I had been writing about place—the places of my childhood and the places in a historical fiction book—so when I read the invitation to the Poetics of Place writing retreat, I signed up.

Come to Jacob’s Creek, the invitation had said, in the beautiful Laurel Highlands. The conveners stressed that scheduled activities, according to the brochure, would be offered in the spirit of Ecclesiastes 4:6: “Better is one hand full of quietness than two hands full of toil and striving after the wind.”

But I came with some trepidation. I was a new writer, after all, and I would join a group that included authors of books published by Cascadia, often through its DreamSeeker Books imprint.

Come to relax, a post-registration e-mail told me, and bring ten photocopies of a piece of your work for critique.

Those two sentences, I thought, didn’t fit.

But they did, I found.

One evening we stood on a porch under the rain and heard the words from a poem by Mary Szybist savoring the world’s taste and acknowledging that in exchange for such gifts the poet “did nothing, not even wonder.”

The Poetics of Place conference became for me a call to wonder, to pay attention. There’s something holy about loving the place where you are, someone at the retreat said one evening, and something especially holy about loving a place others don’t love. So notice the signs of life that emerge from the decay of a place.  What are you witness to in the place you live?

And I learned to pay attention, close attention, to words. In workshops with people who wrote—a pastor, a musician, a doctor, an editor, a professor, a retired volunteer—I saw how to notice what words are actually saying, as opposed to what was meant. I learned to hear the rhythm of words and to examine each word to find its reason to exist. And I found that to lay my work open for others to see and question and offer impressions and suggestions, is to ask for a gift.

At the retreat we, who loved words, immersed ourselves in them. We plucked words from our ordinary lives and set them on paper so we could see them more clearly. We mediated on God’s call to record words, tracing the biblical commands to write through the Old Testament narratives and the prophets, through the gospels and the epistles, and into Revelation. Even at meals, we played with words in our talk.

When I drove into the Laurelville Mennonite Church Center on the first day of the retreat, I parked my car and sat for a moment, feeling too timid to walk inside, to spend the weekend writing with people I didn’t know and who had written more than I had. But I left the retreat three days later, richer and glad I had come.

—Phyllis Miller Swartz taught school for over 30 years, from HeadStart to middle school, high school, college, and more after “graduating with the hippies from Antioch College.” She is author of Yoder School, a memoir to be released through the DreamSeeker Books imprint of Cascadia Publishing House as the inaugural title in the new DreamSeeker Memoir Series. Jeff Gundy, Julia Spicher Kasdorf, Becca J. R. Lachman, and Anita Hooley Yoder developed the Poetics of Place retreat. They in turn invited participation of Michael A. King and Cascadia Publishing House/DreamSeeker Books, publisher of many of the retreat participants, including Swartz.