Jess Wells

I'm always very excited to find in history courses references to Christine de Pizan, a woman in the 1300s who was the world's first feminist and first professional writer. IMHO, she is under-heralded and too frequently overlooked. My novel A Slender Tether (Fireship Press, 2013), dramatizes her difficult early years that were filled with grief, poverty, and thwarted ambition.

I'm drawn to her because of her hunger to write (which I feel in my gut), her struggle with ambition (a love-hate relationship I know well) and her feeling that she is a "raptor among bluebirds", socially unacceptable for her ferocity (a more autobiographical idea than anything I've ever written before.)

So when The Great Courses Plus included her in their (excellent) course  Read More 

While I am anxiously awaiting the arrival of Sex at Dawn: The Prehistoric Origins of Modern Sexuality as it wends its way through the libraries in San Francisco, I wanted to get down what I know and think about this topic before I read the book, then follow up with new findings.

While streaming The Great Courses Plus lecture series on "What Darwin Knew and Why it Still Matters" the lecturer suggested that Darwin's book on sexual selection had far more difficulties being taken seriously or adopted in any way because the Victorians were unwilling to acknowledge the extent of female agency (or the ability of women to make and carry out important decisions on their own).  ("Wait, it's all the choice of a ...female?? Preposterous! Women are too fickle!")  Read More 

Your story, no matter how short or long, isn't a recounting of a series of events (even a love affair, or a war) but a commentary on the human condition. Your work becomes art when you have something to say* about life, about people.

Let's call it theme: to me, theme is the overall concept of the piece, which then turns a story into art. Here are some tips re: theme: Read More 

Milestones in the 17th, 18th and 19th century of chocolate, taken from a fascinating book, The Essence of Chocolate: Recipes for Baking and Cooking with Fine Chocolate, that is part history, part recipe book, part engaging stories. 

Why Is It Called Devil's Food?

"By the end of the 17th century, chocolate houses had spread from France and England to the Netherlands. By coincidence, the group of Pilgrims that would later sail to Plymouth Rock took up residence next door to one of Amsterdam's biggest chocolate houses in 1690. The Pilgrims, who stoned people for adultery and basically repudiated anything that looked enjoyable, watched as the chocolate-house patrons cavorted next door. A few nights was all it took to convince the Pilgrims the chocolate was the devil's work.  Read More 

#chocolate #chocolatier #scharffenberger

The founders of Scharffenberger Chocolate have produced a fascinating book, The Essence of Chocolate: Recipes for Baking and Cooking with Fine Chocolate that is part history, part recipe book, part engaging stories of their lives and those of cacao growers around the world. The second in three blog posts give you the highlights of how chocolate came to Europe (slower than you'd think!).

The First Cacao in the Europe

"We know from recorded lists and paintings that cacao beans were among the first gifts that Christopher Columbus brought from the New World to the Spanish court in 1502. Columbus knew the beans had value  Read More 

#chocolate #chocolatier #scharffenberger

Whoever heard of a cookbook you couldn't put down? The Essence of Chocolate: Recipes for Baking and Cooking with Fine Chocolate by John Scharffenberger and Robert Steinberg is delightful, readable, fascinating because of the background information on the two men who founded the company – one a successful vintner and the other a doctor battling leukemia – as well as fascinating information on cacao itself, the need for biting midges and shade, the lives of the growers they have encountered in Ecuador, the Dominican Republic, Guatemala and Panama.

In three blog posts, here are some of my favorite takeaways that come from sections they term "legends and lore" which are interspersed among recipes I just have to have.

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Writing Historical Fiction: a Writers and Artists Companion by Celia Brayfield and Duncan Sprott, (Bloomsbury) 2014 is an interesting book: part how-to manual, part history of the genre, part fascinating opinions by best-selling and best-known authors of the historical fiction genre, with a reasonable amount of space spent on the unique challenges of writing about women in the past. Here's what struck me about the book:

How Women Are Written and How to Correct That

The headless woman (shown from the neck down) "is a visual cliché on the covers of historical novels…" (pg. 50) but the trivialization and downright erasure of women in history goes much further.

"Women, especially women not from a ruling class, are the largest group to have been marginalized, or even deleted from the record, in historical terms.  Read More 

I'm about to box up the remnants of the research and outlines for a book that got to 47,000 words and was the most fun I have ever had writing anything. Ever.

Unfortunately, a major pivot is required for this piece of work and, after rescuing about 20,000 words, I have to call it quits on the project. I've been moping around about it, in mourning. Adrift.

And then I am reminded of something I have been wanting to tell a young writer friend: nothing in writing is ever wasted. Read More 

The illustrations for the classic Rider-Waite Tarot Deck were painted by Pamela Colman Smith (1878-1951) who also designed and painted theater sets for the likes of William Butler Yeats; she was a writer/publisher of "ballads, pictures, folktales and verses" via her own broadsheet, and designated an "elderly female companion who shared her flat" as her heir.

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We take pills, potions and vitamins, get special pillows and now have beds that will tell us whether we have achieved that sought-after thing called a good night's sleep – eight uninterrupted hours. It's a multi-billion dollar industry but evidence is mounting that prior to the industrial revolution, we slept in two shifts with a period of activity between them. We can thank our pituitary gland that makes it a hypnotic time, a creative time.

In the pre-industrial past, it went like this: the "first" sleep started after dinner and sunset, which was close to 8 p.m. One slept about four hours, woke up at midnight and then spent two or three hours stoking the fire, playing music, making love, checking on food, telling stories, even visiting friends. Then, back to bed for the "second sleep" until dawn. In modern parlance, it's called segmented sleep. Read More