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Both innings ended with an out from two-hole hitter Tyler Murphy. He was getting strikes on both his breaking ball and curveball. The scouting report was that he could throw multiples pitches for strikes. We had some chances. Just couldn't get that one hit. Hendon has signed with Jones County Junior College. He has allowed six earned runs in 70 innings.
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His stock has improved among college coaches with his late-season run to what could be the team's first baseball state championship. He had that look in his eyes.
He wanted to be on the mound pitching in our biggest game of the season. He threw a complete game and didn't give up any earned runs. That's doing your job. Now, New Hope will try to do its job twice. Earlier this season, New Hope lost to Mooreville in the opening game of a three-game series in the second round of the playoffs. That was Burt's only other loss this season.
We just have to realize we can't win a state championship Friday night. Instead, we need to come here and just try to win a game. Boyd dug further back for motivation.
New Hope's last state championship in also involved a loss in Game 1 at Trustmark Park. It's not a new situation," Boyd said. It's going to be a huge challenge, but it's not a task that is too big for this team.
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We deserve this opportunity. Robb will match up against junior Payton Springfield. They will be hard pressed to match the drama from the opener. As one professional scout said seconds after the game went final, "The New Hope pitcher is really good. He won't lose in this stadium again. MSU's upset bid against No. Dispatch-sponsored Imagination Library provides a free book each month to Lowndes County children under the age of 5. Learn more at lowndesil. Read eEdition here. That didn't make the experience any less painful to endure.
AP Headlines. Best Area Professionals My poems take wild turns, therefore I, as poet, must be wild. In my case it happens to be true, but I don't recommend the reader or writer to make that assumption between the work and the poet. Elliot Fried. Vance Bourjaily. Robert Houston. And a few others. What, specifically, did you take away from these teachers?
What did you have to learn on your own? S uarez: I learned from all my mentors, in particular about voice. I remember Elliot Fried, and before him Joel Goldstock in high school, going off on a tangent, a story they wanted to share with me, with us students. I believe a writer should be able to tell a good story orally.
You should be able to capture someone's attention immediately. All of my teachers possessed this ability.
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They also managed to talk about craft without insulting my intelligence. They managed to talk about the nature of writing in simple terms. They were all working writers themselves, so often they brought their work in, their problems, the stuff that drove them on to the next story, poem, novel. I love Rodger Kamenetz's sense of the spiritual, the sacred. When I took his nonfiction class I remember he was already far into his work on Buddhism and Judaism.
Very interesting stuff. I learned not only how to write from most of these folks, but how to teach. All my teachers were possessed of great energy. Some had more than others, but they all shone in their own way. Andrei Codrescu is one of the most energizing people I know to cover classroom space. He sits down and he burns through a few hours of class.
He has a knack for making time fly. It's the "Blitzkrieg" technique, as I've come to know it. I always like to think that after I am done with my students during a class they will drive home in a cloud of images, thoughts, ideas about their own work. I want to make sure I always inspire my students to do what I do at the end of the day: go home and write, empty myself on the page. Good teachers are hard to come by, but I've been lucky to learn from the very best. The other thing I learned from my teachers is to care about my students as people.
All of my teachers took me in in one way or another, befriended me.
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I still consider them good friends. I keep in touch. With Vance I played tennis for many years. With Elliot Fried I went ultralight flying in the desert.
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With Andrei I've gone drinking in New Orleans. I've seen them in action not only as writers, but as people. Sometimes the difference is thin.
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V an C leave: L et's talk about poetry. How did you finally come to it? It seems like you were well on your way to a fabulous fiction career when all of a sudden, here's Suarez the poet and he's going a hundred miles an hour. Are you still doing fiction? How do you negotiate these two seemingly different and trying paths?
S uarez: I had always been writing both fiction and poetry, though poetry I was doing away from workshops, from the public eye. I kept my journals. Also the work of Ginsberg, Ferlinghetti, and to a certain extent Bukowski, not only because I like wild, loose poems on the page, but because all of these poets have great voices. I alternated between them during my day. If something was not going right in the fiction, I turned to the poetry. Sometimes they helped each other.
For example, writing poetry helped me experiment with angles in terms of the experience be it a scene or a narrative passage in my fiction. I could write three poems about the same thing from three different angles. I used the poetry to help me generate images. For me the image is the single most important component of good writing, regardless of genre. I write essays too. I like writing, period. I like to sit down and look forward to a full day of it. Writing keeps me balanced.
I also happen to like reading as much, so at times I will generate ideas, get my creative juices flowing, by reading a strong poet. I have roomfuls of poetry at both my home and my office. I will often send out my assistant, Vorgo, to pick up new things at the local bookstores.