I am excited to announce that my flash piece, “Crumbs and Porcelain Cup,” was recently published in issue 69 of beautiful Bayou Magazine. This was my favorite flash piece to write. I am making the story available on my website. Hope you enjoy it!
I am delighted to have my short story, “Peephole,” in the new issue of The Baltimore Review, alongside the work of some incredible writers. Check out the entire issue if you can. It’s available online. The day it came out, I spent half the night reading it. I have admired The Baltimore Review for some time—the work they publish is original and well crafted—and I feel honored to be included in their spring issue.
I was also happy to hear last week that Moon City Review will be publishing my poem, “As God Intended,” in their 2019 issue, which will debut at the AWP Conference in Portland next year. The poem is about the 17th century nun and soldier, Catalina de Erauso, and her play with gender roles. I will announce the publication here when the piece comes out.
I haven’t been writing much the last couple of weeks, but I have dedicated myself to reading. I’m setting up reading dates with myself on my calendar, and I’m always excited to see them pop up. I have been going to local coffee shops and bookstores and sitting for hours. At the moment, I’m reading Han Kang’s novel, The Vegetarian. It is set in South Korea and centers on a married couple whose life is turned upside down when the wife has a dream about animal slaughter and refuses to eat meat or sleep with her husband because he smells of it. The writing focuses so entirely on the two main characters that I feel as if I’m watching a riveting stage play. Apart from this, I’m jumping around from book to book—mainly nonfiction: philosophy, history, gender studies—and the richness of other writers’ perspectives is fueling a lot of thought.
I saw a number of writing friends in Tampa last week during the Association of Writers and Writing Programs conference. They are creating essays, novels, journalistic articles, short fiction, and poetry, and they spoke of their projects with such enthusiasm that I felt my own creative endeavors infused with energy. We drank and ate at restaurants, walked the streets, and caught up over coffee in shops. I had finished a new short story before heading to Tampa—a surreal piece where the setting keeps shifting to the astonishment of the protagonist—and I have started sending it out to magazines with new vigor.
Giving an off-site reading with my fellow IU MFA alums during the conference was also a pleasure. We read on the back deck of an Irish restaurant at dusk, as the winds blew about, and it was fascinating to hear the new work of fellow writers I’ve followed for years.
This week, also, my article on filmmaker Paul Shoulberg came out in Indiana University’s The College Magazine. The issue also features some great work by writers Chad Anderson and Raymond Fleischmann. Paul and I had an enlivening three-hour discussion about his life and work. He spoke about his films and his reasons for creating art. You can read the entire piece here.
Cold January left me feeling disconnected from my writing—on top of the weather, I had an endless case of the flu—but I’m slowly starting to feel like myself again. The flu even generated a vivid fever dream that I am turning into a prose poem. I have also started writing about Bosnia again—a short story from the perspective of an aging couple—and it feels significant to revisit the spaces of Sarajevo now. They are providing me with a deep sense of comfort, and they are generating childhood memories, as well.
I have not been finishing pieces, really. Rather, I’m endlessly changing, tweaking, and molding things, and also starting new work. It feels good to work without pressure or expectation.
Press 53 also notified me this week that they will anthologize a story of mine, “On the Dalmatian Coast.” I initially published the story in a small literary magazine and am excited to give it new life. It is a piece I wrote while in the MFA program seven years ago, and it meant a lot to me at the time. The piece will appear in volume three of the anthology Everywhere Stories this fall.
I also have an article about filmmaker Paul Shoulberg coming out next month in IU’s The College Magazine. Paul and I met at a coffee shop in Bloomington and had a lengthy and invigorating conversation about his creative work and views on life. I will link to the article here when it comes out.
In terms of readings, several of us former MFA’s from Indiana University will have a reading in Tampa during the AWP Conference in March. The reading will take place at Four Green Fields restaurant on Saturday, March 10th, at 5:00 p.m. So look to forward to being with these gorgeous writers and friends in a relaxed setting!
I’m so grateful for all these waves as they come. It’s such a pleasure to connect with other creative people and to examine my own inner spaces again through my work.
I’m thrilled to announce that my flash fiction piece “Shifted,” which was based on a real break-in, appears in the new issue of Front Porch. It is available online. My nonfiction piece, “Sarajevo on the Phone,” is also available this week from Storm Cellar Quarterly (in print or e-book format). The piece initially appeared in my chapbook earlier in the year.
I’ve recently started working on my novel again and may give short work a break for some time. The novel takes place in my native Sarajevo, and I’m loving the process of revisiting streets and buildings on the page.
In an attempt to reconnect with writers who have influenced me, I googled Mary Gaitskill’s name today and came across a 2015 New York Times article about connection and loneliness in Gaitskill’s work. In the piece, literary critic Parul Sehgal teases out some of the complexities that lie beneath the surface of Gaitskill’s behavior and writing.
The article left me wanting to slow down as a writer and to dig more deeply into silence, awkwardness, discomfort. To explore character traits I avert my eyes from in real life. The entire piece is available on the NYT website, but here is a short excerpt about weakness:
We are phobic of weakness, we treat it like a contagion, averting our eyes and hoping for the best. But Gaitskill puts her fingers in the wound. Even among other artists attracted to weakness as a theme, she is rare in being able to look at it on its own terms. She doesn’t treat it like a curiosity, like Diane Arbus, or a chink in the armor that might let in faith, like Flannery O’Connor. She isn’t afraid of it, like Muriel Spark; nor does she insist its depictions rouse us to action, like Sontag. She looks — just looks — and sees everything: how weakness is despised, how weakness can be cunning, how victims aren’t merely saints or dupes.