Skip to Main Content
| Give a Gift |
Magazine » Writers Recommend
In this online exclusive we ask authors to share books, art, music, writing prompts, films—anything and everything—that has inspired them in their writing. We see this as a place for writers to turn to for ideas that will help feed their creative process.
"I ingest art daily—from the films of Lars von Trier, Takashi Miike, and Lucrecia Martel to fashion blogs to art openings in Los Angeles. Of course, I need my fix of poetry, fiction, and religious and theory texts. I read tabloids. For The Ravenous Audience, I read a lot of trashy biographies of starlets such as Clara Bow and Marilyn Monroe. All of this digests into my writing, and then when I present my work to an audience, I think of how the work can ‘excrete' beyond the book. Here, the work of shock-fashion artists such as Karen Finley, Leigh Bowery, Lady Gaga, Klaus Nomi, Orlan, and the Cockettes inspires me."
—Kate Durbin, author of The Ravenous Audience (Akashic Books/Black Goat, 2009)
"‘Go see some live local music'" is the hourly recommendation from New Orleans radio station WWOZ, and it's good advice, not only true to New Orleans—where I recommend all writers live (although I moved away)—but also wherever you live. Cover the typewriter and leave the house; see what's happening. Go to Joshua Tree to see Noah Purifoy's sculptures decaying in the desert, then to L.A.'s Museum of Jurassic Technology. As for books, I think one is likely to find courage in Roberto Bolaño's The Savage Detectives; the novels of Peter Handke; and the poets Roque Dalton, Evgeny Rein, and Adélia Prado."
—Ed Skoog, author of Mister Skylight (Copper Canyon Press, 2009)
"After years of thinking setting didn't inspire me at all, I have come to realize that it does—but only after I'm gone. I've learned not to try to write about a place until I've left it, whether I was traveling or living there. For instance, I have written two books set in Madison, Wisconsin, but I didn't feel an urge to set anything there until I had moved to Westchester, New York, to get an MFA. Once I was gone, Madison leapt into focus, and instead of looking out my window and going nuts trying to capture every little thing before me, distance let me edit and reimagine. But now that I am living in Madison again, I no longer feel a need to put it on the page. I've been picturing Yonkers instead—a place I lived for school and cheap rent, a place I fully intended to leave every day of every year for the entire seven years I lived there. I never really thought it would do much to inspire me, but I began thinking about it again the other day, wondering if the same pattern would hold true, and sure enough, it has."
—Michelle Wildgen, author of But Not for Long (Thomas Dunne Books, 2009)
"For some poetic guidance I always find myself going back to books like the Orphan Factory and Selected Early Poems by Charles Simic; also, Reasons for Moving and The Weather of Words by Mark Strand. I am deeply moved imagistically by poems such as "Dismantling the Silence," "Watch Repair," and "errata" by Simic; and "Eating Poetry," "Keeping Things Whole," and "The Accident" by Strand. While I write I love listening to the empathetic sounds of bands like Nirvana, Sonic Youth, the Organ, Interpol, the Smiths, Depeche Mode, and Die! Die! Die!"
—Orlando White, author of Bone Light (Red Hen Press, 2009)
"When I first moved to Philadelphia, a friend of mine was very excited to show me Marcel Duchamp's assemblage Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage... in the Philadelphia Museum of Art. I won't describe it here—if you haven't seen it, reading about it would lessen your first encounter. I have to go back a long time, though, to remember another work that so completely upended my sense of what one piece could do. What exactly is so terrifying about it? Is it also funny somehow, how we peep, how we admire the little twinkling waterfall in the background? Ever since, I've been wondering, how might a written work implicate a reader as Duchamp does the viewer? I don't know if one can go around museums and galleries looking to have one's notions shattered, but in the meantime, perhaps I can think of the page as a space for an elaborate, unsettling installation."
—Catie Rosemurgy, author of The Stranger Manual (Graywolf Press, 2010)
"Like most writers—specifically parents who are writers—I don't have a lot of time to find inspiration. Galway Kinnell once told me to keep a notepad handy so I can take notes wherever I am: in the grocery store, listening to NPR, in the doctor's office (I once wrote a poem waiting for my annual mammogram). On my commutes to and from work, I dictate my thoughts into my iPhone to store ideas until I can get to my computer. These are some favorite phrases currently rolling around in my head: universal joint, hounds will hunt forever without any reward, silent as stars, boxed lunch, white athletic socks around hairy calves.
"Part of the fun of poetry is making sense out of ordinary randomness, thereby making everyday experiences extraordinary."
—January Gill O'Neil, author of Underlife (CavanKerry Press, December 2009)
"It helps me to remember that inspiration needs courting; it won't come if I wait passively. Also, let's say I get inspired but have a rusty hand...then the inspiration plugs into a faulty outlet. So, when I've time to write but no mojo, I count. I write iambic pentameter or sapphic stanzas, or I make up some rhythm pattern and repeat it for a while (like writing lines with spondees, which is way hard!). If these attempts fail, then I go to a park or a café for an hour or two and write down what I see—not trying to say anything, but just attending to shapes, juxtapositions, data. These things all help, plus, lately, reading John Ashbery—this shakes me alive."
—Joanie Mackowski, author of View From a Temporary Window (University of Pittsburgh Press, January 2010)
"There is phenomenal beauty in the language developed for a particular field—whether it's architecture, dentistry, tree pruning, or accounting. Stories lurk in the specific tools and tasks. For me, the natural sciences and seafaring are muses. Science News and the American Practical Navigator come to mind as sources I've turned to. But immersion in the language and concerns of any profession can unveil rich sounds and provide a new lens through which the world can be seen. Take the scupper, the hole that allows water to drain from a boat's deck—how can you not be inspired by the word scupper? Using that 'other' language and making sense of the view it describes—bridging the plumber's or the neurologist's vision and your own—is a challenge and a delight."
—Elizabeth Bradfield, author of Approaching Ice (Persea Books, 2010)
"I'm thoroughly inspired, moved, agitated, elevated by music (mostly hip-hop). My first collection, Lobster With Ol' Dirty Bastard, situates rap heroes, culture, and iconography inside the four walls of fourteen-line quasi sonnets. Writing based on music has almost become a compulsion of mine. When I listen to old Smiths' albums with names like Hatful of Hollow or Meat Is Murder, I think "literature!" When Morrissey sings, "I decree today that life is simply taking and not giving / England is mine / And it owes me a living / Ask me why and I'll spit in your eye," I immediately think remix. Remix is a term most commonly used in hip-hop music or, more recognizably, from grad school imitation poem writing prompts ad nauseum. Imitate it, re(in)state it, reconfigure it, say it in Braille! My forthcoming collection, Vacations on the Black Star Line, remixes the whole Mos Def & Talib Kweli are Black Star album through the lens of race, privilege, whiteness, and exoticization. I could take a song like Lupe Fiasco's "Dumb It Down" (http://www.youtube.com/watch?v=q1Et1siZhTk) and spend hours trying to dissect each line, each metaphor, each double and triple entendre. The stuff of good hip-hop puts language in a rocket ship!
—Michael Cirelli, author of Lobster With Ol' Dirty Bastard (Hanging Loose Press, 2008)
"Notes—on Post-its, index cards, scraps of paper—have saved me as a writer. Because they fade so fast, I've made a habit of writing down fragments of memory that arise or images or phrases, sometimes just isolated words. Then I put them in folders, see what belongs together with what, find out where those fragments lead, and build very slowly to an essay or poem. I've learned to use writing as an act of discovery, and such small notes are for me the fundamental source."
—Floyd Skloot, author of The Wink of the Zenith: The Shaping of a Writer's Life
(University of Nebraska Press, 2008)