Today we are pleased to feature poet John-Michael Bloomquist as our Authors Talk series contributor. In this podcast, John-Michael discusses how living in Poland for the past year and a half has “influenced my understanding of poetry in general, as well as given me some perspective on a question…what is the soul of American poetry?”
While John-Michael admits that he “doesn’t think he knows the answer to this question,” or that “the answer is necessarily important,” he affirms that “the question is always worth thinking about.” From his recent experience of reading several works of Polish poetry, he concludes that, “I don’t think I can say what the soul of Polish poetry is, but I can say that it has really affected my soul”, and that “by immersing myself in the poetry and trying to learn some of the language…I have been able to feel more comfortable with the question, ‘What is the soul of American poetry?’ and what it means for me.”
Based on his experiences in Poland, and the high value that Polish society in general places on poetry as the “salt of language,” as William Butler Yeats puts it, John-Michael emphasizes that “Right now, in the age of the Internet…and these politically tumultuous times that we are living in, it is really important to write poetry that speaks to the soul and to the private life that we share and that connects us to our history; poetry that makes us loyal to the truth, not only of ourselves but to the world around us.”He concludes by saying that “I have felt a heightened sense of awareness that [these themes of] morality, loyalty to truth and history… and valuing the private life over the life of the state have brought me a lot of peace and joy.”
You can read two poems by John-Michael: “The Prodigal’s Return,” and “Vajra of the Octopus,” in Issue 19 of Superstition Review.
Today we are pleased to feature artist Louise Fisher as our Authors Talk series contributor. In this podcast, Louise discusses the creation of her video performance “A Letter I Long and Dread to Close,” as well as her own artistic journey.
Louise begins by describing her childhood in rural Iowa, where, as she states, “the tallgrass prairie was my first art teacher.” Eventually, she declares, “my curiosity and ambition drove me… to find a community who could relate to my strange creative impulse.” In search of this creative community, she is currently pursuing her MFA in printmaking from Arizona State University, where she says that “my work is very tied to the experience of ‘place.'” Speaking on the concept of “place,” she states that, “I knew a desert metropolis was the complete opposite of my upbringing, so I wanted to challenge myself and see how my work would change.”
“A Letter I Long and Dread to Close” is, in Louise’s words, “a perfect example of…this concern with the past and the process of deterioration.” Inspired by a poem titled “Toward the Solstice,” by Adrienne Rich, the video was “informed by an interest in domestic history, and how our lived spaces can hold impressions of inhabitants.” It was filmed in a house that Louise’s mother “grew up playing in, standing next to the house that I grew up in,” and was a “site-specific response” to how “aspects of the home are often ignored” in historical narratives. In filming the video, Louise states that her first impulse was to “peel the wallpaper away and investigate what was there; to see how deep the time went, like an archaeological dig.”
You can watch Louise’s video, “A Letter I Long and Dread to Close,” in Issue 19 of Superstition Review.
Today we are pleased to feature author Stan Sanvel Rubin as our Authors Talk series contributor. In this podcast, Stan discusses two of his poems, “Entre Des Etrangers” (the meaning of which is “Between Strangers”) and “Tickle.”
Stan states that these poems “weren’t written together, although they were written fairly close in time.” While he continues that these poems weren’t “meant to be paired,” he describes how each “holds the page in a similar way— that is, they have a similar visual weight.” Each poem also has 14 lines; which, Stan admits, is unique considering that he is “instinctively drawn to 13-line units.” He emphasizes the fact that “Tickle” is a single-sentence poem, while “Entre Des Etrangers” is broken up into several sentences, and that this structure serves to reflect the overall meaning of each piece. While Stan continues that these two poems “are not sonnets, and they’re not trying to be,” he describes how both poems are “examples of what lyric poetry is especially about— the creation of a sound body…what you might call the music of each poem.”
“Each poem has some connection to narrative,” Stan continues. While “Entre Des Etrangers” , he states, “has a kind of embedded story involving two strangers coming together….’Tickle’ has a narrative instance of a young boy having just caught a trout, and holding that trout in his hand.” While each poem differs in terms of plot, Stan declares that the significance of both pieces goes “beyond the particular actions of the participants of the poem,” and is “owned again by… the way sound and words can be put together and juxtaposed in somewhat complex ways.”
You can read Stan’s two poems, “Entre Des Etrangers” and “Tickle,” in Issue 19 of Superstition Review.
Today we are pleased to feature author William Auten as our Authors Talk series contributor. In this podcast, William discusses the role of memory and detail in his short story, “Something in the Way.”
William states that he wrote “Something in the Way” as “a way to connect unsettling personal and cultural events.” The story, he says, “combines fact and fiction,” and “blurs imagined scenarios with real-life experiences.” He declares that these memories can be “broad and abstract enough to point to their universal application,” while, in the confines of the story, be susceptible to “amplifying, editing, or renovating.”
William emphasizes that people share “similar traits, feelings, and reactions,” and that “mundane details” in a story can heighten the reader’s empathetic response. However, he says, these “mundane details have to play off of what the piece aims for; its overall effect.” He concludes by stating that “‘Something in the Way’ is an act of fiction, even the parts that I didn’t have to make up.”
You can read William’s story, “Something in the Way,” in Issue 19 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 proud to announce that past fiction editor, H. Rae Monk, won an Osher Lifelong Learning Institute scholarship. Rae is a student in the new MA in Narrative Studies at Arizona State University, and past fiction editor for Superstition Review’s Issue 19. She is currently working on a project with the Osher Lifelong Learning Institute, which will enable OLLI students to connect with traditional ASU students through shared narratives. The project will encourage students to share true stories about their lives with classmates in order to strengthen empathy and open communication across generational divides
Way to go, Rae!
It is with a heavy heart that we here at Superstition Review would like to remember Adrian C. Louis, who passed away September 11, 2018. Louis was a two time contributor with us and we’d like to express our most heartfelt condolences to his loved ones. It was an honor to read and share his remarkable work. Here is Louis’ poem “Brother Bear,” which was published in our first issue.