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  • bzlatkov 000 on 000 Permalink | Reply  

    Excerpts from Janice Lee and Laura Vena 

    These are a few points I pulled from the lecture: The Mad Science of Narrative

    Janice Lee:
    Experimental narratives are like the voices of many people, like ghosts’ thoughts that are somehow expressed through writing. Sentences have a way of being created on their own and the writer channels the voices of those around us. Whenever we are faced with a difficult text, we are being forced to pull from our personal context in order to interpret that text.

    Laura Vena:
    When we perceive reality as fixed, we get trapped by continuity. One way to escape the constraints of writing is to jump into the fantastic. Fantasy isn’t just things made up by the writer, it is trying to invert the things of this world rather than make up new things. In a way, the fantastic poses alternate truths that may or may not exist. Narratives confront us with our own images of reality and when you discuss something less articulatable you require more participation from the reader.

  • bzlatkov 000 on 000 Permalink | Reply  

    A Quick Chat with Harvey Thomlinson 

    Q: To what extent do you, as a publisher, work with the author on developing his/her work?

    These days most things are done through agents. The author usually sends their material to an agent and the agent will help develop that work. After several drafts, the agents will then contact us and pitch the material for publishing.

    Q: How important is community in getting published?

    I think the United States community is very important. I can’t tell you for certain since I am mainly based in Hong Kong and the UK. Here it seems that going to graduate school or some other type of literary community is very important. Where I’m from, however, we get a lot of writers who have no formal education in writing. They just decide to write something and then they bring it to us.

    Q: It must be very difficult to pick who to publish from so many great authors, how do you choose who gets published and who doesn’t?

    It really depends on what type of press you are and what type of author you’re looking at. A lot of presses now specialize in certain types or genres so that helps narrow down the selection. It is very hard work though since there are so many good authors out there.

    Q: What is the hardest part of being a publisher?

    Distribution, definitely distribution. The biggest hurdle is actually getting bookstores to put your book on their shelves. Reviewing and publishing a book is pretty easy once its written, but then getting it into the stores is very difficult.

    Q: Is it any easier to distribute now that e-books have become so popular?

    We do publish e-books but most people still go to the bookstores to look at books. They’ll look at the book in the store and then if they like it they will go online and buy it electronically, so its still very important to get the book distributed out there.

  • klynnftw 000 on 000 Permalink | Reply
    Tags: lucy corin   

    Words & Advice from Lucy Corin 

    I had the pleasure of talking to Lucy Corin after her panel Saturday afternoon. The darker and somewhat controversial themes that appeared in her reading inspired me to start a conversation that dealt with my own concerns as a writer of more mature (and often deeply personal) material.

    KW: As a writer, are you ever worried about who is going to read your writing and how they’re going to respond to it?

    LC: I think I am thinking about that more now than I ever have before. If you’d asked me that question ten or fifteen years ago, I would have said something to the effect of “That’s they’re problem! Your duty is to art!” And I still believe that to a large extent, but I think that was because I was privileged to have a super supportive family. I mean, even to a strange point where my mother would read an unflattering description of a mother that was sort of like her and not really notice that it wasn’t that flattering. Or she would only see the parts of it that she felt were… At least, she was able to make herself get behind it. And she had the same ideals, that it’s about art. It was really wonderful, but I also think that things change, you know? Families change, and their ideas about your work, for instance, can change over time. Certainly my family’s relationship to me and my work has changed over time. So in some ways, you can almost never make the right decision, because everything might change. You might do just right by your family now, and then fifteen years later, it suddenly was wrong. It’s so personal, and you just have to be… There has to be a confluence between being ethical as a person in the world and being ethical as a writer. Those things are not separate. But you also have to choose the parts of the world that you feel you have to do right by. That may or may not be your family, it depends on you and your family. It may be your family, but it may not be your family.

    (After some back and forth conversation about writing something deeply personal and struggling with the decision of who should or shouldn’t read it.)

    LC: You’re going to write something that you care about and even though it’s beautiful, some people are going to not think so. And even though it came from your heart, they’re not going to see that. You have no control over that. I would say, try really hard to make a sacred space for your writing and then decide later – after you’ve done it in the privacy of your world, writing for the person that can hear you best, some imaginary creature that hears you best and is just as smart as you and just as loving as you – after that, then you decide. Do I publish it? Do I keep it secret? Do I just share it with my friends? Do I publish it under a pseudonym? You have many options, and you don’t have to decide while you’re writing.

  • myinitialsspellrag 000 on 000 Permalink | Reply
    Tags: , State of Mind, Vanessa Place, , Writing Communities, Writing Space   

    Q & A with Vanessa Place 

    Snippets from a video interview with Vanessa Place (http://www.lesfigues.com).
    Watch the full video interview at http://vimeo.com/30613814


    RAG: What does your physical work space look like?
    Vanessa: The primary place where I work is a small office. It’s painted a very dark, almost black, green. There’s two computer monitors. Many books and a very small-ish, overstuffed, gold-colored couch, and a red chair that I sit in. And a lot of papers. But I think the primary thing about it is that it’s very dark. For me, the more I can narrow my field of vision, the better.

    RAG: Do you have to be in a specific state of mind to write?
    Vanessa: I think that I had to learn by force, but I think that if you can skip the “by force” part it’s very useful. Writing to me is…it’s work. And you have a time that you start working and time that you need to stop for whatever reason. Whatever amount of work you do in that work time is fine.

    RAG: Which themes do you prefer to write and why do you feel it’s important to address them?
    Vanessa: I think the question would be: are themes important? If so, what themes are important to you, and how can you write about them without ever mentioning them? Once you figure that out, because those are the themes that are important, not just in your writing, but in your existence, and the more you can work around them without touching them directly as if they’re some great sleeping creatures, some sort of predatory entity that you have to live with, so you don’t actually want to provoke them, but they’re always present, so the more one can decide what those are, because what mine are, are of interest to me, but by in and of themselves, there’s only a fistful of themes that we all have, in and of themselves, they’re not terribly interesting, but what you do with them becomes interesting. So, rather than me saying what mine are, I think the question should become for people to say, “What are my themes? What are my motifs?” If you look at everybody’s writing, or their art practice, as if they’re telling you their dream, which is far more interesting than them actually telling you their dream, then you can sort of see the themes that they’re exploring, and then look at your own practice the same way.

    RAG: How important are writing communities? Should they be important to writers?
    Vanessa: You can never talk about should because they are–they are not important. They appear to be very important to many people; like hats–you feel the need to wear hats, it’s a very important thing. It’s funny to me in that I am considered to be, and consider myself to be, a part of a practice, a certain kind of writing. I don’t look at it particularly as a community, in as much as I look at it as a system of affinities. I like the system of affinities. I’m kind of anti-community in the sense that community is usually used, but I suspect that comes from…it comes from coming from a place from which community has not led to happy things. So my feeling is that, to go back to the idea of what is important to one, if it is important to someone to have community, then by all means they should have it, and they should find it, and if they can’t find it, they should make one. For myself, I prefer to see what happens around me and do what I do in the sense of making bricks, and what people do with the bricks, and what they build with the bricks when I’m done is their business and not mine.

  • myinitialsspellrag 000 on 000 Permalink | Reply
    Tags: , Steve Tomasula, Themes, ,   

    Q & A with Steve Tomasula 

    Snippets from a video interview with Steve Tomasula (http://www.stevetomasula.com/).
    Watch the full video interview at http://vimeo.com/30612848


    RAG: Where do you like to work and create?
    Steve: More and more I work at the kitchen table. I do a lot of drafting on the laptop–print out…hundreds of pages and just laying them on the floor, cutting them up and trying to rearrange.

    RAG: Tell us about the themes you prefer to write and why you feel it’s important to address them.
    Steve: I had a poet friend once tell me how lucky novelists were because they only have to come up with one idea every five years. Somehow that resonated because I think in my case I’ve only had to come up with one idea ‘cause they all in a certain sense work with this idea of representation and how we depict each other and the consequences of how we depict each other.

  • myinitialsspellrag 000 on 000 Permalink | Reply
    Tags: Advice, Amina Cain, , Tips, ,   

    Q & A with Amina Cain 

    Snippets from a video interview with Amina Cain (http://aminacain.com).
    Watch the full video interview at http://vimeo.com/30611803


    RAG: Where do you like to write?
    Amina: I probably do fifty percent of my writing while in bed, in pajamas. The other fifty percent, either at my desk, at my study, or sometimes in other rooms of the house, sometimes outside.

    RAG: When do you write? What state do you have to be in to write?
    Amina: I don’t really have to be in any state. My favorite time to write is in the evening. There’s something about dusk that I really like and kind of naturally gravitate towards when writing. I don’t have set hours.

    RAG: What do you know now about writing that you didn’t know when you first started?
    Amina: I think sometimes young writers worry like, “Okay, if I can’t write every day, what does this mean about me if I’m not someone who’s writing everyday, of If I don’t have a certain kind of discipline?” And what I’ve found in my own life is just sort of trusting the process and seeing that writing does get done in many different kinds of ways….there are lots of different ways to carve out a writing life.

  • revisionpoetry 000 on 000 Permalink | Reply
    Tags: Alta Ifland. Vincent Dachy. Christine Wertheim. Writing rituals. LTWR 129 (AnaJoySpringer)   

    Sharing Wisdom: Ifland, Dachy, and Wertheim on Writing Rituals 

    Les Figues authors, Alta Ifland, Vincent Dachy, and Christine Wertheim briefly dialogue with me about their writing rituals.

    Dachy simply shared that he wakes up at 8am every Monday morning to write. He explains that that’s really the only time he can write. As that time and day approaches, he is anxious and excited to be able to write. It is rather a ‘get to’ moment, rather than a ‘have to’ process in his writing.

    Ifland shared that she writes whenever she feels like it. She never forces herself. “I don’t understand those who feel guilty if they don’t write.” She explains that you should only write when you have something to write about. She says she can sometimes go weeks or months without writing anything because she doesn’t have anything to say, and what she wants to say is in the making in her mind. She feels like writers who feel guilty treat writing like a factory. “Writing is not production. The world can survive without your writing.” She advises to write when you have something to say. Otherwise, she asks, is it really writing then?

    Wertheim says, “My poetry writes itself, and I’m the conduit through which it comes.” She writes as it comes. She explained that the voice within her is very insistent, and it has become more manageable over the years. “It’s always there–and it’s never going to go away–so I don’t feel like I have to force it.” Concretely, though, she explains that she works through schematic maps. She feels like she is working on one overall project, but her schematic maps allows her to put it bits the different sectors of her project. The direction of her different sectors may change day to day, and they may be concepts for the next book or the next poem. But they are all related. It allows her to have discipline. She explains that she had the same problems that she sees with her students. She teaches them to focus on the task (bit) at hand instead of the overwhelming whole–no matter how not overwhelming you convince yourself that it is. No one, she says, can lay out in its entirety every part of a project in one sitting. “It’s a skill that needs to be learned.”

    Thank you for sharing! I hope you enjoyed the festival!–Zowie

  • revisionpoetry 000 on 000 Permalink | Reply
    Tags: Alta Ifland. Vincent Dachy. Christine Wertheim. Becoming a writer. LTWR 129 (AnaJoySpringer)   

    Sharing Wisdom: Ifland, Dachy, and Wertheim on Their Journeys to Becoming the Writers They are Today 

    Les Figues authors, Alta Ifland, Vincent Dachy, and Christine Wertheim, took time out to share with me how they became writers, starting from the question of whether they were student writers.

    Christine Wertheim started the conversation by saying that she did not attend an MFA program, but was actually got her degress in semiotics and literature. She shared that she used to be a painter. She explained that her journey in writing started from a thinking tool that she was using for a research project regarding the nature of language. Someone who looked at her work with this tool suggested that it would be poetry–something that Wertheim never considered. Later, someone suggested that she should perform this poetry; which was a journey in itself for her to appropriate how to perform such poetry. Now she teaches in the MFA program at CalArts (she’s actually the chair of the program!). Considering her journey, she noted that many people in the 60s and 70s who were in the hard sciences were writing as a form of art; and she thinks that, again, many nonartists are starting to become writers now. She became a writer through being an academic. (Wertheim was Australian born, and has lived most of her life in England.)

    Alta Ifland noted that all three of these authors, herself included, are foreign to the States, and thus do not have the “typical American experience” as a writer. Given that, she considers her style atypical in itself. She explained that she is from Romania, and they were no MFA programs there except one which was for journalism; which actually meant that those writers would be writing propoganda for the then-Communist party. People made fun of the program. As for her own journey, she says that she has known that she was a writer since she was 5 years old. Her parents bought her a puppet theatre and she began writing skits for it. From then on, her parents told he that she would be a writer. Later, a teacher would tell her that she will be a writer as well. She noted that she read a lot growing up. After Communism fell in Romania, Ifland left the country for the States. She got her PhD in French, and became quite fluid in the language. When she moved to the states, she says, she felt like she “didn’t have a language anymore”, for left Romania as a kind of exile. Writing in English was an interesting challenge for her, but she didn’t want to write in Romanian. She explains that the first book she wrote for LesFigues press was bilingual in French and English, which she translated herself. As Ifland and Vincent Dachy were reflecting on how many great foreign writers actually write in their native language, Ifland shared a side note: “Great writers do not just become great overnight. It takes many years to become great.” So be patient, and keep cultivating and networking.

    Vincent Dachy explained that he is Belgium and French speaking, but he lives in London. He shared that he was no background in literature. He actually studied Lacanian psychoanalysis (search: Jaques Lacan). During his practice, he explains, “I was writing things to clear my mind.” While he was in London, his patients would teach him how to speak English, but we would wonder, “…but how do I write [in English]?” He discovered that he like the challenge of writing in English. He explained that he though he is fluent, English is still a foreign language to him. “I like the foreign intitmateness,” Dachy shares. “I think it’s pretty playful to me.” He says that he likes how it is familiar yet distant. Assessing himself as a writer, he says, “I write to forget.”

    Thank you Ms. Christine, Ms. Alta, and Mr. Vincent for sharing with me.–Zowie

  • revisionpoetry 000 on 000 Permalink | Reply
    Tags: Harold Abramowitz. Community. LTWR 129 (AnnaJoySpringer)   

    Sharing Wisdom: Harold Abramowitz 

    I asked Abramowitz how he created community as a writer.

    He shared that he went through the MFA program at California Institute of the Arts. He says that motivates him to continue and complete projects that he is working on. He likens establishing community like forming a band; saying that he always wanted to form a band, but it was tricky finding people that matched his vision and tastes. He advises, “It’s good to find people you can jam with.” His experience has taught him that an MFA program can help do just that.

    Thank you, sir, for sharing your time and your wisdom with me.

  • cemcb 000 on 000 Permalink | Reply

    Interview Questionaire with an Unattributed Writer 

    • Who are you? What do you specialize in?
    [Sadly unable to attribute as no name was provided]
    Writer & editor/ publisher/ teacher (of creative writing). No real specialization, but concentrate on
    fiction and poetry (currently in that order).
    • How did you get involved in writing?
    Always knew I wanted to write- a desire fueled by my earliest reading experiences.
    • What do you do when you get too many ideas, pick one at a time or work multiple at once?
    I multi-task. I MOVE of in multiple directions simultaneously. The writing time I have available to me
    (scant) demands as much.
    • What are you working towards right now-what is your aspiration?
    Getting one or both novels on which I have been working for some time published. Finishing a
    sequence (100+) of short lyric POEMS.
    • What do you know about writing now that you wish you knew when you were starting out?
    How many options are actually available to writers (alternative careers, publishing avenues,
    opportunities in collaborating. There was much I failed to take advantage of [because] I thought of
    writing as a solitary pursuit.

    Thank you again for your interview!
    If this is you and you want it to be attributed, please leave a reply under this post.
    (Interviewer: Catrina McBeath)

    • Anonymous 000 on 000 Permalink | Reply

      Writer’s name = Joe Milazzo

  • cemcb 000 on 000 Permalink | Reply

    Interview Questionaire with Jon Wagner 

    • Who are you? What do you specialize in?
    Jon Wagner-Cinema/writing/mod. French poetry
    • How did you get involved in writing?
    Director-MFA writing program CalArts
    • What do you do when you get too many ideas, pick one at a time or work multiple at once?
    Multiple-Then attempt at synthesis
    • What are you working towards right now-what is your aspiration?
    Finishing a book on the relationship of Buddhism to the French poets Yves Bonnefoy and
    Saint-John Perse.
    • What do you know about writing now that you wish you knew when you were starting out?
    How ego destroying it can be.

    Thank you again for your interview!
    (Interviewer: Catrina McBeath)

  • cemcb 000 on 000 Permalink | Reply

    Interview Questionaire with Brett Zehner 

    • Who are you? What do you specialize in?
    Jon Wagner-Cinema/writing/mod. French poetry
    • How did you get involved in writing?
    Director-MFA writing program CalArts
    • What do you do when you get too many ideas, pick one at a time or work multiple at once?
    Multiple-Then attempt at synthesis
    • What are you working towards right now-what is your aspiration?
    Finishing a book on the relationship of Buddhism to the French poets Yves Bonnefoy and
    Saint-John Perse.
    • What do you know about writing now that you wish you knew when you were starting out?
    How ego destroying it can be.

    Thank you again for your interview!
    (Interviewer: Catrina McBeath.)

    • cemcb 000 on 000 Permalink | Reply

      I’m very sorry but this post was a mistake on my part

  • xizhan 000 on 000 Permalink | Reply  

    Interviews by Dennis Zhan 

    On Friday afternoon at the &Now festival, I was able to interview three very cool people for their thoughts on writing and publishing. Carl Diehl, Teresa Carmody, and Tantra Bensko. I have summed up their answers in this post.


    Q: What do you know about writing and video producing now that you wish you knew when you were starting out?
    A: Mainly the technical aspects of producing video, such as where all the wires connect and making sure that video and audio feedback do not occur. Setting parameters for one’s work, such as limits on the location of a place to shoot video can actually produce interesting results that one may not have gotten otherwise.

    Q: How did you get started with what you do?
    A: Father was an English professor who was really into wordplay, and mother was a textbook editor. Always been interested with video, so ended up producing videos as opposed to writing. These videos ended up incorporating language and wordplay into them.

    Q: How much time do you spend producing your work versus promoting it?
    A: A great deal of promotion is spent during festivals, specifically festivals where the work can be well received and appreciated. Festivals also create a natural deadline which allows the work to be pushed forward and completed, so it is a fair balance. Blogging with collaborators for these works also takes up time, but is very rewarding because of the flow of ideas, which can overcome writer’s block.


    Q: What do you know about writing now that you wish you knew when you were starting out?
    A: That ingrained writing talent is not all there is to being able to write well. The mechanics of writing and how it works can be learned and mastered with a great deal of practice. That is the most important thing.

    Q: For new writers, what is the best way to get published?
    A: New writers should not necessary feel a rush or anxiety to get published. Instead, they should first hone their craft and make sure they can write whatever it is that they want to write. Then afterwards they can find a way to get published, either by looking at online journals or other places to submit their writing.

    Q: Has your work ever been publicly criticized and how did you deal with it?
    A: Yes, and you deal with it by growing thick skin and learning to accept differences among people.

    Q: What are you working towards right now, what are your aspirations?
    A: Finishing a novel, and getting ready to publish it. It is called “If I Could Be Her, This Would Be Be: A Novel”


    Q: What sort of message or feeling are you trying to convey to your audience with your works?
    A: These works are experimental fiction pieces, and they are about getting on touch with oneself, going beyond what is physical and entering into the more spiritual aspects of being.

    Q: What do you know about writing now that you wish you knew when you were starting out?
    A: The understanding of where books were headed in the future, with all the new formats and features now being considered literature.

    Q: As a writer, how much time do you spend writing vs. promoting what you’ve already written?
    A: More time is spent on promoting, but in an indirect way. Most of it is spent online, and promoting other people’s works, which redirects it back to promoting personal works.

    Q: What do you do to support yourself and your writing?
    A: Teaching college courses in experimental fiction.

    Q: Has your work ever been publicly and how do you deal with it?
    A: Yes, and just simply laugh it off.

    Q: What are you working towards right now, what are your aspirations?
    A: On a couple of manuscripts and spreading lucid fiction. Expansive writing into consciousness, spirituality, and questioning existing perceived truths.

  • a3oh 000 on 000 Permalink | Reply

    Interviews and Conversations 

    I had some lovely conversations with &NOW attendees and would like to share them:

    Writer Robin Morrissey’s &Now project is a “critical and creative” piece which transposes the fictional character Molly Bloom from James Joyce’s Ulysses (1922) with the case study of Mollie P., a real-life woman living in the early 1900’s at a reformatory. Morrissey found Mollie P. in a nonfiction book titled An Experimental Study on Psychopath Delinquent Adolescent Women, and wanted to create a work that explores the “inner and outer,” the inner life of a fictional character created by James Joyce and the outer life of a real-life woman whose perspective is given through a doctor’s observations. This exploration is told by a narrator who has woken up to find that her “skin wasn’t her own.” The piece is about “divergence,” a “brain on overload with lots of synapses going off in different directions.”
    Morrissey waited a year before getting her MFA. One of the main inspirations for her writings are the books on her bookshelves at home, nonfiction and fiction texts whose characters she combines in her own writing, like Molly/ie.

    Kim Koga, a recent graduate of the MFA program at The University of Notre Dame, advised undergraduate writers seeking MFA programs to search within prospective schools “people who you want to work with and who will help you grow.” When choosing a school, the decision will be between “who you’re going to work with versus the prestige of the school.” Notre Dame was not Koga’s first choice, but when she visited the campus and got a feel for the school, she liked that it was “not elitist,” but “supportive” and not just focused on experimental writing or a specific form of writing. In workshops the “comments I got back were more useful and helpful since I was getting perspectives coming from different aesthetics instead of just my own.” Koga suggests awpwriter.org as a starting point for undergraduates searching for an MFA program.
    Koga is currently sending out her poetry & lyrics essay-thesis to contests while designing and writing for an online magazine.

    Lori Emerson creates digital poetry and electronic literature, that is, poetry accompanied by all that a computer can do, whether making the poetry “interactive or animated and kinetic.” Emerson started off a poet herself and became interested in visual poetry. Now, she’s an artist who uses the computer’s many capabilities to display other people’s poetry in a new, electronic, and crucial way.
    Emerson is currently a professor at the University of Colorado-Boulder, teaching digital poetry.

  • Joe Milazzo 000 on 000 Permalink | Reply
    Tags: curation, design, electronic publishing, futurity, online communities   

    Electronic Literary Journals At The Limits And Beyond: The Possibilities Of The Digital (TH, 10/13 10 AM) 

    Electronic Literary Journals At The Limits And Beyond: The Possibilities Of The Digital (TH, 10/13 10 AM)

    Kiki Benzon, Joe Milazzo, Jason Snyder, Mathew Timmons

    This panel will bring together representatives of several electronic literary journals, all of which acknowledge both the limits and possibilities of working within a digital environment, and all of which share a common aesthetic concern: how to incorporate, exploit or otherwise make use of Internet form(s) in connecting readers to innovative literature. Topics to be covered include (but shall not be limited to): digital literature in the context of print culture; literature’s relationship to information; the curation of immaterial objects; code and other forms of digital text (legible, illegible) as media; the Internet as a navigable space; online culture, online subcultures and their intersections with notions of online community; economies of scale and the proliferation of electronic literary journals; beauty, usability and perceived seriousness of intent.

    While it is exceedingly difficult and even a bit foolhardy to single out any given moment with respect to a phenomenon as turbulent in its evolution as this one, we very well may now be entering a critical phase in the history of the Internet. For one thing, we now reside in a era in which the Internet has become a historical entity. Moreover, electronic literary, possessed of it own traditions and theories of production, is being subjected to increased scrutiny. Traditional publishing houses, acting as much out of financial desperation as creative bankruptcy, are scanning the Internet for “solutions” and “ideas” with a keenness unimaginable just half a decade ago. In the process, those traditional purveyors of literature are less adapting to the Internet than they are attempting to re-engineer the Internet for the purposes of monetization, market growth, and brand extension. An official history of Internet literature is shortly to be written, and there is every risk that it will be as narrow as these established interests, and that much of what has been vital and truly exploratory about digital experiments in publishing will be written out of that chronicle. (And this in spite of the fact that the Internet is itself the chief repository of its own history.) Simultaneously, and as nearly all technologies have in the past, the Internet is miniaturizing and becoming much more oriented towards personalization. (Are we or re we not in the age of a new common-place “book?”) In other words, the Internet is no longer bound to the computer. And while some electronic journals have made efforts to creatively address this trend, many remain tied to original conceptions primarily concerned with and oriented towards the desktop “box.” Our hope, via this conversation, is both to document how electronic literary journals have contributed to our understanding of what it means both to speak and to be online, and to propose new strategies of truly aesthetic engagement with what the Internet, language and reading are becoming.

    Please feel free to extend the scope and content of this conversation in this forum.

  • junghoikim 000 on 000 Permalink | Reply  

    Jung H. Kim: Interviews 

    On Thursday Night, I was able to interview three, very kind, literates by the name of Lily Rumberger, Roberto Tejada, and Katherine Tillman. Here are some of the things that they had to say.

    These are the four questions I asked: (All in numerical order)

    1. What do you think is the most Lucrative market?

    2. Waht do you do to self-promote/Market your work?

    3. Has your work been criticized publicly and how did you deal with it?

    4. What’s the ideal legacy you’d leave behind as a writer?

    Interview with Lily Rumberger

    1. ” I think fastest developing market is computer engineering and computer science. It’s the artificial new frontier. Before, it used to be factories and space (NASA) now, its more about computers”

    2. ” The best way to market yourself is to at like you already know everything. I rely more heavily on the feedback that I receive from outside of the academic loop rather than from my peers.”

    3. ” Yes, of course. I try to take everything with, not to be cliche, grain and salt. Every opinion is valuable. my writing is not to please others or myself to be liked, it’s to please myself or be satisfied with my work.”

    4. “I’m stealing this, but I would love to be like Kurt Vonngurt. Not because of his writing or style but because when I read his work, he’s writing has a purpose. It is to instill a purpose, poetical importance, and instills change.”

    Interview with Roberto Tejada

    1. Advertising, you get to work with language and it has a creative element. Not so different from what I do and it has more pay!”

    2. I had suggested that his book covers were very elegantly done, he replied, “Thank you, I hand picked the photographs for the cover of my novels. I also work with the designer, pitch my idea for the cover, and tell them what it is that I

    3.”Not poetry. However my scholarship work has been criticized before. I advice is to take it elegantly with philosophy.”

    4. “Life of complexity, both in terms of richness in mind & imagination. Political presence as a social actor I have to live.”

    Interview with Katherine Tillman

    1. “Technology, I have a friend with program degree and he makes a lot of money. He has time to write and at the same time, earn money.”

    2. “I’ll use the internet, I post things on blogs & social networking sites. Blogspot and tumblr is a good example.”

    3. “Not in a public sphere, but I have dealt with rejection. Not every good with dealing with criticism..”

    4. “I think ideal is someone who reads your work and feels understood by it and somewhat of their life is captured.”

    Thank you again everyone for the wonderful interview. Hope to see you guys again during the festival.

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    An Interview with Tasha Marren 

    Who are you? What are your specialties?

    I’m a poet. I did my undergraduate work at Long Beach State, where I focused on more narrative aspects. During my MFA experience, I was encouraged to and spent more time on sound. I’m currently getting my PhD in English with an emphasis in poetry at the University of Illinois-Chicago. I feel that my poetry really comes from these two backgrounds, narrative and sound.

    Are narrative and sound things you still work with? Have you rejected one?

    I haven’t really rejected anything. I feel that I’m better at one than the other. I appreciate the narrative style, but I think I’m better at sound and tonality.

    Do you work with any major themes?

    I often have recurring images, particularly of nature, that are at play in my work. In particular, the image of a carved turtle often recurs. I think I’m more tonally consistent in that I’m usually working with a dark and frightening tone.

    How do you stay motivated to write?

    My husband and my friends, such as Snezana [Zabie] encourage me. I also have to meet deadlines for my dissertation.

    What has been your biggest regret or mistake thus far in your career?

    As far as my writing, I don’t really have any regrets. But I wish I had thought more seriously about what I want out of a PhD program.

  • slfox117 000 on 000 Permalink | Reply
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    Interview with Snezana Zabie 

    Who are you? What are your specialties?

    I’m from Croatia. I write fiction, poetry, non-fiction, and do translation work. I got my MFA in poetry from UNC-Willmington(?). I’m currently in a PhD program for writers. I’m working on a creative dissertation exploring the break-up of Yugoslavia and the refugee experience.

    Do you work within a writing community?

    I don’t work in a formal group. I have some writing friends and I’ve collaborated on projects in the past. I was part of a group in Belgrade, Serbia during which we wrote a book together. I’ve also been involved with creative writing stemming from participation in feminist or activist groups.

    What do you to support yourself and your writing?

    I’m a teaching assistant at the university where I’m getting my PhD. I also taught throughout my time in the MFA program.

    Do you work on many projects at a time or try and stay focused on one?

    I work on multiple projects at once. I’ve always done it like that. Sometimes I just wake up with ideas for one particular project or another. I work with deadlines sometimes.

    With so many varied interests, do you do mixed-genre work?

    Not all of my work is mixed-genre. The dissertation I’m working in the largest mixed-media project I’ve done. I’m using aspects of fiction, poetry, and non-fiction. The reason being that I thought it important to deal with more voices than just my own. I used some found text about other peoples experience during the break-up of Yugoslavia. I’m also interested in the unreliability of memory and artifice of writing. There’s some fiction pretending to be non-fiction.

    • Snezana 000 on 000 Permalink | Reply

      Sorry, I should have pronounced my name when we talked . It’s Zabic (zha-bitch). :-)

  • slfox117 000 on 000 Permalink | Reply
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    An Interview with Tina Cabrera 

    Who are you and what are your specialties?

    I have an MFA from San Diego State in Fiction. I’m currently applying to PhD programs right now. I write mostly short stories about dark themes.

    What do you do to support yourself and your writing?

    I teach English part-time at different college in San Diego.

    Why are you interested in getting a Ph. after the MFA?

    I love academia and being in those environments. I also enjoy teaching. Going through the PhD program will also give me more space to grow as a writer.

    What themes do you prefer to write about and why?

    Dark themes that dwell on some of the existential questions of life. Recently, I’ve been getting into more surreal work.

    Whose work do you enjoy/admire?

    Lance Olson, Borges, Beckett, Virginia Woolf.

    How do you stay motivated to keep writing?

    I try to make it a practice to write something everyday, even if it’s just one line. If it means that much to you, you’ll make time.

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