Today we are pleased to feature author Pete Stevens as our Authors Talk series contributor. In the podcast, Pete discusses the process of creating the short story “Smoked Fish,” and how, as he states, “This wasn’t the story I [originally] intended to write.”
Originally, Pete says, “Smoked Fish” was a story about “this couple, told through the perspective of “a guy…who [isn’t] really wanting to or ready to get married.” However, as Pete says, “we know as writers and as readers that some of the best results are the results that are unexpected,” so he instead decided to explore the idea of a father-son dynamic, and the “unique conflicts and challenges that would come from that relationship.”
Eventually, Pete states, “it’s the son who understands that he…can mature and progress past his own father,” which leads to his “appreciating all that his father has done for him.” “Even though his father [has set] this groundwork,” Pete emphasizes, “the son, now, is becoming a man.”
You can read Pete’s story, “Smoked Fish,” in Issue 21 of Superstition Review.
Today we are pleased to feature author Timothy Reilly as our Authors Talk series contributor. In this podcast, Timothy discusses the inspiration behind his short story, “The Task at Hand,” calling it a “nod to the old Grail romances.”
Timothy states that “‘The Task at Hand’ is not a ‘Baby Boomer’ story,” even though it concerns a protagonist from that generation. Instead, he says, it is “an internal quest… framed within a common 21st-century excursion.” During that quest the protagonist “deals with the challenges of age and memory,” as well as “the fickleness of pop culture.”
Timothy, hearkening back to his lifelong interest in Grail legends, declares that “myths are about truth, not facts.” He ends by referencing a quote from C.S Lewis, saying that when he realized this fact and “was old enough to read fairy tales again,” he began to write short stories of his own.
You can read Timothy’s story, “The Task at Hand,” in Issue 16 of Superstition Review.
Today we are pleased to feature author Deborah Bogen as our Authors Talk series contributor. The topic of Deborah’s podcast, as she says, is “prose poems: the how and why of writing them.”
She confesses that after writing three books of “mostly lineated poems,” she took a break from poetry, or as she emphasizes “poetry took a break from me.” She describes her struggle to write a poem, saying that she “tried, but could not do it.” After a time spent writing novels, she states that “a strange thing happened: I was filled, and I do mean filled, with the urge to make new poems.” Due to her time writing in a novelistic style, she declares that she “quite naturally… fell into the world of prose poems.” She had previously enjoyed the style, but now, “the joy…was that I had a form, a box into which I could place… what I was noticing in what we call the world.” She closes by urging fellow poets to “have some fun [with prose poems],” and to “write a bunch.”
You can read Deborah’s poem, “This Poem May Be Read In Any Order,” in Issue 21 of Superstition Review.
Today we are pleased to feature poet Ephraim Scott Sommers as our Authors Talk series contributor. In this brief interview, Ephraim discusses his life as a poet and as a singer/songwriter, and how each endeavor creatively informs the other.
While Ephraim grew up in a musical household, he said that he “didn’t really think about being in a band until I turned 18,” when he formed the group known as Siko with other musically inclined friends. He admits that he originally “was way far behind in his musicianship”, but that through years of dedication and hard work, he was able to “create something…from nothing” and craft many memorable experiences.
Speaking on the interrelationship of poetry and music, Ephraim states that “he came to lyricism and to poetry writing through music.” He elaborates that “what really drew me to poetry at first was the sound of words,” and that this inspired him to “try to tell stories in a musical way” through his pieces. In light of this, he expresses his interest in the lyric tradition of people like Dante and Virgil, who are “singing you a story” through their poetic work.
You can read another interview with Ephraim, “The Funeral Pyre of Poetry,” in Issue 19 of Superstition Review.
Today we are pleased to feature author Bryn Gribben as our Authors Talk series contributor. The topic of Bryn’s podcast is “finding your voice.” She begins by saying that “Everything you do before you find your voice matters,” and, to demonstrate this truth, describes her own journey of discovery as a creative writer and poet.
In the beginning of her college experience, Bryn states that she “was more interested in learning than in creating.” However, after discovering that she “just wasn’t having enough fun,” she began to pursue the creation of poetry. She says that “the feedback I was getting at the time made it seem like I had to choose between two paths: the academic and the creative,” but as she continued to find her literary voice, she realized that she didn’t have to make a choice. She just, as she says, “had to find a different audience.” She emphasizes that nowadays, she is still “pulled constantly between those two modes of being,” the analytical and the creative; for, as she says, “both modes of being engage my best self.”
You can read Bryn’s essay, “Divorce Closet,” in Issue 21 of Superstition Review.
Today we are pleased to feature author Stephen Gibson as our Authors Talk series contributor. In the podcast, Stephen discusses the inspiration behind three of his interrelated poems: “At the Grave of Abigail Smith, Aged 6, at Copp’s Hill Burying Ground in Boston”, “Gravestone Carving at Copp’s Hill Burying Ground in Boston,” and “Gravestone Rubbing at Copp’s Hill Burying Ground in Boston.”
Gibson states that he drew his inspiration for the poems from the headstones he saw at Copp’s Hill “not only as art, but in the way they reflect two different views of mortality.” He goes on to contrast the remoteness of modern-day society when it comes to the subject of death with the societies who created the headstone carvings, which were not only a reminder of death, but an “acknowledgement, or rather, a belief in something after.” He also comments on the modern-day industry of gravestone rubbings, and how, through its focus on preserving headstones as historical artifacts, it emphasizes contemporary society’s “disassociation from death.”
You can read Stephen’s three poems in Issue 20 of Superstition Review.
Today we are pleased to feature author Kaylee Sue Duff as our Authors Talk series contributor. In the podcast, Kaylee discusses the creative process behind two of her flash fiction pieces, “Nothing” and “The Deer,” and the intertwined nature of the stories themselves.
Kaylee states that “Nothing” is one of her favorite pieces that she has written, for it “takes ownership of those feelings that… are terrible and impossible to deal with, and turns them into something that other people can experience as well, something that is really beautiful.” She highlights that the inspiration for “Nothing” stemmed from her own feelings of loneliness and isolation upon moving away to college, which led to her “figuring out a lot about myself and my identity.” She goes on to express that the piece is “more like poetry than I would ever care to admit,” and that, “by writing what… I felt was right, I was able to tap into something that I would never have been able to otherwise.”
You can read Kaylee’s story, “Nothing,” in Issue 20 of Superstition Review.