We set up Wind&Bones back in 2017 because we were interested in the power that writing has to transform lives. At the most fundamental level, writing is about human communication. We don’t particularly care about distinctions between high art and low art, literary and non-literary writing, and all those other hierarchies that you stumble across when you read about Literature with a capital “L”. Instead, what we care about is how people can use the written word to communicate better, more deeply and more compellingly.We believe in the value of making space for multiple voices, in how this can contribute to a richer shared world, offering more diverse possibilities for thinking and acting.
It was great earlier this week to be talking about our work at National Dong Hwa University in Hualien, Taiwan. Two years in, it is a good time to reflect on the work we have done, and on new directions for Wind&Bones. We were invited to Dong Hwa by the fabulous scholar, associate professor and film-maker, Chun-Chi Wang (王君琦) . Like us, Chun-Chi is interested in the way that art can give voice to many perspectives, throwing new light onto our shared world.
It was a pleasure to spend the morning with a group of engaged, lively and thoughtful students from Dong Hwa, and to talk about our work — both our writing, and our work with Wind&Bones. After our lecture, we had a free-wheeling question and answer session, which was both stimulating and challenging. We covered a lot of ground: creative writing in multiple languages; collaboration and co-working in writing; the future of relations between Taiwan and the mainland; Brexit (inevitably!); and how to get involved in activism, when there are so many issues of concern in the world.
We also talked a lot about the ethics of writing; and how to deal as a writer with sensitive and socially contentious issues. We’ve been concerned with this for a while, and we run workshops looking specifically at the ethics of writing (for example, our ethics workshop at the Ubud Writers and Readers Festival in 2018). In academic creative writing contexts, ethics is often sidelined. Distressingly, the claim that “you shouldn’t worry about all that messy ethics stuff, the artist’s duty is just to write” (itself an ethical claim) is all too common. We take a different view. Our own concern with ethics arises out of our basic position that writing is about human communication. It is about how we relate to each other. Writing impacts upon our relationships. It impacts upon the kind of world we perceive, upon the kinds of future we can imagine, and on the kind of world that we can build together. In all of this, ethics is inescapable.
It was a privilege to be talking about all of this with the students from Dong Hwa, to be learning from their perspectives, and to be forging new connections.
In April, we’ll be heading to Taiwan where we’re giving a lecture at National Dong Hwa University (國立東華大學) in Hualien. We’ll be with students from the department of humanities discussing “Remaking the World: Creativity, Writing and Social Justice.”
For both of us, it will be our first time in Taiwan, and we’re excited to be there. As well as spending some time in Hualien, we’ll also be catching up with old friends, taking some time to do a bit of writing and doing some research on our various ongoing projects.
Image: National Dong Hwa University. Wikimedia Commons
We’ve just come to the end of our six week course on Writing, Myth and Tradition. It’s been incredibly stimulating. We were lucky enough to work with a highly talented group of writers from Myanmar and from all around the world. On the course we looked at the myths of writing and the writing of myths, from the small scale to the large.
Over the six weeks we covered a lot of ground. We looked at the stories that make us who we are. We plunged into the murky darkness of family and community secrets. We looked at the tangle of truth-telling, fabrication, memory and forgetting in the stories we tell about ourselves, each other and the world. We asked some difficult ethical questions about what it means to tell these stories. We explored face-to-face storytelling, and how this can be translated into well-crafted prose. And, in the final week, we looked at the art of self-mythologising for writers, and at the publishing world.
The course has certainly deepened our own reflections on what it means to write. And working with so many writers who are engaged in so many different projects has enlarged our sense of the world. So we’re already looking forward to starting our next course, called Remaking the World: Creativity, Writing and Activism. The six week course starts on the April 22nd, and is on Monday nights at the Parami Institute in Yangon from 7pm to 9pm. Get in touch if you are interested in joining us.
Image: Puppet Show in Myanmar, c.1897. Bodleian Ms. Burm. a. 5 fol 140.jpg
Tonight we are starting our new course, called “Writing, Myth and Tradition”, and we’re very excited to meet our new students, and to spend the next six weeks working together on exploring storytelling skills.
For this class, we’re exploring the stories that fashion us, that give us a sense of who we are and what our relationship is to the world – personal stories, family histories, national myths, religious traditions…
One thing that we have found in working with students over the years is that it is easy to overlook the richness of our own stores of story (or, in an image drawn from the Indian literary tradition, the ocean of stories in which we swim), to think that all the interesting tales belong to other people. So in this course, we’re going to be encouraging students to investigate their own resources and to develop compelling stories, as fiction, as non-fiction or in whatever other forms seem most fitting…
Beginning in February, we’re running a new course at the Parami Institute. Our last course was more skills-based, looking at different aspects of short story writing. This course is taking a different approach, and is more thematic. We’re interested in the stories that make us, in the intimate details of personal and family histories, in local folklore traditions, and in the great myths that underlie whole cultures. This store of myth and tradition has always been a rich resource for writers. What we aim to do is to get participants to develop their ideas and produce their own unique body of work, whilst moving between genres — fiction, non-fiction, reportage and memoir — and honing their skills in developing, drafting and editing.
The course will be held on Monday evenings from 7-9pm, starting on February 11th.
We’re very excited to be launching a new project in the new year, publishing high-quality print and e-books. At the moment, there’s a lot of behind-the-scenes flurry to get things set up for this, but in the first quarter of 2019, we’ll be ready to launch our first project.
By setting up a publishing arm of Wind&Bones, we hope to have a better platform for the voices from some of the work that we do. At the moment, we’re not taking submissions, as we’ve got our hands full (so please don’t send us anything). But if this changes, we’ll post here on the website.
Today we’re leaving Ubud after a hugely stimulating few days at the Writers and Readers Festival. Our final event yesterday was our workshop on writing and ethics. We had thirteen or fourteen participants – a nice mix of Indonesian and non-Indonesian writers – for a leisurely three hour exploration of how to get in and out of trouble with words. It was a massively stimulating afternoon, with a huge breadth of experience and insight around the table. Continue reading “Talking Ethics in Ubud”→
Greetings from Jakarta, where we are beginning our short Indonesian tour. First off, we’re in Jakarta for the British Council’s Wallacea Week 2018, where Will is doing an event this evening (17th October) with the fabulous Indonesian travel writer Agustinus Wibowo. The event is at the National Library of Jakarta, and entry is free.
This October, we’re going to be heading to Southeast Asia for a number of months, where we’ll be working on a range of new projects.
After an event at the British Council’s Wallacea Week in Java, where Will is talking about his book Stealing With the Eyes, and discussing travel writing with Indonesian writer Agustinus Wibowo, we’ll both be at the Ubud Writers and Readers Festival in Bali where – amongst other things – we’ll be running a workshop on the ethics of writing (about which, see our previous post).
From there, we’ll be heading on to Myanmar, where we’re doing a writing residency and running a series of workshops at the Parami Institute in Yangon. In Myanmar, we’re also planning to get involved in a number of other projects in the realms of literature, education, creativity and social justice.
Whilst on the move, we’ll also be writing. Hannah’s book-length collection of short stories, In Their Absence, is due out from Roman Books later in 2019, so she’ll be finalising the manuscript for that, as well as working on new material; meanwhile, Will intends to work on his current non-fiction work-in-progress (about which more in the next couple of months).
Whilst in Southeast Asia, we’re absolutely open to new possibilities and collaborations. So if you are in the region, and are doing anything that relates to our work, we would just love to hear from you.
This autumn we’ll be in Ubud for the 2018 Ubud Writers and Readers Festival. Will’s book on Indonesia, “Stealing With the Eyes: Imaginings and Incantations in Indonesia” – about the tangled ethical dilemmas of anthropology in the easternmost islands of Indonesia – has just been been published by Haus Publishing, so he’ll be doing a couple of events to talk about the book.
Whilst there, Will and Hannah will be jointly running a Wind&Bones (or, in Indonesian, Angin dan Tulang) workshop on the ethics of writing. This is a topic that is often curiously under-explored in creative writing courses – which is in stark contrast to journalism courses – and so it should be a fascinating few hours of discussion and hands-on exploration.
The workshop is on the 28th October, so if you are around in Bali, then come along.
We are now back in the UK after spending several days in Sofia at the end of our Bulgaria trip, on a mini-residency at the Sofia Literature and Translation House. It was the perfect place to do catch up on a bit of writing and reading. Whilst there, Hannah got to work on a short story pamphlet commission, and Will continued with research on a number of his non-fiction projects. Meanwhile, we both also had more of a chance to catch up with friends, to explore Sofia, and to meet some local writers, artists and activists.
The Literature and Translation House is run by the Next Page foundation, under the leadership of the wonderful Yana Genova, who was a superb host, and who offered us all kinds of insights into the wider Bulgarian literary scene. Yana also very kindly set up an informal discussion meeting with a number of people working at the meeting places between the arts and social justice. Among the guests were Anguelina Ranguelova from the Pavilion 19 project, which works on theatre and storytelling with underprivileged young people (in particular from the Roma and asylum-seeker communities) in the area of the Zhenski Pazar, or the women’s market, and Evgeni Dimitrov who works on projects at the Centre for Inclusive Education, as well as on his remarkable project “The Invisibles” (see the link here), which has many resonances with Hannah’s work on missing people. Continue reading “Residency in the Sofia Literature and Translation House”→
Earlier this week, we were in Varna, Bulgaria to run some workshops for writers at the LECTI (Language Education Culture Tolerance Information) centre, a project that works in developing links between cultures and languages across Europe and beyond. Our workshops were on short-form writing (fiction and non-fiction – why should flash fiction writers have all the fun?) and on the arts of editing. It was a delight to work with a small, diverse group of talented and enviably multilingual writers – one participant was writing in her fifth language.
In the workshops, we looked at generating ideas, at how good writing arises out of the writer’s own idiosyncratic experiences and perspectives, and at how through writing it is possible to bring to light both the differences and commonalities in human experience. Continue reading “Workshops in Varna, Bulgaria”→