Amanda Page

Amanda Page

I’m a Columbus-based writer from southern Ohio. My work has appeared in Belt Magazine, The Daily Yonder, 100 Days in Appalachia, and Lithub. I designed a downtown tour of Frank Packard architecture and then wrote an essay about it called, “The Packard Presence in Columbus, Ohio,” that was included in Midwest Architecture Journeys from Belt Publishing. I’m also the editor of The Columbus Anthology in the Belt City Series, but the Columbus addition to the collection was co-published with The Ohio State University Press. I’m the founder and executive director of Scioto Literary, a nonprofit organization that supports writers and storytellers in the tri-state region of Ohio, Kentucky, and West Virginia. I’m currently at work on a documentary called “Peerless City,” that explores the history of Portsmouth, Ohio through three distinct city slogans in use in the city over two centuries. 

YWRB: Truth

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By Amanda Page I will always choose truth.

Even now, years past slumber party angst and antics, I prefer the subjective, nuanced, very dangerous truth.

In my youth, truth was confession. I'd offer up my flaws, my mistakes, my humiliations. My sin from simply being human---those were the only truths available. Certainly, I was full to the brim with that type of truth.  I had plenty of that type of truth to spare. I believed in offering it up, chasing it away, making it leave my body through my mouth and be judged by others. I didn't want it as my own.

As I've aged, I've witnessed maturity in my truth. My truth is no longer an open wound. It has healed, slowly, through years of claiming itself. My truth is owned. I do not borrow it. I simply believe it.

It differs in eyes that aren't mine. If I were to offer it up, then you might see a shade darker or lighter than what I insist is present. There is such a thing as a true red, but I might think it's crimson while another chooses firetruck or candy apple. If I decide my true red is the red of flames and fire, then that, my friend, is the truth I choose once again.

The truth doesn't expose us. It doesn't excuse us or even explain us.

We don't need a game to reveal it.

Although, the game might build a friendship. It might offer insight into someone unexpected. It might twist your truth until you see it take a different shape. It's still your truth.

Dare to own it.

 

YWRB: Dare

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By Amy Turn Sharp I always pick dare.

Truth or Dare?

I am game. Game on.

Let's do this thing. I will get naked. I will kiss you madly.

I will run through the streets screaming.

Whatever. Why?

I think it is because it is easier than letting you inside of my mind. Inside of all the scary truths I carry like coins.

I think it's important to find your other side of the coin, the people who always pick truth.

They are not weanies. They are powerful totems.

Find them and hold them like lovers.

Teach each other how to be passionately truthful and daring.

Most of us are lacking in one side of the coin.

Truth or Dare.

Hold hands and walk into the future.

Encourage and take a chance.

It's all we've got baby.

The chance of a life well lived.

I dare you.

YWRB: It Takes Nerve

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By Amanda Page It took nerve to go to the microphone and ask a feminist legend for some advice.

It takes real nerve to be a rebel.

It took a year of writing about rebellion for me to build up the nerve to finally claim my life as my own. I was 22 and ready to travel and it seemed like the whole world was telling me, “No.” I simply wanted to get on a plane.

“You can’t go,” I was told. “You can’t leave.”

My biggest rebellions have always been about going after what I want for myself instead of living in service of what others want for me. It’s hard to hold our own desires and protect and honor them. The wants and expectations of others can so easily become the “shit” that we’re not supposed to take. If we don’t respect our own wishes, then we’re taking shit from ourselves.

It takes nerve to take no shit . . . from others or from yourself.

Nerve is like a muscle. Rebellion is the exercise that builds the nerve muscle.

And you can do rebellion by writing it.

It took nerve to whip out our pens and legal pads in bars at midnight. It took nerve to declare that we were writing a book. It took nerve to share the idea with the wild woman from my poetry class.

Each action was a tiny act of rebellion, working my nerve muscle, making me more capable, more daring, more able to surprise myself.

I was told, “No,” but I said, “Yes.” Yes, I will.

I can now say, “Yes, I did.”

The stories we hold dearest are the ones that come from the times that we dare ourselves to do something.

Do something that scares you. Today. Anything. Ten years from now, it might be the moment that changed everything. It might be your best story.

Your best story takes nerve.

 

 

 

 

YWRB: Rebel for Want

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By Amy Turn Sharp I love that Amanda remembers the Brando quote.

Who the hell knows what we were rebelling against, except my soft soul back then, the girl who still had invincible skin left.

I was rebelling for the future. I was leaving the past in the dirt.

It was also that year that I met Gloria Steinem and in a large crowded lecture hall I was able to stand at the microphone and ask her a question after the event. My lips bumped the mic, there was quiet noise.

I just need some advice, I asked. My name is Amy Turn and I need some advice for my life.

And so Gloria shook her head and said {and let me tell you it was certainly like a movie}

Amy Turn, BE A WOMAN WHO TAKES NO SHIT.

The crowd roared and we all looked at each other and it was like church up in there. It was gospel. Always has been.

What are we rebelling against and what is happening at a young age as women?

Well, I hope we are all practicing what to want. How to to need and want to be treated, how to love, how to push away. All the parts to be a woman that are not taught in classrooms, but in friendships, love affairs, seedy bars, libraries, and offices.

YWRB: What We Rebel For

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By Amanda Page Essays were written. We collected them and took them to the head of the English department. We handed him our short stack and waited. We waited for his reaction, for his feedback. We stood in his office, terrified, exhilarated, proud of ourselves for taking this on, scared of ourselves for the same reason.

Maybe we wanted his approval. Instead, we received, with apprehension, a question: what does rebellion mean to you? He didn’t want to disappoint us, that much was clear. But he wanted us to understand that something was missing.

“Right now,” he said, “all I’m reading is several stories about drinking in bars and meeting boys.”

It was early in the project and we were in our early twenties. Drinking in bars and meeting boys was a significant slice of our collective experience.  He went on to say that we needed to have a point, a reason to rebel. We knew he was right, but we challenged him anyway. My memory wants to share a moment where one of us (Amy) dared him to see past the surface to what we were really saying. I don’t remember exactly, and it both kills me and relieves me. I want to say that he responded by daring us to do the same.

We were orbiting the point, just discovering the lesson.

I don’t remember where we found it or who gave it to us, but we happened upon the Marlon Brando quote from The Wild Ones. A girl asks him, “What are you rebelling against?”

He answers, “What have you got?”

Well, we had plenty.

It’s too easy to look back and assign ourselves things to rebel against. I also think that we weren’t rebelling against things. Our rebellion didn’t look like rebellion, which could be seen as a type of rebellion. But we weren’t protesting, we weren’t overtly political, we didn’t have one particular issue that pushed us or for us to push back.

I like to think that we were rebelling in the service of something. We were rebelling for something, not so much against. The idea was to share some instruction on how to rebel, how to live, how to be a young woman writer. We were writing it in real time.

It’s clear to me now, that our rebellion was an attempt to figure out how to live our lives authentically---how to live an authentic life. Every act of authenticity is an act of rebellion. If we rebelled against anything, it was the script. When you’re about to graduate from college, your options can feel limited. You can be overwhelmed with choices, and paralyzed by the pressure to choose. We fought against that pressure, those expectations, often from well-meaning family and friends and professors and advisors.

The most we could hope for was to make interesting lives for ourselves. And at that point, the interesting stuff was boys and bars.

Of course, there was more. By claiming any kind of power over our own lives, we were rebelling against many things: parental expectations, societal expectations, what we’d been taught and what we’d been told to expect for ourselves.

That’s where essays served us most. We claimed our power by claiming our stories. By owning our experiences, through how we wrote them, we created respect for them. I learned to respect my own stories. I learned the power in having a story, and in telling it. The YWRB project made my stories matter at a time when no one wants you to trust yourself. But I trusted my stories. I trusted Amy’s stories. I believed our stories mattered. Our stories mattered. That’s all anyone can ever hope for. That’s what we were trying to say to other young women: Your story matters.

That’s what I rebelled for.

 

 

YWRB: Rebel Sisters

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By Amy Turn Sharp Sometimes you just need a partner.

Just one person who believes that you are not crazy to want to be a ________.

A person who holds the magic. And shares it.

In the 90’s I found my writing partner. Amanda.

She was effortlessly cool and beautiful and always up for an adventure. I liked to hear her stories of her daddy’s gun shop and the deep Southern Ohio life she had led. I loved her instantly. I wanted us to write together every day. When we wrote in bars and cafes it was like we were on fire. We were real writers. We were making progress and we shook our heads at each other to soothe the beasts of doubt and confusion and shame of writing down our lives. We were there together and if one of us started to feel shaky and confused about the tricky life of the artist we were beginning, the other would rally. We would hold each other up.

We were just finding our voices as writers and poets, just learning to write the words that lived in our brains and it was golden to have each other. I just claimed her. I knew she was going to be one of the important people in my life. And she was. And she is. And I know that my writing has improved because of this woman. She and I have shared cigs and beers and boys and ferry rides and journals and tears. We pass words back and forth like currency. We whisper to each other that we will be just fine if we keep going. Just keep going. I close my eyes and hear her stories. She quotes my poems. We believe that we are on the right path. We believe in each other. We rebel against the hard reality of being a writer and trying to keep going. We rebel against the rejection. The scary part of writing.

At any stage in your life, it is important to find your people. To find your beacon. Find your partners. Find your path.

Who has been on your path? Do you have a rebel sister who tells you to keep going? Who never turns off the light?

YWRB: First Impressions

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By Amanda Page My first memory of Amy Turn Sharp is crisp and static, like a simple snapshot. She was a girl in a poetry workshop, sitting in one of the chairs beneath the classroom window, scarf around her neck---although it was Spring---and headphones casually slipped from her ears, dangling from her neck where they got lost in the fabric.  It might have been the first day or late in the quarter. But that's when I took notice. She seemed shy as she responded to a question---maybe about her poem. What stands out to me most about that moment is the reserve and timidity she displayed, because I was reserved and timid. I was shy and I didn't like it, but I didn't know how else to be.

Maybe that's why the image sticks. Or maybe I recognized a kindred spirit, but not consciously. Anyway, that was not the woman I started to know on smoke breaks. The Amy Turn I came to know in fifteen-minute bursts was loud, exuberant, and wildly enthusiastic about writing and life.

We weren't fast friends. The quarter ended and I saw her once over the summer, when I saw her on the street and stopped to say hello. Fall came and classes started and there we were in another workshop together. Most of our friends had graduated that summer. We were those rare, at the time, students who kept at it, floating a little, not quite ready to move beyond the classroom, still trying to figure out what we were doing in college, let alone with our lives.

Maybe I'm projecting a little. That's what I was doing: floating. Flailing. When I met Amy Turn, as she was called then, I made a friend to flail with. Amy Turn. I rarely ever heard her called anything but the two names together. She was never just "Amy." I admired that. I was from a place where two names were common, and I'd tried to get one to catch on for myself. It never happened. I wasn't a Bobbi Jo or Barbara Dee. I was just Amanda. Just the one name. And I couldn't quite get the two-first-name version of myself to exist.

We started writing together. We'd sit at the bar or the coffee shop or sometimes at the kitchen table in her apartment and we'd handwrite essays in yellow legal pads, right there on the spot. We thrived on the spontaneous nature of sitting down and writing something complete. We were rebelling against the image of the isolated writer, working in a dim room all alone. The work had more energy, more life, because it was composed quickly, full of vim and whimsy, in the presence of another writer.

Rebelling against the idea of the diligent, lonely writer was exciting. We reminded ourselves that Jack Kerouac wrote On the Road on one long continuous scroll. He couldn't have written it all in isolation. He needed his friends. He needed to be around the "mad ones." And I found myself a mad one in Amy Turn. I liked that my first impression of her was wrong. It gave me hope that I could rebel against first impressions of me. I was more than just a shy girl with a single first name. I was a writer, and that's what I wanted to be known. Amy Turn made it known.

Amy Turn was known. Everyone in town seemed to know her: restaurant owners and convenient store workers and every single bartender in town. It’s hard to not know the girl dancing on your table at the end of the night. Before I knew it, we were known as the writer girls. People expected us to show up with our legal pads and scratch out whole pieces. People knew about our project. That terrified me. But it also made it real.

If you're going to look for a friend with whom to rebel, you can't go wrong with one who pulls you out of your comfort zone, who introduces you to people as the person you want to be, which is not always the person you see yourself as. I started, then, to see myself as a writer. That vision, that version, of myself has wavered through the years. It's good to have a mad one to contact to remind you that you are not the lonely writer.

And it's good to know that the mad ones don't always reveal themselves in your life with that first impression.

We want to know: Do you have a friend who pulls you out of your comfort zone and makes you rebel against the small version of yourself that you sometimes believe yourself to be? How do they pull you out of your comfort zone? How do they prompt you to rebel against that small version of yourself? Email us at amanda@bold-types.com or leave a comment.

 

 

 

 

YWRB: Genesis, Part 2

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by Amy Turn Sharp Last month, Amanda and I went back to Athens, Ohio. A pilgrimage of sorts. We had not been back to the deep woods together for over a decade. We went to the Ohio University Literary Festival. We were going to meet Terrance Hayes (one of my favorite poets). As soon as we walked into the auditorium, we spotted our old professor. Mark Halliday. The poet. Another favorite of mine. He was the same. Interestingly eccentric,. Nervous, yet commanding. Weird socks. Fidgety.

*     *     *

I remember storming into his office one day with Amanda. I dragged her like a rag doll toward his big wooden desk.

I beat on his desk and told him about the Young Woman's Rebellion Bible. I was nearly reenacting scenes from Dead Poets Society with my passion. I almost jumped on his desk.  I told him how I freaked out when I heard Amanda tell me her ideas about this project we could work on together. I told him everything. I moved about the office like a dancer. I was so young. Amanda giggled and nodded her head. There was music from an old radio in the corner. I think it was Joan Armatrading. Or perhaps I made that up years later. It was a calm office made insane by us. We were often bringing high intensity to calm situations. It was our best practice. He smiled and encouraged us, but it looked like he was also afraid. And looking back, perhaps he was afraid it would not happen. It would loose steam and fall flat. It would make other work suffer. Or he was just amazed by us. I think I was amazed by us.

*     *     *

We listened to the magic Terrance Hayes read to us. It was amazing and his words purred at us and we all sat on the edge of our seats, poets scribbled in tiny notebooks. We all wished for language mastery. It was perfect. And when we left, I was kinda sad that I did not run up to Halliday and hug him tightly, tell him we are doing it again. That it just took us a long time. To become us. I had daydreams of us ditching our car and heading to our old tavern. But I knew things had changed. I knew there were new rebellions all over the place. I raised my hand and waved at him like a cool kid, and blew him a kiss. All the way home I thought about the fire in my belly that made me dance when I talked about writing. I knew it was back. I could feel my feet moving in the floorboards of Amanda's SUV.

We're curious: Has there been a time when you've amazed yourself?

YWRB: Genesis

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We were young writer party girls in college.  At the time, creative nonfiction was the new, hot genre.  We were asked to write essays. We understood essays.  We learned that the word “essay” meant “attempt.”  We attempted constantly.  We attempted friendships and sophistication and reputations and all the things you can try on and discard while young and starting out.  Everything felt like rebellion: against parents, expectations, systems and growing up.  And it was.  We couldn’t articulate it at the time, but one thing I know now is this: the most rebellious thing you can do, at any age, is be yourself.

I remember the moment the title came to me.  I was sitting on a friend's black leather sofa, drinking vodka and fruit juice from an old flower vase.  I was wearing a ballgown.  We weren't going out that evening, but that's what we did when we stayed in.  Anyway, in the moment of garish getups and pride in our own ridiculous behavior, the quick thought came to me: The Young Women's Rebellion Bible.  I thought I knew something about rebellion.  Dressed up for a party, but lounging on a couch was a rebellious act in my twenty-one year old mind.

Later that week, I was in a bar with Amy before our creative nonfiction workshop.  I told Amy the title and before the words were completely out of my mouth, she screams, "Oh my God, we could totally do this!"  We immediately started brainstorming topics.  We took quick notes on napkins and then ran to class, high on possibility and buzzed on cheap beer.  Amy's enthusiasm made me believe we could do it.  We could write a book of instructions or stories or something that taught others about rebellion.

We liked pushing boundaries, walking edges.  Although the English building was designated non-smoking, on breaks we'd find an empty classroom and lean far out the window with our lit cigarettes.  We relished that rush.  A little rebellion made us bold.  Writing about rebellion made us rebel. Our process was born.

We enrolled others in our mission.  Our creative writing teachers, the head of the English department, the owner of the restaurant where Amy worked, the bartender at our favorite haunt.  Amy's enthusiasm made other people believe we could do it.  And before I knew it, we were.

For several months, we wrote essays about our behavior, our rebellion, our romances and our families.  We filled yellow legals pads full of ideas and ways to organize chapters.  We wrote in coffee shops, bars, the library when necessary.  We were relentless, but we weren't entirely clear about how it would look or what it should be.  In that way, the project mirrored our lives.

In June, we graduated, flew to Greece together, and split up to go our separate ways.  Amy stayed on the tiny Greek Island of Mykonos and I hopped a ferry to the mainland and spent a lot of time on trains.  When we returned, seperately, to the states, we lived in different cities.  We embarked on very different lives.  We drifted apart.  Fifteen years later, we reside in the same city, once again.  And the Young Women's Rebellion Bible was reborn.

We have very different notions of rebellion, as does every woman, I believe.  And our rebellion has looked very, very different from one another's over the years.  Amy is married, a mother, a writer and wood toy maker.  I am single, a dog owner and avid rescue supporter, a writer and part-time teacher.  Amy has put down roots and I've been a wanderer.  We've both embarked on creative endeavors, but nothing has had the same momentum, the same dizzy, blissful energy as the Young Women's Rebellion Bible.

A few years ago, I pulled the manuscript from the trunk where I keep sacred things and I photocopied it and sent it to Amy.  I've held on to it, maybe as a way to hold on to that time with Amy, to hold on to that enthusiasm and the belief that it is possible that we do this.  We're doing it now.  What we knew of rebellion at twenty-one is a very different knowledge than what we know of rebellion at thirty-six and thirty-eight.  With the fine partnership of The Equals Project, we'll explore that knowledge and examine its impact.  To do that, we need your help.

We want to explore rebellion with you.  Every week, we’ll prompt you to consider rebellion – and we challenge you to share it with us.  We’d love to feature your stories and experiences as part of our exploration.  Send responses and stories to Amanda at amanda@bold-types.com.

This week, we want to know:

If you had the chance today, what would you tell your teenage and/or college self about rebellion?