Today we are pleased to feature artist Sarah Morejohn as our Authors Talk series contributor. In this podcast, Sarah discusses her five drawings: “Blue-Green Anise Mushroom,” “Crystallizing Almond Mushroom,” “Freezing Pine Spike,” “Pink Earth Tonguled,” and “Strawberry Blite,” that were featured in Issue 21 of Superstition Review.
Sarah describes these pieces as “dreams and diaries; repetitions that catch the flow of thought.” She illustrates how each drawing “is made with small, intricate dotted lines” on a piece of printmaking paper, and that “the drawings have a center, with shapes growing or navigating outwards from that center.” All of the drawings, she states, “were inspired by snow crystals,” based on a recurring dream of catching snow crystals in her hand after a hometown blizzard.
“I have been naming my work after plants and mushrooms that are primarily found in Oregon,” Sarah declares, adding that she often uses guidebooks for inspiration. “I will find a common name or likeness that resonates with the drawing,” Sarah continues, and will name the piece after it’s finished. She concludes by referencing “a phrase that I once wrote in an old sketchbook of mine: ‘Drawing is matter set into motion,’ and responds that “I must have meant that imaginatively.”
You can view Sarah’s five drawings in Issue 21 of Superstition Review.
Today we are pleased to feature artist Paula Izydorek as our Authors Talk series contributor. In this short video, Paula discusses five paintings from her series titled (Self) Worth, as well as her overall artistic proclivities.
Paula declares that one thing she truly enjoys about (Self) Worth is that “the image itself repeats, but the composition changes based on the wood grain,” or the materials of production. While each painting is a self-portrait, they are not exclusively portraits of Paula alone; as she states, “I like to have the viewer put themselves in the place of the face that’s in the abstract composition, and to review your own self-worth.” That way, she emphasizes, viewers can identify with the story being expressed, and “connect with the image based on their own personal experience.”
As she concludes, Paula expresses her desire that each viewer will be able to “identify with the energy around the subject, rather than get lost in the subject as a portrait.” That way, she stresses, viewers will be able to use the work as a gauge to “evaluate…where you want to be with regards to your self worth.”
You can view five paintings from Paula’s (Self) Worth series in Issue 21 of Superstition Review.
Today we are pleased to feature author Anna Geary-Meyer as our Authors Talk series contributor. In this podcast, Anna discusses the process of creating her short story, “Natural People,” which she says was “born through a writing exercise.”
Anna describes how one day, in a writing workshop sponsored by The Reader Berlin, she was given an assignment to write on the mythical “Adaro” creature. Based on her having worked in several different startups at the time, she “ended up fashioning this…merman-like spirit into a hyper-exercised, hyper-optimized boss character,” who acts as a negative force in the life of the protagonist. This, she says, relates to the overall theme of animals in her story, and the degree to which they’re found throughout the piece.
Anna states that the “crux of the story is the main character’s realization that, to find a home in the world, she has to make one herself,” and that, while “I didn’t write with this theme in mind, it’s where I was at as a person.” She continues that the main character “could only really begin to find a home in herself and her environment…when she accepts this feeling of being lost”, which occurs both literally and metaphorically. Eventually, Anna concludes, the main character is able to “find a rhythm in her own body.”
You can read Anna’s story, “Natural People,” in Issue 21 of Superstition Review.
Today we are pleased to feature author Melissa Olson-Petrie as our Authors Talk series contributor. In this podcast, Melissa discusses the inspiration behind her short story, “To Walk Chalk.”
As Melissa reflects on the story, she says that she’s “surprised by how much family lore has been an inspiration.” To her, she says, “the biggest inspiration was the setting: a Victorian house my great-great-grandfather built in 1898, in a Wisconsin town known for its tobacco farming.” She describes an experience that she had as a twelve-year-old, where she was told that “they embalmed people in the basement,” and how it “gave me a Gothic twist on a seemingly typical Victorian home.”
In addition, Melissa explains the meaning behind the phrase “To walk chalk,” and its relationship to field sobriety tests. She says that the phrase “seemed to resonate with the struggles and the whiskey consumption of the main character.” She describes the police scanner that her grandfather would periodically use to “see what was happening across town,” and how this true-to-life detail “took on new significance” in the story. In the end, she says, “every once in a while” as she writes stories, details like these will “come back, like an unearthed gemstone.”
You can read Melissa’s story, “To Walk Chalk,” in Issue 21 of Superstition Review.
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 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 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.