Workbook: Memos & Dispatches On Writing

by Steven Heighton

Since selections first appeared in the New Quarterly and the National Post as part of “The Afterword,” Steven Heighton’s memos and dispatches to himself — a writer’s pointed, cutting take on his own work and the work of writing — have been tweeted and retweeted, discussed and tacked to bulletin boards everywhere. Coalesced, completed, and collected here for the first time, a wholly new kind of book has emerged, one that’s as much about creative process as it is about created product, at once about living life and the writing life. “I stick to a form that bluntly admits its own limitation and partiality and makes a virtue of both things,” Heighton writes in his foreword, “a form that lodges no claim to encyclopedic completeness, balance, or conclusive truth. At times, this form (I’m going to call it the memo) is a hybrid of the epigram and the précis, or of the aphorism and the abstract, the maxim and the debater’s initial be-it-resolved. At other times it’s a meditation in the Aurelian sense, a dispatch-to-self that aspires to address other selves — readers — as well.” It’s in these very aspirations, reaching both back into and forward in time — and, ultimately, outside of the pages of the book itself — that Heighton offers perhaps the freshest, most provocative picture of what it means to create the literature of the modern world.

Genres: Nonfiction, Poetry, Writing

72 pages, Paperback

First published October 1, 2011

About the author

Steven Heighton (born August 14, 1961) is a Canadian novelist, short story writer and poet. He is the author of ten books, including two short story collections, three novels, and five poetry collections.[1] His most recent novel, Every Lost Country, was published in 2010.

Heighton was born in Toronto, Ontario, and earned a Bachelor of Arts and Master of Arts degree, at Queens University.[2]

Heighton's most recent books are the novel Every Lost Country (May 2010) [3] and the poetry collection Patient Frame (April 2010).[4]

Heighton is also the author of the novel Afterlands (2006),which appeared in six countries.[5] The book has recently been optioned for film. Steven Heighton's debut novel, The Shadow Boxer (2001), a story about a young poet-boxer and his struggles growing up, also appeared in five countries.[6]

His work has been translated into ten languages and widely anthologised.[7] His books have been nominated for the Governor General’s Award, the Trillium Award, the Journey Prize, a Pushcart Prize, and Britain’s W.H. Smith Award (best book of the year).[8] He has received the Gerald Lampert Award, gold medals for fiction and for poetry in the National Magazine Awards, the Air Canada Award, and the 2002 Petra Kenney Prize. Flight Paths of the Emperor has been listed at Amazon.ca as one of the ten best Canadian short story collections.[9]

Heighton has been the writer-in-residence at McArthur College, Queen's University and The University of Ottawa.[10] He has also participated in several workshops including the Summer Literary Seminars, poetry work shop, in St. Petersburg, Russia (2007), and the Writing with Style, short fiction workshop, in Banff, Alberta (2007).[11]

Heighton currently lives in Kingston, Ontario with his family.[12]

Reviews

[Joseph Schreiber · Rating 4 out of 5]

This slender book by late Canadian poet and writer Steven Heighton, holds a wealth of advice and thoughtful musings for writers and readers. Adapted from a project that began on Twitter, the book contains two essays, one bemoaning the loss of boredom now that digital distraction is as close as our phones and the other a tribute to Al Purdy and the positive effects of poetic rivalry, in the right hands. In between, he offers observations and wisdoms to writers of fiction, essays, poetry and criticism—all presented in bullet form and cross-referenced against one another as relevant. Not only is this book fun to read, but it offers honest, often inspiring and practical advice in an accessible and entertaining way. Unlike clunky how-to-write manuals or those books about "reading as a writer" with lists of all the books you should read, I can see myself turning to this pocket sized volume time and again.

[Isla McKetta · Rating 5 out of 5]

A refreshing little reminder of the best of what we do as writers. I'll pick this up again when I need a boost, to make sure I'm following my own best values and instincts rather than chasing something outside myself.

[Coralie · Rating 3 out of 5]

A quick read, thoughts on writing and creativity. Some of the quips were thought-provoking and many were relatable. Could be a useful book for inspiring creatives to keep going.

[Ginger · Rating 5 out of 5]

When Workbook was published, I consumed it quickly, loved every word, gave it 5 stars and quickly moved to the next book in the Stack that Never Shrinks. But this fish hook goes in easy then hangs on. Like kid pictures and favourite quotes and earrings and coffee stains, Workbook has become an essential part of the landscape of my writing desk. I still can't put it on a shelf.

Writer Angie Abdou said “Workbook is an aphrodisiac.” Amen. If this is a Bible for writers, count it as having a few extra Song of Songs. There is an intimacy to the meditations, but you never feel as if you're eavesdropping, rather invited to the interior of the writing life. If you are a writer (or hope to be one), this book should always be at hand. Buy a second copy to replace the one you will (inevitably) give away to a friend. It's instructor, word whisperer, bibliomancer--crack it open and it will hand you some truth about what you're doing as you sit there writing, or what you should be doing. Every page. A gem.

[Hannah Belyea · Rating 4 out of 5]

Take in the insightful and easy to understand advice of a writer that guides fellow artists through the ups, downs, rights and wrongs of releasing a story and delivering it in as creative and honest a way as possible. Heighton gives readers a simple and witty look at the steps necessary for enjoying the art of creative writing in a small collection that makes for a wonderful writing companion. Keep this at your side at all times for quick peaks into thoughtful advice for the everyday writer.

[Zoe · Rating 5 out of 5]

A gift to look at the musings and interworkings of the creative writing of an author I've attempt to dissect.

[Angie Abdou · Rating 5 out of 5]

Workbook is an aphrodisiac. Better than raw oysters.

In the pages of this beautiful new meditation on the art of letters, I fell in-love with writing all over again. Nothing in its title hints at the passion between its covers. Neither "Workbook" nor "Memos" nor "Dispatches" leads potential book buyers to think: hot read coming up! Lovers of literature might expect a novel to have steamy scenes or a book of poetry to arouse a sensual response, but a philosophical reflection on the discipline of writing? Not so much. Nonetheless, I stand by my claim: Workbook is sexy.

This effect is created partly through the immediate access to the author's voice. In a novel, the author hides behind the characters. In poetry, distance manifests itself in other ways. Maybe the poet and the reader are separated by a speaking persona, or perhaps the poet retreats into the specific technical demands of a given poetic form. In Workbook, on the other hand, there is a real feeling of intimacy. Here, we have a writer sharing ideas that matter deeply to him directly with the reader. Even more intensely, in sections like "Memos To A Younger Self" or "Memos To a Writer a Decade Deep in the Work," Heighton speaks (almost) to himself, and we have the voyeuristic thrill of dwelling within the inner-most (though finely crafted) thoughts of a very accomplished writer.

More than the direct and intimate access to the author, though, this book's energy can be attributed to the thrill of witnessing a mind at work, an intellect creating truly original, even rebellious, thought. With great energy and insight, Heighton rejects some of the key defining features of contemporary society. The prevalence of social media, the obsession with celebrity, the emphasis on productivity and efficiency – all come under pointed attack.

The wisdom of this book, then, extends far beyond the writing life. This sage advice, for example, applies to writers and non-writers alike:

It's said that your unlived life will kill you. True, but not before it
has killed or maimed others around you first. (Heighton 46)

To listen to critics, pro or con, and take their words to heart is to
subcontract your self-esteem to strangers. (Heighton 28)

Don't feel discouraged when you find yourself falling out with
your earlier work. Dissatisfaction is the price of improvement. (Heighton 26)

Workbook inspires and excites me, and I didn't even know that I needed an injection of inspiration until I started reading it. Upon reflection, I realize that a book about writing should be sexy – writing is, after all, a passion. We do it because we love it.

Why else?

Though there are many books about the writer's life and craft, there are none like Workbook. I couldn't help racing through it on the first go, but as soon as I finished I started again, this time to read it more slowly, taking time to reflect on my favourite sections. Even the size of Workbook is perfect: it fits right in the front pocket of my book bag, where I keep it handy and revisit it often.

[Alexis · Rating 4 out of 5]

When I first heard about this, I thought that it was a workbook for writers, with exercises, so I ordered a copy for myself, thinking it would be useful. It's actually a series of essays and lists about writing. Some interesting tidbits, but it's more of a "letters to a young poet", "let's look at things" type book, rather than a Natalie Goldberg book or a technique book.

[kristi · Rating 3 out of 5]

rating: 2.5 stars
— read for school