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A masterclass on living as a writer and developing your writing craft.

Part of the Living and Sustaining a Creative Life series, Artists as Writers joins the tradition of books designed or intended to inspire would-be writers to write. Yet, it distinguishes itself by offering succinct first-person narratives by writers of varied genres about the day-to-day life of writing for a living. 

Artists as Writers offers accounts of the journeys that thirty-two writers have taken, including what decisions were made; which paths were taken, rejected, and charted; and why. It answers the question: What magic keeps a writer writing?
Writers from Ethiopia, Guatemala, Nigeria, Palestine, Poland, and Sweden, as well as several American artists, contribute their stories.  They each provide vividly detailed accounts of the circuitous roads that each individual took to earn the title “writer.” These are richly descriptive stories from writers who write consistently, relating how they came to the writing life, who helped them get there, and what sustains them as writers.
 

An anthology amplifying the voices of the figures reshaping art histories across disciplines and a range of fluid practices. 

With a focus on gender, race (including whiteness), class, sexuality, and transnationality—all of which are often marginalized in dominant art histories—each individual has provided short, often personal contributions detailing how they become passionate about their practice. The contributors’ offerings are varied and surprising, appealing equally to people enmeshed in the field through their work as well as those with a beginner’s interest. Their pieces take various forms—epistolary, children’s fable, interview, coauthored narrative, pastiche, memoir, manifesto, and apology—and a number of the essays perform in their structure or content the theories they explore about publishing, curating, and archival work.

Sustaining the Borderlands in the Age of NAFTA provides the only book-length study of the impact on residents of the US-Mexico border of NAFTA's Environmental and Labor Side Accords, which required each state to enforce labor and environmental regulations. Through field research in Matamoros, Tamaulipas, anthropologist Suzanne Simon tests the premise that the side accords would encourage Mexican grassroots democratization. The effectiveness of the side accords was tied to transparency and accountability and practically bound to opportunities for Mexican border populations to participate in the side accord petitioning and civil society input mechanisms. Simon conducted sixteen months of fieldwork with both a group of environmental activists and a group of those fighting for labor justice in Mexico. Both of these groups became enmeshed in the types of cross-border advocacy networks and coalition building efforts that are typical of the NAFTA era.

Although the key to the side accords' anticipated success lay in their ostensibly generous encouragement of a participatory politics and sustainable development opportunities, Sustaining the Borderlands reveals that the Mexican border populations for which they were largely created are effectively excluded from participating due to the ongoing online, territorial, class, and cultural barriers that shape the borderlands. Rather than experiencing the side accords and their companion institutions as transparent and accessible, residents experienced them as opaque and indecipherable. Simon concludes that the side accords have failed to deliver on their promise of bringing democracy to Mexico because practical mechanisms that would ensure their effective implementation were never put in place.

NAFTA took effect at a time when Mexico was undergoing a democratic transition. The treaty was supposed to encourage this transition and improve environmental and labor conditions on the US-Mexico border. This book demonstrates that, twenty years later, the promises of NAFTA have not come to pass.

Ann Stinson grew up on her family’s tree farm in southwestern Washington state, on a ridge above the Cowlitz River. After building a life in New York and Portland, she returned home at the age of fifty, when her brother’s death from cancer left her manager and co-owner of three hundred acres planted in Douglas fir, western red cedar, and ponderosa pine.

The Ground at My Feet is a memoir about loss and grief as well as a portrait of a family, a region, and an industry. Combining personal story and research, Stinson weaves essays, poems, history, and science into a rich and layered account of life in a family forest in the Pacific Northwest. She maps interactions between the land and its people over two centuries: the Cowlitz peoples, homesteaders, and several generations of logging families who have worked the property. She follows her family’s logs as they become lumber for fence boards and suburban homes, touring a local cedar mill and traveling with her father to visit mills in Japan.

Stinson adds a landowner’s voice to conversations about the human tendency to demand more of the land than it can sustain. With its uniquely personal view of the Pacific Northwest’s timber and forestry heritage, The Ground at My Feet is an engaging addition to the literature of the landscape and ecology of the West.