ANTHONY BENJAMINS TRAVEL GUIDE EXPLORES: ISRAEL

Where do desire, disgust and creation intersect? Can depictions of pleasure be redeemed? Multiple languages, historical epochs, cultures and places can overwhelm the writer attempting to create a family memoir that spans centuries and continents. How does one find the right structure for a story with multiple threads? When do you translate and when do you leave material in its original language?

How much research is too much? In this workshop you will write a first draft of prose—essay, story or blog post. We will share these first drafts with the small group. Together we will ask questions of each first draft until we find that gold. Among the topics we will discuss are openings, time vs. Later in the day we will begin working on the second draft.

By the end of the workshop, participants will want to race home and continue writing. I believe that the more you understand the writing process—the more you know what questions you need to ask your first draft—the less anxiety you have about staying in the room. When you trust the process, it is easier to be a writer—that person who stays in the room and writes.

In this workshop, you will learn ways to develop your memoir or personal essay so that it resonates not only with you and yours, but with readers everywhere. In the first half of this day-long workshop, we will examine leading examples of the contemporary and classic memoir and personal essay, and undertake writing exercises to learn craft approaches to help shape personal stories that resonate with readers. A Guide to Writing about Grief and Loss will be used as a resource, but is not required.

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In the second half, we will convene for a facilitated, craft-focused discussion of our writing. Participants will gain strategies for writing memoir with insight, story-sense, integrity and connection to readers. This workshop is open to writers of all levels who want to write truthfully about themselves. As morning unfolds we will open our eyes to the world, blink in the sunlight, engage with the five senses, play, let the sun shine on our thoughts, memories, and experiences, so they are not feared, but illuminated. We will write with the energy given to us by the day.

After a light lunch, as the shadows of the afternoon grow longer, we will write into our own shadows: This workshop, like the first workshop Barnat and Raz gave together at The Writing Pad in March, is appropriate for writers of prose and poetry at all levels. Whether your writing travels to a faraway court in the fourteenth century or to the fragile landscape of your childhood, the world you depict must feel as vital as this very moment. In this master class, novelist and screenwriter Michael Golding will use readings, discussion, and exercises to show how both the fiction and non-fiction writer can bring historical settings to life.

How do you find your voice as a writer? How do you sharpen it?

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Allow it to lead you to the stories that only you can tell? That is the question, you see. And now I will try to prove if the gift is dead, or dormant. Was the last time decades ago?

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How to begin and when? April 14 th certainly has its downside — eight days before the Seder, but every date has its downside when you doubt the gift is still alive. Spring is a good season to begin, so on April 14th we will briefly discuss our non-writing lives and then spend the rest of the workshop writing. Lines of poetry and prose will act as prompts. For further inspiration, bring a small object that fits in your purse or carry-all. We will read aloud to each other and provide the encouragement and support needed for writers beginning to write again.

The crux of this workshop will be your generating new work that you can develop later at home. You will want to keep writing, because at this workshop you will reconnect with the thrill and find joy in the surprises writing reveals. How do you write about your everyday experience? How do you write about your regular places, the things that you see, furniture, pavement, your body?

But also—how do you write through history, living through momentous times?

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How do you write about the news? In this workshop we will spend the morning writing about the micro-cosmos, the ant-trails of work and love we trace through our everyday lives, making cocoons from politics and history. In the afternoon we will turn outward and consider different models writers have employed to write about social transformations, collective actions, fear, and hope in the macrocosm. We will think about writing, both prose and poetry, as an ever-dynamic process of inspirations and exhalation, witnessing our present moment, writ large and small.

Opening and closings are critical for good storytelling, yet they are difficult to craft. And what makes a story feel complete when we reach the end?

We all know some of the rules: Begin in media res , hook your reader from the first word, no starting with a dream or a ringing alarm clock, no ending with a Fedex package of insight. Creating such an opening and closing depends on the voice, tone, subject and overall sensibility of your tale, along with your alertness to what your story is telling you about itself. To write a successful opening and closing, you must learn to listen to your story.

We will also discuss how we, as writers, can create beginnings and endings by our openness to the most effective and alive possibilities our stories offer.

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We will do several lively exercises over the course of the day to put our insight and inspiration into practice. In this workshop we will look at examples of work by writers who dared to take on the challenge of writing outside their zone of familiarity. We will focus on what it takes to conjure up and bring to life a person, place, time or idea that has little to do with your own experience. Looking closely at writing by Nathan Englander, Jessamyn Hope, Jorge Luis Borges and Arthur Golden, we will examine the ways in which a writer can approach the challenges of character, setting, voice, and of course, empathy, in order to write fiction that requires a substantial imaginative leap and yet, feels psychologically authentic.

This workshop is for fiction writers at all levels and wannabe fiction writers. It will include many writing exercises. Along with your writing implements, bring your imagination, ready and willing to be well-oiled and coaxed into high gear. Through the Looking Glass: The aim is to guide aspiring writers through the process of translating their inspirations and first drafts into publishable manuscripts. How do we approach the challenge of writing for children? The first step will he the examination of classic and contemporary books for children of diverse ages. We will analyze characters, point of view, plots and the relationship between texts and illustrations, with an examination of the highly successful Amelia Bedelia and Junie B.

We will address the following questions: How can we use the social and material dimensions of spiritual life to give heft to experience that tends to elude our efforts at description? How can the language of prayer help us as writers? Guided writing exercises will allow us to write religious experience in dialogue with other forms of experience, and as scenarios in themselves. We will discuss three modes of defining narrative: Meaning, Content and Technique. Throughout the class, writers will be given prompts and strategies to try both in-session and at-home writing, and, from time to time, writers will be encouraged but not required!

In addition, a month before the class, each participant will receive a thirty-five page digital course pack to reference throughout the session. How to organize the material? The segmented essay —collage, montage, mosaic, episodic—offers an organizing principle that can be adapted to any subject matter.

The segmented essay can bring out your creativity in structuring your material so that the form is organic to the subject matter.

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We will focus on the relationship of the segments in each essay to each other. After studying these innovative forms, we will play together with your subject matter by discussing the various structures that your material can generate. We will write and share. Participants will leave this class with excitement and inspiration to go home and write a segmented essay. Each of us has a trove of stories to tell—accounts of love and loss, betrayal and redemption, journeys of discovery.

When we sit down to record those experiences that have seared our psyches and souls, we find that the results often fall flat. As a result, our readers may walk away. How can we write cinematic scenes that capture the tone, texture and tempo of our experiences? How can we write prose and poetry that pull readers in and make them stay? In this workshop, open to writers of prose and poetry as well as curious readers, we will visit the characters, scenes and settings of authors who draw us in: We will explore and discuss how they use language that works its way inside.

Rolling up our sleeves, we will dig in to render the watershed moments of our own lives. Through exercises and writing prompts, we will practice specificity, concrete detail and emotion. Sometimes, the things we want most to convey elude us. You will be amazed at what you produce after simple dance exercises to music that loosen your body and open your imagination.

You will follow paths and directions that begin in your body, move into the room, turn, backtrack and move forward, eventually ending on the page. During the course of the day your writing will become lively and your movement more meaningful. Personal boundaries are totally respected throughout the workshop. IV, Scene 3 William Shakespeare. This is a workshop for those who experienced a death in the family when they were under the age of eighteen. It will be especially helpful for those who grew up in families that discouraged the open expression of grief.

Perhaps your heart did not break. You coped, but your headaches, chronic pain, tics, apathy, frustrating relationships or tens of other symptoms and addictions that have accompanied you through your life might be connected to that unexpressed grief. Unresolved grief goes underground, but does not disappear. It compounds and complicates future losses. Over the past thirty years, while Labensohn has worked on her own memoir of grief, she developed a range of writing exercises that helped her recreate a lost past in the center of which was a death in her family.

She hopes these exercises will help others explore the many feelings, expressions and sounds of sorrow. In addition to these exercises, participants will use elegies and short prose pieces by contemporary writers to trigger their own writing. The process of giving sorrow words is slow and difficult work, but with each exercise, a minute internal shift occurs in the writer, like a sliver of light beginning to shine on what feels like an endless bog of darkness.

The emphasis in the workshop is always on the writing, the creation, re-creation, structuring and re-structuring of detailed, precise prose. In these trying and painful times, we find ourselves grappling with Otherness that is raw, real and frightening. As writers, how can we draw from this experience and deepen our understanding of peoples who are not like us?

How can we examine the acute Otherness found even in our parents, siblings, spouses, children, and, dare we say, ourselves? This workshop will be held in a locale that invites us to do just that: What is the meaning of its presence—or its absence? A Love Story , among other writers. Ebenstein will share the challenges she has faced in writing a memoir about her close friendship with Ibtisam Erekat, a Muslim woman from Abu Dis, whom she met through their Israeli-Palestinian breast cancer support group.

Through writing prompts, we will flesh out Otherness on the page. With a little luck, we will find that this journey sheds light on the very person we hope most to better understand — ourselves. A body that turns and twists, stretches and writes. According to Rother, physical movement resembles the English language.

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It is ever-changing and unbridled by an overseeing academy. In this workshop physical movement will elicit writing and writing will elicit movement. Rother will use clear directions to invite participants to move, based on decades of experience in expressive movement. Labensohn will encourage you to use these movements to expand the boundaries of your fiction, poetry and creative non-fiction. Your writing will become more lively, your movement more meaningful.

Come take advantage of the opportunity to create a unique movement language, a dialect in which you will feel at home in both dancing and writing, to explore the endless relationships between writing and movement, to twist and write, write and twist. This workshop is suitable for men and women of all ages, writers of fiction, non-fiction and poetry who have no dance or movement experience and dancers or movement therapists who have no writing experience.

Although this may be a mixed group, personal boundaries will be respected. The most important figures in our early lives are our parents. Our earliest memories are bound up with them and they determine much of our childhood life. Many of us seek to write about them later, but are faced with a variety of questions, ethical and practical. How can we write about our parents honestly yet ethically? What stories are for telling and how should they best be told? How do our own memories of childhood, in particular, need shaping and new understanding as we ourselves age?

And what is it like to be an adult and yet be the child of parents? How do our parents change shape in our memories and imaginations as they move into old age? This workshop will examine literary models applicable for fiction and nonfiction writers. Scaling a Steeper Slope: The novel is one of the great forms of Western Literature: Perhaps you yearn to write one. Or perhaps you would like to bring the richness and complexity of the novel to your stories, essays or poems.

In addition to offering a brief history of the form and insights into its basic elements, he will give you ideas on how to give shorter fiction a novelistic depth. Bring It to Life: We all know the power of being fully immersed in a fictional world. Most writers take care to create that landscape with strong visual images. The cracks in the pathway that leads to the empty house. The streaks of red in the sky at sunset. But what about the other senses? Can your readers hear the rumble of the traffic on the highway? Can they smell the tar on the beach or taste the sweetness of the grapes?

Can they feel the icy air against their cheeks? Whether you are a beginning writer or an experienced one looking to go deeper, you will discover how evoking the senses can transform your writing. The Art s of Writing: Each art must nourish the other, each one can add to the other. I would take into writing what I learned from dancing, what I learned from music, what I learned from design. A Woman Speaks by Anais Nin. The arts have a profound way of connecting to one another, thus connecting us to the arts. The goal of the workshop is to enable the participants to deepen their writing through exercises in drawing and photography.

No previous experience in the arts is needed. Writing exercises will be shared with the class. The atmosphere will be playful, improvisational and nurturing. The Art of Beginnings and Ends: A Master Class with. Ilene Prusher Thursday, April 24, Have you been trying to write a book, but finding it difficult to design an overarching structure that works? How do you decide where to end a chapter and begin a new one? We will read some examples of narratives with successful structures in contemporary fiction and creative nonfiction with an eye towards discovering new strategies for shaping our own writing.

After lunch the ride takes another two hours back to the stables, arriving for around 4pm. Day 3 Today you will be riding along dirt roads through pristine rainforest and forested bridle tracks. In the afternoon the ride takes you through many beautiful and different landscapes on the ride back to the stables. Day 4 Today's ride is a leisurely one. The destination is an old unexcavated Mayan temple. You will be able to explore and appreciate what the temples looked like before the archaeologists have worked on them. The trail takes you through small farms and along abandoned logging tracks and forested trails.

Lunch will be back at the stables and another ride will be taken later in the afternoon. On the way you will visit the Mayan ruins of Cahal Pech and have the chance to do some shopping in San Ignacio. When you have arrived you will be able to spend timing relaxing and enjoying the sounds, smells and views of your jungle home for the next few nights. Dinner will be by lamplight with your new hosts before retiring to your jungle cabana for the night.

The trail winds through varied ecosystems. Your guide will point out all the interesting plants along the way that are used for traditional medicine in the jungle. You will enjoy a gourmet lunch at the waterfalls where you will be able to take a refreshing swim before mounting your horse for a rejuvenating ride home.

A quick freshen up in your cabana before a lively dinner and conversation with your hosts and fellow guests. The trail meanders through the village of Siete Millas where refugees from Guatamala and El Salvador live. The trail then passes through a Mennonite community where you can observe ancient farming traditions such as horse-drawn carts, ploughs and mills. As you make your way down the steep narrow road to the valley floor you will be amazed by the size of the fruit trees and tropical flora in this fertile creek valley. On arrival at Barton Creek Outpost you will leave the horses behind and take a canoe and paddle upstream in the shade of the huge vine covered limestone cliff.

You will suddenly disappear into the cliff emerging in the sparkling waters of a cave covered in stalactites. Return to the Outpost for a swim and delicious lunch before riding back home. You will have excellent opportunities to spot the colourful rainforest birds and butterflies. You will be able to go swimming and explore the caves and enjoy a delicious picnic next to the swimming hole before riding back.

Reading List We're avid readers here at Unicorn Trails and have selected several books connected to this ride. If you're interested in reading more about the area before you travel, or want to get into the cultural background, here are some suggestions that may inspire you. Click on the links for more information. All itineraries are given for your guidance only and it may be altered on the ground and in accordance with the prevailing conditions by the organising team. Condition of horses is above average and they have good temperaments, sizing from There are some more spirited horses for more experienced riders in the second half of the programme.

The riding style is English and Western. The pace of the ride is mainly walks and trots on flat tracks and some hills with canters where terrain and experience allow. Other days will involve a full days ride with lunch on the trail.

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This ride is best suited to guests with an adventurous nature. Some riding fitness is required as riding is between 2 - 5 hours per day. There is some difficult terrain although the guides will supervise riders across these areas. Must have a secure seat at a walk and trot. The tour guide will have the final word on if you are allowed to canter or gallop. Riders need to be able to mount and dismount unaided. Beneque Viejo Del Carmen first 4 nights: Rooms are basic but very clean with private bathrooms with hot and cold showers. Single, twin, double and queen beds are available.

An extra bed can be provided in the room if requested ahead of time. The cottages have small verandahs for reading and relaxing to the sounds of birds. You can see Xunantunich from the cottages. Food is all home-grown and served buffet style. Chiquibul final 4 nights: Rooms have either queen, bunk or twin beds please state your preference at the time of booking. There is no electricity in the rooms, but each room has a private bathroom with hot and cold water. Mosquito netting is provided above each bed. Kerosene lamps are used for lighting.

Charging stations run off solar power are available in the cantina as well as Wi-Fi and limited phone signal. Homemade bread and fresh tortillas are cooked daily. The setting is great for those who love the outdoors and want to experience natural undisturbed landscapes, great birding opportunities, hiking and swimming at pristine waterfalls etc. Vegetarian or other dietary requirements can be accommodated with advanced notice. Please contact Unicorn Trails with requests. Please note that it is your responsibility to ensure you have the correct documentation in place for your trip.