When I
read the first line of Pam Houston’s debut book of short stories many years
ago, she had me with “When he says ‘Skins or blankets?’ it will take you a
moment to realize that he’s asking which you want to sleep under.” The next
line is equally intoxicating, and that was it—literary lust at first sight. I
already lived in a world of snow and rustic cabins and whitewater weekends and
crusty rural characters. I wanted to know more about this world of Pam
Houston’s—this western, rugged world—that wasn’t just like my state-of-Maine
world—but felt like it might be a close cousin. So I read Houston’s book, Cowboys
are my Weakness, again and again. I bought additional copies and gave
them to gal friends. And though my life and Houston’s had little but a love of
wild outdoor spaces in common, she seemed like the female friend I wished I had
on days when it felt like I worked only with men.
When
Houston’s other books (Sighthound and Waltzing the Cat) came
out, I eagerly bought and read them. Again I gave copies to gal friends as
gifts. And eventually I urged my boyfriend to read some of her essays in A
Little More About Me. For years, I almost always had one of her books close
at hand. But I started reading Pam Houston’s books back before I even owned a
computer and long before facebook and twitter would enable me to keep me up
with favorite author readings and classes. So despite being a huge fan of her
work, I never imagined I’d get to take an actual, in-person writing class with
Pam Houston. That is until recently when I learned—via electronic media—that
Pam would be teaching a class in Port Townsend, WA. I signed up almost
immediately and then eagerly anticipated the one-day class that would take
place in one of my very favorite towns.
The day
before the class, Brian and I sat on the deck at Sirens. The weather was
magnificent. The Pacific Northwest has seen August days that couldn’t rival
this balmy and brilliant one in late March, so as we drank Bloody Marys and
beers and ate nachos and watched seagulls cavort and copulate and monitored the
fog receding and advancing and the ferry coming and going and argued over
whether or not the island we could see was or was not Marrowstone, I scanned
the crowd, knowing that in a fanfare-free town like Port Townsend, your
favorite writer could be sitting right behind you.
The
next morning, our class assembled in an upstairs room in one of the old buildings
just a few blocks from the hotel where Brian and I had just stayed. I selected
a seat right up front by the open windows, deciding I might as well sit where
I’d be able to see and hear everything. And despite the slightly nervous
anticipatory energy that goes along with seeing a literary hero in an up-close
and personal way, Pam’s arrival was almost shockingly casual. I think she
actually wandered in before the event coordinator had a chance to introduce
her, and in the first few moments, Pam Houston put to rest any notions that
this would be a class constrained by formality.
Pam
comes off as a truly down-to-earth human: so literally down to earth that she
told us early in the day that sitting in her chicken house on Christmas Eve
with the temp at 30 below—amid the chickens and the shit—was really all about
being 50. In everything she says, she is refreshingly direct. She has a clear
voice—the kind that carries, the kind you expect in a theater actor. And she
has a quick and attentive mind. During class, she would sometimes appear so
calm, almost meditative. One might have incorrectly assumed she was drifting
off and thinking about other things, but then, she’d say something that made it
clear she hadn’t missed a syllable. We might have, but she hadn’t. She heard it
all, and occasionally, she’d make a little joke or humorous quip that revealed
her excellent wit. She is no nonsense, so in minutes, we got to work, and she
was talking to us about how hard it can be to write—how the fear of boring the reader
can be paralyzing. And she talked to us about her strategies for getting past
feeling that abandoning the blank page altogether—in favor of a hike—might be
preferable to writing utter crap.
She
talked to us about what she calls glimmers—those little bits of
observation that take hold of our attention, the things that shimmer and shine
at us and stand out above the monotony that can paint our days with haze. She
explained that this is where she always starts. She begins with the concrete
details that niggle her senses—the things she is certain mean something even if
she doesn’t know what.
Soon we
were writing in-class assignments and then trying to be courageous enough to
read them aloud. I tried to follow her instructions and just write the scene—not
interpret it, and it worked. When I read my scene in class, Pam made it clear
that she understood more about my brief scene than I did. It wasn’t magic,
really. I guess it was just the fact that we give away more than we imagine
through the details we choose, and readers understand more than we give them
credit for comprehending.
I was
actually shocked when I read my piece, and Pam said she could feel the rage. I
explained that the glimmer I had chosen to write about was in fact a prelude to
a fight that Brian and I had had the night before. Pam said, "You don't
need to tell me. I can tell."
Here's
what I wrote:
We’re in the soaking tub, and
the water is very hot—a notch below scalding. I think it is a good thing we’re
not large people, and I explain to Brian that I didn’t overfill the tub because
I didn’t want the water to cascade right over the top once we both got in. We
talk, and he tells me that he and Moriel talked about my writing when they went
hiking the other day—about the fact that I’m trying to write, and yet I’ve
lived a rather trauma-free life. It’s something I’ve been wondering about.
Where does my conflict come in? I ask Brian what they discussed, and he says, “Well,
you could always just write fiction.” And then he suggests that I could write
about the time one of my colleagues on ski patrol was killed—horribly—in a ski
accident. He thinks I can write about this; he thinks there is enough conflict.
A lighter
in-class writing assignments resulted in me writing the following about the
most embarrassing thing that happened that day:
I’m sitting in an upstairs room in Port Townsend, and the
tease of mild air is pouring in through the open window. Pam Houston’s strong
voice is filling the room, and all of a sudden, she pauses, perhaps says
something, and then the whole room is looking first at the door, and then at
me, as Brian holds up the little metal room key—just like the one I forgot to
fish out of my purse and return before walking over to this class. Pam
continues her talk, and I start rooting around in my purse. I slid the
little—possibly brass—key and disc with the room number on it into the purse
yesterday when we headed out from the room, and now I know that it has migrated
to the bottom. I feel around, groping past the tampons, the lip balm, and the
iPhone charger, but it’s hopeless. I grab my purse and sneak my way out to the
hall where I try to be quiet. I grab handfuls of purse contents—little green
gloves, more tampons, cables, change purse and checkbook, along with
unorganized receipts—and I dump them all on the floor. Brian sees the little
bronze disc with 17 on it—for our room last night—and he plucks it from the
mess. I scoop all my purse crap back into the leather bag with the crumbling
strap and try to quietly get back to my seat after giving Brian a “thanks and
have a nice day” kiss.
I
didn’t read that little glimmer of humiliation aloud in class. I could,
however, have listened to Pam for days. I left thinking that I’d like everyday
to be as much fun as this one had been—despite the fact that we’d been indoors
all day as the sun shone warmly again on Port Townsend.
Happily,
I’ll get to hear more from Pam, as I’ve signed up for two additional workshops
with her in October, and she’ll be at another writing event I’ll be attending
in July. In the meantime, I’m rereading my notes from her class, trying to
remember her advice, trying to understand her techniques, and of course,
reading and rereading her work. What can I say? Between Cheryl Strayed and Pam Houston,
I’m a bit of an addict—or groupie—I’m not sure.
Any
other huge Pam Houston fans out there? Have you taken a class with her? Read
her books?