Ann Patchett’s Tom Lake, and playing God in our life stories:

Image of cover of Ann Patchett's novel Tom Lake

I am a writer who loves story—and homework. I’m sure I’m not alone there. So, before I sat down to read—or more specifically listen to Meryl Streep read—Ann Patchett’s most recent novel, Tom Lake, I watched Thornton Wilder’s classic play Our Town, which features quite a bit in Patchett’s story. I caught the excellent PBS “Great Performances” production from the 1980s featuring Spaulding Gray as the narrating stage manager, a young Penelope Ann Miller as Emily Webb, and Eric Stolz (swoon) as George Gibbs, her love interest.

Tom Lake, then, is a story about a story about telling stories—or, the act of dramatic portrayal. Lights, camera, characters. Confused yet?

Okay, the front story, or more immediate narrative of Tom Lake, follows 50-something Lara Nelson, a wife and mother living on a Northern Michigan cherry farm (another dramatic subtext) as she tells her three grown daughters, home during the 2020 pandemic, about her long-ago love affair with famous actor Peter Duke (think: a 1980s James Dean; I’m picturing 90210-era Luke Perry). 

Note that in this novel there is not a whole lot of Rust Belt significance to hang our hats on here at Rust Belt Girl. This setting is not Rust Belt Michigan, but the Michigan of the Upper Midwest’s Fruit Belt. But, hey, we contain—and read—multitudes, right? And, really, Patchett rarely disappoints.

Told as a dual narrative, Tom Lake’s backstory follows the love affair between then-young actors, Lara and Peter, at a summer stock theatre in Michigan where they perform both Our Town and Sam Shepard’s one-act Fool for Love, which I need to watch next. (A girl can only do so much homework.) Quick distillation, Our Town is a gentle (even genteel in that puritanical New England way) portrayal of young love; Fool for Love explores romantic love’s dark and destructive side.

Image: Harper Collins website

So, Patchett’s novel Tom Lake is a story about the light and dark of love. But it’s also—and this might be even more interesting and applicable to us writers—a story about storytelling. Who tells the story, when, how, why, and about whom and to whom. What’s included in the storytelling and, maybe even more importantly, what’s left out?

A dual narrative novel is difficult to pull off; I know because I’ve tried this twice. Invariably, a reader will like one narrative more than the other and grow impatient when their favorite narrative is offstage. For me, Tom Lake’s 1980s narrative, its backstory, is more compelling (because much more is happening) than the 2020 narrative, which is mostly telling, with less forward-moving action (think: literal cherry picking). Which left the modern timeline feeling more like a frame or bookends for the real story—a way to go back in time to the main action and a way to come out of it again. 

I won’t digress too long on why writers like Ann Patchett feel the need for modern-day frames for historical stories. (Yes, a novel set in the 1980s is considered a historical novel.) My guess is it’s because historical novels today are often relegated to the “genre” genre, as in not the literary fiction shelf. Okay, digression over.

My favorite (oft quoted) line from Our Town, which feels very instrumental to this discussion on storytelling (and okay there’s a little spoiler here): Toward the end of the play, the dead character Emily, who returns to her life for just one day, asks the stage manager if any living person ever realizes “life as they live it,” and he says no, but then adds an exception. “The saints and poets maybe—they do some.” 

There’s a lot of smart stuff happening in this novel of Patchett’s when it comes to the all-important telling of life’s story—our human way of re-living what we can’t grasp with our little human minds in the moment. We can’t all be—though maybe we can all aspire to be—saints and poets.

Patchett’s main character, Lara, who is narrating her story of young love, to her grown daughters, is basically the stage manager of her own story, choosing how and what to tell as she goes. At one point Lara equates the stage manager in Our Town with God, which brings up interesting ideas about faith (Patchett was raised Catholic and it often shows in her writing) as well as destiny/Providence in our lives, and agency in how we portray our life stories.

What about the part of our story we leave untold, for our hearts, alone? I thought about this a lot as I read Patchett’s novel. For the main character, Lara, it was a dark part, and (dare I say) foolish aspect of young romantic love she shields from her grown daughters. In not telling her whole story, the light and the dark, is she playing God? Are we all?

In my writerly opinion, the darkness in her story Lara keeps to herself isn’t earned by the character, un unusual flaw in character development on Patchett’s part. (Also very important to know when to wrap up a narrative.) But it is a stumble far outweighed by all the really fine storytelling she does in this novel. If this criticism feels vague, it’s because I don’t want to spoil the reveal. (Read it and tell me what you think!)

If there’s one author I’ve followed closely for some time, it’s Patchett. Her annotated version of Bel Canto—my favorite novel of hers—makes a great gift for the literary fiction (or opera) lover. Of her more recent novels, her 2019 release, The Dutch House, felt like a near perfect novel to me: quiet, to be sure, with none of the Le Carre-like action of Bel Canto, but an incredibly immersive read with characters who felt like my own brother and sister by the end of the book. Family ties Patchett writes about brilliantly, if she’s a little less adept at depicting romantic love and specifically sex.

Saints? I might know a few in the making. Poets? I’m honored to know a good handful. But for the rest of us, Patchett’s got me thinking about how lucky we writers are to get to craft our stories. How lucky we readers are to watch other writers and poets tell their stories just as they wish. We receive such instrumental gifts this way!

Have you read this novel? Have you seen the plays that informed this novel? What elements of craft and storytelling did they bring up for you?

And…what was your favorite bookish gift you gave or received so far this holiday season?

Check out my categories above for more guest posts, interviews, book reviews, literary musings, and writing advice we can all use. Never miss a post when you follow Rust Belt Girl. Thanks! ~Rebecca

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Lit Fest Roundup 2025: who I met, what I wrote, how much pizza I consumed


This October I attended my eighth annual Fall Literary Festival hosted by Lit Youngstown. It was the Ohio literary organization’s ninth—and final—fall lit fest (at least for now). I could just be weepy about it (I’m weepy about much these days, tbh), but I’m too grateful to stay weepy. Since it’s a weekend to do grateful, let’s get into it…

Don’t worry, Lit Youngstown itself—with all of its amazing programming–is going strong at 10 years old. But before I get into my 2025 lit fest roundup I want to take a moment to share a few highlights from lit fests gone by (forgive my literary nostalgia), in no particular order:

  • Novelist Rachel Swearingen telling us craft session participants to, “Write towards change.” And “Stop thinking about characters and start thinking about relationships.” (Fiction writing changemaker right there!)
  • Me, getting to tell my story of my mom’s protesting of a nuclear power plant near my hometown when I was a kid (I wrote about it here) and detailing how that story turned into an integral part of my eco-novel (published someday, world!)
  • Exploring ekphrastic writing at the Butler Institute of American Art (great museum road-trip idea for you out of towners!) and exploring Youngstown writ large (getting to stay with friends and enjoying the local cuisine (there will never be enough pickle pizza, noggin-sized meatballs, and pierogis!))
  • Getting to be a student of Sandra Beasley, Ross Gay, Lawrence Coates, and so many other teacher-writers and getting to tell them over charcuterie and a glass of wine: “you wrote my favorite poem, essay, novella, thank you…”
  • Meeting writer friends (like the talented Melissa Fraterrigo) in person after years of reading her work (her novel Glory Days inspired a lot of what I’ve been trying to highlight at this blog these last nine years or so—stay tuned for a review of her memoir in essays, pictured). And meeting other friends year after year and weaving our stories—and lives—together.
  • The highest highlight? You. Becoming a member of the Lit Youngstown community through the fall lit fest has been incredibly rewarding for my literary life—and my life-life. Thank you, friends.

Now, 2025’s list fest was one for the books. (Peruse a few pics above and below.) And if you thought the environmental theme was going to mean a slew of nature poems…well, yes, and… Yes, and fascinating eco-fiction and challenging environmental memoir and poetry about nature redefined—from a place that was once an indigo plantation to the night sky over the Grand Canyon to trails cut by troubled teens into the Pacific Northwest woods—and so much more that “shapes our experience and identity, and represents our rootedness in earth.” Whew! I encourage you to read the impressive bios of the five 2025 featured presenters

My preparation for this lit fest happily began months in advance of the event. (Once a student, always a student.) For my conversation with fiction writer David Huebert and memoirist and poet Sean Prentiss I read several of their books—she gestures to collage artfully displayed on her office floor—representing an array of what we lump under the term “environmental writing.” Look for a follow-up post with a good chunk of our discussion—fascinating and fun!

Other personal highlights from this year’s lit fest. (Know that this is just a fraction of the offerings and I, once again, wished I could have cloned myself, so I could make every single session.):

Day 1:

  • Narrative Medicine [definition: healthcare practiced with narrative competence]: A Generative Workshop, facilitated by family nurse practitioner and poet Dana Reeher. Imagine me taking furious notes for the anthology project I’m co-editing: Body of Work, essays at the intersection of dance and health. For a little workshop exercise, Dana asked us participants to respond to a writing prompt, “an expansive invitation to open the mind,” so I thought I’d write a very short piece about my own dancing and its impact on my physical and mental health outlook:
Maybe the mistake was I listened too well, that I pointed my feet too hard, that I really could feel that string coming out of the top of my head lifting me up to the studio ceiling. Maybe I postured too much, wanted too much. Maybe I turned out until I was turned in. Maybe all that looking in the mirror made me someone else. I can still spot a dancer, or an anorexic, from fifty paces.

My dancer friends here will likely recognize a lot of this, but especially the posture-reminder telling baby ballet dancers to imagine there’s a string coming out of the top of your head… After sharing my short piece of writing, a couple of the other workshop participants said the string image reminded them of a marionette. I’d never thought of that before, and I’ll tell you that image is still working on me!

  • The Pamela Papers: A Mostly E-pistolary Story of Academic Pandemic Pandemonium: The Musical. Based on the award-winning novel by Nancy McCabe, published by Outpost 19 in 2024, the presentation included a dramatic reading (with singing—who was expecting a musical at the lit fest? Not I. And it was such fun!).
  • Readings by David Huebert and Sean Prentiss in St. John’s (gorgeous limestone and stained glass) Episcopal Church sanctuary. Your girl provided introductions to both writers—thanks for putting up with my unorthodox investigative process to make sure they were exciting, guys!

Day 2:

  • Bengal Tiger Moments: Time Perception in Creative Writing, facilitated by Sean Prentiss. In this fascinating session, we talked about speed on the page, presented in five categories from fastest to slowest: Gaps, Summary, Scene, Dilation, and Pause. Sean presented examples of these techniques from creative nonfiction and explained the brain science behind our understanding of the movement of time—irl and on the page.
  • Rooting the Self: Writing as an Act of Person, Political & Environmental Transformation & Transcendence, a multi-genre workshop with (beautiful and talented) Rebe Huntman, author of My Mother in Havana: A Memoir of Magic & Miracle: Rebe took us through various stages/ways of honoring our voice and our writing by making space for it and celebrating it, including meditation, morning pages, repetitive activity (including list-making), “the writing cave,” and writing constraints and freewrites. My favorite prompt, a list-making exercise we did in this session, produced these lists, below. (From there I spun out a short prose piece, “Reasons to Revere Your Vagus Nerve” (we’ll see where that weirdness goes!):
5 Things I Consider a Miracle
High arches
Warm pie
The vagus nerve
Sweating carafes of water
Tanned leather
5 Recurring Obsessions
Ballet hands
Song
Accents, dialects, and regionalisms
Mom, mom, mom
Delight
  • Readings by poets Lauren Camp, Todd Davis & Kourtney Morrow: poems of cityscape to countryside to the night sky over the Grand Canyon left us audience members awed.

Days After

And then, after… there’s nothing better than returning home from a literary event inspired, nurtured, and with a few new ideas for writing already on the page.

If you’re reading this on Small Business Saturday, might I suggest you also read small and lit small by supporting your local indie bookstores and your favorite literary organizations today?!

Did you attend Lit Youngstown’s Fall Literary Festival last month? Another lit fest? What was your favorite part? Have an inspiration gleaned or a piece of writing captured you’d like to share? Feel free to jot it in the comments. 

Like this post? Comment below or on my FB page. And please share with your friends and social network. 

Are you a Rust Belt writer interested in seeing if your own post, or author interview, or book review might be right for Rust Belt Girl? Hit me up through this site’s contact function.

Check out my categories above for more guest posts, interviews, book reviews, literary musings, and writing advice we can all use. Never miss a post when you follow Rust Belt Girl. Thanks! ~Rebecca

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“This Woman”: an Essay by Melissa Ballard

Essayist Melissa Ballard contributes the fourth in our series of guest posts here at Rust Belt Girl, and, let me tell you, you’re in for a treat. Melissa has a talent for bringing the past to life and making her ancestors feel like our shared family. In this essay we meet Phyllis, Melissa’s grandmother, a woman of Northern Appalachian Ohio, whom Melissa writes about in a loving yet candid way, deftly delving into what makes personhood–class, sex, education, place and much more. (We also hope Phyllis is having the “time of her life,” Melissa.)


This Woman

by Melissa Ballard

This woman is my grandma, but not yet. 

In this black and white photograph, a small, dark hat of woven straw covers her hair and shades her forehead. She wears a walking suit: a jacket and skirt in a light wool pin check with a belt of the same fabric, over a silky, patterned, blouse. The tips of the fingers of her left-hand rest in the pocket of her slim skirt. Her only jewelry is a ring on the little finger of that hand. I can imagine her cropped left foot pointing out, her dark stockings and t-straps. She slouches just a bit and turns her body toward the unidentified photographer. She looks directly at the camera. Her smile is slight, but it reaches her eyes. 

This woman’s slight curves contrast with the riveted metal beam, perhaps part of a railroad bridge, that rises at a sharp diagonal behind her. In the early 1920s, her family lived on a side street a few blocks from the train station in Dennison, Ohio. Her father was an inspector for the railroad, so she had a free pass to ride. 

This woman could be waiting for the early train to Pittsburgh or Columbus, where she will walk the streets with confidence, on her way to a job interview. But she is not. Or at least I don’t think so. I know little about this brief period, but I hope she is having the time of her life.      

In 1925 she has a job in an ice cream shop, lives with her parents. Both she and her mother, who is preoccupied with social status, are named “Margaret.” This woman has already started to express her individuality and goes by her middle name, Phyllis or, on documents, “M. Phyllis.”

On June 18, 1925, eleven days before her nineteenth birthday, Phyllis and her neighbor, Harry, will travel 65.3 miles, maybe by train, to Brooke County, a tapering finger of West Virginia tucked between Ohio and Pennsylvania, where they can get a marriage license with no waiting period. Later that day, they will return to Ohio and be married at the home of the groom’s family. 

I wonder whether Phyllis’ parents even attended. They had a reception for her later, but I gather it was her mother’s attempt at saving face. I can’t imagine she approved of my grandpa or his family, and I can easily hear her saying, “He’ll never make a decent living. You’ll end up in the poor house.” 

Five months and five days later, their first child will be born. On January 14, 1928, their second child, my dad, will be born.

Phyllis c. 1920

The woman I remember, my grandma, was in her fifties. She had slim legs but a solid middle. She wore silver, cat-eye glasses before they were retro. Her short, dark hair was streaked with gray and white, her fingernails chewed to the quick. Wearing a well-washed cotton housedress covered with a flowered or checked apron and heavy lace-up shoes, she kept chickens and goats, grew vegetables and flowers, ran the laundry through a wringer before hanging it outside to dry, cooked meals from scratch. She kept a battered pan under the kitchen sink, filling it with food scraps. Every morning she fed it to the three hound dogs Grandpa had brought home from the dog pound, kept in a pen at the back of the yard. “Oh, hush up,” she said as they yipped and howled at her. 

When Grandma wasn’t busy with chores, she answered the phone for Grandpa, who was the dog warden. She wrote messages in her flowery cursive: the name, address and phone number of the caller, and a brief description of the stray dog. She followed him to his dark green truck, reading her notes out loud. Grandpa never wrote anything down. Before she finished talking, he was backing out of the long driveway, kicking up gravel as he went. 

They lived in a worn-out house on a liminal strip of land in Brightwood, part of Goshen Township, Tuscarawas County; my parents and I had moved to a suburb of Cleveland. Once a month, we made the two-hour trip down home to visit, and I spent more time there during the summer. 

On hot afternoons, Grandma and I often sat together on the front porch swing, she doing her mending and me reading, trying to catch a breeze. A two-lane road ran close to the front of the house. The cars seemed to fly by, and the exhaust from the trucks taught me to mouth breathe, a skill I perfected when I ran into the hen house to collect eggs.  

This route was nicknamed the “slow road” after a highway, the “fast road,” was built behind the house. One summer Saturday, Grandpa drove us into town on the slow road to get ice cream. Grandma and I sat on a bench with our cones, people-watching while Grandpa ran one of his mysterious errands. If Grandma asked him where he was going, he always said, “I need to see a man about a horse.” Which was odd, because my grandparents didn’t have any horses.

On the way home, I noticed a large house on a hill. “Who lives there?” I asked.

Grandma stiffened. “That’s the poor house. Where you go to live if you don’t have any money. It’s not a nice place.” 

I immediately pictured a nineteenth-century orphanage from one of the many books I read. Rows of rusty metal cots with stained mattresses, thin sheets, and scratchy blankets. Peeling paint on crumbling walls. I shuddered and looked away. 

The dining room at Grandma’s was small, with windows on three sides, some covered in plastic to keep out drafts. It was an afterthought tacked on to one side of the house next to the living room. It contained a water-spotted stand of neglected African violets, a treadle sewing machine with a clove-studded dried orange tucked in one of its small oak drawers, a large dining room table and chairs, and a handmade oak China cabinet Grandma had purchased for ten dollars with the money she made selling eggs.  

When Grandma made Sunday dinner for our extended family it was served at noon. Grandma removed elegant pieces of stemmed glassware and individual salt cellars from the cabinet and set the dining room table with her good silverware. As we passed roasted chicken with gravy, noodles, and side dishes, Grandpa arrived late (he was known for having “girlfriends”), threw his work cap in the corner, and took his seat at the head of the table. 

Only now do I realize how little Grandma wasted. Usually, she cooked one of her own chickens on Sunday, but she occasionally made a pork roast. After the meal, any scraps of meat were set aside, combined with corn meal mush (I can only imagine her reaction to polenta recipes in upscale restaurants) and baked in a loaf pan. For breakfast the next day, she fried slices and we covered them with butter and syrup. They were delicious. 

Over time, and with deaths and disagreements, our extended family grew smaller, and we began eating all our meals in the large kitchen. The food was still delicious. One time, Grandma asked how everything tasted. Grandpa was the only one who didn’t answer. She stared at him, and he finally grumbled, “If anything’s not good, I’ll let you know.” Already showing signs of Parkinson’s, he poured a bit of his coffee into a saucer with shaky hands, and leaned down to slurp it. 

Eventually, an old couch was jammed into a corner of the dining room, next to the china cabinet. It became my reading space when I visited. Now, as I sit down to read on my own sofa, I look at that same cabinet on the front wall of my living room in Oberlin, just two hours away from where Grandma lived. I have covered the top with family photographs. 

Phyllis and the author c. 1960

Grandma taught me how to tie my shoes–we were both left-handed–after everyone else had given up; gave me my first sip of coffee, strong but cut with generous portions of sugar and thick cream; slipped me some of her beer while we watched Gunsmoke. As I got older and visited less, we wrote letters.

Shortly after my twenty-first birthday, Grandma and I walk in her back yard. We stop under the hot sun to admire the clumps of purple, yellow, and white miniature pansies that flourish in the crumbling foundation of an old shed. I started college three years late; I tell her I am overwhelmed and don’t think I can do the work. She is quiet, removes a flowered hanky from her apron pocket, pats her damp forehead and the back of her neck. 

As we start slowly up the steps to the relative cool of the house, I link arms with her. I brush the cool copper of the bracelet she always wears because she believes it helps her arthritis. Her fingers are crooked, as mine are now. As I write this, I touch the copper cuff bracelet I bought years ago but have never worn. I keep it on my desk as a reminder of Grandma, and I wonder what happened to the soft, linked one she always wore. 

I open the back door with my other hand. Grandma suddenly stands as straight as she is able and says firmly, “You stay in school.” She adds this, which I will hear her say more than once: “You need to be able to make your own money.” 

After I’ve finished graduate school, married, and had a child. After Grandpa, who spent years in a nursing home with Parkinson’s, has died. On what will turn out to be the day my dad, her son, dies, Grandma moves into an assisted living facility.  With Dad being ill, no one has had the time to take Grandma to see the place prior to moving in. She’s been calling me several times a day, anxious about the change. 

She surveys the room: her favorite chair with an afghan she made folded over the back; her dresser, its top covered with a lacy scarf and family photographs, including several of my daughter; a large window that looks out on gardens; the new spread my mom placed on her bed that morning; a private bath.            

She leans close to me and whispers, “Oh, Melissa, this is beautiful. I was afraid it would be like the poor house.” 


Melissa Ballard has written essays for The Brevity Blog, BeltBerea College magazine, and other publications. She is currently working on a book-length collection of essays about the women in her Northern Appalachia family. 



Like this post? Want more? Comment below or on my FB page. And please share with your friends and social network. 

Are you a Rust Belt writer interested in seeing if your own post, or author interview, or book review might be right for Rust Belt Girl? Hit me up through this site’s contact function.

Check out my categories above for more guest posts, interviews, book reviews, literary musings, and writing advice we can all use. Never miss a post when you follow Rust Belt Girl. Thanks! ~Rebecca

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“…the holy and the ordinary rubbing shoulders…” Essay and images by Justin Hamm

A full-color folk art image depicting open mouths and a church with a cross on top

Poet, photographer, and model literary citizen, Justin Hamm inspires with his offering–the third installment of a series of guest posts here at Rust Belt Girl. Thank you, Justin! His essay about speaking in tongues feels especially personal, presented as it is from a child’s perspective. It feels “close” to me, in more than one way. Justin’s essay is accompanied by his original folk art, and I have to say, I didn’t see this coming. But I absolutely love it. Here at Rust Belt Girl, we know the American Midwest is vast and multitudinous, and so are its people, their inspirations, their stories, and their art.

Because Justin is truly “Midwest Nice” and humble, he might not brag to you about his TEDxOshKosh Talk, “The American Midwest: A Story in Poems & Photographs, but I’ll do it for him. This is a good place to start, if you’re new to Justin. In his talk, he asks some of the same questions we’ve been asking at Rust Belt Girl all these years. A big one: Is “flyover country” an appropriate term for the Midwest? Justin explores that vital question through inspection of the overlooked or the avoided, including rust (holla!), thunderstorms, everyday people doing everyday things, politics, social class, and more. It’s well worth a watch-and-listen.

But first. Let’s read and discuss Justin Hamm’s…

The Wind With a Secret Shape 

I was eight maybe nine years old Wednesday nights my grandparents used to 

take me to a small Pentecostal church that sat on a grassy rise just outside of 

town it had once felt isolated tucked out in the quiet but the town had crept 

outward now it sat beside a gas station a lumberyard and a row of fast-food 

joints the holy and the ordinary rubbing shoulders the church rectangular part 

brick part white siding a white cross stretching off the roofline like an arrow 

pointing to the shifting Illinois sky inside the pews angled toward a low 

platform where the preacher shouted and a four-piece band laid down rhythm 

the cushions a deep royal blue clean saturated almost regal I remember that 

color better than my childhood bedroom the building always felt old but never 

run-down the women cleaned it like a calling while the men kept it maintained 

it smelled of floor polish and breath mints old hymnals and hairspray a past 

preserved a place where time seemed fixed in place 

I wanted to be a good boy I tried to follow the sermons caught a phrase here or 

there but mostly folded handouts into paper planes or built hymnbook 

pyramids sometimes I curled up on the back pew and drifted off lulled by the 

rhythm of scripture and song until the spirit moved when it hit the preacher 

everything changed he’d leap down the steps whirling stomping at the devil 

howling Jesus’ name until his face went red and purple sweat soaking his brow 

and then the tongues came strange breathless syllables rolling out like a chant 

that bypassed the brain entirely the holy ghost made you do things that was 

just how it worked I accepted it the way you’d accept sunrise or gravity 

and I believed too believed fully if somebody said the spirit is with us tonight 

I’d scan the sanctuary up in the corners where wall met ceiling under pews 

between swaying bodies I didn’t expect to see it exactly but I wanted to know 

where it was it filled me with something like fear but not only fear there was 

longing in it too hunger a sense that something just out of reach might solve 

everything the holy ghost like a wind with a secret shape a bird made of breath 

maybe God’s own breath moving invisibly through the room I believed it 

entered through the mouth that explained what came out the old men would 

rise in their too-large suits limping loops around the sanctuary hands raised 

speaking in tongues the women would fall stiff to the ground eyes rolled back 

mouths twitching that’s how I knew the ghost was on the move I tracked it 

sinner to sinner and sometimes it came close the person next to me would 

sway eyelids flickering syllables rising up like springwater through stone my 

chest would lift my legs would buzz my mouth would soften and open almost 

involuntarily I’d think this is it just let yourself go let it take you I opened my 

mouth and nothing came I tried again wider harder I prayed the best I knew 

how I swallowed the air like it might carry something eternal and then I waited 

  • A full-color folk art image depicting open mouths and a church with a cross on top
  • Full-color folk art depicting a boy with a green hat, crying over a red balloon
  • Full-color folk art depicting a hand reaching out and touching another person, while a cross glows in the background
  • Full-color folk art depicting angels and a person with a downcast face

Justin Hamm is the author of five poetry collections, including O Death (2024), Drinking Guinness With the Dead (2022), and The Inheritance (2019), as well as a book of photography, Midwestern. He is the founding editor of the museum of americana and the creator of Poet Baseball Cards. 


Like this post? Like this series? Let’s discuss! Comment below or on my FB page. And please share with your friends and social network. 

Are you a Rust Belt writer interested in seeing if your own post, or author interview, or book review might be right for Rust Belt Girl? Hit me up through this site’s contact function.

Check out my categories above for more guest posts, interviews, book reviews, literary musings, and writing advice we all cab use. Never miss a post when you follow Rust Belt Girl. Thanks! ~Rebecca

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“Taking the Cow Path to Culture”: an Essay by Christina Fisanick

I’m thrilled to present the second in a series of guest posts interrogating place here at Rust Belt Girl. Christina Fisanick is a champion for Appalachian writing–and Appalachian voices, young and old. (Read her whole bio below.) “Taking the Cow Path to Culture” appears in her book, Pulling the Thread: Untangling Wheeling History, which was published in 2024 by North Meridian Press.

Taking the Cow Path to Culture 

by Christina Fisanick 

Route 88 meanders through the Ohio Valley countryside, connecting the city of Wheeling, West Virginia, to Oglebay Park and small, rural towns and farms along the way. More significantly, for some, Route 88 is the lifeline that carries students, faculty, staff and visitors to two of the area’s oldest institutions of higher education, West Liberty University and Bethany College. This important role earned Route 88 the seemingly humorous moniker, “The Cow Path to Culture,” and is a standing metaphor for much of life in the northern part of the Mountain State and throughout Appalachia.

Route 88 was once an actual cow path upon which animals were herded across the farmlands of the region. Like many other places in the country, it made more sense to locals to pave the beaten cow path than to blaze a new trail as modes of travel advanced. But as has been somewhat painfully obvious over the last century, maintaining the well-trodden road might not be the best way to go. 

In 1893, a minor New England poet, Sam Walter Foss, wrote a poem with a major message. “The Calf-Path” tells the story in verse of a path driven by a calf through Boston, which, after years of other animals, and eventually humans, following the path, was paved and became a major thoroughfare. The funny, yet poignant, poem takes readers on a journey through time and encourages deep thought about life decisions. Mainly, Foss wonders, why should we continue going down the same road in deed and thought when it might not be the most direct or even the best route?

Just like the calf path in the poem, Route 88 rambles and turns and plunges on its trek from Wheeling past Oglebay Park beyond the farmlands and homes and on to West Liberty University and then Bethany College. I commuted to West Liberty in the 1990s and cursed the winding road more than once during the icy winter months. My classmates and I anxiously wondered who would build a college on top of that hill? More so, we jokingly wondered how we made it to graduation.

Covers of three of Christina Fisanick's books: Digital Storytelling as Public History; Pulling the Thread: Untangling Wheeling History; and The Optimist Food Addict: Recovering from Binge Eating Disorder

We were not the first students to ponder such things. A 1972 Sports Illustrated article tells the tale of four student-athletes from Israel—Avraham Melamed, Moshe Gertel, Yoel Kende and Danny Stern —and their “250-pound Irish Catholic coach,” Tom Grall. The students were recruited for the West Liberty swim team. Avraham Melamed described their journey from the Pittsburgh airport along Route 88 in harrowing, awe-struck terms then concludes: “It was easier getting from Ramat Yohanan [Israel] to Pittsburgh than it was to get from Pittsburgh to West Liberty.” Writer Mortin Sharnik paraphrases Melamed:

“All roads do not lead to West Liberty, but one that does, Route 88, is called the Cow Path to Culture. The Israeli was taken on a more scenic route, a roller-coaster ride over a ribbon of cracked concrete, with no guardrails to prevent a car from taking a shortcut down a ravine. Melamed kept his nose pressed to the car window, looking for the bright lights. Instead, he saw farms, strip mines and hairpin curves.”

The effort, of course, was worth it. The Israeli students went on to make the swim team as winning as West Liberty football, which at the time the article was written had two consecutive undefeated seasons. More so, they earned great educations from the oldest institution of higher education in the state of West Virginia.

While Sharnik’s article is a fascinating and humorous look at the past, it is the title that catches my attention: “Wandering Jews in an Unpromising Land.” Clearly, Sharnik was playing on the students’ ethnicity and well-known Biblical references. Regrettably, the term “unpromising” is simply the same old stereotype of West Virginia arrived at by taking the same old mental cow path. Now, 46 years later, that cow path has been paved over again and again, and few people outside the state (and even within its borders) are willing to blaze a new trail. West Virginia needs to free itself of the shackles of presupposition that continue to hold us back from achieving greater success.

These stereotypes not only negatively color West Virginia, but all of Appalachia. We are told time and again by the popular media (and even ourselves) that there is nothing here. Appalachia is a wasteland, people say. A no man’s land of little possibility and less opportunity, they echo. And more often than not, this lack is blamed not on politicians or exploitive company owners, but on Appalachians themselves.

This blame goes back decades to early literature, TV shows and movies that exploit the region’s hardships for book sales, ratings and box office records. Few can forget The Beverly Hillbillies and their clueless, backwoods characters with hearts of gold or the psychologically deranged figures from Deliverance. Popular culture tells us that Appalachians are poor, willfully ignorant souls who are too lazy to improve their lots in life. These ideals have been further entrenched by presidential “poverty tours” conducted by presidents and other politicians throughout the 1960s to prove to the American people outside the region that Appalachians are poor, white trash that need their help.

Unfortunately, many of our own people have embraced these ill-conceived views of ourselves and live accordingly. Of course, we never see ourselves as morally-bankrupt, ne’er-do-wells, but we willingly believe it of our neighbors. J.D. Vance does this in Hillbilly Elegy, of courseHe encourages the country to continue to blame Appalachians for our misfortunes. It is our own fault that we suffer from the world’s highest rates of opiate addiction, he argues. It is our own fault that many of our children live in poverty, he states. By continuing to claim that Appalachia’s poor are responsible for their own conditions, the nation’s eyes can be averted, not out of guilt but out of blame. Our country’s hands can be washed clean since Appalachians create our own misery and wallow in it.

It is easy to see why this particular cow path has been well-worn and paved over. It is to the benefit of politicians whose pockets are lined with money from the oil and gas industry to continue to shame and blame our people so that they never ask for more. Our land has been raped of resources while our people have been underpaid and exploited. None of this could happen if not for desperation and mentally following a well-worn cow path that leads to broad, self-defeating conclusions about poverty, drug abuse, and job loss.

Even now, young men fight for jobs in the dying coal industry for the promise of what they believe once was but will never be (again). Now is the time to take a different path. One that is not littered with stereotypes and preconceived notions. I am reminded, as I am sure you are by now, of another poem that urges readers to take the road “less traveled by.” I urge you, my fellow West Virginians, imagine a different life for yourselves and for generations to come. I’ll always take the cow path to culture to serve my alma mater. West Liberty University is in my heart forever. But my mind will be on a different metaphorical route that allows for new possibilities for West Virginia, Appalachia, and its people.

We no longer have to play the role of eager simpletons to keep our jobs. There are no jobs. Let’s create our own through education, new industries, and innovation. A change in mindset will make all the difference. In this moment we must abandon who we are told we are and become who we know we are. We are West Virginians. We are Appalachians. Toughened by adversity, wizened by necessity, and softened by empathy.


A photo of the cover of Pulling the Thread: Untangling Wheeling History, essays by Christina Fisanick, Ph.D. Forward by David Haversack, Ph.D.

Pulling the Thread: Untangling Wheeling History

By Christina Fisanick, Ph.D.

North Meridian Press


Photo of Christina Fisanick, Ph.D., with red hair and gold earrings and wearing a black sweater.

Dr. Christina Fisanick is the author or editor of more than 30 books and dozens of articles, essays, and poems. Her latest book, Pulling the Thread: Untangling Wheeling History, is a collection of essays focusing on little known stories from Wheeling’s past. She is currently working on an historic novel which takes place at Fostoria Glass in Moundsville, WV, in the years immediately following WWII and co-editing an anthology, “We Are Here!”: New Writing from Northern Appalachian (forthcoming for University of Kentucky Press). In addition, Fisanick is an English professor and an internationally recognized scholar in the teaching of digital storytelling as public history. Fisanick serves as the president of the Writers Association of Northern Appalachia (WANA) and the co-host of WANA LIVE!: The Reading Series. Learn more: christinafisanick.com.


Doesn’t this essay just get you thinking? What are a place’s histories, byways, characteristics, and quirks–and how have they shaped its people and its art? How have they shaped the stories we tell? For this series, I suspect we will get some fascinating answers to these questions and many more I haven’t thought of. I hope you’ll join in and share your thoughts!

Like this post? Want more? Comment below or on my FB page. And please share with your friends and social network. 

Are you a Rust Belt writer interested in seeing if your own post, or author interview, or book review might be right for Rust Belt Girl? Hit me up through this site’s contact function.

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Ohio is Ohio, and I love it

You are forgiven if you’re not up on the middle school slang that has redefined the word “Ohio” (my beautiful native state) as cringey or weird.

Does that mean the writing from Ohio authors or about Ohio places is also weird? In some cases (and often my favorite cases) yes.

It has been more than a minute, Rust Belt Girl followers, and I appreciate you for hanging on. Busy days around here with a book project going and essays popping up here and there. And of course there’s work-work to contend with. And my teenagers who keep me hip (surely that’s not a word they’d use) through their generation’s reinvention of language, music, and fashion. (A whole wardrobe of hooded sweatshirts and oversized black jeans, anyone?)

But I’m thrilled to share with you my latest essay, which is part essay and part book review. The book? Matthew Meduri’s debut novel Collegiate Gothic. Part satirical campus novel, part crime procedural, and part Italian architectural treatise, this one is quite fun (and, yes, a little Ohio.)

I’d love it if you checked out my essay–“Campus Weird: Collegiate Gothic Skewers Academia (and Ohio) in Fine Form” at Belt Magazine. (Bonus points for identifying the Ohio college campus building in the photo. I only know because a friend told me.)

Then, go check out Matthew’s novel over at Bordighera Press.

What have you been reading and writing lately, readerly and writerly friends?

Hankering for Rust Belt author interviews, book reviews, and more? Check out my categories above. I hope you’ll follow me here, if you don’t already, so you never miss a (quite infrequent) post. Thanks! ~Rebecca

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Welcome to the 2023 Rust Belt Girl round-up…

I interrupt this Covid haze–mine, yes, I was gifted the virus for Christmas–to present a round-up of all the Rust Belt Girl goodness in 2023, made possible by you amazing readers and followers. (For you math and science types, here are your facts and stats):

2023 total views: 5,069, from 3,575 viewers, for 231 likes, and 170 comments. Thank you for engaging!

Most Viewed Post (MVP) 2023: A stellar review of Jason Irwin’s poetry collection, The History of Our Vagrancies, by Marjorie Maddox (Side note: I met Jason in person for the first time and reconnected with Marjorie in October at the Fall Literary Festival in Youngstown.)

2nd Place for MVP 2023 (and tops for most–and most heartwarming–comments): “Mad Dog, “Steel Poet,” Tim Russell, a literary reflection by poet and publisher Larry Smith. Thank you to Larry for being such a pillar of this literary community. (I also met Tim’s widow, Jodi, for the first time, in October–there were hugs!)

3rd Place for MVP 2023: The Rabbit Hutch‘s Rust Belt Renaissance, a review by Emma Riva, an author and art writer living in Pittsburgh, who is also the founder and EIC of Petrichor, Pittsburgh’s art scene magazine. Check it out!

Most Viewed Author Interview: My interview with John W. Kropf, author of Color Capital of the World. (Though John and I both live in the Greater Washington D.C. area, as luck would have it, we were in Ohio at the same time earlier this year, and I was able to meet him and his lovely wife Eileen at a reading and book-signing not far from where Color Capital takes place.)

And don’t miss all the other 2023 bloggo goodness, including interviews with Mitch James, author of the rural noir novel Seldom Seen; Valerie Neiman, author of YA novel The Lonely Backwater; and David Giffels, author of The Beginning Was the End: Devo in Ohio. (This makes three interviews with David at Rust Belt Girl, some kind of interviewing trifecta!)

Then there was John W. Miller’s beautiful guest essay: From Belgium to the Rust Belt. (In a fun coincidence, John and I ended up in the same storytelling course this fall–the writing world is a small one.)

And in other fun blog news, my 2022 review, Enlarging “Rust Belt lit” and Megan Giddings’ The Women Could Fly, was picked up by Belt Magazine in 2023.

2023 felt pretty good and creative outside of the blog, too: I published a short story and a poem(!) and started querying a novel (a couple of you blog followers and friends beta-read!). I am infinitely lucky and grateful to cross paths with as many of you as I do–even if only on these interwebs.

I think we deserve a happy and healthy 2024 with all the writerly and readerly connections we desire. Those of you local to these D.C./Baltimore parts, find me on January 14 at EC Poetry & Prose’s Salon Series. Thank you again to Patti, my fellow blogger–and extraordinary poet and spoken word artist “little pi”–for inviting me to read!

As for Rust Belt Girl, keep in mind that I love a guest post–author interview, book review, or essay on the writing life and beyond–so hit me up.

Want more Rust Belt writing, book reviewsauthor interviewswriting adviceessaysguest posts, and more in your life? Follow me here. Thanks! 

Oh, and if you want to check out my reading superlatives for 2023, they’re at Goodreads. Or, find me on FB. Share your top posts or top reads for 2023 in the comments. I’d love to hear about your writerly, readerly year.

(Off to nap…again.)

*free header image courtesy of Pexels

Lit Fest ’23 Lowdown (with slideshow)

Much overdue, I’m back to recap Lit Youngstown’s 7th annual Fall Literary Festival. Who can put into words the inspiration and joy that happens when a couple hundred members of the literary community come together to create, share, and add to our towering TBRs, of course. (And did I mention nearly 50 sessions focused on various genres of writing and the writing process–how to choose, how to choose?) And, all in one fantastic Ohio city with the best Italian food around and against a backdrop of changing leaves for some extra fall magic. Well, I’ll give it a try…

Perhaps what I love most about this festival is that I can reinvent my creative self each time. I make it a habit to step outside my usual writerly lane and try something new.

Day 1

The first day of the festival I did just that. Parma, Ohio, Poet Laureate, workshopper extraordinaire, and friend Jeremy Jusek started off the day with a craft talk called “Verbal Alchemy: Visualizing Poetic Structure as a Formula.” If you couldn’t tell, Jeremy is a science guy in addition to being a poetry guy. He used chemical formulas and definitions to help “shake up” the structure of our poems. The ultimate goal: “To give structure to figurative language.” My major takeaways: the graphing of a reader’s reaction to a poem to illustrate the overcoming of a reader’s ground state to the point of truly feeling. Also, the idea of developing unit cells for a poem. (For instance a unit cell might consist of 2 similes or metaphors and one question. A poem might contain 6 of these units.)

Maybe it’s my uncertainty with writing poetry that makes me to want to learn all I can about poetic structure, but I stayed in the poetry lane that morning and attended superstar poet Sandra Beasley’s talk: “Lyric A to Z: Exploring Abecedarian Forms in Poetry and Creative Nonfiction.” If the term “Abecedarian” is new to you, you’re in good company. From Sandra’s handout: “In an ‘abecedarian,’ consecutive lines, sentences, or paragraphs lead with consecutive letters of the alphabet. Note that abecedarians can use any language system, not just American English.” (Abecedarian poetry and a Prince fan? Check out a fantastic example by poet Randall Man called, of course, “Alphabet Street.”)

Another highlight of the day was sitting in on the conversation between poet, essayist, and educator Ross Gay and poet and educator Jennifer Sperry Steinorth. Much of the discussion was pedagogy-focused. They discussed the MFA workshop, a process that has received close scrutiny in recent years. The traditional way, Ross feels isn’t “good for our soul or our work.” Instead he tries to stick close to what he notices on the page. His workshop goals are not a stellar poem or essay but are “care and imagination” in the class.

For my last session of the day, I moderated a roundtable led by author, editor and educator Meagan Lucas (whom I interviewed about her debut novel years ago for Parhelion and was excited to meet irl!). Called “I’m a Lit Mag Editor: Ask Me Anything,” the session allowed participants to get a behind-the-scenes on just what rises to the top of the “slush pile.” A couple tips I took with me: the fiction word count sweet spot for Reckon Review, where Meagan is EIC : about 3,000 words; and don’t forget the importance of a catchy title (when that’s all lit mag readers see in their queue!).

Last, if you’ve been around these blog parts for a while, you know Ross Gay’s work has inspired some of mine, including this essay. And so I was prepared to be moved by his reading at the beautiful, historic St. John’s Episcopal Church–much from his new book of essays, Inciting Joy. But reader, I wasn’t just whelmed but overwhelmed. Ross’s mission of joy has been a guiding light not just for my fledgling essays and poetry, but for a new path where my art and faith can live together. And (in 2023, as I’m sure you can imagine) that’s a lot.

Day 2

The next day started off with a fantastic author reading. One essayist, my friend and editing co-conspirator Renée K. Nicholson; novelist Jason Kapcala, whom I interviewed here; and two poets, Amy M. Alvarez and Randi Ward read from their creative work “set in the mountains and hollers of Appalachia and the hardscrabble steel towns of the rust belt.” Themes of place and displacement ran through these works and I found myself transported–just what a creative reading should do!

The next session found me back in my fiction-writing lane. Novelist Alison Stine focused on “the urgency of cli-fi as we deal with the worsening impacts of climate change” in her craft talk called “Writing Climate Fiction as the World Burns.” Alison has a really inspiring way of talking about writing, even if she writes dystopian stories that deal with tough stuff–like the end of the environment and nature as we know it. It’s clear writing has saved Alison time and again. Writing, she said “is making people sit up straight,” and is also something that can “give us hope” and “give us a way.” And my practical takeaway from her session: wait for your characters to start acting before you start to write your ideas.

My final session of the festival found me marveling at the difference storytelling and writing can make–not just on our spirits but on our whole selves and in the ways we care for one another. Dani Naffziger led an inspiring talk called “Collaborative Writing with Adults with Disabilities,” a writing service she says “provides tangible and rewarding benefits for all involved,” highlighting stories from a population “rarely represented” and introducing “new writing processes for established and emerging writers.”

Under the umbrella of The Healing Impact of Writing, for the other part of the session West Virginia University Humanities Center director Renée K. Nicholson and physician Ryan McCarthy talked about their Healthcare is Human initiative. Through a unique partnership between WVU Medicine and the WVU Humanities Center, the initiative promotes the work of narrative medicine and health humanities. Its seeds were planted during the pandemic, when Dr. McCarthy began journaling about his own experiences and then gathering the stories of his fellow front line workers. He has said: “…projects like this, which highlight the real human stories of healthcare workers, nurture our own humanity.”

My own humanity certainly nurtured, my writing self restored, I left the festival inspired by the work of my fellow writers and by what’s to come. Thank you to Lit Youngstown director Karen Schubert and all who make it happen, year after year. And trust me, you won’t want to miss next year’s festival. Details here.

Now, tell me in the comments, did you attend the festival? What was the highlight for you? Do you attend writing conferences in general, book fairs? What gets your creative juices flowing?

Hankering for Rust Belt author interviews, book reviews, and more? Check out my categories above. I hope you’ll follow me here, if you don’t already, so you never miss a (quite infrequent) post. Thanks! ~Rebecca

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Literary citizenship alive and well, Twit*er as ‘dead’ emoticon, and bonus Europe pics for playing along

We’re no longer tweeting, we’re xeeting—writer Amber Sparks might have coined that–and the literary landscape has changed, yet again. What used to provide a good social media home for the #writingcommunity now feels like a hut, maybe a hovel. The best writerly take I heard was from writer Anna Gazmarian (I think), who said the X logo that replaced the cute blue bird reminded her of some boutique hotel she couldn’t afford. I look at the new logo and can see nothing but the emoticon for “dead”: Xs for eyes. But so long as there are writers connecting, there will be a writing community. Really, the literary landscape is always changing, and one certainly can’t rely on a social media site for real connections (except for maybe this one).

I talk a lot about literary citizenship but don’t often talk about what it looks like in practice. It definitely has a lot to do with reading and reviewing the work of other writers, but that’s just the beginning. To be clear, it has little to do with getting an MFA, for that paper in a frame on my office wall has played no part in most of the connections I’ve made in the writing community. So, a few on-the-ground examples:

Not long ago, I braved the open-mic at one of my favorite literary conferences and read a prose poem I was working on, called “Jesus, My Son’s Buckteeth.” (Clearly I’m staking out the fertile publishing ground of: Is she religious or just ignorantly blasphemous? Let’s just keep them guessing.) The poem needed a little work but it was getting somewhere interesting, capturing a complicated mother-love characterized now by running the kids to ortho appointments and no longer by rocking them to sleep. After the open-mic, a writer friend who is also an editor of a wonderful poetry journal said I might consider submitting it. I re-worked the poem, with the help of my trusted writing group, sent it off, and crossed my fingers. It was accepted–but this isn’t where the story of literary citizenship stops. I made sure to attend the online issue launch, and as I scanned all the names and faces in Zoom boxes, I recognized the name of one of my undergraduate writing teachers, who is also a poet. I used the chat function to say hi, and she remembered me, 20+ years on!

Sometimes it’s about saying hi to someone who may or may not remember you. Sometimes it’s saying yes to the the next generation of writers when you might rather be making Christmas cookies. OK, I’ll back up. A writer friend of a writer friend asked if I’d judge the 2022 AWP Intro Journals Project awards for creative nonfiction. When I could have been making cookies over my winter break, I was reading essays from MFA students, more than 60 of them: reading, re-reading, and picking my winners from so many admirable essays. But that wasn’t the end of the connecting. Long after the winning essays were published in university-run literary journals, one of the writers reached out. She was in the throes of preparing to turn in her thesis before graduation, but she wanted to take a moment to thank me for helping her feel like a writer with that award. I remembered her essay: it was excellent and showcased her journalism chops. I fact, she’d had a career before retiring and pursuing an MFA in creative writing–a time where you’re always a student no matter your age or experience. I told her I’d love to see an essay about just that, and I hope I do.

So, sometimes literary citizenship is leaving the door open for more, is encouraging personal history and story to be shared. Sometimes it’s just saying: you’re writing, I’m reading, and I’m so happy to be sharing this connection. Love a book? Tell the author.

And then there are so many more examples: the blogging friendships that started right here and have turned into real-life and writing-life friendships and critique groups and beta reading relationships. 

Like any deep relationship, cultivating literary relationships does take time. Being a good literary citizen requires that you know the writing world and its players. What time I once used to doom scroll on the bird site I hope to devote to this blog. In a few days, my boys and I leave for our summer break in Northern Ohio, and I have a stack of Rust Belt lit to bring with me. I hope to get back to you here with a couple reviews and an author interview this fall, so stay tuned. 

What are you reading and writing this week, this weekend? Want more stories from me, or author interviews, book reviews, guest posts, more? Follow me here:

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If you follow me at FB or IG (@MoonRuark), you’ve been inundated with photos from my European vacation in July. The most Rust Belt-ish place: Vigo, Spain–industrial, historical, and wonderful. A few pics for those who haven’t had enough (in order: Paris’ Eiffel Tower (of course), a pretty shop window, the D’Orsay Museum, and us sisters by the Seine; Barcelona hills and palm trees and basilica; Vigo’s cathedral; and a view of the Spanish countryside from Valenca, Portugal:

Building thriving post-industrial cities, one story at a time

We talk a lot about place here on the blog. While I’m usually talking about place or setting in literature, I’m also interested in the real places that inspire—especially Rust Belt places.

I never gave much thought to England’s rust belt, until a conversation with a good friend, who is English, last summer. Born a “southern softie,” a not-very-nice term for a person from the South of England, my friend recently moved to Sheffield, in the North of England. It’s basically smack dab in the middle of England’s rust belt, she told me.

As coincidence—or bots—would have it, I learned of a symposium hosted on Monday by the University of Sheffield featuring writers, community organizers, academics and the like from the UK and US. I found it fascinating and thought I’d give you a taste, here. 

An “across-the-pond conversation,” the symposium featured four panels that explored how to build “thriving, integrated post-industrial cities.” There was talk of architecture, anthropology, heritage, history and more. Panelists discussed new ways of connecting with the past, such as through urban explorations and art—including writing.

Thanks to Zoom, I was able to check in on the first panel of the half-day event, which included a presentation by award-winning author, essayist, and journalist David Giffels—dubbed “the bard of Akron” [Ohio] by the New York Times. If you’ve been here at Rust Belt Girl for a while, that’s a name you’ll recognize. David has graciously talked with us before about a couple of his books: The Hard Way on Purpose: Essays and Dispatches from the Rust Belt and Furnishing Eternity: A Father, a Son, a Coffin, and a Measure of Life.

As a featured speaker, David touched on the idea of our place’s “story.” He talked about sometimes feeling like our place isn’t worthy of story because it’s a humble place. But, of course, every place is worthy of story. He talked about pushing back against a prevailing narrative that comes from the outside (see: flyover journalism) by championing the local voice and lived experience.

David dug into his own past lived experience, as a student at the University of Akron during a time when the city’s downtown was full of abandoned buildings. “As young people we didn’t see it as failure,” he said, but as a place of promise. “You could reimagine the built environment”—a bookstore here, an art gallery there. 

Just don’t call it a “dying” city. Rather, cities evolve. David’s story of Akron is important to tell, because “it’s the story of hard times”—and hard times can be instructive. Take the COVID-19 pandemic. Ohio was ahead of the curve, David noted. The reason? The state had been dealing with a public health crisis—the opioid crisis, with Akron at the epicenter—for years. The realigning of emergency and social services necessary to deal with such a crisis, Ohio was on it. “Our hard times had something to teach,” David said.

Let’s not “fly over” the stories of lived experience—the hard and good times—in places like Akron and Youngstown, like Sheffield and Liverpool. It’s important to get cities talking, David said. “Dialogue between cities can remind us of the value of our narrative.”

Thanks to the symposium organizers and participants, especially David, for spreading the word about this symposium. It developed from new-genre artist Jennifer Vanderpool’s social practice art exhibitions, called Untold Stories, a series of exhibitions taking place in the post-industrial Midwest region of the US and the industrial North of England. Maybe catch one of the artist’s exhibitions if you can? 


What are you attending, watching, reading, and writing this month? Let me know in the comments…

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