Superstition Review: What do you do for SR?
Riki Meier: I’m a fiction editor, so I get to solicit work from authors I like, read submissions, and help determine which stories will be published in the next issue.
SR: How did you hear about or get involved with Superstition Review?
RM: I first heard about Superstition Review through WORD: Creative Writers @ ASU, another internship for which I’m serving, filling the role of President. As WORD’s President, I helped advertise the reading series to our members. I later learned through the Honors College listserv that Superstition Review was accepting applications for interns, and the opportunity just seemed too fantastic to pass up!
SR: What is your favorite section of SR?
RM: The Fiction section is my favorite, of course! Fiction is my passion. I love reading fiction (it’s a requirement for Literature majors) and I also write fiction as well.
SR: Who is your dream contributor to the journal?
RM: Oh–I have two dream contributors! There’s no way I could choose between them. I would absolutely love to be able to publish Toni Morrison or Gabriel Garcia Marquez. They are both my literary idols.
SR: What job, other than your own, would you like to try out in the journal?
RM: Honestly, I’m so excited about my work this semester as fiction editor that I find it hard to consider any other positions at the journal!
SR: What are you most excited for in the upcoming issue?
RM: I am most excited about getting to contact my favorite authors and asking them to submit work. I think it’s a chance of a lifetime. When else will I be able to contact Nobel Prize winners, Pulitzer Prize winners, etc., and ask them for a story or an interview? Just the thought of being able to interview someone like Marquez or Morrison is absolutely thrilling to me.
SR: What was the first book you remember falling in love with and what made it so special?
RM: Actually, the first thing I remember falling in love with when I was little was Gabriel Garcia Marquez’s short story “A Very Old Man with Enormous Wings.” That story introduced me to magical realism, which I absolutely adore. It was also the first piece of literature that really got me thinking about larger social issues.
What are you currently reading?
RM: Right now I’m reading a lot of books on feminist theory, postcolonial theory, and cybercultural studies for research projects I’m working on. Other than my work at Superstition Review, I don’t have time to read anything else this semester, unfortunately. However, I have a copy of Kurt Vonnegut’s Welcome to the Monkey House, Ralph Ellison’s Invisible Man, and Carlos Fuentes’ The Death of Artemio Cruz piled up on my nightstand just waiting for the day after final exams!
SR: What would be your dream class to take at ASU? What would the title be and what would it cover?
RM: That’s easy! It’s an MFA class currently being taught at ASU by Alberto Rios called “Magical Realism.” Not only does the class study great works written in the magical realism tradition, but you get to learn magical realism writing from a great magical realism writer!
SR: What are your feelings on digital medium?
RM: Oh, that’s a loaded question for me as I’m studying an online book discussion group for one of my big research projects. New media allows for a new hybridity of virtual/physical, public/private, sacred/profane, work/play, and even male/female. It is through narrative discourse that discursive and cultural practices are formed and diffused throughout society, and these practices, in turn, work to form the framework within which identities are constructed. As media types and forms of expression evolves and extends to virtual environments, a deeper exploration of cybercultural studies is necessary to deconstruct and understand the new identities being formed.
I believe there is an intrinsic connection between literature studies and rhetoric studies, and that there is an evolution of literature and narrative in progress that is the result of technological advancements. Today, multiple narrative forms—including literature—are evolving and adapting to online and multimodal environments. I maintain we must study communities of practice to understand the impact these virtual environments have on narrative and on the people who produce and consume these narratives.