Dina Horwedel

Dina Horwedel
Location
Colorado, USA
Birthday
October 23
Bio
I spent the first 20 or so years of my life spelling my last name for teachers. I always knew that it was my turn for the roll-call when a teacher’s face would contort. My last name was not difficult to pronounce because it was Italian, but rather, because it is a German moniker that I inherited from my father. My first and middle names came from my mother, who named me after a World War II Italian resistance fighter. I always felt like a square peg growing up in Northeast Ohio: huggy in a place where the staid German and English descendants didn’t show much affection; effervescent where most people were quiet; and loving a good party where most people’s definition of a good time was watching Wheel of Fortune. My Italian family gatherings could be heard several miles away. I always thought I was weird because I was nothing like the people in my town who said Eyetalian instead of Italian; where they made grilled cheese sandwiches with Velveeta. My grandfather was teased as a boy for eating pizza, which was called “Dago food” and we were outsiders in a town with no Catholic Church. I spent a summer in high school living in northern Europe. It seemed so familiar… threads of the Germanic culture that were woven into that of my hometown. But I never felt the desire to go to Italy. I had heard my great-grandfather complain so much about the grinding poverty in “the old country” that I didn’t see the point. Why would I ever want to go to Italy? After all, he escaped. After I went to college, where for the first time I was exposed to many Eyetalian-Americans outside of my family. At one of my first jobs as a journalist, I was surrounded by Eyetalian-Americans, and it was one of the best jobs of my life: laughter filled our offices, we lunched together, invented and wrote and edited and dreamed together. After law school, I moved West, then overseas, working in Afghanistan, Africa, and Armenia, combining a journalism and communications background with a law degree. I used my overseas work as a launch pad for visiting other countries, and eventually found myself in Italy. I wish I could say it was love at first sight. I fought it at first. I never saw the point of stiletto heels on cobblestones. The echoes of Vespas bounced off of ancient stone buildings droned like swarms of wasps. And how productive could a country be when everything shut down in the afternoon? But over time Italy seduced me… the rolling fields of Tuscany, the terra cotta roofs of Florence, the purplish hues of the ocean in Cinque Terre, the slapping of water on the canals of Venice, and the simple mindfulness and presence I felt as I sipped cappuccino or ate and ate and ate some more, that for the first time in a long time I wasn’t mindlessly scurrying about, but was seeing and tasting and living. I understand why my great-grandfather came to America. There was opportunity for his family and there still is. But I realized after visiting Italy that I wasn’t weird, I was just Italian! I didn’t have to leave la dolce vita back in Italy. I am learning how to live the sweet life (while still bitching about it like a real Italian), right here in the land of Velveeta.

MY RECENT POSTS

FEBRUARY 7, 2012 9:53PM

Truth in Writing

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A few nights ago I was reading an essay by the author Pam Houston, author of Cowboys Are My Weakness. In the essay, Houston comes clean about using real life as an inspiration for much of her fiction (about 82% of it is me, she says). That’s not surprising or  unethical, after all, real life experiences shape a writer’s outlook, ideas, and what eventually spills forth from the pen.

What was surprising was Houston’s admission that in magazine articles she wrote, labeled as nonfiction, she didn’t merely compress characters or timelines, but rather, was urged by editors to fictionalize events. In essence: they made shit up.

Since writing is a creative exercise, Houston argues that an event is no less real if it is imagined. Call me old-fashioned, but I disagree. Journalists lose their jobs over fabrication. They lose lawsuits over fabricating quotes (does anyone remember Joe Esterhas’s journalism career that led to his firing?)

Especially now, in the era of the citizen journalist when one does not know how to trust the veracity of what they read, it is distressing to learn that editors and writers are playing loosey-goosey with the truth. Even more distressing having worked in places like West Africa and Afghanistan, where journalists put their lives on the line, often losing them (or their legs, in the case of photojournalists Joao Silva or Giles Duley to bring people the truth.

Outside of the realm of journalism, it is also hard to trust what we read. James Frey (one of Houston’s former students) caused an uproar when it was revealed that his memoir of substance abuse, A Million Little Pieces, was untrue. I wonder, why did Frey not consider writing a novel instead?

In Houston’s defense, she doesn’t bill herself as a journalist. She is known for her fiction. But if a writer can’t stick to a genre then they shouldn’t accept an assignment, even if the story in question is about a kayaking trip in France. And if an editor of a magazine can’t stick to journalistic standards, then where are we?

This slippery slope for truth reminds me of a man I met once in Alaska, a self-professed “adventure guide and National Geographic photographer.” When I asked what issues his work appeared in, he confessed, “Oh, I sent them photos. But they were never published.” One has to wonder what the extent of his guided adventures were—driving without snow tires in winter on the Arctic Highway? Who knows, but who really cares, now that his credibility has been blown.

Like with the Alaskan guy, when an untruth is discovered, it raises questions with the reader about how the character of the writer, and how she sees herself. In the end, it is the embellisher that is branded the chump, not the reader, while devaluing the writing's art itself.

A writer’s credibility is her calling card. We trust a writer to take us on the journey that they promise. It’s a contract of sorts, and when the contract is broken, the author’s voice is no longer one of trusted authority, and the reader will turn away from the writer. 

If writers insist in believing the facts and the details of their lives are what they wish to invent, then perhaps they don’t really know who they are, or are turning away from them and their relationship with the reader. 

Forty-six journalists died worldwide last year in pursuit of the truth according to the Committee to Protect Journalists. These journalists didn’t invent facts, adventure, storylines, or dialogue to look better or sell books or articles. They didn’t have to. They were practicing their craft according to the credo that every writer and editor of nonfiction should adhere to: Tell the truth or you go home.

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Comments

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Hello Dina,

Nice to see your writing and creative voice again. A well-thought out piece supporting the integrity and authenticity inherent in solid writing. It's important to stay in alignment, else we cloud the art with our very human untruths. Thanks for writing it.
Thanks for reading, Bo! Hope all is going well with your work and hope to see some of it real soon. Love and light to you!