The Desert Nights, Rising Stars Writers Conference is three days of craft talks, panels, workshops and presentations at Arizona State University. With more than 50 sessions from over 25 faculty members in multiple genres and fields, the goal is to provide writers with opportunities to make personal and professional connections, advance their craft, and deepen their engagement with the literary field. View the full conference schedule here.
About the conference from the host, The Virginia G. Piper Center for Creative Writing:
“We are committed to creating an accessible and inclusive space for writers of all backgrounds, genres, and skill levels. Conference faculty and programming encompass many genres which can often go under served in the literary field, including Young Adult, Science-Fiction/Fantasy, Crime Fiction, Translation, Graphic Novels, Hybrid, and more.
Special topics like climate change, social justice, and other contemporary issues also feature prominently.
Publishing, editing, agents, and other aspects of the business of publishing are included as well.
Beyond sessions, attendees can also participate in receptions, discussion groups, after-hour socials, and other opportunities to connect with fellow conference-goers, develop relationships, and build community.”
The 2018 Desert Nights, Rising Stars Writers Conference will take place from Thursday, February 22 through Saturday, February 24. Writers of all backgrounds and experience levels are encouraged to attend. Register here.
We are happy to announce that SR contributor, Kirsten Voris, was one of fourteen semi-finalists in Hippocampus Magazine’s 2017 The Remember in November Contest. In addition to making the top fourteen, “Swimming with Headscarf Ladies” is also featured in Hippocampus’s December issue of 2017.
Today we are pleased to welcome author Anthony Mohr as our Authors Talk series contributor. In this brief interview, Anthony speaks candidly about what inspired his essay, “Risk.”
Of all the memories that conglomerate in the essay, he says that the game itself is what primarily inspired this essay. Anthony then tells us that “98.5%” of everything in the essay is true, from the names of the characters to the dialogue from the military. In light of this, we discuss his friends’ reactions to the essay and their role in preserving the truth of the essay.
You can read and listen to “Risk” in Superstition Review, Issue 19.
Today we are pleased to feature author Maggie Kast as our Authors Talk series contributor. Maggie asks what imagination is and how it plays its “particular and equal role in the project of gaining knowledge.”
She quotes Michael Chabon’s author’s note to his novel Moonglow, a work based on facts except where they “they refused to conform with memory [or] narrative purpose.” While not displacing critical thought, narrative imagination can “make the familiar strange” and thus reach new vision.
You can read and listen to Maggie’s essay “The House Will Burn” in Superstition Review, Issue 19.
Today we are pleased to feature author Charlotte Holmes as our Authors Talk series contributor. In her talk, quick and simple at first glance, she explores how we negotiate space as humans and as writers.
Charlotte begins by talking about the space that is the subject of her essay, “Open House:” a large home that once hosted a monastery. She imagines all the ways someone might use so much space. There would be room to take up modern dance, have multiple writing rooms, or to host all of your relatives. If one doesn’t want it at the moment though, “just close the doors.” She relates this to the negotiation of space on the page and tells us how “Open House” uses white space.
You can read and listen to “Open House” in Superstition Review, Issue 19.
Today we are pleased to share news about past contributor Sherrie Flick. Sherrie’s essay “Contagious Empathy” has been recently featured in Creative Nonfiction’s Fall Science and Religion Issue. The essay can be read on their website here. Purchase Creative Nonfiction’s Issue 65 by clicking here.
To read “Not Talking About Sage” by Sherrie in Issue 10 of Superstition Review click here.
When I’m reading nonfiction, I’m looking for strong sensory detail and a solid voice from the speaker. The best kinds of essays are the ones that start with a high level of specific detail and open up to the reader, allowing them to reflect back on their own experiences. This occurs through developing the setting with concrete imagery. Whether it is focused on just one striking event or transverses months or years, sensory details are essential to understanding how the characters are shaped by their surroundings — and to ground the audience in those moments.
Consider Hamartia: The Failure to Recognize, Rachel Toliver’s essay in Issue 151 of TriQuarterly. The essay is highly personal, lush with detail, and uses location to stunning effect: The street is empty except for a little boy who wears only shorts and stands solemn in his black body. He takes up the middle of the pavement and he stays there, face quiet in the midst of concrete curbs and locked car doors. I can sense, looking at him, the translucent column of his personhood there, patient inside his chest. The scene suspends the boy in the moment, and Toliver allows the reader to rest in that image with her. In just a paragraph, it develops space and setting very quickly with details that provoke thoughts about politicizing black bodies, childhood, and observing the inner world of other people.
I am looking for deeply personal essays — because I’m reading to learn from the speaker, develop my own empathy and try think about the world in new ways. It can be tempting to overgeneralize; as Mary Karr says in The Art of Memoir, “I’ve said it’s hard. Here’s how hard: everybody I know who wades deep enough into memory’s waters drowns a little.” However, when speakers shy away from the gritty details, the story suffers. Vulnerability and thoughtfulness are exactly what I’m looking for in nonfiction. Not every piece needs to be sentimental or overwrought, but I want the speaker to really dig into the memories they choose to share and to clearly show readers why these thoughts matter.
I believe the best literature encourages readers and writers to reach out and learn from each other, and that’s where nonfiction shines. By grounding a story in rich sensory detail and honest reflection, the speaker is allowing us to live, briefly suspended in their moment.
Bio: Jaime Faulkner is a junior at Arizona State University majoring in Communication. She is currently the Nonfiction Editor for Superstition Review, as well as a volunteer editor with Four Chambers Press. Upon graduation, she hopes to work in publishing as an editor and author.
Paralysis is so often a metaphor. A simile to express shock or fear. It is a word you use, but you probably don’t mean it the way that I mean it. I mean to say my spinal column was damaged after my six-year-old body jackknifed during an automobile accident and that was the last moment I felt the skin below my chest or moved my legs of my own volition. Unless you count feeling my skin with my fingers and lifting my legs with my arms to move them where I would have them go. I do count this. Do not discount this.
I liked to write as a child. My words took me everywhere my body could not. I lived lifetimes amongst the stars. I visited the depths of the oceans and made my home in Scottish castles. I am the first person to set foot on Mars. I was a writer, my family told me.
My high school guidance counselor asked my mother if perhaps I would consider a career in radio. No one would have to see me. No one would have to know. The failures of my body would not matter. I could transcend my physical form through language. And in the beginning were my words and my words were with me but they were not me. They were only a part of me.
I fell twice this year exiting the shower. I almost didn’t call for help. My words failed me. My legs were twisted, my strength dwindling, my abdomen sore. My body threatened to break if I lost the half-grip I maintained on my chair, suspended. I couldn’t pull up. I couldn’t fall down. Instead I called out. My friend came. She raised my naked body from this in-between to its proper place again, seated. I never touched the floor. I don’t know if my tears did. You can’t understand. But let me try to explain myself to you.
I hold fast to the arms of my friends so I do not lose my balance. I read the news and I imagine the end of the world. I know my body has no place in it.
Mine is not one of those paralyzed bodies that found a way to do all things, extending itself beyond its limit. My rotator cuffs are worn and they ache. My legs spasm, seemingly without cause and without remedy. My fingers grasp and stretch and feel, even if what they feel is pain.
Paralyzed in the same manner, in the same second as I, my brother James’ body fails him too. He told me about a game he played with his friends. Everyone in the room was to select the person whose life they would never want. They all pointed at my brother. They pointed at the body that would ruin them. It was supposed to be a joke.
I’ve hated my body more than you’ve hated my body. But I need you to know something. My body is not an anchor or a prison. My body is not a metaphor. You don’t get to call it a metaphor. I am the only one who gets to do that.
Look at me. My life is not a ruined life. My brother’s life is not a ruined life, even though you don’t want it. My flesh is numb, but it is still here. I am beautiful even when you don’t believe it. Even when I don’t believe it. I may be the person you carry from the burning building, down flight after flight before the walls crumble in on us. You may want to discount me. But I am alive. My lungs fill with air and my chest expands and my palms press into the tread of my tires and I keep pushing. My body propels me forward in ways my words alone cannot.
My whole diaphragm shook with laughter until tears fell the day my father and I staged pet robots for a scavenger hunt photo op. In 7th grade, my arms wrestled the boys and won, pinning their wrists to the desk. My mouth savored sweet cherry after sweet cherry until my stomach churned, overfull. My knuckles grazed the walls of the Colosseum in Rome, making me a part of its history. My head was covered with prayers and hands anointed me with oil before a surgeon spread my back open like a book. My body hurtled through the heavens in the corkscrew curl of a rollercoaster and all I remember thinking is This is delightful. My face was kissed by Conan O’Brien at a taping of his show, beloved by me since I was girl. He told me I looked really beautiful and I believed him. My older siblings carried my body in my bathing suit across the sand and I floated in the ocean, waves rolling over my shoulders. At Epcot, the Mission: Space centrifuge spun, compressing me, simulating a force of gravity two-and-a-half times beyond that of our Earth, holding me down until the pressure relented and I was not sick like my cousins were; my body was well. It understood how to break free from the atmosphere even while their able bodies did not.
I am not nothing. I am more than the words you are reading. I am somebody, not nobody. A body. My body. The only body I have. It needs so much care but has given me so much in return. Inconvenient and alive. I hate it and I love it and I wish I were just my words but I am not and I am so grateful to be more.
On Saturday, August 12th Rachel Egboro will be conducting a two-hour introductory storytelling workshop. Rachel is the co-founder of thestoryline.org, a Phoenix storytelling collective. During the workshop, Rachel will give some simple steps to begin and develop a story for an audience. The workshop costs $25 and will be at the Changing Hands Phoenix location. You can find more information and buy tickets here.
Today we are pleased to feature author Steven Faulkner as our Authors Talk series contributor. Steven’s podcast is a unique treat: he has recorded his nonfiction piece from Issue 14 with guitar accompaniment. Steven’s voice blends with the lull of the guitar to create a truly moving work of art. His essay reflects on the life of his youngest child, Alex, as he grows up. Steven begins by describing Alex’s birth and ends when Alex “is 22 years old” and “[h]is father and mother have little influence,” with many anecdotes to fill the time in between.
Steven Faulkner is the author and reader. John Hogge is the guitarist, and John Holloway is the audio engineer.