We’re so excited to share that past contributor Paul Luikart has published a new book! The Museum of Heartache, a short story collection, debuted this week from Pski’s Porch Publishing.
Paul Luikart earns his spot on the shortlist of writers who can sink you right into the skin of a character in only a few lines. This collection of stories, some almost poetry, captures moments in his characters’ lives when they aren’t just down and out but squeezed in the vice of their circumstances, whether peculiar or mundane. In their shoes, you’ll grapple with what it means to be fully human and come out the other side changed.
Audrey Keown, Author of the Ivy Nichols Mysteries
The book includes Paul’s story “Blessed Assurance,” originally published by Superstition Review in Issue 22. That story touches on the reality of things we may never expect to encounter, framed by the binaries of heaven and hell, alive and dead. It’s an honest and intense glimpse into a life the narrator wanted to escape. Yet we leave the story hopeful. To read “Blessed Assurance,” click here.
The Museum of Heartache is available on Amazon and more information can be found on the Pski’s Porch website. Check out Paul on Twitter.
Join Superstition Review in congratulating past contributor, Kelli Russell Agodon, on her forthcoming book, Dialogues with Rising Tides, out April 27th. Kelli, in this poetry collection, “facilitates a humane and honest conversation with the forces that threaten to take us under. The anxieties and heartbreaks of life―including environmental collapse, cruel politics, and the persistent specter of suicide―are met with emotional vulnerability and darkly sparkling humor. Dialogues with Rising Tides passionately exclaims that even in the midst of great difficulty, radiant wonders are illuminated at every turn.”
“Kelli Russell Agodon’s poems in Dialogues with Rising Tides, her strongest book to date, navigate everyday anxieties and dramatic questions of life-or-death with equal doses of pathos and humor, reminding us that our choices in a world of chaos add up to something, reminding us of the responsibility to ‘care for our ghosts.’ Her interior world is lined with fragments of family tragedy while her outer world confounds her, the rising tides of environmental collapse, not a metaphor but a reality. Her oceanic views of the world teeter on the edge of a cocktail or a gunshot. Funny, sad, and a perfect read for unsettling times.”
Jeannine Hall Gailey, author of Field Guide to the End of the World
To pre-order your copy of Dialogues with Rising Tides click here. Also, be sure to check out Kelli’s website and Twitter as well as her past work in Issue 3.
Join Superstition Review in congratulating past contributor Candace Jane Opper on her new book Certain and Impossible Events. The book, an investigative memoir that looks at the cultural history of suicide in America, was selected by Cheryl Strayed as the winner of the Kore Press Memoir Prize.
“Certain and Impossible Events is a stunning gutpunch of a memoir for the heart and for the head. In laser-sharp, near-cinematic prose, Candace Opper both remembers and discovers the childhood friend lost to suicide, a decades-long examination of the hierarchy of grief and the nature of personal obsession. I kept putting the book down to remind myself to breathe. I kept picking it up to find out what happened next. I’ll keep picking it up for what it shows me about this beautiful mess of a world and how I can better walk through it.”
Megan Steilstra, author of The Wrong Way to Save Your Life
Candace has also made a zine as an visual postscript for the book, so don’t forget to check that out here.
Click here to order Certain and Impossible Events. Be sure to also check out Candace’s website and Twitter, as well as, an interview with Candace, including a discussion of the process of writing this memoir in Issue 26.
The little girl in the picture is a serious child – and already a woman. By the time the picture is taken, her mother has suffered her first psychotic break and survived her first suicide attempt. These days her mom would have been diagnosed with postpartum depression, barbiturate addiction and bi-polar psychosis. In 1945, the psychiatrists named her a hysteric and depressive, and told her she liked her depression because it got her attention. They prescribed electric shock treatments (a terrifying and brutal regime in those days) – and the family doctor prescribed sleeping pills.
I grew up with three mothers: the bright-eyed mom who played jazz piano, drew abstract designs for me to color, learned to stencil the folk-art of her Pennsyvania-Dutch origins, hand-painted Easter eggs and turned our home into a candle-lit shrine during the winter holidays; the sallow mother who grew more and more silent, who took to the living-room couch on long winter afternoons, who burned our dinners and closed the cover over the piano keys; the thing that looked like my mother but contained a howling void.
All three mothers were the perfect teachers for what I do best, for that which seems to be the only act that fills my soul, for what I do in this perfectly imperfect moment – writing. My bright-eyed mom read, not just to me and my brother, but for herself. She took me to the library when I was six and introduced me to the librarians. She told me they held the keys to magic – and since she had introduced me to Scheherezade, the women who told stories to save her life, I knew the librarians were guardians of an endlessly replenished treasure chest. When I begged off washing dishes or doing chores because I had a book to read, my mother shrugged, laughed and said to my father, “You know Liz. She always has her nose in a book.” And when I began to write my own stories, she read them. She never pushed me to write them or snooped in my diary. But when I brought her my writing, she read it carefully and told me what she liked.
My silent mother gave me more than she could have ever guessed. When she came home from the hospital, she, my father and I must have believed that it – the “nervous breakdown” – would never happen again. We were wrong. Two years later, the color began to leave her face. There was strained quiet at our dinner table. I came home from school to find my mom stretched out on the couch. And then, I was waked in the middle of the night to the sound of her retching. I pulled the pillow around my ears and struggled back into sleep. In the morning, my mother was gone. My father told me she was back in the hospital. Then, for reasons I can’t fathom to this day, he said, “She took too many sleeping pills. She wanted to die. I made her drink a quart of milk so she would throw up.”
In that instant, I became a radar screen. I learned to pay scrupulous attention, to monitor people and surroundings as accurately as any creature who relies on external information to survive. And I learned to store away what I learned. It would be years before I would hear the political slogan: To Understand the Present, Study the Past. At eight, ten, twelve, fourteen, sixteen and eighteen, I became an encyclopedia that contained every nuance of my mother’s face, moods, laughter and silences.
The mother skin bag that contained a black hole gave me the third great gift. I was five. I’d been kept home from kindergarten. I sat in my parents’ big bed with a coloring book in my lap. I didn’t read yet. My mother was in the kitchen. Someone was singing, a tuneless, wordless high-pitched croon. Then there were footsteps coming toward me. I knew my mother was the only other person in the apartment. I tightened my hands on the coloring book and stared down at the page. There was a tree, a little house, smoke coming out of the chimney. I began to tell myself the story of whoever was in the house. That’s the last thing I remember of that morning.
My mother and I made peace when I was fifty-five and she was eighty-three. We were brought to a sisterly ease with each other through miracles, hard work and, as we would have told you, “Who Knows What.” For the next two years of her life, we talked openly and with love about our time together as mother and daughter. She died at eighty-five. I was with her a few weeks before her death when she gave me the second most valuable thing she has given me.
She was drifting in and out of consciousness. I held her hand. She came wide awake, looked into my eyes and smiled. Her eyes were wet with tears. “Oh Liz,” she said, “I don’t have many regrets, but the one I have is so big.” I waited. “It breaks my heart,” she said, “that the god-damned depression robbed me of being able to be the mother I longed to be.” We were quiet. Her hand was warm in mine; mine warm in hers. “I know,” I said. “Thank you.”
And the greatest gift? The writing. My bright-eyed mother gave me trust in what I write. My silent mother unwittingly taught me to become a gathering net. The not-mother jolted me out of the ordinary and into the world of story. Trust, curiosity, infinite possibility. And one regret – I wish she were here to read this post.
Lillie Foltz Mammosser, thank you.
Note: This piece first appeared in my former Psychology Today blog. I thought I might re-work it, but as I read it, I knew I would not change one word. All of it is even more true today than it was in 2010 when it was published. And, as I read it I found myself paraphrasing an old saying: “That which doesn’t kill us makes some of us writers.”
You can find more of my work – and weekly writing tips and exercises on my new website: http://www.breakthroughwriting.net