Laurie Rachkus Uttich is a lecturer of creative writing at the University of Central Florida. Her prose has been published in Fourth Genre; Creative Nonfiction; River Teeth; Brain, Child (nominated for a Pushcart Prize); Sweet: A Literary Confection; Burrow Press Review; Poets and Writers; Iron Horse (fiction recipient of the Discovered Voices Award); So To Speak (recipient of the Creative Nonfiction Award); The Writers Chronicle; The Good Men Project; and others. Recently, she began writing poetry and has been published in Rattle and The Missouri Review. She can be reached at email@example.com.
Each Tuesday we feature audio or video of an SR Contributor reading their work. Today we’re proud to feature a podcast by Jo Scott-Coe.
Jo Scott-Coe’s first book is Teacher at Point Blank (Aunt Lute 2010). Her essays have appeared in Salon, The Los Angeles Times, River Teeth, Fourth Genre, Ruminate, The Nervous Breakdown, and Ninth Letter. In 2009 and 2010, her work received notable listings in Best American Essays. Scott-Coe is an associate professor of English at Riverside City College in Southern California, where she also teaches public writing workshops for the Inlandia Institute. Her forthcoming book, TheHoly Sacrifice of the Mass, seeks to understand the relationship between the 1966 UT Austin sniper and a friend who was a Catholic priest.
Each Tuesday we feature audio or video of an SR Contributor reading their work. Today we’re proud to feature this podcast by Brad Modlin.
Brad Modlin’s poetry, fiction, and creative nonfiction have appeared in Denver Quarterly, Indiana Review, The Florida Review, The Pinch, and River Teeth, among others. His work has been nominated for several Pushcart Prizes. He holds an MFA from Bowling Green and is a PhD candidate in Creative Writing at Ohio University, where he reads for New Ohio Review. He just finished discussing modern-day panopticons with his students and looks forward to discussing less scary topics next term—Beowulf and Middle English Chaucer.
Superstition Review is excited to announce our publication of Lee Martin for our next issue, due out this December.
Martin is the author of The Bright Forever, and three other novels, including his latest, Break the Skin, which was published by Crown in June 2011. His fiction and nonfiction have appeared in such places as Harper’s, Ms., Creative Nonfiction, The Georgia Review, The Kenyon Review, Fourth Genre, River Teeth, The Southern Review, Prairie Schooner, and Glimmer Train. He is the winner of the Mary McCarthy Prize in Short Fiction and fellowships from the National Endowment for the Arts and the Ohio Arts Council. He teaches in the MFA Program at Ohio State University, where he was the winner of the 2006 Alumni Award for Distinguished Teaching.
Click here for a trailer for Martin’s latest novel, and here for a brief clip of Lee Martin speaking about the story and characters he has created for it.
Superstition Review also had the opportunity to speak with Martin:
Superstition Review: What first made you fall in love with literature?
Lee Martin: I was an only child who spent a good deal of time sitting on porches, in kitchens, in barber shops, listening to the adults tell stories. I was always in love with language. My mother was a grade school teacher, and she had books in our home. She read to me when I was a child. When I started school, I asked my teacher for permission to take my books home to show my mother. I was so proud of them! Before those first school days, when I stayed with my grandmother while my mother was teaching, I would take books off the shelves in her bedroom and sit on the floor with them. I couldn’t read, but I loved the way the books felt in my hands. I loved the way they smelled. I loved the patterns the text made on the pages. All of this is to say, that from an early age I knew books and I had an aesthetic response to them. It was only natural that I would eventually want to write books of my own. I got serious about the prospect of that when I went to the MFA program at the University of Arkansas in 1982. Five years later, I published my first story. At the time, I decided to apply at Arkansas, I was coordinating an Educational Talent Search program that helped culturally or financially disadvantaged people get into college. I shouldn’t admit this to the taxpayers (we were a federally funded program), but I always found ways to spend some time working on my stories when I was supposed to be doing other things for my job. I knew, then, it was time to make a choice to either pursue my craft completely or to give it up. My decision to accept the offer from Arkansas sent me down a path that I’ve never regretted.
SR: What are some of the best things about being both a teacher of literature, as well as a creator of it?
LM: I do love to teach. I love the intense conversations we can have over the choices a writer has made in a story or an essay. I love seeing students develop their skills. I also love those moments of solitude when it’s just me and the page, and I have this material I want to shape, and little by little I do it, which makes me feel that I’ve reached into the world and done something with a little part of it. I like the uncertainty of that process and how it finally comes to something that coheres. Finally, I love doing a reading or talking to classes at the universities I visit. I love performing my work, and I love sharing what I’ve come to know over the years with writers who are just at the beginning of their journeys. I guess, to answer your question more pointedly, I love it all. I love everything about being a teacher and a writer.
SR: If you could offer your students–or any aspiring writers for that matter–just one piece of advice, what would it be?
LM: I think it’s so important to begin to read a good deal and to read the way a writer does–to read with an eye toward the various artistic choices that a writer makes and what those choices allow and, perhaps, don’t allow. Young writers in undergraduate programs will have plenty of opportunity to read the way a literary theorist does, but it’s important to remember that stories, poems, essays, and novels are made objects. If you want to write them yourselves, you have to start figuring out how they get made.
Look for Lee Martin’s work in the forthcoming issue of Superstition Review.
Superstition Review interns are busily preparing to launch the next issue of the fast growing literary magazine run by undergraduate students at ASU. With the launch date quickly approaching, we are excited to announce two fiction authors whose work has been selected to appear in the magazine. Issue 3 of Superstition Review will feature authors Mary Sojourner and Patricia Ann McNair.
Mary Sojourner’s publications include Sisters of the Dream, Delicate, Bonelight: ruin and grace in the New Southwest, and Solcace: Rituals of Loss and Desire. Sojourner’s short stories and essays have been featured in many literary magazines, as well as High Country News and Mountain Gazette. Her commentary on social issues can be found on NPR. She also teaches writing throughout the West.
Patricia Ann McNair teaches in the Fiction Writing Department at Columbia College Chicago. Her work has appeared in American Fiction: Best Unpublished Short Stories by Emerging Writers, Other Voices, F Magazine, River Teeth, Fourth Genre, Brevity, Creative Nonfiction, and Air Canada’s en Route magazine. She has received many Illinois Arts Council Awards and Pushcart Prize nominations and fiction and nonfiction.
Be sure to find out who else will be featured in Issue 3 of Superstition Review when the magazine launches on April 20th!