Welcome to ‘Between the Lines’ – interviews with teachers, writers and writing teachers on specific aspects of their craft.This interview was split into two posts to do justice to Madenski’s generous sharing of time and wisdom. Part 1 covered her biography and writer’s origin story. Part 2 focuses on craft and teaching.
How does one identify the seed of a piece of writing?
Surprise. My Achilles heel is that I get too sentimental. The more sentimental writing gets, the greater the distance. When you write universally, describe, and keep those emotions out, you open it up.
What questions should a writer ask themselves at the beginning of a piece?
Know?
Don’t know?
What to know?
It’s about finding [one’s] curiosity.
What should a writer consider, and disregard, when beginning a piece of writing?
The first step is not creating a story. The first writing, what we used to call free writing, is first thoughts. It frees you from having to be worried about the things you might worry about in a final draft.
One of my small rants is that free writing became a thing, and teachers sit children down and make them write. Once something becomes institutionalized, it’s difficult for students to feel safe with it. If you look at writing as a place to explore, to find meaning, it becomes a different thing.
Why is working through first thoughts important?
A student I loved told me she wrote about a problem she had for five days in a row. The first version was awful, full of blame; after five days, she’d narrowed it to what she could change and what she couldn’t. That was never going to be published, but that is the writing process.
As an adult, I started [writing] the first day after [my husband] Mark died. Those journals were useless – they were just questions. In two full journals, there are probably two salvageable sentences. But it helped me to be a better parent, to get through that.
How important is defining an audience?
I never do until the end; maybe not even then. I write what I’m curious about and if I have that intuitive sense, if it feels good, I’ll keep working. After I finish, then I’ll think of where to send it.
How can writers get better at finding seeds? And drafting?
They get better as they practice, as with anything else. Writing, and maybe this is true of dancing and photography, offers lots of rewards when you start to use it across the arc of your life.
What opportunity does writing bring the writer?
The chance to see things more clearly. The opportunity to notice, to slow, to look. I wrote a poem called ‘Ode to Black’, during the Black Lives Matters protests. I was walking one day and there were crows everywhere. And I walked to the creek and the ducks have this black so black it’s almost indigo on their faces. So much of what I love in nature is black – trees in winter – so I wrote this poem.
Writing has given me knowing what I want to get good at; stability, better understanding of myself, much better understanding of students. I love publishing, but it wouldn’t stop me writing if I didn’t publish.
Madenski recommends
The piece of writing that changed your life before age 18?
‘The Raven’ by Edgar Allen Poe, which I memorized in sixth grade. And Robert Frost, ‘The Road Less Taken’, reading them, something shifted in me.
The piece of writing that changed your life as an adult?
Early Morning by Kim Stafford. It’s a very personal book [about his father], but it’s universal. It helped me see people as complex and beautiful. You can struggle with someone or something, but still see the beauty in them.
A classic you would love to teach?
My Antonia by Willa Cather. I don’t go around thinking of myself as a feminist, but I am a feminist. Willa Cather cut her hair, wore pants, got a job as a journalist. It is beautifully written and would be a perfect thing to teach. To have [students] read the book first, and not know about her, then fold in her influences as a woman writer when it wasn’t easy to be one. That would open up some wonderful conversations.
A contemporary work you would love to teach?
Happiness by Aminatta Forna. It’s about two characters in their late adult years, their children are raised. They have experience; they’ve lived hard lives, and that is part of the story too. The book is complicated: it’s about where we are in the world, our relationship to animals, the divisiveness that pulls us apart. It’s about aging, what it means to have loved, to have a long career. It is about a different type of happiness.
A book about writing every writing student should read?
The Crafty Poet: A Portable Workshop Vols I, II & III by Diane Lockwood. I wish I’d found these [books] years ago.
A visual artist/musician/film maker who inspires you?
Greta Gerwig. She’s a great example of how we can come to stories about love, friendship, culture, with a different lens. She started out independent with Lady Bird and Little Women, then the Barbie movie, which I wasn’t going to see because of my assumptions. But I went and I loved it. [Gerwig] has a different voice, a way of storytelling that is the opposite of what I thought it would be.
A book you buy copies of to give to friends?
Who Dies? and Unattended Sorrow, both by Stephan Levine. They are about grief. At this time in my life, people are losing big things – parents, children, partners. Levine writes about compassion, in its true sense. Looking through a lens at the hardest things in our lives. I soak up instruction in how to endure difficult things. It’s not an exercise in denial, it’s an exercise in facing.
What’s next?
Inspired by Ada Lemon’s linked sonnets in The Lucky Wreck, I am working on seven verses that began with a walk on the Columbia River. I saw an asylum of loons and that’s where the poem started. It’s not ready to read aloud yet, but it’s going somewhere good.
I’m also working on an essay about ageing, and pulling together poems for a reading with Andrea Carlisle at Broadway Books on 5 September.
Not least, I walked Neskowin Creek [near my old home] from the headwaters to the coast. I had been teaching all summer, couldn’t afford to travel and needed to do something, so I walked. I collected about 80 pages of field notes. [My daughter] Hallie and I, will go in the fall and she’ll photograph it. Then I’ll publish that, maybe.
Welcome to ‘Between the Lines’ – interviews with teachers, writers and writing teachers on specific aspects of their craft.
All photos courtesy Michael Downs
Light filters into Michael Downs‘ basement office, as if it were underwater.
Twin decorative dragonflies, backlit on a windowsill, and a red goose-neck lamp stretched into a honk, heighten the effect of a numinous natural space. It is, he says, the best writing room he’s ever had.
And he’s had a few to compare.
Born in Hartford, Connecticut, Downs rode economic currents with his family, first to Vermont then Arizona. After graduating from college, his journalism career took him back to Hartford for a spell; he met a woman and fell in love, moved with her to Montana; later, they moved to Arkansas, where he attended grad school, then to Baltimore in pursuit of work.
Downs nods in recognition at the mention of the 1960s-70s cadre of hard-drinking, fly-fishing Montana writers: ‘Tom McGuane, those guys, sure.’ Though a former sportswriter, Downs doesn’t need to prop his ego with tales of a trout [this] big.
His body of work reveals someone who lets nuance speak for itself; someone who illuminates and distils the details, then leaves them to do the work.
As befits his journalism background Downs, now a professor of English literature and director of the Master’s Program in Professional Writing at Towson University, regularly publishes short stories, essays and reportage. As befits a scribe, he also turns his hand to ghostwriting and editing.
Gathering words
The TV Guide, cereal boxes, the Bible, historical romance novels, Of Mice and Men, comics: ‘I read everything,’ Downs said. ‘I loved words; wanted to understand them.’
His precocious reading meant he struggled to keep pace with their sounds. ‘I’ve learned so many words just by reading that my pronunciation, throughout my life, has been terrible. “Inchoate” — is that in-ko-ate or in-cho-ate? I can never remember, but I know what it means.’
There is something to be gleaned from this primary engagement with writing as text. Technology has gifted the writer, or would-be, many ways to engage and construct, but there is power in being able to seed words on a page and watch the lines grow into a riotous harvest
Downs relishes the labor of it, the physicality of writing (more on that in a moment). His most influential teachers were the ones who, ‘demanded more of me than I thought I could do. And did so unapologetically. That helped me understand my capacities.’
The purpose of literature
Exploring his capacities took Downs to the University of Arkansas MFA program in the late 1990s. This was his grounding in Shakespeare, the King James Bible, Don Quixote, and teaching. ‘I wanted my tuition paid,’ he says with a grin. ‘But it was a wonderful thing for a variety of reasons.’
Foremost, teaching (as any teacher who gives a damn will tell you) demands the kind of close study many students elude. ‘I had to break down stories, novels, sentences; I had to do the craft aspect better than I would have otherwise.’
The process of deconstruction facilitates a deeper understanding of construction; clever writer/teachers seize opportunities to teach authors they love, or genres they want to better understand. Downs, for example, taught a historical fiction course while writing a historical novel.
Teaching writing is about more than just craft, though; Downs increasingly focuses on a less-discussed aspect of literature:
This generation has had a lot to deal with. It’s clear in their stress, their anxiety, what they talk about. What I want to do is use literary work – either the writing of it or the reading of it – to help them understand that the world is worth it, that it’s beautiful, that the unexpected doesn’t have to be dread inducing. The unexpected can also be the reason you get up in the morning. I spend more time now talking about beauty and how to use literature to help yourself get along in the world.
For all the joy he’s found in 30-odd years of education, Downs is transitioning to full-time writing. ‘I’m rich in former students, but I’m not as rich as I’d like to be in books.’
During his recent Fulbright Scholar year in Krakow, he encountered a quote by the Polish poet Adam Zagajewski stencilled on a staircase: ‘it is not time that is lacking, only focus’.
‘Like so many other writers, especially writers who teach, I say things like ‘I don’t have a lot of time, I’m trying to find the time to write, etc.’ he says. ‘I read that quote and thought, ‘I need to change my focus.’ My focus has been students, for decades. I’ve been grateful for teaching at a university and having the summer to write, but I’m old, I’m a slow writer, and I want more.’
Part of how Downs accesses ‘more’ is through what he playfully refers to as ‘method writing’. He was kind enough to share examples and insights on this element of craft.
On Method Writing
Q: Why is it important for writers to get out from behind the desk and get their hands dirty?
A: Emily Dickinson didn’t do that, and she pulled off some good stuff. So I don’t want to say it’s a moral imperative, but for some writers, young writers especially, it’s important to get out of your own belly button. There is a world out there, experiences, things that are tactile, not just in your head. We take in experience through our five senses, then meditate on them. If you don’t have experiences, you don’t have stories. You can have think pieces, but you don’t have stories.
Q: What is your first memory of tangible experience that led to, or was integral to, a piece of writing?
A: When I was an 8th grader, I had a paper route. A stray dog used to follow me. I’d stop at a convenience store, buy some food, share it with the dog. It followed me for weeks, until it followed me across a road one morning, as the sun was rising over the mountain. Someone came along, driving fast into the sun, and hit the dog. And it fell to me to pull the dog off to the side of the road – still breathing, but clearly dying, and to stay with the dog.
Some time later, I went to a writing camp for kids, and a college professor told us to explore stories by writing about the parts of our lives that confused us. And I went back to that moment. It was a successful story, because I remembered the weight of the dog, what it felt like to touch it; that it was still breathing. That was the first time physical experience worked itself into my writing.
Q: How does tactile experience operate as a research mode in fiction versus non-fiction?
A: When I’m doing narrative non-fiction, I’m experiencing the world as me, so paying attention to my five senses. When I’m doing it in fiction, I’m trying to be someone else. So if they have experiences that I haven’t, I have figure out how to get close to those experiences. I try to save my imagination from doing too much work, or from getting it wrong. The imagination isn’t always right.
When I was writing about a woman who was burned in the Hartford circus fire, I drew from this wonderful Red Cross pamphlet about how people were treated after that fire, because it was groundbreaking. But also – I‘m going to sound a little crazy now – I needed to know what it felt like to be burned. I put my hand over the gas ring [on my stove], and held it as close as I could, for as long as I could. I did not hurt myself, but I got an idea of the feeling of a sustained burn. And that’s what I wrote.
If I hadn’t held my hand over that fire, I could not have imagined how it felt. It was cold.
Q: How do you incorporate method writing into second or third person POV?
A: It’s about coming to a place of focus where I can combine my engagement with the world and my imagination to say. If it’s working, it becomes transcendent. The words end up there; I don’t know exactly what brought them, but they are right, and I could never find those same words again.
Q: How do you know when to stop experiencing and start writing?
A: It’s always time to sit down and start writing.
It’s time to start experiencing when – in fiction – I don’t know what the character is experiencing. The character is in a situation and it’s time to figure it out. When working on the Horace Wells novel, I was struggling with the fact the main character wasn’t an enjoyable person to be around. He wasn’t super successful, he was whiny, he wasn’t that bright. I had to figure out a way to make him palatable.
How it happened surprised me. I went to a museum that had his tools, his notebooks, his death mask. They brought out the death mask. I put on white gloves and picked it up. His face was small, surprisingly small. I started touching his face. And I decided that his wife had touched his face. That though he betrayed her, and made her life difficult, she loved him. And if she loved him, I could love him through her. That changed him as a character, from a nebbish to a person who was loved by his wife.
Q: What is a rookie mistake writers make when attempting this?
A: To think their experience is how the character would have experienced it. John Keats said that Shakespeare possessed this amazing quality of self-nullification; he could stop being Shakespeare and be someone else. That’s how so many [of his] characters are who they are.
I encourage students to work at not being themselves. As a writer, your job is not to ask, what would I be doing if I were them? You have to become that character and know. Andre Dubus talks about studying Zen and becoming the word as he writes. It has to do with focus.
Q: Which writers do this particularly well?
A: Andre Dubus, absolutely. He was a man who wanted to be out there in the world, make stuff, experience stuff. Alice Munro, you know she’s out tromping the fields. Louise Erdrich, a favorite of mine, she doesn’t just sit behind a desk. Joan Didion, of course.
Q: What is an assignment or exercise you use to teach this to your students?
A: A terrible thing happened near my campus more than 100 years ago, before campus was there. A black teenager was lynched. I wanted the students to write about it. We walked to the site and sat for an hour; looked at the trees and the jail, which is still there, and touched the walls, looked at the sun. I wanted them to imagine how it was then, and see how it is now.
Downs Recommends
The piece of writing that changed your life before age 18?
The Lord of the Flies. It completely freaked me out. I hadn’t know that boys could be so cruel. I was a shy, awkward boy who wore glasses. I could have been Piggy.
The piece of writing that changed your life as an adult?
William Kennedy’s Ironweed, a profound and magical novel. Kennedy – a former journalist who never stopped thinking of himself as a journalist – wrote a novel set in a small north-east city, Albany, NY, that nobody paid much attention to. I wanted to write about Connecticut, about a small town no one paid much attention to, and this [novel] gave me the blessing.
A classic you love to teach?
‘A Good Man is Hard to Find’ by Flannery O’Connor and ‘Sonny’s Blues’ by James Baldwin. If I could only teach two stories for the rest of my life, it would be these two.
I love what Baldwin writes about art in that last scene; he’s writing about music, and Sonny’s blues, but … I’ll blow the quote, they were doing it at the risk of their own lives, but they had to do it, because we need those stories, and we need to make them new. It’s a gorgeous description of why we need stories.
‘Good Man’because it is such an inexplicable story. Students have no idea what’s coming. Their mouths drop open. It’s a perfect story for proving to them that you can’t say what a story means.
A work you love to teach from 21st century?
Lydia Davis Varieties of Disturbance – she blows up the idea of what a story is, disregards everything anybody says. There’s a novella in it, which purports to be a sociological studies about get well cards written by a second grade class; it is just heartbreaking, funny, and reveals so much. She also has one-sentence stories in the book. Literally one sentence.
A book about writing every writing student should read?
Colum McCann’s Letters to a Young Writer.
A book + film adaptation combo you love?
The Good Lord Bird by James McBride, which was turned into a TV series with Ethan Hawke.
A living writer you’d love to hang out with?
Olga Tokarczuk.I’m fascinated by the concept she discusses in her Nobel Prize speech of the ‘tender narrator’ – a new approach to narrating fiction. A different point of view.
Your perfect writing space?
If space and time are related, it’s more about the time than geography. If I create the time, the place doesn’t matter. I can be on a park bench, a balcony, a windowless room, sitting in the front seat of my car.
What are you working on now?
I’ve written about six essays and would like to write another four to six and put together a collection. I have some ideas that have been – there is no other way to say it – that have been strong in me lately. They are wanting to come out.
This is the debut post of ‘Between the Lines’ – interviews with teachers, writers and writing teachers on specific aspects of their craft.
This week’s interview is with Anthony Lince, per his online bio ‘a Latinx educator and scholar who teaches first-year writing courses at UC San Diego and local community colleges.’
Photo courtesy Anthony Lince
Writing: From ‘terrified’ to teacher
In conversation, Lince has a ready beam and belies several notions of what a scholar of writing looks like. Figuratively, anyway. The dun-colored, round-neck sweater is classic English teacher chic, but he is quick to undercut the notion that he is a born wordsmith.
Growing up, San Diego, California Lince was happiest on the basketball court, running plays as a point guard through his high school years.
‘I was terrified of writing,’ he confesses, still smiling. ‘I loved to read, but as far as writing went, I never felt confident.’
Writing at all, much less teaching writing was so far out of mind as to be out of sight. After high school, Lince joined the Army and served as a military police officer. When he enrolled in college, aged 25, he planned to study criminal justice.
So where did writing come in?
‘Professor Bustos, who taught my first-year writing course. There were texts by Mexican-American writers like Pat Mora and Sandra Cisneros, which I connected with as a Mexican-American. And the Professor let me know he enjoyed my work.’
Despite struggling with imposter syndrome at the unexpected praise, Lince trusted his teacher enough to take a job at the writing center, at Bustos’ recommendation. There, he discovered he liked helping peers. His confidence in his own writing grew; he became an English major.
Lince didn’t set aside his thirst for justice, though: ‘As I started to get an education in the humanities, I saw a lot of injustices that needed work.’
Towards more equitable education
Lince is passionate about opening doors. One of the reasons he practices ungrading is to ‘create a positive, less-anxious, equitable, and antiracist learning environment’ (more on all that in a moment).
Lince was the first in his family to complete college. He understands the challenges and subtle (or blatant) inequities that non-traditional students, or those from marginalized communities, face. ‘It was unfamiliar terrain,’ he recalls of undergraduate study. ‘Take office hours – I had no idea you could go talk to professors. Things like figuring out a financial aid are hard if you don’t know anyone who’s done it before.’
After finishing his BA in English with an emphasis on Teaching, Lince qualified as a teacher and spent a year working in a high school before completing an MA in English with an emphasis on Rhetoric and Writing Studies. He graduated in 2022 with a thesis on labor-based grading.
Though peer-reviewed articles and conference proceedings sprout like kudzu on Lince’s academic CV, his primary goal is to lead by example. ‘I try teach from the perspective of authentic writing practices and share with students from the point of authorial expertise. If someone were a dance teacher, you’d expect them to be a dancer, right? So when I go into a classroom, I let them know I write academic articles, book chapters, blog posts, that I’m working on a book. By bringing this into the classroom, they see how writing works outside the classroom.’
Though he doesn’t use the word, Lince’s teaching practice is grounded in respect. Addressing students as fellow-practitioners of the craft is mark of respect. Seeking to ‘be equitable in my assessment and grading practices so students know they are having a fair education,’ is another mark of respect.
‘I want students to see that they are important. That they matter,’ he says. ‘I want them to be confident at writing. And to be able to spot potential injustices or biases that play out in writing.’
On Ungrading
What is ‘ungrading’?
Moving away from traditional numbers and letters and moving towards authentic ways of assessment. Take my own experiences as reference points; when I write for publication, or even for fun, I don’t receive numbers or letter grades, assessment happens through feedback.
Your Master’s thesis is on ‘labor-based grading’ – what is that?
There are a lot of sections under the umbrella of ungrading, one of which is labor-based grading. This method only uses a student’s labor to calculate their final course grade.
At the start of the course, students sign up for the grade they want. I tell them, you want a B, you need to do these things. If you want an A, you have to do all the B labor, plus more, to get the A.
All the activities [they complete] are based on the writing process: peer review, conferencing, visiting the writing center, drafting, revision. Students can complete more elements, or go more in depth, to get a higher grade.
How did you become interested in ungrading?
When I taught high school, students were primarily focused the grade. I’d give feedback and they would just ask for a grade. During my Master’s, when I was teaching first-year students, I didn’t want them to be so focused on grades so started looking for an alternative. I was the first at San Diego State to implement ungrading, but it’s started to spread. It was great to see students come to conferences and listen to feedback, not just ask for a grade.
Which student demographics does this technique best suit?
If the conditions are right, it could work for high school students. College [university], for sure.
Sometimes there is confusion in terms of not seeing a grade, they’ll ask ‘how do I know how I’m really doing?’
But most students don’t like grades, so we discuss it. They start to see how this can work for them. And I check in throughout the term to see how they’re doing.
How does ungrading promote an antiracist environment?
Biases can enter into grading practices and, even if unconscious, negatively impact students. A study was done of two students in 2nd grade, one called Johnny and the other Malik. Their papers were given to various teachers and Malik’s paper was consistently marked lower. The twist was the papers were identical; the only difference was the name.
If this happens in second grade, third, fifth, high school and into college it can negatively impact that student. With labor-based grading, that sort of judgement goes away because if the student does the work, they get the credit. The classroom becomes a space where students don’t have to worry about biases or subjectivities.
What other benefits do you see in the classroom?
The hierarchy of A student/C student breaks down, it becomes a place of collaboration. When students ask for feedback, they’ll ask about specific parts of the writing, which is a very different conversation from talking about a grade.
How do students get a grade for their GPA?
They get a letter grade at the end of the semester, per college rules. If someone signs up for a B, I’m checking throughout the term to see if they complete the agreed work. If they do, they get the grade they signed up for.
Lince recommends
The piece of writing that changed your life before age 18?
The Fellowship of the Ring. I read it when I was nine and was so taken by the way the world was created, the multitude of characters, the important quest. It ignited my love of reading.
The piece of writing that changed your life as an adult?
Anne Lamott on first drafts [in Bird by Bird: Some Notes on Writing and Life]. It let me know that all writers struggle, and that struggle is perfectly normal. I assign it to my students to show that they aren’t alone.
A classic you love to teach?
George Orwell’s 1984. I teach a unit on surveillance and I like showing students this idea of a surveillance state.
A contemporary work you love to teach?
I bring poetry into my classes, just to share. Shel Silverstein has some fantastic poems that are applicable to the writing classroom. Also, Percival Everett [a novelist The New Yorker describes as having ‘one of the best poker faces in contemporary American literature’]. He just won the PEN/Jean Stein Award for Doctor No, a satire on the James Bond trope.
A book about writing every writing student should read?
Writing With Style by John R Trimble. It isn’t really well-known but he writes in a conversational tone students can relate to it.
A book + film adaptation combo you love?
Peter Jackson’s Lord of the Rings trilogy was phenomenal. It was true to the essence of the books.
A living writer you’d love to hang out with?
Percival Everett. I’d love to pick his brain, get a sense of his process and writing style. It also seems, from interviews, we have somewhat similar personalities.
A writing tool?
Scrivener. It takes everything away from the screen so you’re only focused on the text. With so many distractions, its cool to have everything fade in the background.
Looking forward
Lince is at work on his first book, a writing guide tentative titled Questions to Ask for Becoming a Better Writer. Look for it in autumn 2024.
Taylor Pfaff, the son of founders Bob E Pfaff and Suzanne Larson, is CEO and general manager; his landscape architect sister Cali (for whom the marvelous Cali’s Cuvee is named) is the winery’s creative director. Joe Wright remains head wine maker. One thing that hasn’t changed is Wright’s chronic self-effacement: “Taylor tells me what [wine] they need, by when and I make sure it’s grown, produced and available.”
When asked if it isn’t more complicated than that, he doubles down: “I have spread sheets: vines per acre, shoots per vine, clusters per shoot.” He pauses: “We get pretty close every year, barring gnarly weather.”
Barring, say, freak wildfires?
Left Coast Cellars, like so many Willamette Valley wineries, fell under a funereal smoke shroud in September 2020. “It was disgusting. There was nowhere to go. The fire was from central California to British Columbia, inland all the way to the Rockies. Really gross.”
Wright and the team opted to make wine regardless.“The fires affected how we made them, trying to mediate smoke taint,” Wright says. “The wines are not my usual style, so they feel a little alien but, smoke aside, it was an incredible vintage.” An early crop contributed to “low yields, wonderful concentration; stunning, electric wines.”
Still, 30% less volume than in 2019, plus the minor matter of Covid. “In March, April [2020] we had no idea what was happening,” Taylor Pfaff says. “We had throw our budget out the window. It’s been triage planning.”
Two catastrophes in a 12 months is beyond the reach of planning. But Left Coast has two long-term projects propelling it forward. First, restoring 40 acres of old oak savanna; second, purchasing and planting a new vineyard.
I recall the sentinel oaks around the tasting room, a deer grazing between them, pretty as a Disney scene. “We always appreciated the trees but didn’t understand how ecologically important they are,” says Pfaff. “Only three percent of the Willamette Valley’s historic oak forest remains, and we have a big section of it.”
These acres had been overrun by “a 16-foot tall wall”, as Wright puts it, of invasive species like hawthorn, blackberries, Scotch broom and poison oak. “The Natives would burn, let things burn,” he adds. “The trees would survive but the under-story would get cleared out. That’s the regenerative effect of fire.”
These days, people are more concerned with fire’s destructive effect and indigenous-style land management is prohibited. Clearing the savanna was a slog of cutting, digging and hauling followed by seeding native grasses and flowers to create a “gorgeous, open, wild space.”
It was to this space Left Coast turned when Covid restrictions hit indoor operations. The tasting room became reservation-only and the oak savanna bloomed as a picnic spot. Guests could roll up with chairs, blankets, snacks and glasses, buy a bottle of wine and retreat to the leaf-dappled grass. “We wanted people to go out and enjoy the beautiful, quiet corners of the property and Covid kind of forced that,” Pfaff says. “Customers started to spread out and utilize the land. We are excited to see people enjoy the outdoor spaces.”
The following profile, written around 2014, was commissioned but wound up not being published.
Photo: Cila Warncke
Late February, Agrotourism Morna, Sant Carles, Ibiza. The succulent smell of roast pork and chicken wafts across the terrace. White plates nestle against the whiter cloth covering a long wooden table shaded by gnarled almond branches. Guests chat over glasses of red wine while their children attack colouring books and bowls of tomato-clad pasta. Dogs romp. Halfway through the starter, proprietor and chef Simon Johnson pops out of the kitchen and realises he needs five more place settings.
A volunteer goes in search of chairs. Someone else conjures a fistful of cutlery. Folks squeeze closer. By the time platters of carved meat and heaping bowls of succulent veg arrive at the table there is space for everyone. More bottles appear. Glasses are raised. Here’s to long lunches with friends, overlooking verdant fields and inhaling the faint honey of almond blossoms.
This idyllic afternoon in the campo belies the winding road that brought Simon to Morna, and his pressured quest to turn a time-worn agrotourismo (the local name for a rustic bed-and-breakfast) into a homey country retreat.
Photo: Cila Warncke
In November the Agro, as it is affectionately known, resembled a cyclone landfall. The pool was half-full of brackish black water. The terraces were strewn with broken furniture, old mattresses, rubbish, and piles of broken concrete. Inside, mildew crept up the white walls and cobwebs laced together the corners of the high ceilings. The garden was mud, weeds and a welter of dead grape vines. Beneath grey winter skies it had a chill air of decay.
Admittedly, all Ibiza tourist accommodation is worse for wear off-season. Two things made Agrotourismo Morna different: 1) its new manager Simon had never run a hotel before and 2) he had no money. Not in the way some perfectly solvent folk claim to have no money, but literally. Simon was broke, impoverished; in the Cockney rhyming slang of his youth, brassic. Nobody, including him, knew exactly how or where he was going to magic up the money and people-power to renovate Morna. Putative business partners flailed and bailed, neighbours eyeballed the scene and wished him luck, the owner of the land chewed his cigar and muttered.
Yet Simon was eerily calm. Cigarette in hand, West Ham matches burbling in the background, he pieced things together. He hosted a curry dinner to raise rent money, haggled for curios at Sant Jordi market, and sourced furniture from Facebook. He bartered home-made Scotch eggs for advertising space. He hired a gardener then sweet-talked him into emptying the pool, one bucket of sludge at a time.
Photo: Cila Warncke
Making do is a talent Simon has cultivated since boyhood. “I didn’t have a clue what I wanted to be when I grew up, I just got on with it.” Getting on with it may as well be the family motto. “We’re all self-employed,” he muses. “Quite an entrepreneurial bunch.” His grandparents ran pie and mash shops in London’s East End and a greengrocers (“that’s where I got my love of food”). Dyslexia hampered him in academics but he was savvy and good at making friends.
Bonhomie became his ticket to the world. After brief stints working in the stock market and as a chef, in London, Simon took off and spent years in Asia. He made a living selling “a bit of land, anything really” while absorbing the cultures and cuisines. Eventually he settled in Barcelona, still working in sales. He got married and divorced. Made some money. And drank. “I was always a heavy drinker, always doing things I didn’t want to do.” He pauses, foot bouncing, looking for the right words. “You can get to a point drinking or taking drugs, that you don’t actually want to be doing it, but you continue. You don’t understand why, you just have to. It happened a few times and I managed to pull it back, but three years ago I crossed a line.”
During his sodden slide towards that demarcation Simon decided to move to Ibiza. If you can call it a decision. “Ibiza was a whim. I was drinking a lot and at a loose end. I didn’t really have a reason to do anything.” He arrived and started doing barbecues for a friend’s villa rental business. This blossomed into his own catering company, Cook Ibiza, and let him to slip into a routine of “drinking, earning money and continuing drinking.”
Ibiza didn’t drive him to drink, he is quick to add, but didn’t stop him either. “Wherever I was in the world at that time, I would have been drinking. But it gave me an excuse to shut a door and drink all day. You can disappear here.”
Parties were, paradoxically, an occasion for restraint, something to grin and bear until he could slip away to drink alone. “Don Simon was my poison,” he says, naming the cheap cardboard-carton plonk beloved of teenage holiday-makers. “At my worst I was drinking six or seven litres a day.” Simon struggled to maintain a social façade but that level of intake damages a man’s impulse control. He was arrested on a drunk driving warrant while trying to check into Es Vive and marched out of the self-styled party hotel in handcuffs. He went on a ten-day binge. “People were scared of what I was doing. I was scared. I had to admit I was really in the shit. I’m an alcoholic.”
Photo: Cila Warncke
Agro Morna’s first overnight guests are due in forty hours. The gardener and handyman pump last week’s rainwater out of the pool, bragging like schoolboys about Amsterdam red light district exploits as they work. A painter wanders out of the house, brush in hand, to bum a smoke. An interior designer who has taken on Morna as a labour of love, scurries past with an armload of sodden sheets and jumpers. Her kids shriek over a DVD. A trio of dogs get noisily underfoot. Simon and his cousin appear laden with the spoils of a last-minute shopping expedition. Unspoken questions crackle in the air: Will everything be ready? Can he pull it off? Is this really happening?
Five days later Simon and I perch on a white outdoor sofa marked with only a few paw prints. Simon’s puppy, Potter, lies alert but sedate at our feet. Sun peeks through a smothering sea fog. The pool gleams David Hockney blue. Guests loll on the terrace, savouring a home-cooked lunch. It is as abrupt and unlikely a transformation as the denoument of a fairytale.
Fourteen months earlier, Simon was in a Bedfordshire rehab clinic, doped on Valium, not sure he intended to stay sober. “I was with a lot of people who didn’t want to be there. All they did was plot how they were going to go drinking when they got out.” A counsellor took him aside and asked if he was going to join that gang, or take his life seriously. He’d already lost half a kidney due to drinking. Alcohol would kill him, probably sooner than later.
Simon wanted to get on with things, but how? In rehab counsellors advised him to take a year off work and concentrate on sobriety. But faced with the option of living in a hostel in London or returning to Ibiza, Simon took a chance on the island: “I thought, it’s time to get on with life.” A catering job at Pikes Hotel was a chance test the waters. It went well. He wasn’t tempted to drink. So he took the plunge and moved. “I didn’t have any expectations. I was happy to be back but it was very day-to-day, work-wise, and going to as many AA meetings as I possibly could.”
Alcoholics Anonymous is the world’s most recognisable anti-addiction brand but sticking with the programme in Ibiza has its challenges. Simon faced practical ones, like getting to meetings despite being banned from driving, and psychological ones, like maintaining a semblance of anonymity on a gossipy little island, but he is adamant about its value. “AA is an amazing fellowship. Anyone who’s in any doubt should get into a room. It’s a lifesaver for me.”
Photo: Cila Warncke
Motivated by sobriety and the family ethos of getting on with it, Simon busied himself with Cook Ibiza. Then a friend invited him to see a house near the northern village of Sant Carles. He went along and surprised himself by signing a 10-year lease to renovate and manage Morna. “I wasn’t looking for it,” he says with a shake of the head. “And couldn’t afford it, but there was something welcoming about the place. It was peaceful.”
Simon is voicing a consensus. Everyone who visits, even those who saw the Agro at its scruffiest, falls in love. It has – along with quantifiable Ibiza charms like olive and almond trees, sublime sunsets, and rustic architecture – an intangible allure. People feel at home. Kids and pets thrive. Its first guests paid it the compliment of immediately booking another visit.
Things are, touch wood, going well but Simon approaches each day knowing the future depends on his resolution. “Sobriety hasn’t been easy. I have to focus on staying sober and knowing that if I do good things will happen.”
This means changing old habits and holding himself to a high standard. “The biggest difference in my life now is trying to do the right thing every day, trying to be as honest and clear as possible. I probably get it about fifty percent right at the moment. There’re some bills I haven’t paid. I’ve been late on things, forgotten things. But it doesn’t sit right with me any more if I’m creating enemies or problems. Whereas before, that’s what I’d do.”
What advice would he give himself if he could go back in time a year?
Simon thinks for a long moment: “I wouldn’t know what to change. Every single thing, every mishap has been part of the jigsaw coming into this. I’m very, very lucky.”
Cila Warncke Writer 