Category Archives: All Things Writing

2017 Undiscovered Voices Fellowship

It’s not your imagination: it has been a while since I last posted! I have a great excuse, however: Last August, I was honored to learn that I had won the 2017 Undiscovered Voices Fellowship, sponsored by the Writer’s Center in Bethesda, Maryland.

As the purpose of this year-long fellowship is for me to complete a “publishable” manuscript (what that actually means remains to be seen) by next summer, I have been spending less time on social media and submissions, and more time writing and taking advantage of the outstanding workshops available to me through the generosity of this fellowship.

So while you will be seeing less of me here, it’s for a very good reason, as I’m sure you’ll agree. You can still find me on my other, less time-intensive social media outlets, in case you start to miss me too much. I’ll update here, as I’m able, and perhaps even share a snippet or two of the work in progress. Wish me luck!

Click here to read my interview with the Writer’s Center about the fellowship. 🙂

 

 

“Color Blind” At The Bookends Review

Sending out a brief message of heartfelt gratitude today to The Bookends Review for publishing my first flash fiction story ever, “Color Blind.” Caveats: 1. ) No animals were harmed in the writing of this piece (although, please, let that serve as a trigger warning for all you animal lovers out there); 2.) Caribbean blue is a color; Paris green is a poison. Good to know. Here’s to trying new things!

(Uh, unless you’re talking about poisons…)

To read the piece, please visit: http://thebookendsreview.com/2017/07/31/color-blind/

 

 

 

 

Inside the Ring

You may notice my ring—the chunky, silver peace symbol against a field of black I often wear on my right ring finger—and, given today’s climate, you may think you know something about me. Once, its symbolism may have conjured thoughts of “hippies” or “peaceniks,” but today, more likely, it conjures an image of a “snowflake,” or perhaps even a “libtard.” Maybe you look at my ring and think, “What a liberal, running out and buying a peace ring, of all things. Hippy freak.”

 

Well, as they often are, looks can be deceiving. You see, this ring I wear so often, it’s not even mine—well, it wasn’t originally. I inherited it from my mother, when she passed away in 1996. Was she a hippy or a peacenik in her day? Probably so—I mean, the ring was originally hers, after all, and she was a raging liberal in her later years. She had it for a very long time, as evidenced by family pictures that have come to mean so much to me now, twenty years after her death; so yes, it’s likely she was an original hippy freak.

The first picture in which the ring appears made us both “famous,” at least in our local community. I was four years old, and Mom had decided to take me ice skating for the first time. As you can see from the image, it was not something I took to willingly. A photographer for our local newspaper, The Rockford Register Star, saw my mother smiling and laughing, and me, wailing and fussing, and thought it was a cute human interest pic (sadist).

Notice the ring. More than forty years have passed since that picture was taken, and the hand wearing that ring is long gone, but still, sometimes, when I look at her ring on my finger now, I can almost feel her hands holding me.

 

 

 

 

 

 

 

She died before any of my children were born, and that was a source of great pain for me in those early years of motherhood. I longed to have the support and advice and connection with her and my children that most of my friends enjoyed with their mothers, who were all still living. That my kids would grow up never knowing who she had been hurt me terribly, and so began my perpetual campaign to teach them all about her, to let them know her through me.

Sometime early in my daughter’s life, I decided that I wanted to recreate the ice skating picture with her that I’d had with my mother (hopefully with a bit less trauma), so when she turned 4, we headed to the skating rink for her first time. I asked my husband to take a picture of us.

Notice the ring on my finger (and notice the smile on her face, so unlike her mother). On my dresser now, years later, the pictures, one of me and my mother and her ring, and the other of me and my daughter and the same ring, are a concrete, tangible link from one precious life, one precious love, to the other.

I wanted to repeat the experience with my older son when he turned four, but we could never get him to be still on dry land, let alone on ice. We didn’t make it to the ice rink with him until he was around seven, and although I made sure to wear my mother’s ring and forego a glove on that hand, the opportunity for a picture never arose. But I know it happened, and I know that each time I reached down and helped my son back to his feet, I saw the ring on my hand, and felt my mother there with us.

When my youngest son turned four, he desperately wanted skating lessons, so I willingly obliged. This time, it was just the two of us at the rink. He was so excited and happy to be on the ice that I didn’t want to stop him with a picture; I let him zip around to his heart’s content, and in the joy of watching him, I completely forgot. It wasn’t until our next lesson that I remembered and asked another mom in the group to take a picture when the lesson ended.

Notice the ring.

Look through our family pictures for the last two decades, and you will likely see that ring on my hand in most of them. I have other rings, prettier, daintier rings, of course; beautiful, delicate confections that my husband has lovingly chosen for me. When I dress up for date night or a wedding or what have you, I choose one of those, and my mother’s ring stays at home on my ring stand.  But still, most ordinary days, my mother’s big, solid, chunky peace symbol winds up on my finger. Its weight grounds me somehow; the knowledge that she walked this earth with it wrapped around her own finger makes me feel she is nearby, no matter where I am. Wearing it brings me peace and comfort and often, fortitude, in difficult situations.

I wish I’d had a camera with me last week, when we traveled to the Virgin Islands on spring break with our kids. As I always do, I wore my mother’s ring during the flights, which are difficult for me, and though I wasn’t planning on doing so, I slipped the ring on as we left to go snorkeling for the first time.

I was terrified. Something about no bottom I could touch with my feet, no poolside I could grab with my hands, filled me with silly horror. But my youngest son wanted to swim with the sea turtles, so there I was, taking a catamaran to Turtle Cove, quaking in my life vest and flippers. I rubbed my mother’s ring repeatedly, looking for calm and trying not to cry as I climbed down the ladder. I so wanted to do this for my two sons and my husband, to not let being afraid stop me from living.

Credit: https://www.emaze.com/@ACWZWWRO/Presentation-Name

After a few minutes in the water (and with the help of a pink pool noodle one of our guides tossed me), I began to relax. Then came the moment when our guide told us to look down, there were turtles right below us. I stuck my face in the water and searched all around beneath me—there. There they were. Two enormous turtles, gliding ever so slowly across the bottom. As I waved my hands gently in front of me to keep myself from drifting away from them, a flash of silvery light caught my eye. It was my mother’s ring.

I remembered, then, how when my siblings and I were kids, she had told us she’d always wanted to be a marine biologist (she became an English teacher instead, better with words than with math). I remembered, also, taking her to the dolphin show at the zoo the summer before she died, and how tightly she’d gripped my hand when the dolphin leaped above the water’s surface. I remembered her trembling at their power and beauty, remember how her eyes shone as she looked at me and squeezed my hand even tighter.

She would’ve loved this, I thought as I floated above the turtles. How I wish she could be here.

Then I remembered—she was.

I looked down at the turtles beneath me and went completely still. I moved my hand, moved my mother’s ring, before my face, so that it looked as if my hand were touching the turtles’ shells, as if, linked by her silvery ring, our hands, together, were gliding across their backs.

As I write this now, the only piece of jewelry I’m wearing is her ring. When I hit the Enter key or move the mouse, the ring glints in the morning light coming through my office window.

Notice my ring. Yes, it’s a peace symbol, a call sign for hippies, peaceniks, and snowflakes alike. Yes, it’s big and it’s clunky, not delicate or expensive or particularly feminine. But for me, wearing my mother’s ring has never been about what’s on the outside—it’s always been about all that it has held inside.

 

 

Candlesticks and Daggers Interview Series

This post is part of the Candlesticks and Daggers Interview Series run by contributor Sati Benes Chock, and originally appeared January 19, 2017, on the blog of Candlesticks and Daggers editor, Kelly Ann Jacobson. For more about the book, please follow the link here.

 

Excerpt from Julia Tagliere’s story “His Last Human Day” 

Trapped, he crouches, contemplating the giant sludge of applesauce oozing between his toes, and tries to remember exactly when everything went wrong. Then he does remember: He no longer has toes. It’s just another mind trick he still hasn’t conquered, like remembering he has an exoskeleton now, not skin. They say karma’s the bitch, but for him, it’s the remembering.

Interview

Hi Julia! Can you tell us a little about how you became a writer? How did you begin? Did you always know that you wanted to be a writer?

As I suspect is the case with many writers, I started writing very young and wrote a lot of early garbage, resorting to non-writing employment—in my case, nine years of teaching high school Spanish and French—for survival purposes. Actually, when I began college, I really thought I’d be an interpreter at the UN by now; funny how things work out, isn’t it? After my third consecutive maternity leave, I took up writing again to save my sanity, and started taking graduate writing classes to get better at it. Sixteen years later, I’m still working on that.

What do you read for fun?

Anything by Neil Gaiman (I read Good Omens at least once every year) and Cook’s Illustrated magazine—outstanding writing, detailed research, and a healthy dose of dark fantasy (especially the cooking magazine). I’m also doing the Book Riot Read Harder 2017 Challenge this year, which will have me reading things outside of my comfort zone this year; they may not all be “fun,” but we shall see.

Some writers have rituals that they feel helps them with the creative process. Do you employ any rituals, or do anything regularly that helps keep you on track with your writing?

When I’m composing, I burrow into my comfy chair, put my feet up, and work with my laptop propped on a pillow on my legs; I can sit like that for hours without moving. When I’m revising, however, I’m all business—I hunch over my desktop keyboard to work, streaming classical music to help me tune out any distractions. Both approaches are terrible for one’s back; I’m certain later in life I’ll wind up emulating Dalton Trumbo and have to write in my bathtub. Keeping track of my daily word count keeps me honest.

You have a lot of experience with writing programs, having studied at DePaul University and most recently getting your M.A. from Johns Hopkins (Congrats!). What would you say to beginning writers who are trying to decide whether or not to enter a program? Is there anything you’d wished that you’d known before applying?

Dirty little secret time: I don’t believe that, in and of themselves, writing programs make anyone a better writer (except for Ed Perlman’s Sentence Power class—that kicked my butt. Thank you, Ed). In fact, I think that’s a mistake many beginning writers make—believing that if they just complete a program they’ll magically become great writers. What writing programs do, and it’s something I feel both DePaul and Johns Hopkins do quite well, is create opportunities: opportunities, in a (largely) supportive communal setting, to study, to analyze, to reflect, to debate, to connect, to be exposed (and I mean that in dual senses, both to be exposed to other works and viewpoints and such, as well as to be exposed as a writer oneself). Recognizing those opportunities and taking advantage of them with an open mind, a willing spirit, and the tenacity to put in some really hard work—that’s what makes one a better writer. Could you accomplish this growth on your own, outside of a formal writing program? Perhaps, but it’d be far more difficult to recreate such a banquet of opportunities in isolation.

If you could tell beginning writers one thing about the publishing process, what would it be? Any advice for writers trying to crack the anthology market?

We’d all like to think that being published is simply a matter of being talented, but the hard truth is that getting published requires more than just being a good writer. The world is full of good writers. The ones who are published are the ones who put themselves in the right place at the right time, something you do by getting out there and meeting people. I know, we’d all much rather snuggle into our comfy chairs and pretend the world doesn’t exist, but it just doesn’t work that way. Get out there! Attend conferences, seminars, lectures, readings, become active on social media; that is how you make the connections that will get your work seen.

Your story, “His Last Human Day,” was a ton of fun. Without giving away too much of the story, I’d like to talk about it a bit. This is a tale about transformation, on a number of levels. What touched me most about it was how well you humanize a character that is a species most find abhorrent.  Was that difficult to do, or did it just sort of happen organically?

One of the things I found so difficult about reading Kafka’s Metamorphosis (and this piece is obviously an homage) was that Samsa was just so gross (I can’t watch the Jeff Goldblum version of The Fly, either). For me, personally, as a reader, the grossness got in the way of the story; I knew that, if I was going to be able to say what I wanted to say with this piece, I would have to tone down the gross-out factor quite a bit, perhaps even incorporate some humor. Once I made that decision, the actual humanization came about rather organically.

How did you come up with the idea for this story, I mean…were you just standing there in the shower, thinking dark thoughts while pondering Kafka….and…suddenly, you weren’t alone? In other words, any basis in real life, or was this just one of those fantasies that evolved out of “what if’s”?

This piece came about in two ways: First, the house we’d just moved into had a huge infestation of stink bugs; those little fuckers were everywhere. As I was showering one morning, I noticed a stink bug on the door; it was just sitting there, swinging its antennae back and forth, looking for all the world like it was actively watching me shower— that left a very disturbing impression. Then, in one of my classes later that week, we did a first-line swap: We each wrote an original first line on the chalkboard and then chose someone else’s line to start a new piece. I chose one about someone standing in a bowl of applesauce and wondering where everything went wrong, but when I began working on the assignment, using a normal-sized human protagonist just didn’t work; for my purposes, the character had to be someone (or something) very small. Of course, I thought immediately of my stinkbug stalker, but I worried about being perceived as ripping off Kafka. After much deliberation, I tackled the problem head-on by making the character an actual cockroach (a common misconception of Samsa’s character) and having the cockroach itself address Kafka’s work directly in the piece. It turned out to be one of the most fun pieces of writing I’ve done to date.


You wrote a novel, Widow Woman, in 2012. One theme of that work was forgiveness, which is also touched upon in “His Last Human Day.” Do you find that this is a recurring theme for your writing? 

Yes, it is a recurring theme. I suspect it’s because I have a hard time with cynicism. Perhaps that makes me a Pollyanna or a naïve chump, but I always want to believe the best of others, no matter how abhorrent. Enough evil exists and dark things happen every day in real life; in my fiction, I can let the more optimistic, hopeful side of my imagination take over and create those opportunities for redemption. It’s not always granted, of course—wouldn’t that be dull? But the opportunities are definitely there.

Any future projects (or anything else) you want to tell us about?

I have a few short pieces already in the pipeline, along with an upper middle-grade adventure I’ve finished and am hoping to get out in 2017. As far as new writing, I’ll be working on completing my third novel, The Day the Music Didn’t Die, a fun work of magic realism for adult readers I’m excited to get back to now that I’m done with my classes; I also blog about “stuff” at justscribbling.com. 


About Julia Tagliere

Julia Tagliere is a freelance writer and editor and studied in the M.A. in Creative Writing program at DePaul University in Illinois. Her work has appeared in magazines such as The Writer and Hay & Forage Grower and in numerous online publications. Julia’s debut novel, Widow Woman, was published in 2012. In 2014, Open to Interpretation, the juried photography and prose series, selected Julia’s short story, “The Navigator,” for publication in Love + Lust, its fourth and final installment. Another of her recent stories, “Te Absolvo,” won Best Short Story in the 2015 William Faulkner Literary Competition. This December, her personal essay, “Stars I Will Find,” appears in a collection of stories about the challenges of simultaneously caring for growing children and aging parents, Here In The Middle: Stories Of Love, Loss, And Connection From The Ones Sandwiched In Between. An active blogger and past finalist in Minneapolis’ Loft Literary Center’s Mentor Series Competition, Julia resides in Maryland with her family, where she recently completed her M.A. in Fiction Writing at Johns Hopkins University.