Edutch and Embla: Four

Edutch and Embla: Three

Edutch and Embla: Two

Edutch and Embla: One

Edutch and Embla: A Prologue

Reflecting on Early Creative Writing

A few years ago, I found my first printed story in a box of kid stuff sent up from my childhood home. I was seven when it was written, living on an Air Force Base in Mississippi. I distinctly remember the bright, red-brick face of the off-base grade school, tapioca-tiled halls that felt endless, the way the school bus bumped through the base gate every day.

The story is printed on tissue-thin paper in typewritten font, one long paragraph of thrilling familial commentary, and the spelling is, as you’d expect, absolutely flawless: 

Not bad, little Caledonia. A scrappy meat-eater-defying protagonist, a question posed and answered, an emotional journey complete. Bonus points for the electoral monarchy. I don’t remember writing it, but I can only assume my obsession with the Land Before Time was something of an influence. 

Derivative character name notwithstanding, finding this filled me with a mystifying sense of the Rightness of writing. The roots of a passion that started as soon as I could put down words. A bliss that had hold of me long before I could ever grasp it in return. 

That’s not to say I didn’t face the same disheartening challenges all burgeoning young writers must. My first memoir at the age of six was a commercial failure, resulting in inexplicable confusion when my first reader (mom) laughed and laughed. Looking back, I’d written out my daily schedule in clean, imperative sentences: On Monday, I woke up and brushed my teeth. I ate a Pop-Tart for breakfast. I went to school. On Tuesday, I woke up and brushed my teeth…

In sixth grade, we were asked to read our creative writing aloud. I bemused a teacher by trying to power through four pages single-spaced on the unlikely friendship between a girl and her dragon. Her feedback taught me the word prolific! and the power of passive critique. 

In seventh grade, I inherited the old family desktop, an ancient Dell that couldn’t connect to the internet but ran Microsoft Word like a dream, and that’s all I needed. Writing spilled out of me, endless hours, stories that flowed and flowed and never finished. Fantasy and science fiction and a middle-schooler’s idea of romance. I didn’t care to complete a story. I wanted the scenes, the meaty moments between people, triumph over hardship. 

I was obsessed with the gem of goodness mounted in the heart of a hard world. It was the only story that mattered, the only one I wanted to tell, in all its facets, under all its faces. I wanted my characters to love and be loved and to persevere. 

It’s still there, in my writing. The core of why I write, and why I share it. The most important thing.

The Sacrosanct

On Leaving and Coming Home

The heat.

The moment we crossed the Cascades, it descended and held, an ever-present misery running backward from the Coast, a living ghost where the foothills broke the champaign, blistering Utah in red welts of flame, smudging the edges of every road in rural New Mexico; it followed us out of Texas, and even in the shadow of Boulder, the air burned, roasting the high passes through Idaho’s smoking slopes where the unseen threat of wildfire stayed on the nose.

But then I can speak of driving into the sunset glow which limned the backs of the Cascades off that endless Eastern Washington plain. Of Tahoma rising like a jagged god and setting beneath the earth. Of the Stuart Range like the spired back of a buried dragon illumined by dusk’s retreating strokes.

And to know, deep in what lives beneath the bones, that beyond those mountains lay the ocean and our home.