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The air is full of drifting cottonwood seeds; the water is turning from translucent green to puddled copper; it is 105 degrees Fahrenheit; and once again I am about to sneak up on the ducks disguised as one of their own. Donning a blue baseball cap and a pair of sunglasses, I slip into the river, sink until my nose is just above the surface, and begin to do a slow, underwater breaststroke toward a flock of mallards.
The water comes from Sierra snowmelt that has been held behind Folsom dam like a cache of liquid ice. Even in mid-July, it is still so cold, it takes my breath away, but over the years I have learned that, if I grit my teeth and keep swimming, my body will gradually acclimatize.
The mallards do not notice my approach. They never do. Perhaps ducks are nearsighted, perhaps they have a limited ability to sort out foreground and background, perhaps they are too busy dunking under to grab a beak-full of duckweed, or perhaps they just don’t give a damn. I have never been sure why they always fail to notice the weird thing moving toward them, particularly on days like today when I approach against the current. Logically, I can not possibly be a log or even a lost beach ball.
I swim nearer. No one looks up. The mallards continue to quack and duck their heads under the water. Over to the left, a male is engaged in a display of splashing and wing beating aimed at impressing a female who appears to be more interested in grooming her tail feathers. I take a few more strokes and float silently into the middle of the flock. The water is so clear I can see tadpoles scattering beneath me in all directions. The shadow of a large fish, a carp perhaps, slides under my feet. I am now close enough that I could reach out and grab the legs of the nearest drake, but I am a duck-observer, not a duck-eater.
For a moment, I relish my presence among them. Again, I wonder why they are not seeing me. Does the bill on my baseball cap make me look like a large mallard? Does their universe include the possibility of a bright blue duck with no eyes or tail feathers?
Suddenly, a female with six tiny ducklings trailing behind her paddles toward me, freezes, and does a double-take. That THING is definitely not a duck! She gives a terrified squawk and my cover is blown. Instantly all hell breaks loose. Quacking in panic, the ducks scatter like swimmers who have just realized that the log floating toward them is actually a crocodile. Most of the flock takes to the air; the mothers lead their ducklings into the reeds and disappear.
Finding myself alone again with only a few floating feathers to keep me company, I turn and begin to swim back toward the island, still keeping a low profile. Sometimes on the return trip, I see other animals. I can not get anywhere near the four-foot tall blue herons who are too smart and much too wary to be taken in; but once a green heron actually perched on my cap for a moment, perhaps mistaking me for a small, blue island. On another occasion, near dusk, I looked up and there on the bank, staring at me with unguarded curiosity, was a large buck with a fine rack of antlers. Once, only once, I saw a coyote playing catch with a stick.
Only a week ago as I swam in a warmer backwater, something sneaked up on me. It was not, thank goodness, a rattlesnake. I have only seen one of those in the seventeen some years I have been coming here and one was enough to last a lifetime; but it gave me quite a start nevertheless. I was swimming under the cottonwoods toward a patch of ripe blackberries that can only be pillaged by water, when I heard a huge smack behind me. I did exactly what the ducks do under such circumstances: I squawked and began to paddle toward safety only to discover that I was sharing the lagoon with a large beaver.
I have no idea why she was out in mid-afternoon. As a rule, beavers are crepuscular creatures. When we paddle our canoe back to the boat launch after sunset, we often encounter as many as twenty of them: large, plump, shadowy balls that slap their tails on the water like a rhythm band as we float by. But this one was up early, and she did not enjoy sharing the lagoon. For a few minutes she swam circles around me, slapping and diving. Then, to my great relief, she slid under water and disappeared. I have never heard of anyone being attacked by a beaver, but I got a good look at her, and just for the record, beaver teeth, when seen up close, are formidable.
But today, I make it back to the island without encountering anything more than a small muskrat and a swarm of Bluetail flies. Stumbling out of the water across a spread of small, unreasonably sharp stones, I towel off, sit down in a lawn chair, pick up the thermos, and pour myself a cup of iced tea. In a few minutes my husband, who originally introduced me to this place, swims up and joins me. We sit, chatting, drinking tea, eating cold melons, and waiting for the sun to set; and in the distance, as always, we hear the sound of The Distant Cataract About Which We Do Not Speak.
Of course, it is not really the sound of a cataract. It is the roar of rush hour traffic, half of it crossing the Howe Avenue Bridge, half of it crossing the bridge at Watt. We are sitting on an island in the American River, right in the middle of Sacramento, the state capital, a metropolitan area of well over a million people, but my husband and I like to preserve our mutual delusion. We have agreed to imagine we are not a five- minute drive from our home and a twenty-minute walk from the university where we both teach, but instead in some remote part of California where just out of sight a magnificent waterfall foams down into a green pool.
The American River Parkway makes this fantasy amazingly easy. For over thirty miles, it runs through the heart of the city from Folsom Lake to the point where the American River joins the Sacramento. This is a town where if you float in a canoe or sit on an island below the levees you can not see houses (except in a few places where, alas, the zoning restrictions are being violated). This is a town where some state employees kayak to work; where, no matter how hot it gets, you can get goosebumps and blue lips just by going for a swim.
Over the years, we have seen Hmong families in brightly embroidered, traditional dress picnicking on the banks. We have come upon a circle of Somoans, up to their chests in water, drinking cold beers and singing “On The Boardwalk” in perfect harmony. When we launch our canoe, we often find ourselves having conversations in Spanish with recent immigrants from Mexico or Central America. About 75,000 Russians live in Sacramento county, many of them Baptists. We have watched them build huts of reeds and flowers and carry flowered crosses out into the water as part of their baptismal rituals. African-American congregations baptize here too, dressed in white robes. Like the Russians, they sing hymns and pray. I am always moved when I hear them. This, I think, is the spiritual heart of the river.
Once, during a January when it looked as if the levees might break, my husband and I came upon a pile of candy wrapped in gold foil, pineapples and oranges sliced in half, several beheaded guinea fowl, a pack of matches, and a handful of popcorn: traditional offerings made to the goddess Oxum by devotees of the African-Brazilian religion Candomblé. On another occasion, we went down to the river to launch our canoe and found the parking lot occupied by a Russian Orthodox priest and his congregation. The priest appeared to be blessing the river with incense. A procession made its way to the edge of the river bearing banners painted with holy icons. I believe their prayers were in Old Slavonic.
But nothing can compare to a night in early August when my husband and I came to the river and found it full of small, floating lanterns. A Japanese priest stood at the boat launch chanting as the lanterns drifted toward him and his congregation. We found out later that this is a traditional ceremony for souls lost at sea, but that now it is done to commemorate those who died at Hiroshima and Nagasaki in August of 1945. Above the lanterns, a full moon rose into the sky, bright and large as a second sun. The flames swirled in the current, the night primroses blossomed, the beavers were silent, and for a few moments the American was a river of light.
Note by Mary Mackey: This description of my swims in the American River was originally written for My California (Angel City Press), an anthology published to raise money for the California Arts Council and school writing programs statewide.
A few months ago, I packed up six drafts of my recently published novel The Village of Bones and sent them to Smith College along with thirty-eight boxes of other materials that span my writing career. I have been saving these materials for well over forty years; and after fifteen years of inventive procrastination, I finally gotten around to archiving them. The result is that I now have a clean basement (who knew the floor was made of concrete?) and the Sophia Smith Special Collections Library in Northampton, Massachusetts has my Literary Papers.
What are “Literary Papers?” Well, “The Mary Mackey Papers,” as Smith calls them, include among other things: copies of all the foreign and English language editions of my novels and collections of poetry; multiple handwritten drafts of my works; copies of every magazine with my written work; fliers for most of the readings and lectures I’ve done; photographs of me from age two to the present; literary correspondence from famous writers like Yevgeny Yevtushenko and Marge Piercy, and less well known writers who should be better known; posters almost too big to mail, and chapbooks so small that if you gasped, you might inhale them.
Smith even asked me to send them my juvenilia, a term for the things I wrote when I was a child; so I have had the fun of finding my first novel (a science fiction piece written when I was nine about a little girl who outwits alien robots) and my first collection of poetry (handwritten on lined paper when I was eleven).
As you can see, “archiving” your literary papers means much more than simply placing copies of your books in a library. A university archive is like a safe or a time capsule. Smith is going to put every scrap of my materials in a specially constructed part of the Special Collections Library where they will be preserved in a climate-controlled environment and protected from insects and mold, not to mention floods, fires, mudslides, and earthquakes. Thus, The Mary Mackey Papers will be available to the general public, students, and scholars of the future for all eternity, or at least until climate change makes the human race extinct.
I want to encourage every woman writer reading this to think about archiving her literary papers. (Actually every male writer should too, but that’s another issue.) Please don’t think: “There’s no use my trying to find a place to archive my work. I’m not important enough. No one will want my papers.” Almost every woman I’ve told about the archiving process has said this, including famous poets and best-selling novelists. On the other hand, when I mention archiving to male writers they tend to say: “That’s a great idea. Of course my work should be preserved for posterity.” Or sometimes: “I don’t think anyone will want my papers, but I’ll give it a try. All they can do is say ‘no.’”
The men are right. If you contact an institution about archiving your papers, the worst they can say is: “No, we can’t take them.” But if you don’t try, your work may end up in a dumpster. You need to archive your papers now, while you are alive and can made all the important decisions. Don’t leave archiving your papers to your heirs or they may dump your old love letters in with the rest, and you may end up being known to future generations as “Snookums.”
So how do you go about archiving your papers? Well, that depends. If you are younger, you probably don’t have much. In fact, everything you have may be in digital form, so you need to begin printing some of it out. Not all of it, but a few drafts, important emails, etc. You should also start saving fliers from the readings you do. And don’t throw away those poems you wrote when you were nine. Keats kept his early poems. Keep yours.
If you are over fifty (or already very well-known), you need to make a general list of what you have and estimate how much room it takes up. Then you need to find out which libraries, universities, or museums already collect the kinds of things you have.
Next, you need to send a brief email to places you think might be interested in archiving your papers. Introduce yourself, describe the highlights of your collection and its significance, attach a very brief bio, and ask them if they are interested in seeing more. My initial email was three paragraphs, sent out with the subject line “Interested in a literary collection?”
Archiving your papers is particularly important right now. Literary correspondences are occurring in emails; drafts of novels and poems are being stored in the Cloud; news of readings are coming via MailChimp. According to the archivists I have spoken to, the life of digital material is about five years. Then bit rot sets in, and the files are no longer readable.
In other words, the entire literary life of the twenty-first century is being written on water. Let’s see that it’s written in stone.
If you do archive your papers, that is to say if you place them in a climate-controlled environment in a university or museum archive, I have a present for you: I have created A Guide To Women Writers’ Archives on my website. Send me your information, and I will put you up there with Mary Shelley, Margaret Atwood, Jane Austen, and Maya Angelou.

Mary Mackey is a bestselling author who has written seven volumes of poetry including Sugar Zone winner of the 2012 PEN Oakland Josephine Miles Award for Literary Excellence. She is also the author of fourteen novels some of which have appeared on The New York Times and San Francisco Chronicle Bestseller Lists. For more information about Mary’s books, including her recently published novel, The Village of Bones, please visit her website.
This article was originally posted on the Women’s National Book Association, San Francisco Chapter, website. To see it in its original context CLICK HERE.
Mary: Welcome to my People Who Make Books Happen Interview Series, Ellen. You’re the author of four national bestselling novels: A Wedding in Provence, The Paradise Guest House, French Lessons and On a Night Like This. I think it’s hard for people to image anyone with your level of success ever got rejection letters. Yet, you’ve said that you received “piles” of them. I’d like to talk to you about how you persisted through rejection, how you kept going, and why you didn’t give up. Let’s start by going back to the earliest stages of your career. How old were you when you started writing?
Ellen: Believe it or not, I decided that I wanted to be a writer when I was six years old! And I never veered off course. I couldn’t support myself as a writer until many many years later, so I always had a day job, but writing was my passion and my purpose throughout my life.
Mary: What’s the first piece of fiction you wrote? Was it praised? Were you encouraged by your parents or teachers to continue writing? Or did you start out with rejection?
Ellen: I had great support for my writing through high school, college and grad school. I won prizes and fellowships and I guess I got a little cocky. I thought that when I sent out my first short stories they would all be accepted! Boy, was I wrong. I have a folder of rejection letters that’s a mile high (or it just seems that way) – and it took a good ten years before I started publishing stories in literary magazines.
Maybe that early praise helped me survive the rejection years. It’s so hard to keep going when every editor seems to be saying no no no. Somehow you have to believe in yourself when no one else does. Or you have to be remarkably stubborn. I must have some combination of both.
Mary: I assume you were an avid reader from a very early age, yes? If so, which authors inspired and influenced you to make the choices you made?
Ellen: I read all the time! In high school I was greatly influenced by Hemingway and Salinger – I wrote terrible imitations of them both. In college I expanded my horizons. I think almost everything I read influences me. I beg, borrow and steal. That makes it sound much worse than it is! In truth, I’m always learning from the masters. How do they do it? Can I try that technique? It keeps me growing as a writer.
Mary: Let’s talk about those “piles” of rejection letter you’ve received. Can you tell us roughly how many there’ve been?
EllenI couldn’t possibly count them all. Seriously. I submitted stories to magazines for years – sometimes a story would be accepted at one magazine after having been rejected at 40 other magazines! I’ve written a couple of novels that haven’t been published. Now that really hurt. But, in fact, they weren’t good enough – I can see that now.
Mary: What was the first thing you submitted that got rejected? Do you recall what the letter said?
Ellen: Right after graduate school I sent off my best story to the New Yorker. And so I began to collect form rejection letters from them. Eventually I did get personalized rejection letters from them, always encouraging me to try again. That meant a great deal to me.
Mary: Many writers give up when their work is rejected and never submit anything again. Have you ever decided to give up writing permanently?
Ellen: Yes – but that decision only lasted one day! About 15 years ago, I finally realized that I wasn’t going to be able to find a publisher for a novel that I had worked on for a few years. I announced to my family that I was quitting writing. They all ignored me. A day later I started a new novel.
Mary: What changed your mind? What gave you the strength to continue?
Ellen: I have to write. I’m pretty miserable when I’m not writing. And most of the time I can keep the noise of the publishing world out of my head. That’s when I most enjoy the process.
Mary: How does a writer know when the rejection is valid and when it isn’t? How do you decide if you should revise, rewrite, or abandon a piece of work; or leave it exactly as you wrote it and submit it somewhere else?
Ellen: Great question. If I received the same kind of comment from a few different editors, then I would start to pay attention. Also, if what they said rang true to me, then I would push myself to do another rewrite.
Mary: Do you still occasionally get rejection letters, or is all that behind you now that you are a famous, bestselling author?
Ellen: Oh, I still get rejection letters! I wrote a novel after On a Night Like This (my first novel – which was a San Francisco Chronicle bestseller) and it was rejected everywhere! Now I realize that it wasn’t good enough but at the time so baffled. I thought I finally had success – wouldn’t more success follow? Not unless the work is good enough!
Mary: Before you go, is there any additional advice you can offer writers about surviving rejection and continuing to write?
Ellen: Surround yourself with a writers group that’s supportive or loving friends who boost you up when you need it. It’s tough to stand strong when the rejection letters accumulate. Believe in yourself and in your work.
Ellen Sussman’s new bestselling Novel is A Wedding In Province
She is the New York Times bestselling author of four novels altogether: A Wedding in Provence, The Paradise Guest House, French Lessons, and On a Night Like This. She is also the editor of two critically acclaimed anthologies, Bad Girls: 26 Writers Misbehave and Dirty Words: A Literary Encyclopedia of Sex. She teaches through Stanford Continuing Studies and in private classes. To learn more about Ellen Sussman and her work, visit her website at www.ellensussman.com
Dear Readers: Join this conversation about People Who Make Books Happen. You are warmly invited to ask Ellen Sussman questions or leave a comment. See the other interviews in this series for information about How To Get An Agent, How To Design A Book Cover That Sells Books, Helping Independent Bookstores Survive and Thrive, Three Great Reasons To Still Print On Paper, Designing Websites For Writers, and more. This is where the experts hang out.
And remember to come back next month to read the another great interview in the People Who Make Books Happen series.
Saturday June 14, 2014, Pleasant Hill,CA CA: Mary Mackey talks about “How To Travel Like A Writer.” The Mt. Diablo Branch of the California Writers Club has invited Mary to speak to them about how traveling like a writer can make trips more interesting and exciting. She will address topics such as “How Travel Can Give You Ideas,” and “Why You Photos of Paris Will Be Like No One Else’s. TIME: 11:15 am (lunch); PLACE: Zio Fraedo’s Italian & Continental Restaurant, 611 Gregory Lane, Pleasant Hill, CA 94523,(925) 933-9091,
How dangerous is Rio de Janeiro? In the United States, Rio has a reputation for being scarily violent despite its beautiful beaches, friendly people, and warm climate. I’ve been going to Rio for the past twenty-five years, and I can’t count the times people have said to me: “You’re going to Rio for six weeks? Are you crazy!”
So how dangerous is Rio? Well, in my experience, the level of violence isn’t that much worse than in many big American cities except in the slums (which the Brazilians call “favelas.”) Still, whether you’re headed to Carnival, the World Cup in Soccer, or the 2016 Olympics, there are some things you need to know in order to stay safe. I love the city. It features prominently in my poetry and novels, but there are hazards you might not anticipate.
Number One: Traffic. Rio has long had a reputation for violence, but in my 25 years of traveling to and living in Brazil, I’ve found that the number one danger in Rio is traffic. Buses run red lights at 30mph while there are people in the crosswalks; cars careen around blind corners at high speed; motorcycles come roaring down one-way streets the wrong way. Never cross a street without looking both ways more than once (I favor 4 times), and always assume that the vehicles coming toward you will not stop. Never stand in the street. Yes, you will see Brazilians doing it, but it’s their country and maybe they have special spirits protecting them. If you get into a cab, fasten your seat belt. Given the way the cab drivers dart between buses and trucks, you may also want to close your eyes. Rio’s cabbies make New York City cabbies look like ads for traffic safety. As for renting a car, I’ve never had the guts to try driving in Brazil, although my husband has on occasion. Note that outside the city, roads sometimes suddenly end in 2 foot deep pits that will blow all your tires. Don’t speed. Better yet, to stay safe in Rio, don’t drive.
Number Two: The Ocean. Rio has some of the world’s most beautiful and most famous beaches, but beware. The water is sometimes polluted and can give you nasty skin rashes (inquire locally). This rarely happens at Copacabana, but there the surf can be a real danger. The waves looks small, manageable, but they pack terrific force and the currents are vicious. I was once wading up to my knees in little waves, when a slightly larger one came in and knocked me off my feet so hard that the entire front *and back* of my left leg was purple with bruises for a week. I’ve known people who went in for a dip and were sucked out to sea. The waves also sometimes come to shore in a way that make it nearly impossible for you to get out of the water. My husband once nearly drowned about 10 feet off the beach. Yes, there are lifeguards. Yes, they are competent and dedicated, but you can get into trouble very fast. To stay safe in Rio, watch where the locals are swimming and follow their example.
Number Three: Robberies. It’s probably not news to you that tourists frequently get robbed in Rio, but there are some things you can do that will make it less likely that the victim of a robbery will be you. The basic strategy I follow is to look like a missionary who may want to collar you and tell you the Good News. Wear your older clothing and before you leave home, remove all jewelry that looks valuable. Take off your little gold earrings, your bracelets, even your wedding band if you can face not wearing it for a while. In the place of your valuable jewelry (and by valuable I mean anything that remotely looks valuable even if it is only worth $10), don costume jewelry. I have three seed necklaces and two cheap-looking silver rings that I always wear when I’m in Rio. I always make sure that I can get both of the the rings off my finger fast if someone asks me for them. I’ve heard stories of people getting their fingers cut off by robbers, but I think these are mythical. Still, better to be safe in Rio than sorry at the Emergency Ward of the local hospital. By the way, health care is pretty good in Brazil and they tend not to charge for drugs. Instead, they give them to you. As a Brazilian doctor once said to me: heath care is a human right.
How dangerous is Rio? Probably a 6 or 7 on a world scale of 10. Staying safe there isn’t all that hard, but you need to be alert.