#ArtLitPhx: Limited Engagement featuring Dana Diehl

Ltd Engagment - Dana DiehlLimited Engagement is a monthly performance and interview series that takes place on the third Friday of every month. This month’s edition of Limited Engagement,  in association with Four Chambers Press, will be featuring a conversation with Dana Diehl and her new book Our Dreams Might Align.

Dana Diehl earned her MFA in Fiction at Arizona State University, where she served as editor of Hayden’s Ferry Review. Her work has appeared or is forthcoming in North American Review, Passages North, Booth, and elsewhere. Diehl is an interviewer for The Collagist.

This event takes place on Friday, January 20th at 7 p.m. at HUB Patio. Check out the Facebook event for more information.

Guest Post, Leslie Standridge: An Interview with Tanaya Winder

Words Like Love coverWhat is the source of inspiration for “Words Like Love?”

Good question! I suppose that is the question, too and it’s complicated because I’d have to say that it comes from, well…everywhere. The inspiration came from my life, events I’ve experienced, things I’ve born witness to, and people I’ve crossed paths with along the way. It comes from my own unpacking, attempts at deconstructing, questioning, interrogating, and re-examining what it means to love. For me, questions like “what is love” and “how do we live love” have made their home at the back of my mind. Love is the lens through which I view the world; I’d like to think everyone (family, relationships, friends, etc) and everything (my home, the land I grew up on, the earth we inhabit) I have had a connection with has somehow influenced my understanding of love. One of the main driving forces of the book was a deep connection I had with a friend who ended up taking his own life. The combination of who he was, the role he played in my life, how he died, and where I was at physically, spiritually, emotionally, and mentally at that time in my life forced me to look deeply at my own understanding of love in all its forms.

 

You discuss the idea of cultural love in an interview with Indian Country. How does your heritage impact and shape your work?

I think for any writer “who you are” deeply impacts how you live in this world and how you live impacts and shapes your work. For me, my heritage is who I am. I’m very blessed to be grounded in my culture and heritage…they’re a big part of my identity. My worldview is shaped by the beliefs I grew up with. I write from that beautiful, strongly rooted identity and it is my love for my culture and Indigenous people that also fuels my motivation as a writer. I want the youth who follow in my footsteps to know that there are many talented writers from all backgrounds and different walks of life. I hope that Native Americans can continue to be more present in the literary landscape that often leaves us out of the conversation.

 

What was your writing process like?

My writing process was basically: put on my “writing” playlist, get some coffee, read over the poems, and edit. During this time I was also reading other poems as well as books of poetry by writers I admire and look up to. Also, whenever I write I always take notes (pen to paper) in my journal. It always starts out organic like that, my mind works better when I can feel the words being penned onto the page. From there I usually take the notes and translate lines that resonate with me to my laptop. I write rushed and not as methodically as I wish I did. By that I mean I need to develop more of a daily routine. Right now, I’m a writer who writes when I’m inspired, although when it comes to revision I’m more of a sit down daily and work out lines like I’m a sculptor constantly chiseling away piece by piece until the form slowly reveals itself.

 

What was the process for organizing the poems?

I’d compare organizing the poems within the theme of the book to the way one would organize stanzas within an individual poem just on a grander scale. I thought about the bigger picture, the overall theme(s), and emotions I wanted the reader to feel before the release at the end of the book. In my mind, the metaphor for the book is a person’s heart unfolding with each page; I wanted each poem to open into another room into the spaces we try to keep locked and private. For me, that meant breaking it down into sections that related to one’s understanding of love from life’s fragility, the way time impacts our living to the lessons we learn without words (the power of actions, things done and undone), to questioning ways we’ve been taught (perhaps even unhealthy) to love, express ourselves, and view the world, to finally contemplating the order in which things happen to us. Some might call it fate or relate it to the expression “timing is everything” and honestly, I think it is. I wanted to bring home that point extra hard at the ending.

 

Can you tell us a little bit about your favorite poem from the collection?

I have a few favorites from this collection but right now I’d have to say my favorite is “in my mother’s womb” because it gets to the “heart” of ancestral memory and the historical and personal traumas that can be passed down from generation to generation. Our duty as human beings is to figure out within our own lives how does that happen and then we must ask ourselves – am I (or is my generation) going to be the one to break cycles of hurt and/or trauma to bring about the healing we all deserve.

 

What are you working on now?

Right now, I’m at the tail end of an 8-month book tour. I’ve been very fortunate that it’s been going on this long. Later this month I have a reading at the British Library in London and will be reading/performing at the Lincoln Center La Casita Out of Doors in NYC later this summer so writing new work has been on the backburner though I’m slowly working on a second collection and dabbling in writing my first play. I’m also working more on music (singing) and finding ways to experiment with my voice in that capacity.

Guest Post, Dmitry Borshch: Ways of Drawing

Loaded Kiss

Loaded Kiss

Ways of drawing: philosopher Patrick Maynard and artist Dmitry Borshch in conversation on art

 

Patrick Maynard describes his work thus: “Most of my publications and talks concern the nature, function, and perception of pictorial representations and similar expressive forms. They are theoretical, but argued from ‘real world’ engagement with things that matter to people, from the prehistoric to our own times. These discussions not only feature a broad variety of illustrations, but, as ‘substantive’ philosophy, are typically based on them. They are of interest not only to philosophers but also to artists, art critics and historians.” Dr. Maynard is the author of Drawing Distinctions (Cornell University Press, 2005), The Engine of Visualization (Cornell University Press, 1997), and other works.

Here is an excerpt from his conversation with Dmitry Borshch, a contributor to the twelfth issue of Superstition Review:

PM: To set some questions, may I begin by congratulating you on your work: that is, you have found a successful way of working. I think what we mean by “self-expression,” a term closely related to art, is one’s own way of making things which can somehow deal with unlimited ranges of life experience. That provides a basic freedom, one we associate with composers, poets, novelists. It is good to see it in drawing these days where you seem to have found a distinctive style.

Wildbirds Among Branches

Wildbirds Among Branches

DB: About finding one’s way… Many children are fearless drawers but they encounter professional illustrators in children’s books, become intimidated, and abandon drawing. I remember this intimidation; it drew me to writing and acting as a substitute for those illustrations – I was a teenage writer and tweenage actor. Frustrated with not being able to publish my writings, in English or Russian, I resumed drawing at twenty-seven. About four years later my first independent styles emerged – a drawing style first, then a sculpting one. They were both abstract, as I mentioned before, and influenced by Russian Constructivism, De Stijl, and Soviet Nonconformists. I was able to develop a style in two photographic series that followed those abstractions. Then another graphic series, closer to representational way of depicting but still abstract. While not monochromatic, its palette was restricted to three (a primary and two non-primary) colors. Maybe in 2006 I finally reached my current blue-ink style: “Will it contain you, this house I have built?” and “Wildbirds Among Branches” were the first to be drawn in it. So I moved from pure abstraction to balancing between the abstract and figurative, representational. For what period this balance will continue is unclear but in 20 years I may abandon figuration and return to geometric designs I started with.

PM: In contrast with traditional artists just mentioned, contemporary visual artists rarely work from direct assignments which provide specific context (and sustenance): jobs to do. Also they exist in an extremely heterogeneous sea of visual forms, including much marketing – the like of which had never been encountered – a daunting situation. Do you have advice for young artists, notably those who draw, regarding their finding their own ways, as you have done?

DB: The first advice to an artist who draws is to clarify his relationship to drawing: is he using it to record, visualize ideas that may later be translated into painting – as many painters do – or is he primarily a draftsman, someone for whom drawing is a “terminal” activity, no progress beyond which is anticipated? The second and final advice is to strive for coherence of his drawings’ message, style, geometry, lines’ phrasing, interaction among lines. That will enhance their presence: if a drawing is coherently drawn, it becomes present and available to the viewer for extended contemplation, but not yet as an artwork unless coherent matter is united with poetry. So, to younger and older artists, draftsmen or not, I wish many a contemplative viewer – who will be gained only if he perceives aesthetic, intellectual, sentimental or some other value in their drawing.

 

More of Dmitry’s drawings can be found here.

Guest Post, David Roberts: Five Tips for a Stress-free Interview

Interview

During my time as a journalist, I’ve found that the hardest part of my job isn’t reviewing, or writing features: it’s the interview. An intimate one-on-one where anything can go wrong if you ask the wrong question (or the right question at the wrong time) can be nerve-wracking for first-timers (or even seasoned veterans).

I’ve interviewed dozens of people, and each time I do I get this horrible sinking feeling in the pit of my stomach. When this happens, I remember a few pieces of advice that I’ve heard over the years, and it helps put me at ease. Hopefully, this will help you with any future interviews that you may have to do.

1) Give a shit

This is probably the best piece of advice I’ve ever heard in regards to pulling off a successful interview. If you don’t care about what someone has to say or what they’ve done, your subject will notice it. They will pull away, mentally retreating from your interview, and your piece will suffer for it.

Listen intently, react to what the other person is saying. It doesn’t matter if it’s the most boring thing you’ve heard, or you don’t care about the topic. You’re there on assignment, and it’s your job to make sure that you get a solid interview. Even if you have to fake it, care about what you’re doing.

2) Prepare!

Research your subject before hand. Find out what they’ve done, who they work for, etc.

Prepare a list of questions that you can ask if you end up off topic to get you back on track. At least ten, just in case you lose your place.

An unprepared interviewer will fall on their face, and your subject will notice if you haven’t done your homework. If you go in blind, you will regret it.

3) Don’t be afraid to deviate from your prepared questions.

That said, don’t stick to your prepared list of questions for the duration of the interview. Let the conversation flow naturally, and you’ll be surprised where you’ll end up. I’ve gotten fascinating information out of subjects because they feel comfortable just talking – it’s a great way to get away from stock PR responses and delve right into the heart of what makes their work special

4) Don’t go for the big guns right away. Lead up to it.

A friend of mine was talking about an interview he had, where he had asked a rather hard-hitting question right off the bat. The subject was immediately on the defensive, and immediately shut off.

I interviewed the same person a few months later, and asked a very similar question, but lead up to it with a series of smaller, more broad questions to start with. I got a great, honest response from him, and it just became the next part of our conversation.

Be careful how quickly you try to go into “investigative journalist mode.” It can backfire on you very quickly.

5) Relax!

Calm down. Take a deep breath. If you’ve prepared, have some questions ready, and just approach it as two people having a conversation, you’ll be fine. It may be a bit intimidating at first, but your subject is a person, just like you, and will appreciate an honest, genuine conversation with someone about their work. So loosen up and have fun with it!

Splash of Red Literary Arts Magazine

Splash of Red is an international online literary arts magazine that publishes poetry, fiction, nonfiction, art, interviews, and graphic narratives. They have published interviews with many Pulitzer Prize winners, US Poet Laureates, and acclaimed writers as well as some of the top editors and publishers in the country for their Industry Interview Series. What sets these interviews apart from others is that they focus on the readers of the literary magazine, many of whom are writers themselves. The interviews delve into writing processes of the interviewees, editing techniques, and strategies for getting around writer’s block. And the Industry Series investigates the other side of the table that writers rarely get a glimpse into in order to better their odds at getting their work published. But the meat of the publication is the fantastic submissions that come from all over the world.

The name of the publication comes from three inspirations: 1) the infamous red ink in draft after draft to get the best quality writing, 2) the blood and passion that goes into only the most skillfully crafted art, and 3) great work stands out just like a splash of red.
In 2010, Splash of Red organized numerous live events where authors came to speak with audiences for live Q and As. Some of the authors included Pulitzer Prize winning author Junot Diaz, famed writer Eleanor Herman, and Daniel Wallace – author of Big Fish, who spoke with eager audience members following a showing of the film based on his novel at a local independent theater. Additionally, the online magazine involved local communities by spearheading a special public mural on the New Jersey boardwalk in Asbury Park. Three artists chose three poems published on the website and created pieces of art inspired by and including those poems which were then painted in multiple large murals across the backdrop of the mid-Atlantic.

Interested fans can follow Splash of Red on Twitter, Facebook, or become a member and get email updates about newly published work and events. One of the things they pride themselves on is creating an online literary arts community where readers can post comments on anything published on the website, submit art inspired by splashes of red for their Red Gallery, and involving members in creative decisions and directions for the publication including suggestions for interviewees.

If you take any one thing away from this blog post, take this: check it out. The website is www.SplashOfRed.net and feel free to peruse, read, comment, and investigate at your own leisure. Make it your own and enjoy!

Splash of Red

Splash of Red is an international online literary arts magazine that publishes poetry, fiction, non-fiction, art, interviews, and graphic narratives. They have published interviews with many Pulitzer Prize winners, US Poet Laureates, and acclaimed writers as well as some of the top editors and publishers in the country for their Industry Interview Series. What sets these interviews apart from others is that they focus on the readers of the literary magazine, many of whom are writers themselves. The interviews delve into writing processes of the interviewess, editing techniques, and strategies for getting around writer’s block. And the Industry Series investigates the other side of the table that writers rarely get a glimpse into in order to better their odds at getting their work published. But the meat of the publication is the fantastic submissions that come from all over the world.

The name of the publication comes from three inspirations: 1) the infamous red ink in draft after draft to get the best quality writing, 2) the blood and passion that goes into only the most skillfully crafted art, and 3) great work stands out just like a splash of red.
In 2010, Splash of Red organized numerous live events where authors came to speak with audiences for live Q and As. Some of the authors included Pulitzer Prize winning author Junot Diaz, famed writer Eleanor Herman, and Daniel Wallace – author of Big Fish, who spoke with eager audience members following a showing of the film based on his novel at a local independent theater. Additionally, the online magazine involved local communities by spearheading a special public mural on the New Jersey boardwalk in Asbury Park. Three artists chose three poems published on the website and created pieces of art inspired by and including those poems which were then painted in multiple, large murals across the backdrop of the mid-Atlantic.

Interested fans can follow Splash of Red on Twitter, Facebook, or become a member and get email updates about newly published work and events. One of the things they pride themselves on is creating an online literary arts community where readers can post comments on anything published on the website, submit art inspired by splashes of red for their Red Gallery, and involving members in creative decisions and directions for the publication including suggestions for interviewees.

If you take any one thing away from this blog post, take this: check it out. The website is www.SplashOfRed.net and feel free to peruse, read, comment, and investigate at your own leisure. Make it your own and enjoy!

SRAWP: 2012 Recap by Samantha Allen

Superstition Review Editors roamed the corridors and booths of the AWP Annual Conference and Bookfair to find both past contributors and literary legends. We found some familiar faces and made some new connections, and we wanted to give our readers a front row seat to the action. This AWP Recap comes from SR Intern Samantha Allen.

In her keynote address, Margaret Atwood talked about the old English root of the word “craft.” Craft, she noted, is the en vogue word for what writers do; chances are you have encountered the phrase the craft of writing many times in recent years. “Craft” comes from a word that means skill, implying a strength that comes from practice. Ms. Atwood reflected that craft is not something inherent, like artistic genius, but something you must work at.

This rang true for me as I attended the panels at my first AWP conference. As a creative writing student, I’ve always had a sense of how much work goes into being a writer. But it wasn’t until I sat among crowds of writers scribbling away at their notepads that I understood how devoted they all are to the craft. Around 10,000 people attended the AWP conference this year, 3,000 of whom were students. And almost every one of them is or aspires to be a writer.

Admittedly, in the weeks leading up to AWP, I was nervous. I worried I would be overwhelmed, or get lost, or lose the ability to form articulate sentences in front of important writers. The first morning of the conference, interview editor Erin Caldwell and I were so apprehensive we didn’t notice when the cab driver gave us the wrong change, fleecing us out of $10. Then we sat down at our first panel. After a few minutes of frantic note-taking, the anxiety disappeared. Everyone else was jotting down notes with the same level of devotion, laughing at the same nerdy jokes, flipping through the schedule of events with the same look of awe-struck frenzy. I had a sense of coming home; I was among my people.

Being among so very many of “my people” was an especially profound experience when a panelist would read a passage from a classic work aloud to make a point. During one panel on points of view in fiction, a panelist read a long excerpt from Richard Yates’ Revolutionary Road. While he was reading aloud, I was utterly transported into the work, and when it ended, I could tell I was not the only one who felt as though I was waking from a dream. The communality of this experience – sitting among a crowd being entranced by a story – was moving in a primal way. The discussion of the technical elements that created that moment of transcendence was rendered far more impactful by the experience of being in a community. Moments like that made it easy to branch out and make friends. I learned that it’s a big world, but also a small and welcoming one.

Now that I’m home and have had a chance to think about my first time at AWP, I want to extend a heartfelt thank you to the supporters of Superstition Review. Of those 3,000 or so students at the conference this weekend, we encountered only one other publication run by undergraduate students. No other publication we met at AWP, however, gives undergraduates the same experience working with renowned writers and high-quality work that Superstition Review does. Seeing so many other publications represented at the seemingly endless bookfair reminded me just how unique we are. We are the first undergraduate-run magazine to publish a long list of nationally recognized authors, and every person we met who was familiar with our publication expressed admiration for our mission. If it wasn’t for our readers and contributors, I never would have had the incredible experience I was lucky enough to have this weekend, and for that I thank all of you.