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Interview

Biology and Connection: An Interview with Lauren Taylor Grad

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The Woven Tale Press – Volume 9 Number 9, 2021

Lauren Taylor Grad’s work was featured in Woven Tale Press Volume XI Number 9. Jennifer Nelson, WTP feature writer interviewed Taylor Grad recently on the meaning and thought processes behind several of her works along with her pursuit of an MFA.

From using found items to create sculptures to utilizing her undergraduate work in biology to create paintings, Taylor Grad’s work is diverse. One of the most interesting pieces is Tethered which is comprised of used clothing made to create two concrete boulders and a connecting line between them. She also created a video art piece to accompany the sculpture about moving these boulders around a curving path.

Nelson: Why did you feel it was important to earn an MFA?

The decision to go to graduate school and earn my Masters in Fine Arts was not one that I took lightly. It is a huge investment, both in time and money, and I wanted to be sure that it was the right path for me to take before I made that leap. I personally really enjoy academia; I think that the amount of growth and nurturing that occurs in an individual throughout art school in such a short amount of time is transformative, and unlike anything that you can get elsewhere.

Taylor Grad also talked about taking time off after earning her undergraduate degree to try out being a living artist and other avenues before ultimately going back to earn her MFA so that she can also become an art instructor.

Read the full interview here and look at some of Taylor Grad’s amazing work.

Sarah Moore Interviews Noémi Lefebvre in WLT

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In the Autumn 2021 issue of World Literature Today, Sarah Moore interviews Noémi Lefebvre. The two corresponded in May 2021 shortly after Poètique de l’emploi had been published in English and Parle had been released in France. The interview immediately had me interested with as they discuss the English translation of Poètique de l’emploi‘s title:

Sarah Moore: Your most recent work to be translated into English, Poètique de l’emploi, considers the question of employment. The English translation of emploi, which variously means “employment,” “use,” and “labor,” into “work” already shows the tension that you explore between how we earn a living and how we spend our time. How do you feel these different aspects relate to each other? Why were you interested in the subject?

Noémi Lefebvre: First, it’s a subject that affects me. I don’t understand the link between work and salary or why, when I work, I’m not earning much of a living. For example, when I write, I don’t earn much money, but that’s my real job. There isn’t a clear connection between the money we earn and the work we do. Also, work is a social condition that we’re all supposed to accept but one that often significantly restricts freedom. That’s what I wanted to consider. When a baby is born we don’t think, “Oh, super, it’s going to have a wonderful job,” unless, of course, you’re very narrow-minded. We think first about life and freedom, not in terms of paid work. I wanted to explore what remained childlike in me and what retains the desire to always be free in life, while work is often restrictive or creates living conditions that are just impossible—not for everyone but, still, often.

Check out the rest of the interview at WLT‘s website.

Chloe Yelena Miller Interviews Lindsay Merbaum

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Guest Post by Chloe Yelena Miller.

Chloe Yelena Miller, author of Viable (Lily Poetry Review Books, 2021) interviews Lindsay Merbaum, author of The Gold Persimmon (Creature Publishing, 2021).

I so enjoyed reading your book, Lindsay. I was curious to understand what “feminist horror” meant, and these two, interwoven, gender-focused storylines offer a clear definition. The psychological horror of loneliness and loss and the distance between self and the mother figure felt tangible throughout the book. The characters were seeking physical and emotional comfort, despite or because of what’s happening around them. I admire how easily the characters’ mothers’ voices interject in scenes where the mothers would not otherwise be present. [Read more…] about Chloe Yelena Miller Interviews Lindsay Merbaum

Danielle Geller Interviewed in Superstition Review

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In Issue 27 of Superstition Review, readers can find an interview with Danielle Geller conducted via email by Grace Tobin. The interview centers on Geller’s memoir Dog Flowers published by One World/Penguin Random House this year.

The interview opens with the story of how the title of Dog Flowers came to be. The two go on to talk about the decisions Geller made while writing the memoir: what to include or leave out, writing in a nonlinear storyline, and which diary entries and real life photos to include. [Read more…] about Danielle Geller Interviewed in Superstition Review

Carlos Soto-Román in SRPR

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Each issue, Spoon River Poetry Review features one SRPR Illinois Poet. The Summer 2021 issue features Carlos Soto-Román. His work, translated by Daniel Borzutzky, spans 16 pages and is followed by an interview conducted by Borzutzky.

The two discuss Soto-Román’s forthcoming book 11, the interview beginning with the question, “How was the book written?” Soto-Román answers:

First, I wouldn’t say the book was written, at least, in the traditional sense. Maybe just a couple of “poems” included in the book were actually written by me. The whole process was more about compiling different fragments, quotes, and excerpts from multiple documents related to the Chilean dictatorship period and combining them within a new context in order to configure an alternate narrative of events, one that is intentionally veiled, which forces the reader to confront the past in a different way, encouraging the exercise of personal and collective memory to therefore complete the gaps.

You can learn more about Carlos Soto-Román and his work in the current issue of SRPR.

Trish Hopkinson Chats with NewPages’ Denise Hill

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Our own Editor-in-Chief Denise Hill had a conversation with Trish Hopkinson for Hopkinson’s Tell Tell Interview Series. The two talk about “importance of community and process for writers and poets,” as well as the equally important topic of which IPAs to try out.

On the value of literature: “But when I just think about the value of literature and our society, Why doesn’t it have a greater place? Why doesn’t it have a greater value where there’s millions of us? So where is the movement for this? How do we get that?”

Check out the entire video interview at the Tell Tell Poetry website where you can also find a transcript of the conversation.

An Interview with Leslie Blanco

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Sometimes after reading a story, I want to know more about it—what the inspiration was and what went into writing the piece. Southern Humanities Review quenches that thirst for answers in their “Features” section on their website, providing the occasional interview with a contributor of their print journal. Right now, readers can find an interview with Leslie Blanco, whose short story “A Sane Person Doesn’t Do Something Like That” is in Volume 54 Number 2 of Southern Humanities Review. The story “examines the strain in the marriage of Yvelis and Hector during the Cuban Revolution.”

Blanco and interviewer Caitlin Rae Taylor discuss the motivations behind the actions of the story’s characters, and the research that went into writing this piece. Here’s what she says about her attitude toward research:

The truth is, I love research. I love the melodrama of history and the magic of stepping mentally into another time, so I did a ton of research. Even as I type the answers to these questions, a vast “sensory” landscape covers one wall of my office, representing research for a novel set just after the revolution. It is a map of Havana with pushpins in all intersections of significant historical moments, surrounded by photos depicting the everyday people swept up in those events, complete with their glorious beehives or their iconic beards.

The interview finishes in a more general area. Taylor asks Blanco what she’s currently reading, what current projects she’s working on, and what advice she’d give to writers “who want to write fiction set against historically significant events,” making this interview an interesting read even for those who have yet to take in “A Sane Person Doesn’t Do Something Like That.”

“The Purpose of Translingual Poetry Centers on Going Beyond”: A Conversation between Haoran Tong and Ilan Stavans

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On August 17 literary magazine The Common featured a conversation between Ilan Stavans and Haoran Tong on poetry and the use of multiple languages. Besides talking on how language is used and how they consider it in their own work, you also get to learn how they grew up and learned their languages from it being completely natural with no dominance of one language over the other to acquiring a new language as being an invasion.

My English education, in contrast, focused more on practical dialogues than on literature. English was taught to me as a useful tool to acquire more knowledge, but Chinese was me. This probably explains my initial reluctance to use English elements in Chinese poems, or vice versa. Moreover, I seriously scrutinized my poems, out of guilt, for any “latinized” syntax that sounded “unChinese.”

Stavans and Tong also talk on “decidophobia” and how common it is now when in societies today choices are constantly demanded and their is always the underlying fear that you may make the wrong one.

Decidophobia is a common social trait, especially in capitalist societies: we are constantly demanding ourselves to make a choice. This, obviously, comes with the fear of making the wrong one. Is it possible to have too many choices before us? Should one try to avoid such a situation? Probably not.

And if you are interested in translation versus translingualism, Stavans and Tong have a lot to bring to the table on the subject as well: “Whereas translation tells, explains, or instructs, translingual writing shows, infuses and liberates.” Check out the interview in it’s entirety.

Frances Riddle Interviews Claudia Piñeiro

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cover of Elena Knows by Claudia PiñeiroTranslator Frances Riddle sits down to interview Argentine author Claudia Piñeiro about her writing life and new book, Elena Knows (Charco Press, July 2021). Piñeiro talks about how she believes writing came formatted in her DNA as she felt the need to express herself with the written word. She also talked about how she couldn’t study writing or humanities at college as the military dictatorship in Argentina had closed all humanities departments. Her writing education was informal workshops taught by well-known, important writers at houses, cafes, or bars. She personally recognizes Guillermo Saccomanno as her mentor as she studied with him the longest.

If I could sum it up: my formation has been just me seeking out things I could add on to learn to write better.

Piñeiro talks about how you cannot make a living as a writer in Argentina and how she had to write surrounded by her kids, the doorbell ringing, and other distractions. She also talks about her writing practice.

I don’t have an outline. . . . But I do have an idea—a global idea—of where the characters will go and what’s going to happen. And I do imagine the ending. Then, during writing, sometimes I take those routes, or sometimes I veer off onto other paths. Often the ending changes.

Read the full interview online in the Southwest Review.

NewPages Mag Stand: The LaHave Review

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Each season, The LaHave Review publishes one poem and an interview about craft. The Summer 2021 issue features “Rockaway Beach 110” by Denise Jarrott who then answers three questions. Now at this week’s Mag Stand.

At The Festival Review: Rachel Lynn on Songwriting and Activism

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Visit The Festival Review for The Inkhorn, home of weekly online exclusives. There, you can find a recently published interview with singer-songwriter Rachel Lynn. The interview discusses her song “She Tried to Drown me” and activism. Half of the proceeds of “She Tried to Drown Me” will be donated to the Audre Lorde Project.

Interviewer: The last time we spoke, you said you weren’t interested in promoting, or even creating, during the pandemic. What’s changed?

Rachel Lynn: We’ve been sitting on this release since the beginning of the quarantine. It was supposed to have been released in early June. The content was already created. This is a project I’ve had for a while, and I’ve been ready to move forward creatively. But I didn’t want to take up space. I still don’t want to take up too much space. One of the things I realize is that the fight for racial justice has to be woven into our lives. I thought, if I do this release and donate to an organization that is fighting for Black Trans lives, that is one way to incorporate the fight into my life.

I put out a song one year ago about veganism and animal rights, another system of oppression. And all the proceeds from that song were donated to Mercy for Animals. I definitely feel like it’s one way I can connect art and my work to activism and social justice. I am kind of a broke artist and this is a way I can make a donation, by linking it to the sales of this project. I probably won’t be doing anything new though, like creating new content.

You can find the full interview and links to Rachel Lynn’s music at The Festival Review‘s website.