Contributor Update: “I Think You’re Totally Wrong” Is Totally Brilliant

Hey there, campers! Have you found yourself wandering the dark recesses of your streaming video service of choice, looking for something to watch and coming up short every time? All caught up on Breaking Thrones and Boardwalks & Recreation? Perfect, then we’ve got something you’re going to want to watch; Superstition Review contributors David Shields and Caleb Powell co-wrote a book called “I Think You’re Totally Wrong: A Quarrel,” which has been turned in to a feature-length film, directed by none other than the proverbial Renaissance Man himself, James Franco. Here’s the trailer:

“I Think You’re Totally Wrong” is currently available in select cities across the U.S.A., but we here Superstition Review got our hands on an advance copy of the film, so we can tell you with some authority: it’s good. The film combines the simmering tension and wit of two writers at the height of their argumentative powers, with the all the introspection and sincerity that one finds in conversations with their closest friends. Shields and Powell muse on the what it means to be engaged with a life well-lived and how that relates to craft and creation, the responsibilities of an artist with respect to honesty and vulnerability, and whether or not it’s possible, or even advisable, to stay out of trouble while being an artist. Raw, funny, and tender as all-get-out, this one is a “must-watch” for anyone who has ever found themselves wondering about the importance of art as it relates to the life of an artist, and conversely, what is the importance of the life of an artist as it relates to an artist’s life.

Read this book! See this movie!
Cover for the print version of “I Think You’re Totally Wrong: A Quarrel”

Covered by everybody from Elle Magazine to the Boston Globe, “I Think You’re Totally Wrong” is by any metric, a burgeoning critical hit. Do yourself the immense kindness of finding a screening near you (details can be found here), and as always, drop us a line in the comments section below.

Editorial Preferences in Nonfiction: Sophie Graham

When I read I want to be surprised- I want to see something new in the story that I have never seen before. I find myself drawn to more modern writing styles, the riskier and the more artful the better. How the author uses words to describe places, things, people, ideas or feelings is critical. Without art and skill in how a writer describes the concepts of the story, the writing falls flat as I am unable to really imagine what the writer is trying to describe and I can’t engage in the text. The writer should use words in a style unlike what I normally see, so the piece is entirely unique. The idea behind the words should be just as creative and original as the words themselves- I want to be lead to reflect on the piece long after I have finished reading. Presenting some new question, idea, or experience for me to read about always gets my attention.

In nonfiction, the author reigns supreme. You’re the main character of your own story in nonfiction, and it revolves around you. When I read a nonfiction piece, I want as much information and detail about the author as possible from every sense. The more detail and description the author gives in a story the more able I am to fully reflect on the story they just told me. The descriptions should not only be affective and creative- but artful, almost poetic. The more beautiful a piece is to read, and the longer I find myself thinking about it after I finish it, the better I judge the piece to be.

Bio:

Headshot for Sophie Graham
Sophie Graham, Nonfiction Editor for Superstition Review

Sophie Graham is a junior at Arizona State University double majoring in English Literature and Sociology, and minoring in Geography. She is currently the Nonfiction Editor for Superstition Review. She is also a Writing Tutor at the ASU Tutoring Center. Upon Graduation, she plans to pursue her interests in social work and education.

Contributor Update: Get in the Flow with the 10th Anniversary Issue of “diode”

Greetings, true believers! We here at Superstition Review have an extra-special announcement: Our dear friends over at diode have released their 10th Anniversary Issue, replete with the profoundly excellent poetic stylings of more than a few past contributors to Superstition Review, including (but not limited to);

  • John Gallaher
  • Rae Gouirand
  • Carolyn Guinzio
  • Kathleen Hellen
  • Bob Hicok
  • Susan Rich
  • Lee Ann Roripaugh
  • Patricia Colleen Murphy

Do yourself the immense kindness of taking a lil’ poetry break with the 10th Anniversary issue of diode, and to the goodly gaggle over at diode, Superstition Review says congratulations! Here’s to a hundred more years of poetry.

Cheers to diode!
The logo for diode, currently celebrating 10 excellent years of existence.

Contributor Update, Colleen Abel: Get Liberated with “deviants”

How does the day find you, readers? It finds us supremely excited, as we’ve got some great news for you. The wonderful poet and friend of the Superstition Review, Colleen Abel, recently was crowned the victor of Sundress Publications Chapbook Contest for 2016, and as is often the case with these contests, everybody wins with the release of her upcoming chapbook “Deviants,” which is available FOR FREE over at Sundress Publications’ website, found here.

Regarding “Deviants” Victoria Chang writes:

“Colleen Abel’s wonderful book, Deviant, is mesmerizing—once I began, I couldn’t stop reading. The speaker provides a moving account—sometimes heartbreaking, sometimes wry, and oftentimes both—of what it means to be ‘fat’ in this world. The central piece is called ‘Fat Studies’ with references to sociologists and humorous pieces about Jackie Kennedy. Ultimately, Deviants is a beautiful book by a talented writer on material so many of us can understand and relate to, but oftentimes don’t have the opportunity to read in this form.”

Staci R. Schoenfeld, the judge for the Chapbook Contest, writes:

“In Deviants, ‘The eye alters all that it falls on.’ And the eye is everywhere—in every poem and in the lyric essay, ‘Fat Studies.’ There is no escape, even in the darkness: ‘It’s true I like you better in the dark. / Deep dark. Where I can’t even see your face.’ And the eye is keen in its appraisal. What it sees is what is most often offered up for alteration—the female body. The poems and the lyric essay all deal in issues of body. These bodies are not, however, places of comfort and safety. Instead the body is dangerous: ‘My heart is not a heart, it is a little nest of razorblades. I look soft, but if you touch me, your hands will be instantly pulverized, as if you had slammed them into concrete.’ Or the body becomes something to escape: ‘If it helps, I don’t want to be myself / either—to slip out of this body when / when you enter, to exchange within the puff / of magic smoke my life for another. / Leave me other.’ The body is in turns stark and lush and finally ‘the body / is a planet you tilt / on its axis spinning.’ Deviants left me both spinning and altered. It made me want to say, Thank you for helping me understand.”

Check out the full press release from Sundress Publications here.

Download, read, and be as inspired as we find ourselves by Colleen Abel’s “Deviants.”

Read this chapbook!
The cover for Colleen Abel’s “Deviants.”

 

Contributor Update, Geeta Kothari: Have You Heard The Good (Moose) News?

Greetings, readers! One of Superstition Review’s favorite writers, the incredibly talented Geeta Kothari, has a new collection of stories titled “I Brake For Moose,” which is being published this coming February by the lovely Braddock Avenue Books. Geeta was featured in the Nonfiction section of our 11th issue of The Superstition Review with her piece titled “Listen,” available for your reading pleasure here.

If you find yourself in Pittsburgh, make your way over to the City of Asylum on February 16th with Asterix Reading Series (details here).

If you’ve already spent all your airfare budget, “I Brake For Moose” is available for preorder at the Braddock Avenue Books website, located here. Buy one! Buy seven! You’re going to love it, we already do.

Buy this book!
The cover for Geeta Kothari’s “I Brake For Moose.”

Contributor Update, Michelle Ross: Find What’s Been Missing In “There’s So Much They Haven’t Told You”

Today, we here at the Superstition Review are emptying out the valves and shining the brass so that we can properly trumpet the release of Michelle Ross’ debut collection of stories There’s So Much They Haven’t Told You. This collection has already garnered a list of accolades and praise that you can really march to, most importantly the honor of the 2016 Moon City Press Fiction Award. Michelle Ross was featured in our 17th issue wherein she provided us with “Stories People Tell.” That story and many more are all contained in her There’s So Much They Haven’t Told You, which has been hailed by critics and readers alike as “fearless,” “exceptional,” and “the kind [of stories] I want tattooed on my skin.”

To pre-order this fantastic collection of stories, click here.

To learn more about Michelle Ross and her work, visit here website here.

Pre-order this book!
Michelle Ross’ debut collection, There’s So Much They Haven’t Told You.

Contributor Update, Patricia Clark: Take Refuge Underneath THE CANOPY

Superstition Review is both pleased and proud as all get-out to announce the forthcoming book The Canopy, written by past contributor Patricia Clark and published by Terrapin Books. The Canopy is Clark’s 5th full-length book of poetry (others include Sunday Rising and She Walks into the Sea).

Buy this book! Tell yr friends!
The beautifully rendered cover for The Canopy, out this year from Terrapin Books.

Patricia Clark is the recipient of many awards and honors including the former poet laureate of Grand Rapids, Michigan, as well as the recipient of the Gwendolyn Brooks Prize, the Mississippi Review Prize, and the Lucille Medwick Prize from the Poetry Society of America. She currently serves as the Poet-in-Residence and Professor in the Department of Writing at Grand Valley State University.

To read the official press release, click here.

To preview and purchase the book, click here.

#ArtLitPhx: MFA Reading Series – Sarah Vap, Dexter L. Booth, and Patricia Colleen Murphy

MFA Reading Series - ASUPoets Sarah Vap, Dexter L. Booth, and Patricia Colleen Murphy will read from their recent work at Hayden Library on the Tempe Campus as part of the MFA Alumni Reading Series, presented by ASU’s Creative Writing Program. The event takes place on Thursday, September 22nd. Doors open at 6:30 p.m. and the reading begins at 7:00 p.m. A book signing and reception with light refreshments will follow the reading.

Sarah Vap received her MFA from Arizona State University. Vap is the author of six collections of poetry. Her most recent book, Viability, was selected by Mary Jo Bang for the National Poetry Series, and was released by Penguin in 2016.

Dexter L. Booth earned an MFA in creative writing from Arizona State University. His collection Scratching the Ghost was selected by Major Jackson for the Cave Canem Poetry Prize.

Patricia Colleen Murphy, a graduate of ASU’s MFA Program in Creative Writing, founded Superstition Review at Arizona State University, where she teaches creative writing and magazine production. Her collection, Hemming Flames, was selected by Stephen Dunn for the May Swenson Poetry Award.

The event is free of charge and is open to the public. For more information please visit the ASU page and/or the Facebook event.

Guest Post, Svetlana Lavochkina: Rubies the Size of Peas

A very old school house chalk boardA writer always has a mother and a father, who very often have nothing to do with her biological manufacturers; neither does the mother have to be female or father male. A writer also has a husband/wife of whatever gender that sparks off her desire, often not the one who shares her daily bed and bread. The mother is the reason of why she writes at all. The father is the one who actually puts a pen into her hand and presses it onto the paper. The partner is aka, well, her muse.

The first piece ever that a writer produces is usually about one of this trinity. If I am ever invited to contribute to this blog again, I will tell you about the latter two. But today, it is my mother-in-letters, Maria Ivanovna Moskvina. A little vignette in her honour that I would like to share here was written ten years ago to be performed at an international teachers’ conference. It was received very favorably, and I submitted it to a British literary magazine, where it was accepted at once, my very first publication, which gave me the courage to write on, on, and on.

My name is Svetlana. I learn English every day. I am learning English now. I have learnt some English already. I have been learning English for ten years. If I hadn’t been so lucky I would have never had a chance to learn English. Even the gorgeous Present Perfect Progressive have I mastered, and the mysteries of the nebulous Subjunctive Mood, too, as you can well hear, without ever having visited London, which is the capital of Great Britain and stands on the river Thames.

I live in a fuming Eastern-Ukrainian town with dandelions poking through concrete in some places. Grey people swarm into trolley-buses to get to factories in the morning. In the evening they storm groceries to get some sausage for supper.

I don’t mind an hour’s ride to school in a bursting trolley-bus because I am fortunate to go to the only school in the town where English is taught from the first class. Maria Ivanovna, the town’s premium teacher of English, reigns there. We are all in awe of her. She makes us meek and silky just with the glance of her bespectacled eyes. Maria Ivanovna takes a syringe and injects a dose of success right into our assiduous bottoms. She says, ‘Don’t you dare come to see me in ten years unless you are driving a black Mercedes, working in the Ministry of Foreign Affairs and own an apartment in Moscow.’

We try to detect Maria Ivanovna’s mood and the degree of her irascibility by her clothes. Experience has shown that Maria Ivanovna is in the worst of her moods when she wears blue Margaret Thatcher suits. It is then that she throws objects around and bangs our heads against the blackboard at even the tiniest mistakes. On the contrary, the nicest queen-like half-smile crosses her face when she wears red. It is usually then that her ears are adorned with rubies the size of peas, and, believe it or not, it is their warm shimmer that melts my brown school uniform and my skin under the uniform and pours the mellow melody of the strange language directly into my veins.

I am jealous of Maria Ivanovna’s jewels, the more so because I know that I myself could get rubies like this by right of inheritance, but I never will. They say my great-grandmother Celia was married to a rich merchant in Odessa. She was an illustrious beauty. She spoke five languages, had relatives in London and never condescended to wearing such vulgar jewels as rubies. Even at the market place, accompanied by her kitchen-maid and a drunkard hired for a kopeck to carry the heavy baskets, she chose the best vegetables and chicken for a Sabbath meal wearing no less than diamonds the size of cherries.

But then the Revolution swept the wealth of the family away together with the diamonds torn directly from her earlobes by a waif on the streets of hungry Odessa. It was only in the thirties that Celia’s surviving children were able to afford to give their mother earrings albeit only rubies the size of peas, so she had to condescend to the red.

Photo by Svetlana Lavochkina
Photo by Svetlana Lavochkina

The earrings were inherited through the female line. When Celia died, my grandmother wore them, and after that, my mother. Unfortunately, my mother lost them shortly before I went to school. Not once was she reprimanded for that.

I gaze at Maria Ivanovna in scarlet glow and imagine myself not in a black Mercedes, not in the ministry of foreign affairs and not in a flat facing the Kremlin. In my dreams I go to London, step onto a boat on the river Thames and meet a whiskered young lord whose accent is the finest RP. We fall in love and marry and live in his castle with a ghost. To the ghost I also speak in my own finest RP.

I gaze at Maria Ivanovna in scarlet, she is gleaming. I think how lucky I am to be sitting here. Everybody says that it is impossible without connections or heavy bribes, customary and going without saying nowadays, but my parents are ordinary clerks, they have neither money nor connections. English equals freedom and wealth, though nobody dares to say that in our concrete town. So parents tacitly gamble all they possess on their children’s future, because English is a spaceship, a password, a catapult to a different, perilous, much railed against and forbidden world, a world teeming with bright colours and ingenious people.

It is widely known that a healthy bribe is a passport into Maria Ivanovna’s classroom. They say she receives several eager mothers in her flat simultaneously, and she has them all wait in different rooms and holds her audience with them separately so that they can’t see each other. There is even a wild story passed on in a whisper that Maria Ivanovna once locked a mother in the bathroom because all the other rooms had been occupied.

When asked how I had obtained a place, my mother always said, ‘it was your fortune, there was that one last place left.’ I finished school and tried to catapult myself into the longed-for perilous world. The concrete curtain fell and the cord of fate connecting me with Maria Ivanovna was cut.

I must confess I’m neither exactly in London nor exactly married to an English lord, neither exactly living in a castle nor exactly speaking RP. I haven’t fulfilled Maria Ivanovna’s black Mercedes precepts either, but I am trying to teach the English I learned from her to German children, who are not in the least fascinated by London, which is the capital of Great Britain and stands on the river Thames. They are not in the least in awe of me either, and if anything, it is I who would need to bribe them to listen.

Last Sunday I was marking the exercise-books and cursing loudly when the doorbell rang. A man with a concrete-like greyness about him was standing at my doorstep. I had never seen him before. ‘Is your name Svetlana?’ he asked me in my hometown vernacular. ‘Yes it is,’ I answered, surprised. ‘I was asked to hand you this,’ he said, and gave me a plastic bag. Before I could open my mouth he vanished into the dusk of the hallway.

Inside the bag there was a folded letter and a small tightly cellotaped box.

‘Dearest Svetlana,’ the letter said, ‘you forgot me, who taught you the Subjunctive Mood and told you all about London, the capital of Great Britain, and this is a shame. You were my most diligent pupil and I still remember your charmed face. It was a pity to bang it against the blackboard. So for you to remember me I bequeath to you the contents of this box.’

I undid the cellotape and opened the box. The rubies the size of peas shone up on me, unwinding a caravan of scenes and memories, jewels of the vanished world.

I learn English every day. I am learning English now. I have learnt some English already. I have been learning English for thirty years. Even the gorgeous Present Perfect Continuous have I mastered and the mysteries of the nebulous Subjunctive Mood as well. Had it not been for my mother, who had spent the spookiest hour in her life in my teacher’s bathroom locked from outside to offer her the only family treasure, I wouldn’t be struggling for words to tell you this story now, with rubies the size of peas in my ears.

Writer’s Studio Writing Fellows Opportunity

f2f writers studioWriters’ Studio is an innovative model for first-year composition at Arizona State University. We offer an online version of Writers’ Studio for ASU Online and iCourse students and f2f version on the Downtown Phoenix campus. Based on award-winning models for composition from schools across the country, F2F Writers’ Studio and Writers’ Studio Online is bringing together a diverse community of award-winning faculty, staff, writing fellows, and students to rethink how writing is taught and learned. Together this highly collaborative team develops research and writing projects that engage “real-world” civic, academic, and professional issues through project-based learning in a collaborative environment.

Writing Fellows are an integral part of the instruction and facilitation of Writers’ Studio courses at Arizona State University. As a Writing Fellow, you will extend writing support to faculty and first-year composition students in the Writers’ Studio by:
• Enrolling in ENG 484/584 for 3 credits (if you haven’t already taken it)
• Attending a full day orientation
• Attending weekly one-hour meetings with a full-time faculty member or program coordinator
• Tracking student participation in the Writers’ Studio classroom/laboratory and on Blackboard
• Facilitating small group discussions, writing activities, and workshops
• Providing feedback on early drafts of writing projects and portfolio content

Minimum Qualifications:
• ASU student in good academic standing with a minimum of 25 ASU credits
• Demonstrated academic writing skills at the college-level
• Experience with small group activities (as a participant or leader)

Desired Qualifications:
• A curiosity to expand knowledge regarding teaching and learning at the college-level
• A desire to help forge a community of undergraduate writers striving for excellence and future preparedness.
• Evidence of leadership experience (e.g. small group facilitation, large group facilitation)
• Evidence of writing center experience
• Evidence of presentation and/or public speaking experience
• Evidence of experience with technology-assisted instruction
• Evidence of editing experience
• Evidence of writing accomplishments (e.g. awards, publications, other recognitions)
• Affiliation with the Barrett Honors College, the Mary Lou Fulton Teachers College, the English Department, the Cronkite School of Journalism, or a related academic program where excellence in writing is rigorously practiced

Instructions to Apply:
Access the job advertisement here (https://students.asu.edu/employment/search), using the following job/requisition id: 9397BR.

Please merge into one (PDF) file the following materials: (1) a one-page letter in which you specify whether you are applying for an online or f2f position and outline your qualifications and reasons for your interest in the position, (2) a current résumé, (3) unofficial transcripts, and (4) the names and contact information of three academic references.

Job Title: Writing Fellow
Job ID: 9397BR
Location: Online or Downtown Phoenix Campus
Rate of Pay: $10.50 – $11:45 per hour; DOE

For more information you can contact:
Angela Clark-Oates
Course Manager, Writers’ Studio
Angela.Clark-Oates@asu.edu

Mark Haunschild
Coordinator, F2F Writers’ Studio
Instructor of English
mark.haunschild@asu.edu
602-496-1372