Xylotheque Reviews

Xylotheque has been out for a little over a year now. I've collected a number of reviews of the book with links below.

• Brenda Miller wrote a beautiful lyric essay/review at the Los Angeles Review of Books ("Pregnant Pauses: Yelizaveta P. Renfro’s Lyric Essays").
• Lenore Myka contributed a review to Colorado State University's Center for Literary Publishing (home of the Colorado Review).
• Gwendolyn Edward wrote a review for American Microreviews & Interviews.
• BK Loren reviewed the book for Orion (link to pdf here).
• Susan Wittig Albert wrote a review for Story Circle Book Reviews.
• Maggie Trapp recently reviewed the book for Terrain.org ("Taproot~Writing a Life of Trees").

And here's a recent interview about the book at Story Circle.

Sarton Memoir Award

I'm thrilled to share this news: Xylotheque was recently awarded the Sarton Memoir Award from Story Circle Network! Here's a photo of the nifty award that arrived in the mail last week.

Writing the First Chapter

The assignment: to write the first chapter of The Great Connecticut Caper, a serialized storybook that would be created by twelve different writers and twelve different illustrators living in Connecticut.

The target audience: children in grades four through seven.

The premise: Gillette Castle is going missing!

The challenge: to create an engaging, fast-paced opening chapter that would introduce sympathetic characters and lay out some basic plot elements. And to do it in under 650 words.

The process: The first step was research. We made a family trip to Gillette Castle in East Haddam where we learned about William Gillette, the eccentric actor who brought Sherlock Holmes to life on the stage and who designed his twenty-four room mansion to resemble the ruin of a medieval castle. We toured the home, looking at hidden passageways and the surveillance system based on strategically placed mirrors, and we wandered the grounds, admiring his personal railroad track as well as his woods and views of the Connecticut River.

But we weren’t done yet. On another weekend, we took a ride on the Essex Steam Train and the Becky Thatcher Riverboat, learning about the Connecticut River, getting a different vantage point of Gillette Castle from the water, and discovering more about William Gillette.

As a writer, I often start projects with research. And as a parent, I often take my kids along. But this assignment was different. I am primarily a writer of books for adults, and this project was writing for children. Luckily, I had my own kids to consult.

So after the research stage, I had a long brainstorming session with my fourth grader (with the first grader listening in and offering occasional advice). We discussed what makes a good story and interesting characters. We talked about mystery books for children. We tossed around ideas for the story and possible character names. The fourth grader taught me how to make a character map, and she created several for possible characters. The first grader made one as well.

We agreed early on that the protagonists should be children, and that there should be two of them—a boy and a girl. (We discussed Ron Roy’s and Mary Pope Osborne’s books as examples.) The names and character traits of the boy and girl kept changing, but we finally settled on Thomas and Li-Ming. And during a long walk through our neighborhood, the fourth grader and I discussed different possible openings. Should the protagonists be touring the castle? Should they be on a riverboat cruise? What other characters should be introduced? What should happen at the end of the chapter?

There would be a cliffhanger, we decided, so readers would want to tune in for the following installment. And we needed to create openings for other writers to build the story—characters who could be further developed, situations that could be interpreted in more than one way.

Finally, once we had hashed out everything, I wrote the chapter. The first draft came in at over 900 words. So then I cut, and I cut some more. And finally, when the chapter was just under 650 words, I read it to my kids. They loved it. But they also had a few suggestions. I revised. I read it again.

It was a process of learning together. I shared what I knew about storytelling with my kids, and they shared what they knew with me.

The outcome: See for yourself here where the first chapter was posted on January 4. And please check back every two weeks as more chapters go live. I am looking forward to seeing where the story goes from here. And so are my kids.

Photo/Text 10: Shadows

When the low-hanging winter sun paints us gold and persimmon hues with its lukewarm laving, I look not so much at things as at their stretched taffy shadows. Reading them like tea leaves, it is not the future nor the past that I seek, because I am imbued always in these other times, in these not-nows; they are like cataracts upon my eyes, the future and the past, clouding my vision. So what I read in the shadows is something much more fleeting and inscrutable, something that eludes my gaze: the slippery present, not distorted but rather enhanced as shadow, the clarity jarring and pure, showing me the outlines of the desert, of where I am and who I am today, right now, this moment. Distilled into shadow, I stand and look upon myself at the setting of another year.

 

Xylotheque: "Soviet Trees"

My book, Xylotheque, is made up of nine essays accompanied by ten photographs. Every couple of weeks, I am posting an excerpt from one of the essays along with a photograph that was not included in the book. The photo accompanying this post was taken in Riverside when I was twelve, shortly before the events described in the essay. “Soviet Trees” first appeared in Parcel in 2011.

Excerpt from "Soviet Trees"

The girls crowd around you, studying your face, your hair, especially your clothes. They scrutinize the words Highland and Riverside printed in goldenrod letters on your royal-blue sweat shirt. What do they mean? Are they a brand name? The girls demand answers. They ask you to repeat the words again and again. You’ve been taken captive by these anthropologists in the guise of Soviet teenage girls. Like all anthropologists, they see you projected through themselves. They don’t understand why you would grow weary of saying the words—Highland, Riverside, Highland, Riverside—like some tired incantation. As far as you’re concerned, whatever significance the words carry has been eked out on the third or fourth repetition, and you want to tell them that the words are now nonsense on your tongue, that you yourself have forgotten what they mean. Highland. Riverside. For the girl-anthropologists the words are redolent of freshly manufactured goods, and of freedom and dollars. They stare at your sweat shirt as though it provides a window into America, all of it, in its unimaginable wealth.

There a few things you need to know. It’s the summer of 1987, and you’re in Kuybyshev, a city closed to foreigners. The girls are Young Pioneers, and this is still the Soviet Union—but actually, there’s no still about it. Remember that. It simply is, for you and the girls, for as long as you’ve been alive, and for as long as your parents have been alive. To say it is still the Soviet Union is like boarding the Titanic for her maiden voyage, looking out at her massive decks, and thinking, Someday, I’ll remember this as the time when the Titanic was still afloat. How could you believe, standing on the deck, that either of those colossal ships, the Titanic or the Soviet Union, would ever go down?

You’re only twelve—remember that, too—but you’ve been put in the oldest group, with girls who are mostly fourteen, because you’re tall and precocious. They keep asking about what kinds of things you own, how much stuff costs in America, what the stores are like, and how much money your family has. They want a full inventory of America, from top to bottom, from side to side, as though America is just a vast storage unit full of material goods. You don’t know where to begin, but you feel like a celebrity. For the first time in your life, you’re popular, the star attraction. You suddenly have so many friends you can’t remember their names. They crowd closer and closer, trying to lay their claims on you, trying to see what an American looks like. They comment on your American face, which leaves you stunned. Americans have always commented on your Russian face. It’s turning out you look like no one at all. It’s turning out that your amalgamation of Russian and American features has made you only uniquely yourself, unlike anyone else, which is the last thing you want. You’re twelve, remember. You want to shout—but I’m Russian like you!—though quite clearly, you’re not. Quite clearly, you don’t belong here. The hot heavy press of the girls in the cramped humid room renders you an exotic cornered animal whose fate lies in the hands of your captors. And quite clearly, they haven’t finished sizing you up yet. They haven’t yet decided what to make of you.

They demand to know, among other things, how you got here. To get into the camp you have to have a pass, and in order to get a pass, you have to have connections. You explain that your mother was able to get you a pass through her former college roommate, who is connected to the trade union. The girls seem dubious. This is a camp for future Soviets. It certainly is not a camp for American girls, even American girls who don’t believe they’re American, who think they’re Russian, which is the kind of American girl you are.

In your slightly awkward Russian, you tell your unlikely story: that your mother is Russian and your father American, that they met in graduate school in Leningrad, that you were born in Kuybyshev and lived there with your Russian grandparents and mother and aunt until you were three. And then you left with your mother to be with your American father in a fantastical place called Riverside, California. Yes, you’ve seen the Pacific Ocean. Yes, you have a river of sorts, but it’s puny—often just a dry riverbed—compared to the Volga,. Yes, that’s the unlikely kind of rivers you have in America. And you have unlikely trees—palm and navel orange and avocado and eucalyptus—and unlikely stores, too, where, yes, it’s true, you can buy just about anything you want, as long as you have money. Yes, Highland is the name of your school, but you don’t know why. You know the names for many things in America but don’t know why those are their names.

To read more of this essay, look for my book Xylotheque, available from the University of New Mexico Press and other online retailers.

Life and Work after the MFA

Recently I was asked, along with two other alumni, to return to my MFA alma mater to teach a graduate class and give a reading as part of the visiting writers series. After the reading, we alumni were asked to discuss life and work after the MFA. So on my seven-hour train ride from Hartford to Washington, DC, I began to think about what I would tell students currently in the midst of an MFA program about what might await them.

I was fortunate to be able to come down a couple of days early, which allowed me to catch up with my MFA friends who still live in the area. Ten years out from the MFA, we talked about where we were, what we had done, what we were working on, and what roles writing and reading still play in our lives.

My friend Ananya and I both had children (who are now fourth graders) right after finishing our MFAs. While her full-time day job, an editing position, does not allow for a great deal of creativity, she’s published nonfiction at the Washingtonian, The Guardian, and The Baltimore Sun, and she is also an assignment editor at the Washington Independent Review of Books.

My friend Christa accepted a full-time editor/writer position with a federal agency right after finishing her MFA and has now worked in this career for a decade. With two preschool-age children, she currently doesn’t have a lot of time for creative projects, but she does carve out writing time when she can—writing on her phone, for example, just to capture observations, dialogue, whatever comes to her. Since completing her MFA, her nonfiction has appeared in the Oxford American (available online here) and on PBS.org.

My friend Amanda had her debut novel, I Know Where I Am When I'm Falling, published earlier this year. The mother of adult children, she is currently at work on more fiction, teaches part time at a community college, runs book discussion groups, and is also a sculptor.

Unfortunately, the four of us were not able to get together all at the same time, but I did get to spend an evening with Ananya and Christa, and the following afternoon with Ananya and Amanda. (Amanda blogged about our conversation here.)

And as I was talking with these friends, I kept thinking about what advice I would give to current MFA students about what awaits them after the degree. Here’s what I’ve come up with.

You might look back on your time in the MFA and wonder what you’ve squandered those two or three years on. Right now—these years you are in a graduate program supported by people who care passionately about writing—is your time to write. Seize it. Make the most if it. You might feel overwhelmed with seminar papers, part-time jobs, teaching duties, but remember that right now your life is largely devoted to creative writing. And that may never be true again. Your life is likely to become even more overwhelming and complicated after the MFA. You may never have the kind of time you have now. And take advantage of all the resources available to you in your program (and in other departments as well). Take classes with a wide range of faculty in multiple genres. It took me years to figure out I was also a nonfiction writer because I stuck so stubbornly to classes within my chosen genre—fiction. And to this day I regret not taking a single poetry class during my MFA program. Seize these opportunities.

You aren’t likely to make your living as a writer of literary fiction, creative nonfiction, or poetry. You may make some money at it, but it probably won’t pay the bills. And unless you’re independently wealthy or have a spouse with a well-paying job who is able to support you financially, you’ll need to take on other work that does pay the bills. Consider this before finishing your MFA. Think about ways you can make yourself marketable in a career. Think about the types of work—editing, teaching, technical writing, curriculum development, grant writing—that you might take on and how you can begin to prepare for that future now. This might mean working as an editor for a scholarly or literary journal affiliated with your institution, being an RA for a professor, being a TA to get teaching experience, taking a class in grant writing or business writing, finding an internship in the field you’re interested in, working at a part time job that might become full time, volunteering, finding a mentor, taking classes with faculty outside of your department, etc. This doesn’t need to take up a huge amount of your time; even making preliminary steps can help poise you for employment after the MFA.

Keep writing after the MFA. It will be hard. Suddenly, your vast support network—your professors, your fellow students—will be all but gone. No one will be demanding work on a regular basis. No one will be encouraging you in weekly workshops. Writing may quickly slip down to the bottom of your to-do list. Writing will go from being the center of your working life to a labor of love. Writing will take time away from your family life, from paid work. And you might find—as I did and as I still do—that days, weeks, months can slip by without any creative work getting done. Christa said, “In the MFA program and right after, I had these ideals of what writing time looked like—long stretches of time that I could set aside for unfettered and uninterrupted writing.” For most, this is the ideal, not the reality. You will need to find ways to get the work done, if you want to continue to write. This perseverance takes on different forms—writing before dawn, writing after bedtime, writing on weekends, writing at your paid job, writing in little notebooks while your toddlers play. Find the ways that work for you, and stick to them.

Select your writing projects wisely. If you’re like me, you might have half a dozen books that you’d like to be working on all at the same time. There are always more projects than time to do them in. Pick the ones that you pursue carefully. If publication is important to you, then ask yourself: how likely is it that I will be able to publish this particular piece? Christa pointed out to me that while all four of us received our MFAs in fiction, three of us—Christa, Ananya, and myself—have published more nonfiction than fiction. Do I love nonfiction more than fiction? Not necessarily. But publishing it is easier. In Christa’s words: “The time crunch of post-MFA life has made me so pragmatic in a way I wasn't in graduate school.  I love all of my creative writing projects—short fiction, novel, nonfiction—but with so little writing time, I feel this pressure to ‘choose wisely’ in what I do write—what’s most likely to get published? It's become important for me to balance that pragmatism with making sure I love what I'm writing.”

What you now think success will look like is probably not what it will look like. When I was asked, during a casual conversation on my trip, whether or not I consider myself a “success,” I didn’t immediately have an answer. For one thing, I guess I don’t think of my life in terms of “success” or “failure”—I just keep working. But also, ten years ago when I was finishing my MFA, I never would have thought that I would end up here. True, I have published two books and have had work in numerous journals, but at the same time I don’t make my living as a writer. There are a lot of other things I’ve done—teaching, editing, curriculum development—that bring in more money and actually pay the bills. When I asked Amanda the question about success, she said something along these lines: “I get to spend most of my time, paid and unpaid, reading and writing, and thinking about reading and writing, and talking about reading and writing.” Yes, I thought. Me too. Even when I’m teaching or editing, I’m still engaged with reading and writing. When I think about it in that context, my days are full of the work that I was preparing to do in my MFA program. Success. My MFA writing friends and I have not (yet) penned bestsellers, but there is success of the daily, quiet kind, which is more lasting. Like spending our days reading and writing. Like being asked to return to my alma mater to teach the students whose shoes I was once in. Success.

Keep your writing friends. Stay in touch with people in your MFA program. Find good, sympathetic readers for your work—people who get what you’re trying to do and are generous with praise and criticism—and be proactive about continuing to exchange work with them after the MFA. If you get a full-time day job, you might find yourself surrounded by people who are not sympathetic to your creative goals. Suddenly, you’ll find yourself adrift, your writing friends scattered, distant. Find ways to stay in touch with them. Keep seeking out people who love the things you love, and connect with them, virtually or in person—however you can. Amanda and I have read one another’s book drafts. I hope to read a draft of Ananya’s novel soon. We are, as Amanda once said to me, members of the same tribe. Ten years after my MFA, this is one of the things that endures—the connections I made with fellow students. Even though the members of your tribe may scatter far and wide, keep those relationships. They will help to sustain your writing life long after you receive your diploma.

We Turned Off the TV, for Good

In a recent post titled “We Turned Off the TV,” Allison Hart writes about the amount of television that her children used to watch in the mornings and what happened after she decided to eliminate it. Just two weeks into the new regimen, she reports, “I can't tell you how much of a difference it's made.” I applaud Hart for the change that she’s made for her family. And if two weeks without television can make such a difference, what effect might years without a television have on young children?

I can tell you what I know, based on my own experience. My children, ages nine and six, have lived since birth in a house without a television.

“So what do your children do?” people ask. Many other parents can’t imagine how we fill the vast chasms of time that seem to stretch endlessly from waking (sometime around 6 a.m.) to school (the bus comes after 8 a.m.). What do the children do on weekend mornings without cartoons to keep them occupied? What do they do in the evenings in that extra time between dinner and bed?

The short answer: they do a lot.

Here are some of the things I’ve found them doing in the morning: reading, writing, drawing, playing with Legos, playing with stuffed animals, watching the fish swim in the tank, solving math problems, cooking, building marble runs, putting together snap circuits, playing with paper dolls, dancing, devising a comedy routine, listening to an audiobook, taking photographs, telling jokes, cutting and gluing paper, making a doll house out of recyclables, making cookies with Play-Doh, nailing together pieces of wood, stringing beads, pressing leaves, and . . . talking.

And not ever having had access to a television, they don’t miss it. Seemingly not one bit.

That’s not to say we’re completely against technology, or that we’re purists when it comes to TV. Of course the kids have seen TV—when they visit their grandparents or when we stay in a hotel, for example. And they are occasionally allowed to watch videos on a small portable DVD player. But for the most part, our lives are TV-free. And though we have computers in the house, the kids rarely use them—usually only when required to for school. And they don’t have access to other devices with screens either (no smartphones, iPads, or video games).

But before I wax poetic about how idyllic our lives are without television, I should add one disclaimer: My husband and I had decided we were better off without TV years before we had our first child. So not having a television was not so much a conscious parenting decision as it was an extension of what we were already doing. And what seemed natural to us became natural to the kids. Only in the last few years have some of the effects of our TV-free life become apparent to us.

If all of this sounds like bragging, I apologize. My family is not perfect, and I could easily make a list of our faults. On the other hand, since I believe that not having a television has had a remarkably positive influence on our lives, here I’m going to focus on the good qualities in my children that I believe can be attributed, in part, to their lack of TV exposure.

So what are the benefits of raising TV-free kids? I’ve come up with a list of seven broad areas.

1. Behavior

My kids are well behaved. All their lives, I have been getting compliments about their behavior—from teachers, from flight attendants, from strangers in restaurants, from other parents. They’ve never had public meltdowns of any sort (and very few private tantrums either). They’re “easy” kids—they entertain themselves, they become engrossed in tasks for long stretches of time, and they are generally happy and good natured. Yes, they complain from time to time, they get whiney or obstinate, but for the most part, they’re fantastic kids. They listen to us. Almost always.

How is this related to television? Kids mimic what they see. As Hart notes, “my kids were watching obnoxious TV shows and were acting obnoxious accordingly.” Studies have linked high rates of television viewing with antisocial, aggressive, and even criminal behavior. And even if the content is geared toward young audiences and seems harmless, ask yourself if you want your child’s behavior and values influenced by the shows they’re watching. Personally, I don’t want a little Hannah Montana on my hands.

2. Concentration

My kids have long attention spans. When my son started preschool, his teachers marveled at his ability to sit still and focus on a task. He would still be sitting at the table, drawing or working on an assigned activity an hour later when all of his classmates had become distracted and wandered away. My daughter can read a book for hours at a time—for even longer than I can sit still reading! She’s read 300-page books from cover to cover without hardly moving. In short, my kids can concentrate on a single task for a long time. They don’t get distracted.

Researchers have been telling us for years that television (along with video games, texting, and other technologies) erode children’s attention spans. Watching a television show does not require much mental effort or complex thought; it is largely a passive activity. And the constantly shifting images are not conducive to concentration; in fact, some researchers have suggested that exposure to television and video games may contribute to ADD/ADHD. So why offer my kids a frenetic, fast-paced cartoon—possibly with frequent commercial breaks, making the experience even more disjointed—when I can offer them a book?

3. Academics

Probably not a day has gone by in my daughter’s life that has not had a book in it. She’s been read to or has read on her own every day for nine and a half years since the day she came home from the hospital. She has been exposed to thousands of books. Think of all the hours that the average fourth grader spends looking at screens (television, computer, etc.). Now imagine what would happen if that fourth grader had instead spent all those hours reading books. That’s the reality my daughter has lived.

And it shows. She excels academically. Her vocabulary is extensive—better than that of many adults. One of her teachers calls her a “walking dictionary.” She performs well above grade level in virtually every subject. She has been deemed “gifted” in math as well and receives individualized enrichment, allowing her to advance several years beyond her grade level. I could go on and on, but you might ask—how can you attribute all of this to the lack of a television?

Of course I can’t. It would be folly to say this is all due to our TV-free lives. In the endless permutations of the nature versus nurture debate, it’s impossible to isolate any single factor. If my daughter had spent hours in front of a television screen every day of her life, she would probably still be smart. On the other hand, she would unlikely have her stunning knowledge of Greek mythology or her extensive arsenal of Shakespearean insults.

4. Materialism

My kids are not materialistic. Or at least they’re a lot less materialistic than their peers. When we go shopping, they don’t ask for things. Admittedly, I go shopping as infrequently as possible, but they do end up at the grocery store with me every couple of weeks. During our last trip my son asked if we were getting raspberries. I told him no, the price was too high—and that was the end of it. Last Christmas, my daughter asked Santa for a ball of yarn. Yes, just one. That was the extent of her Christmas list. She hates shopping even more than I do and has no interest in clothes, especially the clothes that some other girls her age seem to obsess over. My son has a weakness for Legos, art supplies, and all things Egyptian. He is a little more materialistic than his sister, but his wants are minor compared to some kids, and the requests are few and far between.

How is TV involved? TV makes you want things—especially the programming that is interrupted every few minutes with advertising. The average American child sees somewhere around 20,000 commercials per year. This is an astounding number! The cumulative effect of being told 20,000 times that you should buy something—toys, articles of clothing, food products, video games, digital devices—has to be monumental, especially for an audience of children who have not yet learned to distinguish information from persuasion. Viewing all of these ads not only makes children believe that their lives will not be happy or complete without certain products, but it also affects their behavior, causing them to nag their parents to purchase the products. Researchers have dubbed this the “Nag Factor,” defined as “the tendency of children, who are bombarded with marketers’ messages, to unrelentingly request advertised items,” and advertisers design commercials to specifically encourage this behavior in children.

That’s why my kids don’t ask for much—they aren’t being told, 55 times a day, 385 times a week, 1,667 times a month, that they want stuff.

5. Gender Stereotypes

If you want a girl to believe that she should play with dolls and fluffy stuffed animals, that her favorite color should be pink, that she’s likely not that great at math or science, that she should like clothes and cosmetics, that she should behave like a drama queen, then turn on the television. If you want a boy to believe that he should play with trucks and machines, that he should be macho and tough, that he should hide his emotions, that he should like violent video games, that he’s better than girls, then turn on the television.

Otherwise, just leave it off.

While some children’s shows have made great leaps in portraying gender equality, many are still lagging sadly behind, and what’s worse—much of the advertising, especially for toys, targets boys or girls exclusively, maintaining the divide between the genders and creating fixed notions in children’s minds about what it means to be male and female.

My son has taken ballet lessons and art lessons. My daughter loves science and chess. We want our kids to explore their interests wherever they may lie, to reach their potential, to be fully human—and that means not being pushed into narrow spheres by the outdated, rigid gender roles that sadly, are still perpetuated in so much of the media.

6. Nonconformity

My daughter is an individual, someone who is comfortable in her own skin. She plays the tuba because it is “awesome”—never mind that she’s the only one in fourth grade who picked that particular instrument. The height of fashion, for her, is a navy blue T-shirt that has a somewhat obscure math pun on the front, a faded pair of tan shorts, mismatched brightly colored knee socks, and worn-out sneakers. She loves mythology and Shakespeare, puns and logic puzzles. She’s proud of the fact that she’s the only one in her class who doesn’t have a TV. It makes her even more different. And being different, she will tell you, is awesome.

And it’s not having a TV all of these years that has enabled her to be different—without exposure to television, she’s never felt a need to conform to the stereotypes perpetuated by popular programs and advertising.

My kids have never said, “I have to do XYZ because Jane is doing it.” Or, “I need to have XYZ because all the kids have them.” Or, “But Tom’s parents let him do XYZ.” Or, “But all the kids are watching XYZ, so I have to.” Or anything along those lines.

7. Finding Their Passion

If your kids don’t watch TV, they spend a lot of time doing other things. A lot of other things. And as they do those other things, they just might find something that they love.

My son is an artist. He’s only six, so it’s hard to tell if he’s going to stay with it, but for now, art is his passion. He draws, he paints, and he sculpts. His art teachers have commented that he has talent. And he can sit still working on a piece of art for an astonishing amount of time. He finishes his pieces with painstaking attention to detail and care.

Maybe if he watched TV he’d still be an artist. But we might not know it yet. And he wouldn’t have had all of those many hours to sit in silence with a pencil and a piece of paper. Just the pencil, the paper, and him.

Watching television would have made him more like other kids. Not watching television has allowed him to be himself.

***

But it’s hard to give up television, you might argue. It’s deprivation, torture, a punishment too severe for the adults in the household. Remember, you don’t have to go cold turkey, chucking your flat screen out on the curb. Give up TV in the mornings, as Hart did. Or evenings. Or limit it to weekends only. Or to one carefully selected film per week. Make sure the TV isn’t on as background noise. Be selective and thoughtful about when you turn it on. And pick programming that is ad-free and that emulates the behavior and values that are in keeping with your own. Your kids will benefit. Really, they will. Even with just a small change.

We are not really radicals. Since we had already been TV-free for five years when our daughter was born, we never felt deprived. I can understand, though, that many parents might feel inconvenienced giving up TV. But having children is not a matter of convenience. It’s also not convenient to be up all night with a fussy baby or to change diapers or to read a dozen storybooks before the sun even comes up. In fact, I’ve discovered that most of the things worth doing in life are not especially convenient or easy. It’s a matter of what we choose, where our priorities lie. If it’s more important that the children be quiet and occupied in front of a TV so that you can sleep in or stare at your own screen to check email or Facebook, then you have made a choice. Turning off the television is another choice. It’s not that hard. And it’s important. Because our choices have repercussions that extend far beyond the here and now.