But I want to sit still long enough to look at this degree in my hands, because I've worked my booty off these past almost 3 years. I've grown tremendously as a writer, editor, and teacher. I've written and rewritten a book-length manuscript four times, started work on a historical novel, studied French and translated a book and a half and some poetry into English, really studied the art and considerations of translation, have researched and written (and published) about the wicked stepmother trope, learned a great deal about the literary world and publishing an online journal, and have published a bit of my own work. I'm still fired up, and all of this is due to my incredible mentors and the support of the whole AULA MFA community.
Never ending gratitude for the guidance and influence of these writers and teachers:
Brad Kessler (Birds in Fall, Goat Song)
Hope Edelman (The Possibility of Everything, Motherless Daughters)
Dan Bellm (Practice, Description of a Flash of Cobalt Blue)
Peter Selgin (The Inventors, Confessions of a Left-Handed Man)
Peter Nichols (The Rocks, A Voyage for Madmen)
Bernadette Murphy (who gets all the credit for getting me to apply to this program) (Harley and Me, Zen and the Art of Knitting)
Sharman Russell (Diary of a Citizen Scientist, Teresa of the New World)
Christine Hale (A Piece of Sky, A Grain of Sand)
Jenny Factor (Unraveling at the Name)
and MFA program director, Steve Heller (The Automotive History of Lucky Kellerman), who for some reason continues to trust me with the keys to Lunch Ticket,
And, lastly but most importantly, my dear husband Darby Orr, who served as my first editor, married me in the middle of this whole mess, and who has encouraged me every word along the way.