An Interview with Soojin Kim

Soojin J. Kim is a multidisciplinary artist who works and lives in Korea and the U.S. Her interest in food as a subject started from the memory of her father and has begun to transcend into the investigation of social and cultural meaning embedded. American sweets during Korean War in the 1950s are her most researched subject. For her, it is the indication of the loss of her father and a signal of the disappearance of traditional values in Korea due to the spreading of pop culture influenced by the United States.


This interview was conducted by our Art Editor Ashley Gaskin via email. Keep reading to learn more about Soojin’s history and how she incorporates it into her art. To see more of her work, check out her website and Instagram!

CrackedOreoNo.111_66x42_ConteCrayonOnPaper_2021.jpg
Cracked Oreo No.1114
2×66, Conte Crayon on Paper, 2021

Ashley Gaskin: In your bio, you said that your memory of your father and his Korean War experience fueled your affinity for American sweets. Can you talk a little more about that?

Soojin Kim: During the Korean War (1950-1953), most Koreans including my father’s family became refugees. The country was really poor even before the war and the war made it worse. The U.S. was the biggest portion of the UN Army that helped South Koreans fight against North Korea, China, and Russia during the Korean war. When the war was over, my father was about 5 years old, enough to remember during and the post-war hunger.

 One of his favorite stories to tell me (He told me more than thousands of times) was how he was good at running after and speaking in English to G.I.s to get American candies. Each time he didn’t forget to mention that American candies are the best. 

For as long as I remember, he always carried candies and chocolates in his shirt pocket every day. It’s a bit funny and sad at the same time for me to say that when my father died, he didn’t have any of his own teeth left. I can’t think of my father without American sweets.

AG: You also mention that you studied electrical engineering before switching to art, has the idea of pursuing art always been something in the back of your mind, or did you have an experience that pushed you toward pursuing art?

SK: My father was really good at drawing cartoons. My mom said that she fell in love with him because of his love letters filled with cartoons. When I was young, I spent a lot of time with my father drawing and painting together. Both my father and I didn’t think of pursuing it as a career but art was always with us.

AG: I saw on your website that you are very involved in your community. There are many pictures of you leading kids’ to make art related to food and other instances where you brought people together through art and food.  Can you describe what your community means to you and how you became involved in it?

SK: When I came to the U.S., diversity became a substantial issue in my life for the first time, since South Korea was an extremely homogeneous country. Since then I always thought it would have been nicer to experience different cultures earlier. 

So, as a Korean artist who resides in the U.S, I thought maybe it’s my role to provide a bit different cultural experience to the community. I enjoy working with children talking about art and food and learning from each other the way how American sweets came across to my father’s heart.

AG: I noticed that you draw Oreos primarily. What is your drawing process like?

SK: I break Oreos first. Hammering and taking pictures of them is the ritual before I start the drawings. I have a photo library of hundreds of cracked Oreo images. I make compositions by picking cracked Oreos from my image library. I seek balance, harmony, and contrast between black and white like in Asian ink drawings. The rest of it is rendering an image using a Conte crayon on heavy texture paper. Paper texture is essential to creating a cookie illusion.

Cracked Oreos No.5
42×60 Conte Crayon on Paper, 2017

AG: Are there any projects that you are working on or plan to work on that you would like to discuss?

SK: I am working on the artist’s books and media installations to present the historical narratives behind my work. Like the stories of my father can become an illustrated book at some point.  I also looking into my memories with other family members. Some mysteries got solved just because I am old enough or because I learned the cultural & historical background like my father’s obsession with American sweets. Those are my interest, and I would like to make a visual presentation of them. 

AG: What advice do you have for aspiring artists?

SK: There are many different ways to be an artist. For me, listening to my true voice and to express is my ultimate goal as an artist. I can suggest the same thing to aspiring artists if they are interested in my kinds of art. Listen to your voice and find the right medium that you enjoy working with will do the job.

An Interview with Bianca Rivetti Burattini

An Interview with Bianca Rivetti Burattini

São Paulo based artist, Bianca Rivetti Burattini, has been developing her art for several years through a span of different mediums, from traditional to digital art. Originally an Architect, Rivetti has incorporated different facets of color and composition knowledge within her craft.

Through fine art and illustration, Rivetti focuses on creating bold, colorful works that are heavily inspired by Brazilian culture, biodiversity, the female form and an overall feeling of wonder towards the world through a blend of pop art and fantasy.


This interview was conducted by Ashley Gaskin, our Art Editor for Issue 29 via email. We’re so excited to share Bianca’s work and the inspirations behind it! We highly recommend checking out more of Bianca’s beautiful work on her website, Instagram, and TikTok!


Perdida no Mar / Lost at Sea by Bianca Rivettia Burattini

Ashley Gaskin: In your artist statement, you mention that you were originally an architect. Can you describe how architecture has influenced your art?

Bianca Rivetti Burattini: Of course! I started architecture school when I turned 17 and, I think like everyone at that age, I didn’t have a good sense of what I wanted for my life and was very immature when it came to dealing with clients and whatnot. I began working the next year and it helped me better understand the compromises necessary to create a good creative project and how to process and adapt to feedback!

Another thing that I feel architecture gave me is a greater notion of space and distribution, which I apply to my pieces. I believe that in order to break rules of composition, you need to know how to work with them, and architecture school really helped me strategize and develop my ideas in a more organized and based way. Since my “natural” art process is very chaotic and messy I used to lose things along the way, now I have more purpose when creating.

AG: When did you realize that you wanted to pursue art and can you talk about your art journey a little more? Did you always know what kind of art you wanted to create?

BRB: Well, I learned how to draw with my mom who used to draw for me when I was a baby, while we ate. Since I can remember, art is the way that I am able to better express myself and has helped me deal with my anxiety from a very young age. Essentially, I believe art is a tool to better understand myself and express different ideas.

However, I never thought that art could be something to make a living out of, which is why I went on to study architecture. I graduated a week before the first pandemic shut down here in Brazil and had to go to two surgeries that left me unable to move very much for around eight months to a year. So, the world was in shambles and I couldn’t do anything out of bed essentially, and a friend of mine asked why I never posted my art before. I couldn’t think of a decent enough reason other than it stressed me out (haha!) so I started posting and people started asking me if I sold art or did commissions, so I began doing those and researching how art could potentially be a bigger part of my income. I’m still at the beginning of this process but have learned a lot during the last year and a half.

As for the type of art I wanted to create, it changes A LOT depending on my mood or what I’m in the mood for. I love experimenting with different materials and aesthetics and have been this way my entire life. Pop culture and surrealism are things that I’m very drawn to, as well as a more fantastic vibe I believe? So, these references reflect themselves in my art. Another thing I’ve never thought would be so big in my work is the use of color, which began during college. The power of color is incredible to me and is something I had never experimented with before.

AG: Also in your artist statement, you say that your, “Brazilian culture and its biodiversity” has greatly influenced your art, in what ways has your culture come through in your art?

BRB: God, I don’t think I can pinpoint that super specifically. It’s everywhere in my work, either in clearer ways such as our plants and animals or in more abstract lenses using folklore, our cities, poems and music as inspiration!

I also believe that, since I’m Brazilian and currently live here, everything around me is an influence, and our customs and day-to-day life also come through in my work. I hope that made sense. It’s difficult to explain what our culture means to me when I’m so immersed in it all of the time!

AG: I noticed that many of your artworks have a hint of the ocean in them, for example, your work “Lost at Sea” has the subject enwrapped in a scarf of fish. What has influenced these kinds of compositions?

BRB: Yes! I’m so glad you noticed it and it is connected with your last question, actually! I live very close to the ocean and growing up we were always either at the beach for competitive swimming or exploring coral reefs, etc. I even wanted to be a marine biologist for many years from a very young age and always researched the sea. It’s a big part of who I am and a big part of my memories.

Another way the ocean may appear in my work, or art in general, is through the influence of other media. For example, the poem “Ismália” is a Brazilian poem about a woman who became herself through death, once she accepted her madness and threw herself at the sea to be one with the moon. It’s a heavy poem but one that brought me a lot of comfort when I was younger and struggling and it still shows up in my work from time to time.

AG: You said in your artist’s statement that your subject matter is a “mix of pop culture and fantasy”. What led you to create art in these styles?

BRB: Well, like I said, to myself, art is the main way in which I explore my feelings and emotions, and from a very young age cinema and animation were very comforting to me. I think that sense of wonder and exploration that art can bring you is very difficult to replicate and once a work speaks to you, at least for me, you end up searching for all those little details and building a narrative inside your mind. I think it can even be a form of escapism. So I think the thing that led me toward this style is that little kid inside my head, that has a very creative imagination!

AG: What other artists have influenced or inspired you?

BRB: Gosh, so many! The first artist I really connected with was Van Gogh ( I know, cliché haha) because of how his brushwork attracted my attention when I was very young. Another one that has a very similar effect on me is Hieronymus Bosch, I could stare at his interpretation of the deadly sins for days on end and not get tired. I also believe that visual art doesn’t have to be inspired directly by visual art. Fernando Pessoa and Alphonsus Guimaraens are strong sources of inspiration, lots of animation studios (like Cartoon Saloon, Studio Ghibli, Disney, Laika, Ponoc, Filme de Papel, etc), series, cinema, etc! Even my friends who are writers and artists greatly inspire me.

SR Staff Book Picks

SR Staff Book Picks


We’re back with another installment of SR’s book picks. Here are some of the books the SR staff is reading right now along with some of our all-time favorites. Happy reading everyone!

What we’re reading right now:

Our trainee Guillerly is reading Cthulhu Mythos Tales by H.P. Lovecraft. She likes “The in-depth descriptions of the environment. She says “it’s very immersive.”

Teri, our Content Coordinator, is reading Fever Dream by Samantha Schweblin because “The exclusive use of dialogue to tell a mind-bending and eerie story is unique and striking.”

For her fiction writing class, Hannah, one of our Fiction editors, is reading The Art of the Novel by Milan Kundera. “I like that Kundera looks at the novel as something profound and an exploration of the self,” says Coleman.

Bailey, our trainee, is reading The Ballad of Songbirds and Snakes by Suzanne Collins. She says, “I like the Hunger Games series and was excited to see the prequel come out. It’s been on my list to read for a while.”

What we’re reading next:

Daniel, a Fiction Editor, is going to read The Treasury of the Fantastic edited by David Sander & Jacob Weisman. He says that he’s “recently become interested in reading fantasy stories that were published before Tolkien’s time. This anthology brings together fantasy stories written by the greatest writers in the 19th and 20th centuries.”

Our Advertising Coordinator Au’jae says that she is, “reading The Source of Self Regard by Toni Morrison next because she is one of my favorite authors, and as someone who struggles to be immersed by nonfiction, this book of essays should be immensely interested given Morrison wrote it.”

Khanh, our Editor-In-Chief, says, “I’ve been reading non-fiction for a while now, so I’d like to return to fiction with On Earth We’re Briefly Gorgeous by Ocean Vuong.”

Taylor, the Blog Editor, will be reading The Scene Book: A Primer for the Fiction Writer by Sandra Scofield. “I’m excited to read this to gain better insight on how to become a better writer and how to write a great scene,” she says.

What we recommend:

Ashley, our Art Editor would recommend The Midnight Library by Matt Haig. “I just finished this book and it changed my perspective on life. It also calmed my anxiety and stress more than I thought it would,” she says.

Interview Editor Veronica recommends Crying in H Mart by Michelle Zauner. “It was an incredibly touching, lyrical memoir, and I cried in every single chapter. It explores Zauner’s relationship with herself, her mother, and her experience as an Asian American woman. The complexities of that exploration were something that I definitely resonated with, and I think even those who don’t identify as Asian American would still love this stunning memoir.”

Anna, a trainee, says her favorites are The Host by Stephine Meyers “because it was my first starter sci-fi type book” or the Fablehaven series by Brandon Mull “for people who like more realistic fantasy.”

Kate, a Social Media Coordinator, “recommend[s] Eckert Tolle’s novel The Power of Now. It offers valuable tips on how to practice mindfulness, which has been helpful given my busy schedule!


We hope that you enjoyed our book choices and gain inspiration for what to read next. Tell us what you’re reading in the comments below!

Jesse Lee Kercheval Interview and Essay

Jesse Lee Kercheval Interview and Essay

Jesse Lee Kercheval

Jesse Lee Kercheval is a writer, translator, and graphic artist. Her recent books include the short story collection Underground Women and La crisis es el cuerpo, a bilingual edition of her poetry, translated by Ezequiel Zaidenwerg, published in Argentina by Editorial Bajo la luna. Her recent essays and graphic narratives have appeared in The Sewanee Review, Blackbird, Brevity, The New England Review, and The Quarantine Public Library.

This interview was conducted by Paress Chappell, our Nonfiction Editor for Issue 28 via email. This post also features one of Jesse’s essays, Typhoid Blue. We’re so excited to share her work and the inspirations behind it!


Paress Chappell: What have you been writing during the pandemic?

Jesse Lee Kercheval: I think my illustrated essay, “Typhoid Blue,” that you are featuring is the answer to that question. I started writing essays.  I’d already written a whole memoir, Space, about growing up during the moon race so I am not new to nonfiction, but I had always been frightened of essays. Then suddenly I was locked down in Montevideo, Uruguay in the first days of the pandemic and I just started writing essay after essay. One of the first, “The New Troy,” about Montevideo and all its plagues was published in Guernica with a photo of my neighbors tango dancing on the roof of their high-rise. 

The other thing I took up was drawing—just to get away from my computer and have something to do while confined to my rented apartment. I bought a box of colored pencils at the supermarket and started drawing—really, for the first time in my life. 

Then I began putting the drawings in my essays. “Typhoid Blue” is one. It deals with a long time interest of mine in the life and poetry of the French surrealist poet Robert Desnos. His life story is important in my novel, My Life as a Silent Movie. And I have written a number of poems inspired by his work. One, “Next Tuesday” appears in my poetry collection, America that island off the coast of France. Robert Desnos even has a connection to my interest in silent films. He wrote a long poem “La complainte de Fantômas” based on the popular crime novels about a master thief. The Fantômas books were also turned into an equally popular silent movie serial by the great French director Louis Feuillade. That movie had this amazing poster.

Fantômas (1913)

Another of my illustrated essays (“The Fox Sister”) just won an Editor’s Choice Award will be out soon in New Letters. It is about actual foxes, the early spiritualist Fox Sisters, and a Korean folk tale about a changeling fox sister who eats her human brothers. And another, a full graphic essay or comic, “Falling” —about breaking my back when I was ten, 9/11, and the pandemic—was published in Waxwing. 

Now I am easing off the essays a bit and back into poetry. I have a new collection of poems, I Want To Tell You, coming out from the University of Pittsburgh Press. But I am still drawing like mad. Art was the one gift the pandemic gave me.

PC: Why did you decide to become a translator and how has that opened doors for you in the literary world?

JLK: In 2010, I decided I wanted to learn Spanish. I had a sabbatical and, for completely random reasons, I choose Montevideo, Uruguay as the place I would live and study. I did not set out with the intention of translating poetry—learning Spanish over fifty seemed challenge enough! I spent the sabbatical just going to language classes and trying to live a normal life in a different language. But I did begin reading Uruguayan poetry. Then, when I returned to visit Uruguayan friends, I began going to poetry readings. Uruguay is a small country (3.3 million people) but one FULL of poets. In Montevideo, there are poetry readings or events most of the nights of the week. It is also country with a strong and unbroken chain of poetry by women. 

As I quickly discovered, almost none of this work was available in English translation. So I started work on my anthology, América invertida: An Anthology of Emerging Uruguayan Poets (University of New Mexico Press, 2016) which features the work of young Uruguayan poets, each paired with an American based poet/translator. That book turned out to be a whole wonderful project. I placed many of the poems in literary magazines. I took three of the poets on a reading tour around the U.S, including the Library of Congress and the Associated Writing Programs annual conference. We were even featured on Chinese television. Many of the individual poets in the anthology have gone on to have books published in the U.S. And I have gone on to translate books by Uruguayan poets such as Idea Vilariño, Circe Maia, Tatiana Oroño, to co-translate others and edit several more anthologies as well.

Translation opened the doors to not one, but two new literary worlds for me. The world of Uruguayan poets, which is very much my second home now, but also the world of translators, who are wonderful, generous people. I tell my students it is worth studying translation just to be able to spend time with other translators. 

And translating made poetry gave me another great gift. It made poetry come alive for me again. After years of reading, teaching, writing poetry—I think I had become a bit numb to it. But reading, hearing, really trying to understand poetry in another language brought the magic back. I also love this moment where, perhaps because we are living through this pandemic, literature is getting wonderfully hybrid, in all the senses of that word. 

So maybe to tie all these obsessions of mine together, I should write an illustrated lyric essay about an Uruguayan silent film. Honestly, that is a very tempting idea!

PC: What’s the connection between your writing and your interest in silent films?

JLK: Ah, there you touch on an obsession of mine that predates drawing. My husband was a special archivist at the Wisconsin Center for Film and Theater Research. He first went to a Le Giornate del Cinema Muto/ The Pordenone Silent Film Festival in 2000. The festival is the premiere location for screening silent films made from 1880s into the 1930s. He suggested I might like to go the next year. I thought, Italy! Of course, I want to go! But I thought I would sit in a cafe and write poems, not attend the movies. Instead, I ended up watching films from 9 am to 1 am—nearly without stop—for the entire eight days of the festival. It was like finding the lost world of Atlantis. And then I began writing poems about the films. These eventually became my book Cinema Muto (Southern Illinois University Press, 2009) which takes the form of the eight days of the festival. 

I attended Le Giornate del Cinema Muto every year right up until the recent pandemic pause—eighteen years. And I still love silent films.


Typhoid Blue

Do poems exist? After a plague year, nothing is a poem to me anymore. Or everything is. 

In 1924, in his surrealist manifesto, André Breton said, “We are living under the reign of logic, but the logical processes of our time apply only to the solution of problems of secondary interest.” 

But we are not living in logical times. Breton, writing four years after WW I, a decade and pocket change before WWII, was not either.  

Now, everything I draw is blue.

Blue lips. I am giving everyone blue lips.

The poet Robert Desnos was a surrealist before Breton expelled him from the movement. In 1945, he died of typhoid in Terezín concentration camp a month after the camp’s liberation. In severe cases of typhoid, the lips and fingernails may turn bluish in color. 

Or so it says in a very old article, as old as Desnos’ last poem, said to have been found on him when he died:

Le Dernier Poème

J’ai rêvé tellement fort de toi,
J’ai tellement marché, tellement parlé,
Tellement aimé ton ombre,
Qu’il ne me reste plus rien de toi.Il me reste d’être l’ombre parmi les ombres
D’être cent fois plus ombre que l’ombre
D’être l’ombre qui viendra et reviendra dans ta vie ensoleillée.

Except his poem never existed. 

A Czech newspaper published his obituary, which ended with a part of Desnos’ poem, “J’ai tant rêvé de toi” (I Dreamt About You So Much), translated into Czech by a Czech poet, Jindřich Hořejší. When it was republished in France, the sentence was retranslated into French again. 

A poem that never existed—existed. And made people weep. 

The French newspaper said he had written “Le Dernier Poème” for his wife Youki Desnos. Youki means snow in Japanese. When I draw snow—I add blue. White, white alone is never cold enough. Except Desnos’ wife wasn’t Japanese. Her name was Lucie Badoud and Youki was a nickname given to her by her lover Tsuguharu Foujita before she left him for Desnos.

In his portrait of Youki, Tsuguharu Foujita uses on the slightest touch of pale blue for her eyes.

The poem Desnos never wrote Youki from Terezín ended up engraved on a wall behind Notre Dame Cathedral that is the memorial to the 200,000 French deportees to Nazi death camps. President Charles de Gaulle inaugurated it in 1962, before anyone discovered the mistake of the double translation. 

Once a poem is engraved in on a wall, can there be any doubt it exists?

The poem is even famous in English:

Last Poem

I have dreamt so very much of you,
I have walked so much, talked so much
Loved your shadow so much,
I have nothing left of you.
All that remains to me is to be the shadow among shadows
To be a hundred times more of a shadow than the shadow
To be the shadow that will come and come again into your sunny life.

And there is also no doubt that a shadow of a shadow of shadow is blue, blue, blue. 

Wave after wave.

André Breton’s surrealist novel Nadja is dotted with photos, most of them random, found art that make a story even more surreal—perhaps not unlike the illustrations in this essay. But Nadja also includes these photographs by Man Ray of Robert Desnos sleeping. The young Czech medical student, Josef Stuna, who cared for  Desnos’ last days in Terezín, recognized him from the book. The caption on the photos in the book reads: “Once again, now, I see Robert Desnos . . . ”

It didn’t save him.

Besides the story about the fictional last poem, there is another one from the camps about Robert Desnos, this one probably true. The scholar Susan Griffin tells it in her article “To Love The Marigold: Hope & Imagination.”

I am thinking of a story I heard a few years ago from my friend Odette, a writer and a survivor of the holocaust. Along with many others who crowd the bed of a large truck, she tells me, the surrealist poet Robert Desnos is being taken away from the barracks of the concentration camp where he has been held prisoner. Leaving the barracks, the mood is somber; everyone knows the truck is headed for the gas chambers. And when the truck arrives no one can speak at all; even the guards fall silent. But this silence is soon interrupted by an energetic man, who jumps into the line and grabs one of the condemned. Improbable as it is, Odette told me, Desnos reads the man’s palm.

Oh, he says, I see you have a very long lifeline. And you are going to have three children. He is exuberant. And his excitement is contagious. First one man, then another, offers up his hand, and the prediction is for longevity, more children, abundant joy.

As Desnos reads more palms, not only does the mood of the prisoners change but that of the guards too. How can one explain it? Perhaps the element of surprise has planted a shadow of doubt in their minds. If they told themselves these deaths were inevitable, this no longer seems inarguable. They are in any case so disoriented by this sudden change of mood among those they are about to kill that they are unable to go through with the executions. So all the men, along with Desnos, are packed back onto the truck and taken back to the barracks. Desnos has saved his own life and the lives of others by using his imagination.

And at least one of them lived to tell this story.

It wasn’t Robert Desnos.

“I have walked so much, talked so much”—an imaginary Desnos says in his imaginary “Last Poem.” 

I think he would have loved being that imaginary, to be honest. 

Not all blues are dark blue. 

I should draw Desnos and color his eyes the same light blue as Youki’s. Instead I draw this.

Do poems exist? 

Do paintings?

Reviewing and Interviewing with Kate Cumiskey

Reviewing and Interviewing with Kate Cumiskey


Kate Cumiskey lives with her partner Mikel in coastal central Florida. She has a social justice novel, Ana, forthcoming with Finishing Line Press, and a biography, Surfers’ Rules: The Mike Martin Story, forthcoming with Silent e Publishing; both will be out in late 2022. She is currently concentrating her writing to reflect her perspective of social justice without judgement or paternalism as regards homelessness, and continuing her work in meeting the needs of homeless human beings in her community. She also leads efforts locally to ascertain safety and educational fidelity for students within the public school system through boots-on-the-ground advocacy. 

Our Poetry Editor, Bree Hoffman, read and reviewed Kate’s recent book of poems, The Women Who Gave Up Their Vowels and was lucky enough to also interview Kate about the book. The interview was conducted via email.


Bree Hoffman: “Candor” is the first poem in your book, and it lives up to the name by truth-telling right away. What was your thought process when opening the book with “Candor,” and what is the desired effect for the reader? 

Kate Cumiskey: I’ll start with answering the second part of this question. This poem, I hope, serves as a bit of a warning to readers, “there be dragons here.” I don’t want readers to be surprised by the literal candor in the book. It’s important to me that writers speak truth, and with this book I particularly wanted to focus on truths we don’t normally speak out loud, but which do keep us isolated in that they make us feel alone. In fact, such things as hemorrhoids, death, and rape, while two of those are fortunately not universally shared, are common and lose a bit of their power when acknowledged as such. I had been struggling with a bit of inertia when this book was initially accepted by Finishing Line Press – how do we speak truth in such horrific times? – and I reread Candor to get myself back into the fray of writing what is happening to all of us, right now. FLP was gracious enough to allow the book to change with the rapidly changing, deadly times through the publication process. Candor had originally been the title poem of the book, but that too changed through this process. The title reflects my own grappling with deliberately losing my deep Southern drawl as a married teenager living in California, where nobody deigned to speak to me in public. I trained the South out of my voice, and I miss it. This book is an attempt not to recover those vowels, but to speak, now, with the voice I’ve developed on issues which are absolutely vital to me. So, Candor is a warning for readers.

BH: In poems such as “Dirge” and “Favoring Boys” your activist roots come through. How does activism influence you as a writer, and how do you hope to factor them into your work in the future? 

KC: It is interesting that you choose “activist roots,” as I think of this book as very active in voice, and independent from my roots, so to speak. I do not tend to think of my parents as activists, but you are spot-on; certainly they were, both of them. I hope it is evident in the poems that my mother and I had a very complex relationship, but she was in fact the bravest person I’ve ever known. She did things I’d never dream of, and that I’d consider down-right dangerous, for example, always picking up hitchhikers no matter what, until literally the week before she passed away in 2017. That’s activism. She also reserved judgement on people outside her own circle, such as homeless individuals panhandling, saying judgement was for God-she’d give out money and when less radical individuals called her on that, saying, “what if they spend it on drugs?” She’d say, “It’s a tough life, maybe that’s what they need to get through the night.” My father was a NASA pioneer, and even though his designs were crucial to getting humans to the Moon and our technology into interstellar space, when I asked what he was proudest of in his career, he replied, “I couldn’t keep a secretary. Every one of them out-degreed me and went on in the Program. I helped them all do that.” Activism in the workplace, helping females move forward in what at the time was absolutely a male domain. So, yeah, activist roots. Right now, I’m working on a series of poems about withholding judgement. In fact, one of the central poems to that book, Cokeheads I Have Known, is forthcoming in an anthology, The Literary Parrot, Series Two. I am pushing myself hard to speak about our shared humanity, and to encourage readers to strive to leave judgement behind. Again, there be dragons here. It’s hard to examine your own boundaries.

BH: I noticed recurring themes of motherhood and generational trauma several times. Could you discuss why those themes resurface in your work? 

KC: Again, you bring up something about the book I’d not noticed! Brava; I love it! I remember discussing what I was most concerned about in my work with my dear friend and mentor, Robert Creeley. He’d asked, and I responded, “Being labeled a ‘domestic poet’.” He replied with his fabulous candor, “Well, you are a domestic poet, but you’re in good company.” He was saying he too was a domestic poet. That long-ago conversation freed me of the concern, and I allowed my work to truly reflect my domesticity–what’s more domestic than parenthood? I took a sort of semi-conscious approach to this book, letting it be whatever it wanted to, even to the point of playing with, allowing myself to play with, voice in person. That evolved into my writing some of the easier poems first person, and dealing with more difficult topics, like that generational trauma you cite, in second person, and letting the poems stand that way. It’s subtle, but there, and I hope creates a bit of chaos and discomfort and puzzlement in readers. Like trauma does. I believe the deepest root of that trauma goes back to my father’s loss of his parents before he was eight; he was a Mississippi Depression orphan, son of a sharecropper and a teacher, and although he missed them, as a practical Christian he knew he would be with them again, and told stories about them as if they were just away for a while. Which, from a Christian perspective, they are. So, I really missed my grandparents growing up. In fact, as a small child in school I was confused by other children having two sets; I thought of my Atlanta grandparents, my mother’s, as my father’s parents, too, before such things were explained to me. It came as a real blow that I had missing grandparents. This deepened as it became very apparent I most resemble my paternal grandmother, who was also incredibly domestic, and a teacher; my mother was decidedly not. In fact, because I loved these things and she didn’t, she had me take lessons in sewing, cooking, even deportment and etiquette. Because back in the day a woman should be graceful and I was clumsy as a child, I also took dance lessons for several years; I still love to dance. As far as my work, the obvious answer is also that I use these underlying specificities in my past to attempt to connect with readers. It is important to me that each reader experience each poem differently; what the reader brings to the reading through their own past is as important to me as the words on the page.

BH: What advice would you offer to our readers about writing? 

KC: Connect! Read! Reach out to writers whose work speaks to you, if they are living, and ask the questions you are burning to ask. Ask for help. If you are stuck too deeply in your own, isolating experiences, force yourself to look outward and write just what you see, sans analysis. Take a piece of rotting fruit, put it on the table, smash it to bits, and sit down and write that. Keep the self completely out of the work. That’ll get you writing. Work outward from there: write the doorway, then the hall, then the threshold. Then, write what’s outside that door.

BH: What does your personal writing process look like when you are building a book of poetry? 

KC: It’s a mess! In fact, I’ve recently opened an office in a classic old building in order to grapple with my lack of organization, and am working on a schedule. Seriously, although outwardly I’m a bit of a mess, I’m actually pretty organized and disciplined. I keep poems in print and on the computer, and when they start to build up in number, I have a serious look at them to see if they belong in a group, in a book. And I am always sending out finished poems to find a home in a journal or anthology. My mentor Mark Cox worked hard with me on how to put together books when I was in graduate school, and I still use his method, which is deliciously physical. I find a space with a large surface area – The Women Who Gave Up Their Vowels was put together in my brother’s beautiful kitchen, in the afternoon overlooking Turnbull Bay, Atlantic Center for the Arts just visible on the opposite shore–and lay out the printed verses. I choose the opening poem, and circle until I find the poem which calls to it, which wants to be next. I keep going until the book is finished. Any poems left I simply hold for another day. Another book or spoken word venue.

Kate’s brother’s kitchen: assembling the book

Review

Kate Cumiskey’s, The Women Who Gave Up Their Vowels, is her latest and perhaps most intimate book of poems published thus far. In a recent interview with Superstition Review, Cumiskey said of its origins: 

“The title reflects my own grappling with deliberately losing my deep Southern drawl as a married teenager living in California, where nobody deigned to speak to me in public. I trained the South out of my voice, and I miss it. This book is an attempt not to recover those vowels, but to speak, now, with the voice I’ve developed on issues which are absolutely vital to me.” 

The Women Who Gave Up Their Vowels expands on this promise, and provides a candid, autobiographical collection of poems relevant to Cumiskey’s lived experiences. This includes the appropriately titled, “Candor,” a poem that opens up the collection and lives up to its name.

Cumiskey’s writes,

Write your history; write that fear at 2 a.m. the night
your son overdosed. Write tile beneath your knees.
Write rats in the kitchen, raccoons in the roof, your dog
over the fence, gone all night.

I found Cumiskey’s poems to be moving and sincere in their attempts to reclaim ownership over her lived experiences. Her poems cover topics including sexism, assault, politics, loss, and hope for the things she cannot fix. It’s hard to separate the author from the poems in this particular collection, because the two feel so intrinsically linked, and it’s readily apparent when reading them.

Cumiskey writes,

Bit by bit my body settles into age: fractious, screaming all the way
down. Only in twilight sleep I feel my lower jaw shift, relax, offset
to the right, the side I sleep on. My mouth clamps, thin-lipped, crooked,
and settles for sleep into Mother’s fighting look, the one she wears
when will not be moved. Then I can rest. And it feels good
like falling into my own skin.

(From “Just Lately I Feel My Body Settling”).


To purchase a copy of The Women Who Gave Up Their Vowels, head to Finishing Line Press. Congratulations and thank you, Kate!

An Interview with Keene Short

An Interview with Keene Short

Keene Short

Keene Short is a writer and baker in Spokane, Washington. His work has appeared in jmwwBridge Eight, Blood Orange Review, and elsewhere. In this post, we feature an essay of his, “Jeremiad,” along with an interview our Nonfiction Editor, Paress Chappell, conducted with Keene about the piece.


Jeremiad

Day 1

I wake up before dawn to drive to a small airport in Cascade, Idaho, in time for the one flight by bush plane into a research station in the Frank Church River of No Return Wilderness. I am the only passenger on the bumpy flight, the plane full of faded yellow and orange upholstery and a few remaining patches of brown shag carpeting. After the plane takes off and whirs over the Idaho wilderness, I look out at the tiny crystal lakes in the rocky ledges and drops below. The pilot flies close enough to some of the slopes that I can see the frost on the trees and the waves in the alpine lakes. There are so many unmapped, tiny lakes, as blue as veins. 

I am here for a short fellowship to write about climate change, history, and public land use, but I find myself mostly thinking mostly in religious terms. My parents and teachers framed the public lands system in the US for me as a model of an environmental utopia, an iteration of the commons shared co-equally among all humans and non-human animals. A paradise on Earth, the Kingdom of Heaven, easy and teleological. 

The one book I bring with me to the River of No Return is a copy of my father’s dissertation, Ronald Reagan and the Public Lands, which he expanded into a book and published in a limited run in 1989, predating my older brother by a year. It’s been on my shelf for a long time, but I only committed to reading it while spending a week writing in the same public lands my father would have studied. 

The plane lands bumpily in a long stretch of grass next to a tributary of the Salmon River called Big Creek. The pilot pulls a lever repeatedly to start the brakes, and the plane finally stops just short of the research station’s only human inhabitants waiting in the cold to greet us: Pete, the manager, his 9-year-old daughter, and five college students staying the in the fall for a semester’s worth of credits. The sun is still behind the mountains, and the air will be cold all morning, they tell me. 

I settle into the situation: No phone service and only a few hours of internet slower than dial-up during the day when the sun hits the station’s row of solar panels. There is one electrical outlet in my cabin, which I use to charge my laptop, also only when the sun hits the solar panels. There is no heat, and I’m not permitted to use the fireplace this late in the dry season. 

I write a few paragraphs in my cabin, then wander up the grass landing strip. I follow a deer into the brush who lets me get startlingly close in a shady trail next to the landing strip, munching on this and that, looking up at me with an unreadable expression. 

Day 2

Outside my cabin is a grassy field that ends at the row of solar panels. The river separates the field from the blond-grey mountainside, crisscrossed with ponderosa pines. The research station, with so few humans living so far off the grid, feels like the setting of a post-apocalyptic novel. This shared, off-the-radar community blends technological limits and twentieth-century agricultural methods to sustain itself, as if after some war or disease or atomic fallout. Maybe there are shades of utopia as well. Everything here is an extreme, and everyone here takes these extremes for granted. The cabin’s solitude, the river’s noise. 

My father breaks the old guard conservation movement into two sects: “the mystics, such as John Muir, who considered wilderness preservation to be an ‘act and obligation of worship,’ and the more pragmatic utilitarians, such as Theodore Roosevelt and Gifford Pinchot.” Both sects drew upon white settler colonialism, dividing the land according to what they wanted, a religious project of reorganizing stolen land rather than preserving it. 

When I hike upstream in the early afternoon sun, I’m struck most by the burned trees that still loom over the trail from a series of wildfires. I pass three in a row on the trailside. I want to pick at them, strip off bits of charcoal, see how deep the damage goes. I want to see if there are still tree rings, what they might look like deep inside. I think of toasted marshmallows allowed to let burn to a crisp on an open fire, turning to ash on the outside but gooey on the inside. In the burned trees, will there be untouched streaks of sandy orange and sandal? Or will it be gnarled and drooping, the innards melted, disorganizing the lifespan of these ponderosa up until the fire? I want to peek inside and see proof of life. Does that make me a mystic? 

When I return, I peruse the library in the other half of my cabin, filled with taxidermized rodents and hawks caught in competition above the shelves. Most of the books are standard ecocritical texts from the last four decades. A lot of Terry Tempest Williams, a lot of Scott Slovic. A lot of Barry Lopez and Edward Abbey and Rachel Carson. There are few novels and even fewer books of poetry. For inspiration, I snatch the Ecocriticism Reader and the library’s copy of the Bible. 

When I finally sit down to write after a quick meal the sun is far below the mountain, and a bird flies into the window. I am in denial about the meaning of that awful low smack until I see the creature on the cabin deck. The bird’s chest and eyes move in equally violent rhythm. 

I don’t want a bird to die on my watch, and I don’t know how to help. I go to find Pete, but he is nowhere to be found. When I return, the bird is still there, but as I climb the steps, he hobbles onto his feet, his talons tight between the wood of the deck. He looks around, not cocking his head but unsure, rocking a little bit. The bird is in shock, I think, feeling my own heart speed up. The little body is in shock. 

I don’t know the species. His feathers are black with a white underbelly and chest. The creature is small, so so small. I go back inside to get a plate of water, spilling it on the way out again. The cabin door makes a short squeaking noise, a barely audible chipper. When I place the plate in front of him, the bird seems to jump and his eyes open much wider. I nudge the water closer, leaning in a little. The bird shakes a bit, then takes flight, giving one small squeak on his way out. I lift the plate, dump the water into a nearby flower pot, and go back inside, my hands shaking. I wonder if an omen is still an omen when the omen flies away again. 

Day 3

I read in the Book of Amos: “’But I gave you empty stomachs in all your cities and lack of bread in all your towns, yet you have not returned to Me,’ declares the Lord. ‘And furthermore, I withheld the rain from you while there were still three months until harvest. Then I would send rain on one city and on another city I would not send rain; one part would be rained on, while the part not rained on would dry. So two or three cities would stagger to another city to drink water, but would not be satisfied; yet you have not returned to Me,’ declares the Lord.’ I smote you with scorching wind and mildew; and sent locusts to destroy your many gardens and vineyards, fig trees and olive trees; yet you have not returned to Me,’ declares the Lord.” 

Mystics used to emphasize the land, air, and water in their prophesying, denouncing tribal kings for their iniquities with threats of very real earthly punishments attributed to God. The land gives and the land takes away. The prophets knew what they were doing when they warned of impending drought and famine and disease, when they warned of refugee crises and wars and political collapse, a central part of their rhetoric. 

Frank Church himself, a former US Democratic Senator for Idaho, is more difficult to place. He ran in the presidential primary election of 1976 as a progressive environmentalist, though he only won a few primaries in Western states like Idaho, Montana, and Nebraska before withdrawing when it became clear that the more moderate Jimmy Carter had sealed the nomination. My dad tells me that he volunteered with the radical environmentalist Church campaign as a college student, helping to put up posters for Frank Church with the Idaho Young Democrats. He always tells me this same story about the candidate: 

Frank Church came to Rupert, Idaho, my dad’s hometown an hour from Pocatello. He hung out after giving a campaign speech at the town’s high school and my dad stuck around too, asked a few more questions as Church waited for a friend to pick him up. I imagine him in a trench-coat, smoking a cigarette, talking shop with a college student version of my dad.

Forty years later, when I was a graduate student in Nebraska, it felt like a big deal when Bernie Sanders came to Lincoln, the state capital. Thousands of students skipped classes to wait six hours in line to hear him speak, waiting to pass through metal detectors and have their bags checked on the way in. A large crowd for a college town. I wonder if Frank Church drew a large crowd for a small rural town. I’ve been to Rupert so many times. It’s a community of farmers and immigrants, not the place a presidential candidate visits even in primary season, a small, isolated town that has only become smaller and more isolated.  

Day 4

I hike upstream along the river with my camera, along the dusty trails rising and falling, narrowing closer to the thrashing edge of the rapids and into the quiet grassy hills away from the river, its churning locomotion. Past the rapids and a set of caves I worry will be filled with bears, I cross a bridge, maneuvering myself between the looming post-burn charcoal pillars and the emergent stubble of regrowth. 

The Frank Church River of No Return Wilderness is on stolen and occupied Shoshone-Bannock and Nimiipuu land. The US began imposing restrictions on land usage first with the establishment of the Idaho Primitive Area in 1930, then the Wilderness Act of 1964, and finally the Central Idaho Wilderness Act of 1980, which Frank Church successfully sponsored. 

The land is useful today for scientific research, especially for the stability of the Salmon River in a changing climate, but the original purposes were more sentimental. According to the legislation, congress finds that “certain wildlands in central Idaho lying within the water shed of the Salmon River—the famous ‘River of No Return’—constitute the largest block of primitive and undeveloped land in the conterminous United States and are of immense national significance.” Through an act of congress, Frank Church was able to create a legally designated block of wilderness for its immense national significance. This is an act of mysticism, a gesture toward environmental utopianism.  

The Taylor Ranch has regulations to prevent overuse of resources, and it functions as something close to communal living. I share the kitchen and outhouse. We clean up the spaces and items we use. The regular inhabitants work in the garden, the farm, or with the water and solar rigs. In exchange for restraint, the land is renewable for another year. White Americans are new to this longstanding concept, and we’re still very bad at it. A bush plane flies in twice a week to bring supplies and relieve us of our garbage. 

A list of Pete’s commandments hang above the door to the kitchen and dining cabin, the common cabin, written on butcher paper in blue marker, emphasizing personal responsibility, solitude, and companionship. While cooking my morning oatmeal next to someone else boiling water for tea, the gas ovens go out, and the regulars jump to change the propane tanks, instinctively volunteering to maneuver the gigantic beige metal cannister as tall as I am to a storage place while hauling in another equally large cannister. 

For a while, I wonder if this is the kind of shared collaboration Hardt and Negri suggest is necessary to reestablish the commons, “produced socially, through communication and cooperation, by a multitude of singularities.” Roxane Dunbar-Ortiz, though, points out that Hardt and Negri’s limited idolization of the commons perpetuates settler colonialism by conveniently ignoring the Indigenous people whose land would then be shared in common by the colonists’ descendants. Even if proposed in good faith, the federal public lands system enacts a version of this erasure. Utopia for some is dystopia for the rest. 

I imagine someone like the prophet Amos visiting this place. I picture him quickly turning bored, running his hands through his long hair and getting itchy with cabin fever, biting his nails, pacing the library and looking out the window at the deer in the field, walking up to the windows in their grazing, wondering about the nervous, shaking creature they see inside. 

Day 5

The Sagebrush Rebellion, consisting of libertarian western landowners fed up with the environmental policies of the 1970s, plays a key role in my father’s analysis. White landowners, generations removed from the government-subsidized colonization of the 1800s, rebelled against the conservation policies that figures like Frank Church helped to enact. The environmentalist response to the Sagebrush Rebels’ theatrical protests was a carefully designed, science-driven counter-insurgency that “often employed research data in making their claims, in which environmentalists abandoned ‘their own brand of symbolism (invoking the founding fathers, for example) in favor of evidence.’”

Is this a pattern? The New Right, coalescing around Reagan, appropriated the environmentalist left’s strategies of symbolic rhetoric, and so conservationists shifted from mysticism to pragmatism. What strikes me is that ways of justifying land use, one way or another, are grounded in mythology more than history or sustainability. My father points out that both camps reached as far back as the Puritans, who “saw in the American frontier a ‘chosen nation in progress—a New Israel whose constituency was as numerous, potentially, as the entire people of God, and potentially as vast as America,” for a model of relating to the land. 

As I read this, I start to feel self-aware. I wonder how radical my dad used to be. I wonder about the Idaho Conservation League, the ecoterrorists he used to research, maybe even hung out with. I wonder, and then I worry. I’ve never known either of my parents to be radicals except in past lives, before they were teachers and back when they were students. I worry what the furnace of academia can do to people, about credentials, publications, tenure, administration with a corner office overlooking campus protests, above the fray, above where battle lines are drawn. 

Maybe the question for me is not between mysticism and pragmatism, but rather a more pressing iteration of the same dichotomy: Am I an activist or an academic? Will I make the practical decisions my parents made and simply study the rhetoric of environmental movements, or will I participate in those movements at the frontlines? Will climate change give me a choice? 

Day 6

I decide to hike the mountain today. The further up the trail I trudge, the more silent the wilderness becomes. The fabric of this place is deceptive. I wait for animals, anticipate them, turn my head and stop to listen, nervous each time I pass a thick ensemble of trees that I might encounter a bear. For the longest time, I see nothing but the odd grasshopper. 

My imagination wanders. I wonder what I could become in twenty years isolated here. There could be fires and floods to wash me out. I imagine myself alone like in so many post-apocalyptic stories, wandering long lost paths and making my way laboriously north. I look at a burned tree standing over a storm-grey hillside which surely hides a thousand spiders and a dozen snakes, and I step forward. Crickets bounce away from me on the trail with each step I take, moving out of my way like I’m a boat parting the waves. 

At the highest point overlooking the river, there is a graveyard of trees in a green slope of shrubbery and grass, their shadows like fingers pointing east in the afternoon. My body is weary up here, and my face and limbs are hot. It is quiet I’m alone and ambivalent. I sit on a log surrounded by trees, living and dead, and listen to the wind, the birds, waiting for something to find me, but nothing does. I contemplate myself, the place, the geography and how it’s organized strategically into cartography, which, this far into the mountains, is hard to see from my vantage. I could die up here and nobody would know. A bear could find me, or I could trip and spiral down a sharp edge. Rattlesnakes, falling trees, dehydration. 

As Jennifer Ladino puts it, “Contemplation is shaped by narrative, of course. Narratives provide us with details to mull over, but there’s an affective dimension to contemplation as well.” She has also come to the Frank Church to teach and study, and I think about that narrative, as well as the story of what my life is or could become given a wrong turn. She favors constructive, life-affirming emotional responses to ambivalence: “Compassion needs words, stories, reflection,” which geographic places (as narratives) can encourage. The prophets relied on stories of apocalypse, as environmentalists do today. Places of injustice tell stories of injustice. What about this place inspires hope? I mull over the seconds in which I feel grateful.

One story my grandmother recently told me: Teaching is my destiny. My mother teaches, and my grandmother taught, and her mother taught too. I’m a fourth-generation teacher. She was in high school during the Second World War, and she was required to tutor her mother’s male students to ensure they passed the minimum requirements so they could join the army and fight overseas. When she should have been studying for her own calculus tests, she instead taught algebra to future Marines, and the next day, exhausted, she failed her calculus exam. 

I hike back down the mountain, hungry and running low on water. I poke around a short way upriver before returning to the cabin, and there on the trail a herd of bighorn sheep encounters me. They drink from the river as I make my way around the bend. One sheep stands in the middle of the trail and stares me down. I stop. We are directly in each other’s way. The sheep could charge, and I would have to stumble down a rocky slope into the river or trip uphill into a fallen, blackened tree, the charcoal rubbing into the cuts I would make on my palms. But the animal looks to the side, indifferent. The rest of the herd ambles uphill on the trail behind the sheep. I wait until they give me permission to move forward. 

Day 7

“More significant, however, was the loss of two allies, Senators Alan Simpson and Malcolm Wallop of Wyoming. The two New Right regulars cosponsored legislation to ‘bar all oil and gas exploration in their state’s wilderness areas.’ Why would two conservative, western politicians turn their backs on [the New Right]? ‘Constituent pressure,’ responded a Simpson aid. ‘They [Wallop and Simpson] are quite aware that a great many people in Wyoming want those wilderness areas left as they are.’ One week later, Senator Henry Jackson of Washington announced that fifty-one senators had agreed to co-sponsor legislation to prevent oil and gas drilling on millions of acres of national wilderness” (Short 65). 

I wake up early and try to write a few more words, but my fingers are too cold and the bush plane is arriving anyway. It only took one week to acclimate to the situation, or so I tell myself as I stuff my lightened backpacks into the plane and climb into the passenger seat. 

The pilot picks up two hunters in another station, landing on another long stretch of grass. There are a few donkeys, cabins, a stream. The hunters have much more than I do, and I’m glad when they place their firearms in the plane aiming away from the seat I’m sitting in. But I know Idaho hunters, as friends and family. They’re not stupid enough to put a loaded firearm in a vehicle (as some suburban gunowners I know have done). They also have a garbage bag of soda cans and single-use plastic, better to take home than leave out here. I notice they have no animals, no deer carcass or pile of coyote skins. 

The plane lands in Cascade, and the hunters exit first, their stuff piled onto my stuff, their import pressing mine into the corner. I sit in my car in the airport parking lot for a long time scrolling through news feeds while storm clouds move over the hills before I drive north past red and orange leaves in the trees and small towns advertising pumpkin pie, espressos, free wi-fi. I pass church signs advertising Sunday service, visions of hope and despair intertwined together. Apparently we are sinners but we are also saints. 

I want to stop in one of these many Idaho small towns. I want to walk into a roadside diner and order a cup of black coffee and a slice of pie and linger in the early autumn chill and listen to the old-timers in the corner talk about how warm it’s been these last few years, how dry last year was. But I don’t. I never do. Instead, I drive a few miles over the speed limit through each town like I’m a lost insect.


Paress Chappell: What were your goals as you were writing this piece?

Keene Short: This piece began as the daily journal entries I wrote when I went to the Frank Church River of No Return Wilderness in 2018. That year, I kept a daybook, which was inspired by Brian Blanchfield. Originally, I wanted to record my experiences in the Frank as meticulously as possible, every hike and animal and conservation practice, to get an understanding for what a place is like after a specific type of conservation policy is enacted. Most of that journaling has been scrapped (the original draft I had was 25 pages, including a lot of quotes from the books I read at the time). I kept the original structure and focused on observations about climate change and conservation and rhetoric—I focused on a few recurring ideas and concerns I had. 

PC: How has writing in different forms like fiction and poetry affected your nonfiction writing?

KS: Writing nonfiction for me often feels like solving a puzzle, and poetry and fiction (for me at least) require a different kind of creativity. They’re more constructive, more like creating puzzles for other people to solve. As a reader, at least, I like fiction and poetry that gives me an opportunity to think. In nonfiction, the pleasure so often comes from watching someone else’s thinking, from seeing someone else work through their own experiences or a complex set of ideas. This might be a false dichotomy between the genres, of course. I know they’re more nuanced than I’m presenting them. Where I find the pleasure in reading often differs from where I find pleasure in writing, and I think those moments are surprising enough to make me rethink my writing. 

The inventiveness I try for when writing fiction or poetry can often bleed into nonfiction, when I face a problem of dots I can’t connect to make a cohesive essay. When I’m stuck in nonfiction, I might start to move from idea to idea through associative leaps or a more narrative structure or a scene. My most creative works of nonfiction have borrowed from the generic conceits of fiction or poetry, through things like extended metaphor, persona, or even fiction. I use these craft techniques to get around difficult problems I encounter in nonfiction, especially when it comes to subject matter. 

PC: In “Jeremiad” you mention a dissertation written by your father about public lands. How did your father influence your view on the environment and public lands?

KS: My dad—both my parents—introduced me to environmentalism early in my childhood. Environmental destruction was one of my earliest fears, and one that has lasted with me and grown, as I’m sure is true of many people. My dad in particular had a range of academic and pragmatic environmental authors on his shelf, including some activists. 

I took my father’s dissertation to the River of No Return because it seemed like an ideal place to read it. It had been sitting on my shelf for years, and I wanted to finally sit down and read it. The Frank is an excellent example of the strengths and limits of twentieth century land conservation policies like those advanced by Senator Frank Church himself, as a project of preservation but with a limited scope of the beneficiaries of that preservation. I wanted to think through the problems and arrive at a better understanding of what I can do now, today, in the midst of environmental catastrophe. But I also found myself wondering how effective academic approaches can be as climate disaster is already here. My dad embedded himself in academia, and I found myself wondering if he left anything behind in that decision, if I would likewise have to leave something behind if I chose to follow that same path or try another route toward environmental justice. 

From my parents, I inherited a broad range of ideas about nature, but I never really knew what to do about them. Maybe this is what I mean when I separate academics from activists. In my own experience, it’s easy to write an academic paper about the need for climate action, but too often this becomes an ending point rather than a starting point, and academics can fly home self-congratulatory that they’ve contributed to solving the climate crisis by artistically or rhetorically articulating the urgency of the problem. It’s a divide between theory and praxis. One needs the other, but theorists who don’t engage in praxis, I think, are taking the easy way out. It’s no longer enough to study the forces that are destroying our planet. What matters now, and has mattered for a long time, is recognizing that the people killing our planet have names and addresses and stock portfolios. I’m not at all trying to indict academics of the past. What I want is for academics to start taking action now, before it’s too late. 

PC: How has growing up in Flagstaff shaped your view on the environment? 

KS: Flagstaff is a niche, fun, weird, and also very touristy town, and I think its contradictions made me prickly when it comes to the environment. It’s a beautiful town that white settlers built on stolen land (like every beautiful place in this country). I directly benefit from the compartmentalization of land into large public recreational sectors (for hiking, biking, birdwatching) but I know that this compartmentalization comes at a cost, and produces a distinctly artificial definition of nature as one that can be framed for an audience. For years, it’s had a housing crisis, and it’s the only place in Arizona that can sustain a ski resort, which is only possible now through the use of artificial snow, which has its own environmental and cultural concerns that the ski resort has chosen to disregard for profit. I miss Flagstaff dearly and I’m mad that its leaders have leaned into its worst tendencies, emphasizing tourism and privatized student housing over community-centered events and affordable housing for residents. The people who make Flagstaff a lovely town, the artists and activists and teachers who live there and taught me to care about the world, are not the people who have the power to make these decisions, and I think that realization has equipped me for understanding climate change as a conflict rooted in power disparity, in class struggle to be specific. National leaders at COP26 who are most vocal about the urgency of climate change are from countries that contribute the least to the greenhouse gas emissions but are already bearing the worst effects of climate change. Meanwhile, the biggest emitters (such as the US) hesitate to implement necessary changes. This is the same power dynamic in Flagstaff. And, like Flagstaff, what I want is partly to reconcile the past, but changing the future is significantly more important to me. 


To learn more, visit Keene’s website. Thank you for sharing, Keene!

An Interview with Poet Robert Krut

An Interview with Poet Robert Krut


Our Issue 28 Poetry Editor, Bree Hoffman, interviewed Robert Krut, a three-time SR contributor, about his new poetry collection Watch Me Trick Ghosts. The interview was conducted via email.

Robert Krut is the author of four books: Watch Me Trick Ghosts (Codhill/SUNY Press, 2021)The Now Dark Sky, Setting Us All on Fire (Codhill/SUNY Press, 2019), This is the Ocean (Bona Fide, 2013), and The Spider Sermons (BlazeVox, 2009). He teaches in the Writing Program and College of Creative Studies at the University of California, Santa Barbara, and lives in Los Angeles.

Bree Hoffman: In a previous interview with Frontier you said that as a writer it is important to be “open to new ideas, new voices, new styles, [and] new suggestions.” What role has teaching poetry professionally played in the conception of your own poems? What have you learned from experiencing writing both inside and outside of the classroom?

Robert Krut: I don’t think I can overstate the importance teaching has played in my own writing, particularly recently.  It has helped with my attempts to stay agile, excited, and engaged over the years.  Working with students means working with numerous types of writers, each an individual requiring different suggestions, both in terms of reading and writing.  There is a responsibility to share the entire scope of literature with them, and present them with the latest and most exciting poetry out in the world right now—this, in turn, helps keep me engaged, as well, and not complacent in my reading and participation. 

During lockdown, in particular, my poetry courses were more than classes I was teaching—they were biweekly opportunities to talk with other writers (over Zoom, of course) who were all fully engaged in their process.  If any of them happen to read this, in fact, I’d like them to know what an impact they had on my energy and enthusiasm toward writing over the past two years—their interest and passion really provided a spark for my own writing.  In Norman Dubie’s great The Clouds of Magellan, he wrote “Work with young writers—never for them,” and it’s a quote I’ve thought about for years and years. It becomes more and more clear to me as a teacher.  Working with poetry students isn’t a top-down operation.  In the best cases, it is truly an interactive community.  

BH: One recurring theme of your poems is the element of grimness that is present in the mundane. In “Walk Don’t Walk Walk Stand Still” we see it in the things people avoid, and in “The Dinner Party” we see it in the wounds people share with one another, sometimes willingly and sometimes not. What were some of your influences when writing these poems?

RK: Grimness in grimness has always been boring—I have always been fascinated by its presence, or at least the implication of its presence, in the mundane, that mysterious element in the everyday, as I’m sure many people are.  

Way back in high school, my part time job was at a video store, which was perfect for a movie-obsessed teenager, but also meant I wound up working just past midnight.  I would drive home through suburban New Jersey, fascinated by what I was seeing at that hour: stopping at my favorite 24-hour place and seeing people arguing in the parking lot, driving past the school and seeing people smoke right in the middle of the football field, passing a stray dog scratching at the church door near our house.  It was all engrossing.  

That job not only afforded me a reasonable excuse to be out so late, but it also led me to watch David Lynch’s Blue Velvet for the first of many times, which solidified this interest, and put it right there on the screen—in those opening moments, when Jeffrey finds the ear in the field, I saw the perfect representation of what I found interesting in the world, and it served as a sort of concrete seed for what would come, years later.  

That was the same year I read “A Supermarket in California,” which shares similar DNA, the other side of a quiet town, slipping into something doomed.  Those are the worlds where this book finds most of its poems; there, or in the flipside, in the mundane of the grim—they go hand in hand.

BH: There is a really interesting relationship that these poems have to other people as well as the world, creating a tone that is isolating and internal. For you, what is the role of these interpersonal connections in “Watch Me Trick Ghosts”?  

RK: I sensed from the earliest stages of writing this book that it was going to be a quieter one, one that is, indeed, internal.  As the themes began to become clear, it seemed to be the introverted sibling to the extroverted previous collection.  This was led by the ideas I wanted to explore, but was surely enhanced by the fact that the vast majority was written during lockdown, where we were all isolated by circumstance.  When you mention interpersonal connections, I flash to the fact that I wasn’t walking outside to talk to neighbors up close; there were simple hand waves from across the street.  I wasn’t meeting strangers in crowded places; I was driving past closed up shops.  This book is not “about” that particular time—that would be too narrow for my taste—but the writing couldn’t help but be influenced by it.  In the end, it is indeed an internal book, centered on solitude in some ways, voices you hear when you are alone, and spirits tethered to your body as you move through the day. The title poem was one of the very first, and it served as a sort of guide.  

BH: What are you currently working on in your writing and various workshops?

RK: In terms of my own writing, I’ve just been trying to write a little each day right now—sometimes that’s a whole draft of a poem, and sometimes it’s just a few lines.  After a book comes out, I typically have an “deep breath” period where I’m writing, little by little, getting back to full momentum for where the poems will go next.  As for my courses, this Winter I’ll be teaching a class specifically designed for third-year students who are beginning the process of creating a manuscript for their upcoming senior projects—I’ve taught this for the past few years, and it’s always an exciting process, and never the same.  I’m looking forward to reading some great new work, and the chance to work closely with the students.  

BH: What advice would you give to fellow writers and readers?

RK: The old standbys still hold.  Write every day.  Try to write every day.  I know that’s an easy thing to say, and it’s hard to truly follow it all the time, but I have found that periods where I really try to write something every day, even something that turns out to be garbage, the momentum leads to truly productive periods. 

And read a lot.  Specifically, read people who are writing differently than you—don’t wind up in a literary echo chamber.  

Finally, writing is such a solitary experience, which is often one of the nicest aspects of it, but it can slow down inspiration and growth.  Reach out to friends, and other writers, while working.  One of the rare benefits of social media is that, even if you don’t have someone in your immediate circle who writes, or reads poetry, there are ways to find a community, even if it is online.  I love the independent nature of writing, alone, in the early morning hours, or late at night, but it’s not until I start sharing, editing, revising, and sharing again, that the poems start to breathe.

Shapeshifting: An Interview with Michelle Ross

Shapeshifting: An Interview with Michelle Ross


We’re so excited to share an interview with past contributor Michelle Ross about her new short story collection, Shapeshifting. The book came out in November from Stillhouse Press. The interview was conducted via email by our blog editor, Sara Walker.


Sara Walker: Just about all the stories center on motherhood, children, and those relationships. What inspired this?

Michelle Ross: My first story collection There’s So Much They Haven’t Told You was less unified in its focus, so for my second collection, I wanted to be more deliberate with theme. As the mother of a young child, I found myself, perhaps inevitably, drawn to writing fiction about motherhood and mothers. Motherhood has been a big part of my lived experience these last eleven years. It’s on my mind. I’ve been mentoring high school writers for several years now via the Adroit Journal’s Summer Mentorship Program, and there’s this passage I quote from Lorrie Moore in my syllabus about the importance of writing about what’s on your mind, what you care about. One of the things she says is “You really have to write from the center.” She talks about how one of the big mistakes her students make is that they write about topics they don’t really think about or care about. I think it’s impossible to write well about a topic you’re not at least a little bit obsessed with. Trying to fake it won’t do. The story will be missing something crucial. I see that in the submission queue for Atticus Review, where I’m fiction editor: some stories are missing that spark of energy that you just can’t fake, and I think that whether or not a story has that spark has a lot to do with whether the writer is writing from the center.   

SW: Why is it important to you to highlight the imperfection of motherhood and feelings of imposter syndrome?

MR: I was grappling with many questions in these stories—the impossible pressures put on mothers, the erasure of motherhood, what mothers owe their children, the tremendous power mothers have over their children, the violence and cruelty of children—but most of all I just wanted to write honestly about motherhood. No sugarcoating. No prettying things up. That’s what I want to do with any topic I write about. And one of the truths of motherhood is that no one is born a mother. There’s so much mythologizing about motherhood—that nurturing comes naturally to mothers, for example; that it comes naturally to women and girls in general. But the truth is more complicated. Nurturing isn’t an inherently female trait. It’s at least partly a learned trait. If you’ve rarely, if ever, been nurtured by someone, how do you learn to nurture another person? It wasn’t until my son was born that I really and fully grasped how incredibly vulnerable children are and how, therefore, incredibly easy it is for parents to harm their children; and, of course, the world is full of adults who were harmed by their parents, and many of those adults have children of their own. 

SW: What is it about “Shapeshifting” that made you choose it as the title story?

MR: While the book’s title did come from the title story, the book was not titled after the title of that story; at the time, “Shapeshifting,” the story, had a different title altogether. It was originally published in The Pinch as “Gestation.” The real inspiration for the book’s title was a metaphor within the story. The pregnant protagonist in the story says that as a kid she liked the idea of being a shapeshifter but that it didn’t occur to her that pregnant women are shapeshifters, too: “Shapeshifting isn’t the way I’d imagined it. I’d always pictured myself behind the wheels of other bodies I assumed. This is the opposite. I’m the wheels, not the driver.” I wasn’t yet finished writing all the stories in this book when I decided that Shapeshifting was the perfect title. All humans are shapeshifters (consider puberty, for example), but I’d say mothers are a particularly interesting kind of shapeshifter. Motherhood is a strange metamorphosis. Mothers might come out of pregnancy looking more or less like they did before, but the world sees them as other than who they were. Whatever kind of mother one is, motherhood changes one in a deep way. There is no going back. 

I’m not much of a fan of books sharing the same title as a story within. I’m wary of giving so much weight to one particular story. But when the editors at Stillhouse Press suggested I retitle this story to match the book’s title, I agreed that it was a better title for the story, too; and I kind of like that the story was titled after the book rather than the other way around.

SW: “The Sand and the Sea” is written in a different format – almost like vignettes, rather than a straightforward narrative. How did you make that choice?

MR: This story originated in a weekend workshop I took with the phenomenal Kathy Fish some years ago. The exercise was to write a braided flash piece. If I remember correctly, I think we started by creating three columns on a piece of paper and each column was dedicated to a different thread. I know that one of the threads was to be composed of lines that began with language such as “I wonder…” or “I wish…” I believe the other threads were supposed to be two different time periods in the character’s life? I played for many, many months after that workshop with the pieces I’d written—rearranging, cutting, adding, trying to get the right pieces in the right order. In a way, I felt like I was going back to my roots in this story. When I first started writing short stories seriously in college, the writer who changed everything for me was Amy Hempel. I had struggled with plot, with how to string sentences and paragraphs together in such a way that they were a story. Long scenes, long exposition felt unwieldy. Then I read Reasons to Live and fell so in love with how Amy Hempel constructs her stories out of these concise little fragments—scenes lasting no more than a paragraph or a page or so. Of course, some of those stories aren’t just pieced together somewhat like a series of flash fictions, but some are flash fictions. I didn’t learn the term “flash fiction” until several years later, and I don’t think I tried writing my own flash fictions until many years after that. However, I did start writing and thinking about writing differently after reading Hempel—thinking about stories in a more modular way, as composed of these tight little units that I could rearrange to different effects. Many years would pass before I would try once again to write stories that weren’t so modular.

SW: Which story was the most challenging to write? Why?

MR: Most stories are challenging for me, honestly. I work on stories, including flash fictions, for many months, often many years, before finishing and submitting them. Maybe I should answer this question backwards. One of the easiest stories for me to write was “A Mouth is a House for Teeth.” The general premise and tone of it came to me quickly. Then, before I’d written much of anything down, I floated in one of those so-called sensory deprivation tanks for the first time. I spent pretty much the whole hour thinking about that story. It was a weird and wonderful experience. I felt like I was alone floating out in the middle of a dark ocean, and this story was building in that darkness. After, I went to a coffee shop and wrote pretty much all day—by hand in a notebook, which I hate to say I rarely do these days, and probably should do more often. Writing by hand has a different kind of energy and rhythm. I can easily remember which stories of mine I first drafted by hand and which I first drafted on the computer. Anyway, after that I spent several weeks typing up the pieces, fitting them together, discovering what was missing, what could be cut, and so on. I think that from start to finish, that story took only a few months to finish, which for me is incredibly fast.

SW: “Keeper Four” approaches motherhood in a way different from the other stories; it’s sci fi-esque. What inspired this story?

MR: One of the primary inspirations was a book I’d read with my son when he was younger: Unlikely Friendships: 47 Remarkable Stories From the Animal Kingdom. The photos and stories in the book are endearing, but at the same time, this book creeped me out. Some of the unlikely friendships involved predators befriending prey. Some of the unlikely “friendships” weren’t friendships at all, but mother-child relationships. For example: a dog mothering a monkey. Of course, a mother-child relationship is quite a different kind of relationship than a friendship. We expect friendships to be reciprocal, not so much mother-child relationships. Sure, young children can be loving and kind, but even many of their more charming behaviors are largely driven by their own needs, their own survival. A very young child clings to their mother more for security and safety than out of “love.” That’s not a judgment; I think it’s only natural for a creature that is vulnerable and helpless to charm larger, more capable creatures into protecting it. Anyway, this book disturbed me. Something about the mislabeling of these relationships. Something about the way humans praise females of a species for being nurturing. Something about the oohing and aahing over predators refraining from doing what it is in their nature to do—to prey. From that disturbance was born the idea of humans experimenting to develop a drug to induce mothering behavior even in the most unlikely of candidates. 

SW: What do you hope readers will keep with them after finishing Shapeshifting?

MR: I hope that readers find Shapeshifting to be greater than the sum of its parts. I see these stories as being in conversation with each other, and I think I’m able to achieve something more in the book as a whole than I could in individual stories. But that said, mostly I just hope readers find something of value in this book, whatever that may be for them as individuals—whether it be that they feel seen, that they feel less lonely, that they’re entertained, that these stories make them think, or that something is illuminated for them. 

SW: You also write collaboratively with Kim Magowan. How did your experience with collaborative writing influence this collection?

MR: It’s when I’m feeling a bit in a slump that I’m mostly likely to nudge Kim into writing something together. Collaboration reminds me that writing is as simple on some level as making choices, and that all choices can be unmade, too. It helps train me to make choices quickly, to keep moving forward, instead of allowing a story to stagnate in indecision. It trains me to keep a story’s momentum going. When we collaborate, we typically pass a story back and forth rapidly, several times in a day sometimes. I write a few paragraphs, she writes a few paragraphs. Even a long story gets drafted within a week or so. That energy carries over into my own writing. Writing with Kim always renews my excitement for my own projects.

SW: What does your writing space look like?

MR: When my partner and I bought our house about fourteen years ago, it was important to me to be able to have a home office of my own. I wanted a room with a door, a room that was all mine, a room meant for nothing other than writing (and reading). This was important even back when we were in an apartment, only then we didn’t have all that much space so I had converted our walk-in closet into my writing space. Since the beginning of the pandemic, my home office is no longer just my writing space; it’s also where I do the job that pays the bills. Most of 2020 was a struggle because I was trying to do both these things at the same desk and on the same computer. When I tried to write fiction, I was distracted by work clutter. Early this year, I brought in a second desk and computer so that I have a writing half of my office and a work half of my office. Everything has gone much more smoothly since.

SW: What does writing mean to you?

MR: Writing is how I discover meaning and how I discover what I think. Writing is how I communicate most effectively. Writing is how I push back against the things that bug me. Writing makes me more present in my life, more observant. Writing is hard work but also immensely pleasurable. There’s no other way I’d rather spend my time.


Shapeshifting won the Stillhouse Press 2020 Short Fiction Prize and is available for purchase from Stillhouse Press. Check out more from Michelle on her website and read her stories in Issue 17 and Issue 20. Thank you so much, Michelle!

Heart Radical cover

An Interview With Anne Liu Kellor

Heart Radical by Anne Liu Kellor (She Writes Press 2021)

We are thrilled that we recently had the chance to interview Anne Liu Kellor about her first book, Heart Radical: A Search for Language, Love, and Belonging. Heart Radical is a memoir about Anne’s experiences navigating her ethnicity, heritage, and place in this world. The interview was conducted via email by our blog editor, Sara Walker.


Sara Walker: Could you describe the inspiration for this memoir?

Anne Liu Kellor: Between 1996 and 2001, I traveled back and forth between the Pacific Northwest and China, my mother’s homeland, as well as to Tibet. Growing up bilingual, I set off as a young, twentysomething mixed-race Chinese American woman searching for my connection to my linguistic roots, as well as to my greater path in life. Underneath this, what I discovered was my desire to speak truth, to break silence, and to follow my intuition. To give voice to all the moments where I knew something in my body, but could not find the right words to own what I knew. And to give voice to how I come from a lineage of silence—of stories not told, trauma not named, feelings not expressed.

SW: Much of the book is written in present tense, but you’re recalling your past. What precipitated that choice?

ALK: Originally, I wrote a lot of the chapters as stand-alone pieces, experimenting with voice and form. Eventually it became clear that my writing in present tense felt more charged, whereas past tense got too bogged down in reflection—reflection that in some cases had not had enough time to gestate, so it could not say all that I wanted it to. As I revised the memoir over many years, my perspective on this period also kept deepening, and thus there was the temptation to keep revising, adding layers to what the story was “about.” Finally, by changing it all to present tense (and interspersing chapters that were purely backstory or more lyrical), I tried to create both a traditional arc-driven narrative of my outer journey, and hint at all of the deeper layers of spiritual questioning. All of this was a challenge because my story ultimately resisted one tidy arc and redemptive ending. It was hard for me to explain my spiritual unfolding at the time, because some of those lessons I’m still living out to this day. So while I wanted to keep the narrative focused on a certain time period, there were deeper layers I just couldn’t get to yet. The point of view choices were in part a response to this tension.

SW: I’m sure some of your past was challenging to write about. How did you navigate that? How did you get into the headspace to write in depth about your past?

ALK: Since I worked on the book on and off over twenty years (!), when I wrote a lot of the early drafts, the events I was describing were only a couple years in the past—still relatively fresh. Plus, I had a ton of journals to mine for details. Often I would first spend time reading my old journals and free-writing, and then I would find an image or scene or line that carried energy, and use that as a point of departure to begin a more crafted piece. Sometimes I played music that evoked the emotion of that period for me, and I also had the gift of long consecutive days to settle into writing. I find I need that extended silent, alone time to get a discovery draft out. Later, with all the stages of editing, I can dip in and out more easily.

SW: As we all know, the Covid-19 pandemic brought forth intensely anti-Asian-American sentiments. What was it like to work on and release this book in a year when Asian-American violence was so high?

ALK: I don’t tend to watch a lot of news or let myself get swept up in Facebook scrolling if I can help it, so while I stay abreast with headlines, I also often feel insulated from the sudden impact of the rise and fall of violence. I choose when to let it in. I don’t need to read the details to know how it impacts me; I feel the swell of pain continually, the pain of being alive in this ignorant, racist world. The ways in which all of our pain is connected. I have, however, continued to deepen my relationship to other Asian American and mixed-race writers over the last several years. I’ve offered more classes for our communities, as a way for us to share hard stories, interrogate complicated relationships, own our voices, and join the crucial conversations around race that our world is having more of these days. What does it mean to be Asian American—to be so often erased from the conversation or seen as a model minority monolith, and how can we own our inherited biases, privileges, and participation in white supremacy culture?

In implicit bias tests, Asian American women are the group that is viewed as the least capable of leadership. How have we been conditioned to see ourselves as silent or weak too? The outer violence against Asian Americans—or any racial group for that matter— starts with these kinds of fucked up biases and dehumanizing beliefs. Becoming a more visible, public writer and more fully owning the political identifier as Asian American, raises the stakes for me and my writing. I am increasingly aware of how I am a part of a lineage, and how sharing my story creates more space for other people to believe that their story matters too.

SW: In Heart Radical, you’ve captured countless experiences from your life and share them in a remarkably lyrical and straightforward way. Which memoirs and memoir authors inspire you?

ALK: A lot of my early writing was influenced by my mentor from grad school, Brenda Miller. I learned a lot from her about how to trust that images can carry deep metaphorical resonance, or that one can convey so much through juxtaposition and white space. Poets are often my favorite memoirists. So much can be encapsulated in one line—so much of what is not being said, for the reader to fill in. Recently, I’ve been super inspired by memoirs like Tastes Like War by Grace M. Cho, The Magical Language of Others by E.J. Koh, Long Live the Tribe of Fatherless Girls by T. Kira Madden, and Made in China by Anna Qu. Old favorite non-linear collage memoirs include The Chronology of Water by Lidia Yuknavitch, Another Bullshit Night in Suck City by Nick Flynn, and Safekeeping by Abigail Thomas.

SW: You’re a teacher in addition to a writer. How has your role as an educator shaped you and your writing?

ALK: So much so. In all of my courses, my students and I spend time writing together from prompts. I always participate to make sure that I stay engaged with the vulnerability and presence it takes to show up in the moment and write, then share. Teaching also keeps me actively exploring new voices and forms. Whatever I’m reading then bleeds into my own work. Writing never gets old; even if some of my thematic material can feel well-tread, there’s always a new angle or way to approach it—if I can keep experimenting and staying receptive. Also, being a teacher connects me to so many amazing writers. The work of a writer can be very isolating, so nurturing community has become increasingly important to me. It helps me remember who I am writing for and why I am doing this. Why words matter. What kind of healing and connection can be forged through the often long, slow, plodding process of shaping a piece on the page.

SW: Heart Radical is your first book. What does that mean to you?

ALK: It means it’s about f’ing time! It means hallelujah, it is finally out of my meddling hands, fears, and perfectionism, and into the world of my readers, completing the cycle from fruition to full completion. 😊 It means that I learned SO much through writing this book and revising it over the years, especially about not giving up. It means I have a really strong sense now of who I am as a writer, and I’ve also written so many essays along the way that I also have a full collection that I’m ready to publish, called Uncertainty, Trust, and the Present Moment: Essays from In Between. And I have another memoir, Artifacts of Longing, that I’ve been working on for over a decade. I suppose I now can say that I’m a writer who works on books in cycles—write, let it rest and work on something else when it is driving you crazy or being rejected, but always return, return, return. Return to that seed of trust that a story or book needs to be written. Return to what calls you back, won’t let go. Book-length memoirs especially demand their own timeline for the lessons of a longer period of life to metabolize. We may think we are “ready” or “done,” but so much of the writing—and publishing—process is also not in our control.

SW: What does your writing space look like?

ALK: I write at one end of a big room with an A-frame roof and warm cedar walls. It’s a cabin in residential Seattle, a special place, a home I inherited from my old neighbor (a part of my second memoir’s story). I look out on cedar branches, salal, Indian plum, and moss—a classic Pacific Northwest landscape. Otherwise you can find me at the window seat journaling, or propped up on my bed with my journal or looking through binders of work, music playing, incense lit. I find that when I’m not at the desk I often sink into the more emotional or poetic aspects of my work… mining for new insight or lines, connections. Whereas when I’m at my desk I’m editing on the computer and in productivity mode.

SW: What does writing mean to you?

ALK: Writing is my meditation, my daily practice. It’s work too, yes, but primarily it’s a way of being in the world—a way of paying attention, honoring small details, honoring the wide span of history and time, timelessness. Writing is a way to capture all that is hard to express, a way to revisit old wounds and heal, a way to make amends, a way to see clearly, and sometimes, to forgive. Writing can do so much. It’s a way of connecting, a way of witnessing, a way of praising and mourning, and a way of being.

SW: What advice would you give to up-and-coming Asian-American writers? 

ALK: Do not be afraid to put anything down on the page in early drafts. To write what you can’t imagine yourself publishing or sharing. To write it all. To trust, that in time, with practice and community and mentorship, you will be able to name and share more. But this is a lifelong practice—you don’t have to say it all at once. You don’t have to share it with your parents. Your writing has important value, even if it just lives in your notebooks or is entrusted to a few readers. Your writing can help you grow as a human being. And yes, if you want it to, when you are ready, your writing can also challenge long-held familial silences or legacies or beliefs. Make sure you find community to share this journey with. Seek out classes and teachers who are supportive. Create writing groups with fellow students you admire. Trust that if writing truly calls to you, you won’t regret following this path. There is nothing more exhilarating than finally giving yourself permission to do what you love.


To learn more about Anne, visit her website or Twitter. Heart Radical is published by She Writes Press and available for purchase from Bookshop. Our heartfelt thanks to Anne for agreeing to the interview and sharing so eloquently!

The Faceless Old Woman cover

What the SR Staff is Reading

You probably won’t be surprised to hear that the SR staff – interns and trainees – are avid readers. Given that we students have varied interests, majors, and roles at SR, we read a lot of different things! Keep reading to find out what books we’ve got on our shelves this fall.

What we’re reading right now

Taylor, a trainee, is reading Six of Crows by Leigh Bardugo. “I was hooked once I saw the Shadow and Bone series on Netflix,” she says. “Now reading this book just makes me love the characters and new adventures more.”

As part of a research project, our Art Editor, Khanh, is rereading The Myth of Sisyphus by Albert Camus. “I love it because, although it’s a philosophical text and not fiction, it makes me reflect a lot on the way I’ve been living and the way I’d like to live. It also calms me as a person who thinks too much!”

Paress, our Nonfiction Editor, is enjoying Midnight Sun by Stephenie Meyer because “it’s an easy read. A nice break from reading formal writing.”

Our favorite books of the year

Sara, the Blog Editor, highly recommends The Only Plane in the Sky by Garrett M. Graff. “It’s a fascinating showcase of 9/11 stories,” she says. “As someone who doesn’t remember that event, I think it’s important to learn about it.”

Our Fiction Editor, Hannah, read Appleseed by Matt Bell for a class, “but it’s a really interesting dystopian take on the environment and how we effect it. The characters are so varied and I really enjoy the writing style!”

Amy, the Content Coordinator, enjoyed The Murderbot Diaries series by Martha Wells. “One of my favorite tropes is the loner character who insists that they don’t need friends and they don’t care about anyone, yet somehow makes friends wherever they go and finds themselves caring about everyone. This series is all over that.”

Bree, our Poetry Editor, recommends Wylding Hall by Elizabeth Hand. She says, “I loved this one the most because it is a combination of a ghost story, and also about the disintegration of a band in the 1970s. There’s a lot of great content in it, and is an especially great read going into October!”

One of our trainees, Etosha, loved Rose by Li-Young Lee. “I reread this book this year because I love the passion that he writes with in each poem.”

What we’re looking forward to reading next

Next up for Charlie, a member of our Social Media team, is The Faceless Old Woman Who Secretly Lives in Your Home by Joesph Fink and Jeffery Cranor. “I love the Welcome to Night Vale universe, and this book gives the spotlight to one of the most interesting characters. Plus, the writing style is amazing.”

Veronica, a trainee, says, “Andrea Gibson’s new poetry collection, You Better Be Lightning, comes out in November, and I’m really excited to get my hands on it and read it! Andrea Gibson is one of my favorite contemporary spoken word poets; there’s not a poem of theirs that hasn’t made me cry. Their poetry is also really insightful in regards to gender, sexuality, and politics.”

Our Student Editor-in-Chief, Madeline is “so excited to read Gone Girl next – I’ve of course heard great things about this novel, and about Gillian Flynn, but have not read it yet. I think I’ve heard that this book has a major plot twist, which I always love.”


Which of these books interests you most? What are you reading? Tell us in the comments!