls labels it as a “true-life novel” based on her grandmother. Walls initially intended it to be a biography, but soon realized there were too many gaps to fill in the story. So, the question becomes is it better to write a family oral history as fiction, or maybe as a hybrid between fiction and nonfiction?

A biography can be restricting because the audience expects the reading to be based on fact, including time and setting. This is extremely hard to accomplish because it is speculative. Capturing emotion, personalities, and drama on the page requires flexibility. We all know there is some give in creative non-fiction when it comes to enhancing language to create depth, but it does not allow for grand embellishment that creates new scenarios within the story — that would be fiction.

Advice to those wanting to record the oral history of your family: write down what you know, what you can find out, and research community archives for customs and norms, and then combine with your imagination.  



Transformation from Subculture to Accepted

by

Julie Demoff-Larson

 

Gay literature has gone through a gradual transformation over the years as the American population slowly changed to the acceptance of the gay community. LGBTQ literature began with subtle hints and innuendos eluding fantasies, trysts, and relationships that were forbidden. Later, gay literature focused on the "coming out" story. But these stories were primarily about shame, denial, and hardships the characters endure when their sexuality is revealed.

 

Jane Rule’s Desert of the Heart, one of the first strictly lesbian novels in print, reveals the desires that consumed those who married out of duty and abandoned their true nature. This was familiar to many women during most of the twentieth century. Women and men stayed in marriages that were unnatural to them out of fear of retribution, ridicule, and alienation. Stories like Desert of the Heart—poetic at times, and dated in others—mimicked the social constructs of the day.

 

Subcultures that existed in certain factions of society prior to now can be reevaluated in works such as Invisible Life, by E. Lynn Harris. Even today, denial has been a big part of gay reality in minority populations. Invisible Life exposes the secret lives of gay African American men who are in committed relationships with women. Some characters deny being gay because of their limited participation in physical contact. But most rejected the label because of the stigma and distain they would receive from family and friends. E. Lynn Harris also wrote about the HIV and Aids epidemic that plagued the gay community during the 80s and 90s. Americans looked the gay community in a very negative light and some writers tried to attach a human face on the disease.

 

We have come a long way from the days of fear and shame. Today, writers are creating stories and characters that are gay, but the plot of the story is not necessarily about being gay. As we strive to normalize gay culture, we no longer need a description of differences or similarities between hetero and homo sexuality. Now, we need what writers are actually putting out there—stories about family, love, loss, happiness, and sadness. The things that make all of us human. 



Introducing Asian/Pacific American Literary Sources

by

Julie Demoff-Larson

 

As the month-long celebration of Asian/Pacific American heritage moves quickly by, let’s not forget to take time to appreciate what this faction of the literary community has given. Countless writers continue to enrich American society with tales that merge history and customs with the modern world. Their culture, however American, remains connected to their homeland through generations storytelling. Contributions by Asian/Pacific Americans in literature deepen our understanding of a part of the world that most of us do not have access to. As readers, where do we start in our exploration of Asian/Pacific American literature? In celebration, here are a few offerings that bring a multitude of writers and artists together for your enjoyment:

Government sponsored websites such as Asian Pacific American Heritage Month and the Smithsonian give information on the history and various art forms that are indicative of the Asian/Pacific culture. Recordings of Asian/Pacific American poets can be found at http://asianpacificheritage.gov/audio.html. And The Smithsonian is full of educational lesson plans, events, and articles, as well as hybrid haiku/visual artifacts to view.

If it is contemporary literary arts you are interested in, well, you are in luck. Quite a few literary journals and magazines feature Asian/Pacific American writers and artists. No need to do a search; here is a short list to get you started:

1.      Kartika Review serves the Asian Pacific Islander American (APIA) community and those involved with Diasporic Asian and Pacific Islander-inspired literature. They have featured original works by writers such as David Mura, Russell Leong, Min Jin Lee, Tess Gerritsen, Peter Bacho, Porochista Khakpour, Bryan Thao Worra, Kelly Zen-Yie Tsai, Don Lee, and Alexander Chee.

 

2.      Lantern Review aims to provide a virtual space in which to showcase Asian American poetry and to engage with issues relevant to its production and dissemination. They welcome anglophone writers of all ethnic backgrounds whose work has a vested interest in issues relevant to the Asian diaspora in North America, as well as work created collaboratively in a community context.

3.       TAYO Literary Magazine cultivates emerging poetry and prose, publishing writing that knifes, lifts, and strikes at the emotive truth of all things lost and adrift. They are dedicated to the creation, cultivation, and promotion of Filipino/Filipino American arts and culture, open to all work that cuts the insides and opens the heart. Work found on TAYO is contemporary and edgy.

 

As you embrace Asian/Pacific American heritage month, look within your community for organizations, churches, universities, and local writing groups that offer programs or celebrations. Get involved or experience something new.



Visual Art and Broadside

by

Julie Demoff-Larson

 

Think about your favorite poem or a poem you wrote. Now visualize the imagery in the poem. Can you create a piece of art based on that imagery?

It isn’t a far jump from the poetic form into the visual arts. They go hand in hand and a collaboration of the two can produce a powerful statement. This partnership is called visual poetry. The poet/artist takes images out of the poem and onto a canvas in a multitude of forms. It can take on the form of collage, sculpture, or multi-media that visually replicates themes, subjects, and even the process of the poet. However, a poet may be inclined to create an art piece that does not draw from a word or phrase pulled from the poem, but instead offer an artistic piece that conjures up alternative meanings or connotations.

Certain forms of poetry already rely heavily on visual aspects such as concrete and alter poetry, along with the father of experimental poetry, e.e. cummings.

 

Buffalo Bill's

        defunct

               who used to

               ride a watersmooth-silver

                                        stallion

        and break onetwothreefourfive pigeonsjustlikethat

                                                         Jesus

        he was a handsome man

                             and what i want to know is

        how do you like your blueeyed boy

        Mister Death

– e.e. cummings

 

Broadsides are a form of visual art that is regaining popularity with the resurgence of book arts. Broadsides are traditionally print publications on large sheets of paper that are printed only on one side. Think in terms of the penny-press or “The Declaration of Independence” as reference. Small press publishers and journals are turning to broadsides for aesthetic value and supply cost savings. However, broadsides are labor extensive because, unlike contemporary printing methods, they require manual settings of wood type that fills every inch of the paper with poetry. The outcome of each poster is unique and flawed in some capacity, yet beautiful for those same reasons. Because they are labor intensive, smaller individual broadsides that serve one poem with complimentary art have become an attractive way to keep the tradition alive. Smaller forms don’t have to be type-set but can actually be handmade using a variety of materials. Many poets use this visual art form to promote their work, which places them in a more active role in the arts community as galleries seek out these art forms to show. Give it a try.  Experiment and maybe you will find your niche. 



Take Your Prescriptive Grammar Medicine

by

Julie Demoff-Larson

 

They call themselves grammar Nazis. You know who you are and we know you are watching. No matter what the words may be written on or what form it is presented, these masters of language will judge your writing by the errors you failed to recognize even after your fifth edit. Don’t get me wrong, we need these readers to point out the comma splices, run-ons and dangling participles. Well written grammar represents professionalism and an astute understanding of the function of language. In academics, this is called prescriptive grammar and grammarians that follow this line are strict when it comes to the use of form and function in the English language. However, stringent rules don’t always lend to creativity in writing, but in order for writers to play with form they must first understand the rules.

I personally wrestle with grammar. Sometimes it has me in a headlock, but if I can break free and get a grip on it then the outcome is usually worth the effort. My problems with grammar stem from a lack of formal training. In high school, months were spent discussing, reading, and acting out Macbeth and endless vocabulary review, but never once was diagramming sentences introduced. It is now, after almost five years into my education, that I find my footing is a bit more stable when I am writing.

When writers understand the form and function of a sentence there is a confidence that comes through in their work. And when the rules are understood, then they can be broken. The writer can then experiment with the form to create tone, humor, and pace.  Descriptive grammar, the practice of looking at language through social observation, tends to define the creative writer’s understanding of language.  Observation is relative to distinguishing what is appropriate and inappropriate use of language, which is key for the creation of compelling characters. Without observation, the risk of creating stereotypes and inauthenticity is greatly increased, but through it time, place, and realistic characters are developed. Descriptive grammar, unlike prescriptive (sounds like taking medicine), is relaxed and therefore accepts variants of language found in regional dialects, social class structures, and various age groups. Observe people and you find that how we speak is not proper English grammar. So, let loose and don’t worry about the grammar Nazis.



You are the Future of the Writing Community

by

Julie Demoff-Larson

 

Close your eyes and imagine what your ideal writing community would look like. What, you have never considered such a thing? I know. I get it. Most of us who write do so after the work day is over or on the weekend in solitary confinement. We etch out poems, stories, and the great American novel while huddled in some nook where no one can see the anguish and torment we put ourselves through. When we think we have something good, we send it out, then wait as we start the writing cycle all over again. It is easy to become a writing miser, hoarding pencils and journals instead of investing in a literary scene. So, why is it so hard to have both?

For me, I foresee a vibrant literary scene in Northwest Indiana. There is a small foundation already set in place by many writing groups and organizations. For example, Indiana Writers’ Consortium members host a variety of independent writing groups that workshop regularly (Highland Writers Group, Write-On Hoosiers, Magic Hour Writers) and there are more and more opportunities for reading at open-mics hosted by coffee shops and art galleries. These events are fantastic, but is this enough to call it a lit scene?

Within the urban literary scene, participants can expect to find numerous venues hosting readings, book signings, oral interpretations, and poetry slams. There are also literary journals, creative writing workshops, book sales, and thriving independent bookstores. Centered in the middle of the urban literary scene is the all-encompassing community writing center from which writers of all ages benefit. When I close my eyes, I imagine Northwest Indiana buzzing with live lit events and writers working together in the community. But what steps can we take to get to this point?

First and foremost, we must all put in time. Yes, time. It only takes a few moments to share an event on Facebook or to retweet a fellow writer’s newly published work. This is a “we are all in this together” mentality, and baby steps will eventually mature into strides. A supportive writing community is essential for IWC to successfully implement new projects in the future. Member participation in local events help foster a relationship between associates and the general public. As public involvement increases, the IWC will develop new programs that will benefit the community.

Don’t underestimate the value of what you have to offer as a writer. We all have dreams and most of us want to play a part in something important. Maybe you wish to teach others about poetry or to inspire the next generation of writers. Maybe you hope to provide a space where writers can experiment with words in front of a crowd or to start a small press. Whatever your ideas, send them to Indiana Writers’ Consortium and let’s work together to create a space for us all to thrive creatively.

Close your eyes again. Imagine your ideal writing community. Now make it happen.



Triple the Scare and Half the Cheese

by

Julie Demoff-Larson

 

Wet popcorn brains, peeled-grape eyeballs, basement haunted houses and black-cloaked teachers reading Poe by candlelight; 1981 horror through the eyes of a nine year old.  Tame by today’s standards if you ask anyone over the age of thirty-five. But let’s face it, the lack of horror preparation I received in early childhood has left me still anticipating mental psychosis when terror pops up unexpectedly. Relieved only when I make it through to the end, because after all, there were no Monsters Inc. or Coraline’s to help bridge the gap between myself and the “other.” But that is what makes horror scary, right? The “other” is supposed to be an unknown entity capable of leaving you damaged psychologically and fearing your physical world. So, why aren’t my kids afraid of monsters, ghosts, or vampires like I was at their age?

The thought of Tim Curry, slashers, and that vampire scratching at the bedroom window in Salem’s Lot sent me far under my blankets at night up until six months ago. So how is it that my teenager can watch a movie triple the scare and half the cheese of what I was offered and walk away unscathed? My children, like so many, have had the convenience of horror genre in a multitude of mediums since birth – well, practically. Horror is capable of working itself into the central nervous system through a series of stages.

Stage 1: Monsters are our friend s– Monsters, Inc.,

  Reality check – It’s the Great Pumpkin, Charlie Brown

 

Stage 2:  Don’t worry, people are creepy and weird in real life too – Coraline,

              

Stage 3: Scare the pants off of them for two years until they are immune – Goosebumps (books

               and television)

 

Stage 4: You can look like a monster – Monster High dolls and accessories

              You can love like a Monster, too – Twilight

Why don’t you just act like one while you are at it? – They are teenagers by this point, so pick anything horror and go with it.

 

The surplus of horror fiction has made today’s youth fearless – this does not include seeing their parents dancing in public. Writers are continuously upping the ante in order to keep their audience interested. That is really hard to do considering the reader/watcher has so many reference points to draw upon. I know, it sounds almost condescending, but actually having to push the limits of horror shows that our youth love that stuff. However, sometimes they are left feeling unsatisfied, not from the writer lacking in craft or originality, but from wanting horror to be steeped in reality. How do we – parents, educators, writers, booksellers – keep them engaged? Keep them reading? How about throwing new titles at them until they find something that has them talking, thinking, and dreaming about the things they fear. Most fear stems from the “other” resembling something familiar, and the reality is kids today are exposed to scary things going on around the world, even more than we were. Media bombards every possible frequency it can occupy with visuals that we fear. There is nothing scarier than what can truly reach out and grab you, affect you, and change you.  If kids can’t seem to find the excitement and fulfillment they crave, then encourage them to write their own. Let’s just hope it isn’t about your dancing.