It’s official! We have received the new, fresh, and exciting copies of 30 North’s 2018 Issue (check out pictures below). We will be distributing copies around campus and Naperville next week, so if you’re a NCC student, be on the look out.
For our awesome contributors of this years issue, if we don’t have your address already, be on the look out for an email about contributor copies as we will be mailing them to you soon. If we already have your address, please be be on the look out for your copies in the mail!
As always, if there are any questions, comments, or concerns, please contact us at email@example.com
Daniel Clowes is considered one of the most notable comic artists of our era and has had a couple of his works made into feature length films. An example of this would be his book “Ghost World,” about two girls and their journey after replying to a man’s newspaper ad for a date, which was turned into a film starring Scarlett Johansson and Thora Birch. He tends to feature lonely, self-loathing men who want to feel connected, but push away those that try to get close; the male ego is a constant in his works. In “Ghost World,”the man from the newspaper ad exemplifies these traits. In “Patience,” Clowes has made subtle changes of this theme, while also still remaining true to his tendencies.
As the story begins, it’s 2012 and Jack Barlow learns that Patience, his wife, is pregnant. As they are discussing their financial worries and how they will make it work, Patience reflects on her early years:
Clowes overloads the reader with tons of information in the beginning of the novel. He is purposefully using this tactic to leave the readers confused; it can be difficult to follow what is happening during the first time reading through, so it helps to read a second or even third time to truly capture all of the little intricacies. When Jack goes back to 2012, the readers will also learn more about why things played out the way that they did.
In the scene after the one shown above, Patience starts to talk about her old life, but Jack doesn’t want to talk about it and quickly diverts the subject back to the baby. Everything seems to go well afterwards, but if you’ve read any of Clowes’ other books, you know not to be fooled by this.
One day, Jack comes home to find Patience has been murdered. Clowes takes on the cliche of a woman dying early on in a story to provide momentum for the rest of the story, also known as being “fridged.” There are other occasions in his works where he has used cliches to call attention to them and even parody them to reflect the current state of our culture. While they can at times be subtle jabs at the cliches, Clowes makes his purpose clear by overly drawing on the use of the cliche of Patience being “fridged” and makes it over-the-top. He does this with his use of dramatic language, especially when Jack finds Patience’s body, and his colorful palette.
After being framed for the murder of his wife and unborn child, Jack was sent to prison for 18 months. He was released after evidence appeared that proved him innocent, further giving him fuel for his quest for revenge. It’s suddenly 2029, and Clowes paints a picture of what he envisions the future to be like: inappropriately sexual public displays, monitors projecting a dictator’s speeches on loop, and people dressed in crazy outfits. A lot of this can be considered stereotypical of what people visualize when they think of the future. Clowes has been know to have depicted the future in a similar fashion in previous works of his.
Jack learns of the existence of a time-traveling device, and his hopes of seeing Patience again are hurtled into the forefront of his mind. This is when the “cosmic timewarp deathtrip” part of the tagline comes into play. The novel follows Jack as he is flung around time and space, trying to save Patience. As I mentioned earlier on, Clowes has a type. His protagonists are lonely, self-loathing creatures who have an ego. Jack is no different, and it becomes unclear at times what his true motives are in continuing on with his journey. There is a point in Jack’s journey where he contemplates why he is even doing this anymore. He doesn’t know if he’s even doing it for his wife and unborn child, or gone beyond all of that to a point of pure revenge:
The line becomes more and more blurred as Jack keeps leaping through time, being yanked about time and space by the time-traveling device. Jack experiences these strange visions, and his body begins breaking down and reforming. Throughout the graphic novel, Clowes includes these wild, colorful images, and during the evolution of Jack reforming, he really takes advantage of that. He uses a much broader color palette in “Patience” as compared to some of his other works, such as “Ghost World” with its black, white, and green palette and other of his works that have stuck with the more basic black and white template. The vivid colors are very impactful in the scene where Jack’s body is being ravaged by the process of time-travel, his interior organs becoming visible through his exterior flesh.
While “Patience” has a similar thematic style to Daniel Clowes’ other works, there are some interesting differences. His male protagonist, while still a loner with self-deprecating tendencies, goes to great lengths to exact vengeance for his wife’s murder. Fans of his oeuvre may be conflicted about their feelings for this piece. There are several cliches that occur throughout the novel that can give readers pause, but by the end they should be able to see the way that he is using them in a parodic manner. His art style was amped up for this piece as well, so die-hard fans may have a hard time liking the immense color palette that Clowes uses.
“Patience” is a story of love, murder, and self-discovery. Clowes paints a vivid picture of love lost and a man doing whatever it takes to find his wife’s killer while struggling with the morality of changing fate. The visuals are so beautifully executed that Clowes’ storytelling is amplified by their use.
*Images consist of photos taken by Kayla Etherton and images found on Google
About the Author: Daniel Clowes was born in Chicago, Illinois, and completed his BFA at the Pratt Institute in New York. He started publishing professionally in 1985, when he debuted his first comic-book series “Lloyd Llewellyn.” He has been the recipient of multiple awards for his seminal comic-book series, “Eightball.” Since the completion of “Eightball” in 2004, Clowes’ comics, graphic novel, and anthologies have been the subject of various international exhibitions. Clowes currently lives in Oakland, California with his wife and son, and their beagle.
About the Author of this Post: Kayla Etherton is a recent graduate of North Central College majoring in Graphic Design with a minor in Marketing. She enjoys reading all kinds of sci-fi/fantasy literature, but has recently been reading mostly graphic novels. She is also an alum of the NCC Women’s Track and Field Team.
Sandra Simonds’ Steal It Back is a call to action for readers and a personal reflection that gives commentary on modern social topics including feminism, capitalism, and motherhood. Simonds takes the reader through her personal journey of stealing “it” back – everything from femininity to power, adventure to vulnerability – and along the way, readers are prompted through Simonds’ breathless, fierce writing to steal “it” back as well – whatever that may be to the reader.
The most unconventional poem of the collection is also one that best encompasses Simonds’ unique style. “Occupying” is a single paragraph that extends nearly seven pages without a single period. Though there is the occasional exclamation point or question mark, the lack of periods adds to Simonds’ quick-paced, intense voice and forces the reader to consume the poem in one breath. Simonds also utilizes repetition effectively in this poem, and in others of the collection. The line, “They are building a Catholic schoolgirl” is repeated throughout the poem. This draws the reader’s attention to Simonds’ idea that “they,” whether it be her parents or another authoritative figure in her life, tried to shape her into a good, Catholic girl, for better or worse. Simonds talks to the reader in meta fashion and seems to be replying to her critics, writing, “Oh you think this is so terrible? Well / you try to write a better one, friend.”
While it may seem like the nonstop, continuous, repetitive nature of such a poem could lose the reader’s interest, Simonds manages to transition between different subjects and scenes seamlessly; she recognizes when the reader’s mind may begin to trail off and regains traction with a fresh image or line.
Simonds’ most effective technique is to juxtapose heavy topics with the everyday. McDonalds, Sephora, and Lady Gaga all make appearances alongside feminism, the monotony of unfulfilling jobs, divorce, and the trials of motherhood. She uses her personal experiences while still relating to the larger issues at hand in the world. In the poem, “I Grade Online Humanities Tests” she writes about her complicated relationship with a mechanic, but also about the larger issue of men feeling entitled to things because they are used to being in power. She writes, “the guns are male because he owns the guns . . . and Home Depot is male because he owns and owns / and owns and all he can do is own / everything that will rot / like privacy or speech or porn or black swans / or my big tits.” While her poetry may have started out for Simonds as a release for her own emotions, she expands and touches on the bigger problems in society that her life experiences bring up.
One aspect of Simonds’ writing that may not appeal to all readers is her tendency to write poems that clearly show a passing of time during her writing process. She separates some of her poems into pieces on different pages and the subject changes slightly on each page. The disconnect suggests that she may have left the poem and returned at a different time to finish it. In “A Poem For Landlords,” Simonds outright states, “I am writing this so fast. / I will not be able to look / back at it but just now / I am looking back at it since I made / dinner and cleaned the house.” Some readers will be turned off by her blatancy in stating these actions and describing her writing process, however, it adds honesty and an interesting pacing of time to the poems. She may also be giving commentary on the futility of poetry in enacting change.
Simonds has created a collection that is not easy to digest, or to forget. By the time the reader reaches the final lines of the book, “I know what is real / and I know how to steal / back what is mine,” they won’t be able to resist the urging of Simonds to do the same.
About the Author: Sandra Simonds’ poems have been included in the Best American Poetry consecutively in 2014 and 2015, and have appeared in many literary journals. She is an Associate professor of English and Humanities at Thomas University in Georgia, and lives in Tallahassee, Florida.
With Neil Gaiman’s Trigger Warning: Short Stories and Disturbances, the author has given us an assorted collection of short stories with a dabble of poetry. In this collection of horror, sci-fi, and fantasy, you can learn about a mysterious American traveler who visits a quaint English town with dark secrets, solve a peculiar mystery with Sherlock Holmes, meet an odd man who claims to have uninvented the jetpack, and even defeat aliens with the eleventh Doctor.
Neil Gaiman is a New York Times #1 bestselling author who has written wide range of books for children and for adults. This collection of short stories is the third published by Gaiman, following Smoke and Mirrors: Short Fictions and Illustrations (1998) and Fragile Things: Short Fictions and Wonders (2006). Considering how well these past collections were received and how well I believe this one did, Trigger Warning very likely won’t be the last of them.
Gaiman starts off the book with a lengthy preface giving details as to why he choose the title and the meaning and origin behind each story. The use of the phrase “trigger warning” is not quite of traditional usage. Normally this term is used to warn against potentially disturbing context of a writing or a video for people that have experience related trauma. As Gaiman explains, “trigger warning” in this case refers to “images or words or ideas that…[throw] us out of our safe, sane world.” That was one of his goals with putting together this collection, to bring us readers out of our comfort zones and into the deep and dark world of his wonderful, yet twisted imagination. The trigger warning isn’t meant for specified people, it’s meant for all of us because we all have a trigger. After explaining the title meaning, Gaiman goes on to describe in either brief or extended detail as to why each of these stories and poems exist. For example, “The Man Who Forgot Ray Bradbury” was written as a ninetieth birthday present for none other than Ray Bradbury, a writer who Gaiman admires. “The Thing about Cassandra” was inspired by fourteen-year-old Gaiman’s imaginary girlfriend who he gave life by simply writing her name on various notebooks, much like his character Stuart did. He wrote “Adventure Story” for a radio show This American Life, though the producers ended up not being huge fans of it, and because he’d been “thinking a lot about death” and how when people die they “take their stories with them.”
While I enjoyed getting to know further detail about each story than is normally given, I’m not sure the preface was the best placement of them. I felt obligated to go through and read about each story before starting them which took away, only slightly, from the magic of blindly discovering excellent short stories within a collection. I found myself turning back to the beginning to read some of the explanations again once finishing the stories.
Gaiman plays with format in many of his stories, the most noticeable being “Orange.” Under the title of the story there is a note which states “(Third Subject’s Responses to Investigator’s Written Questionnaire.) EYES ONLY.” The story is written as a numbered list of answers without the questions that prompted them and yet, it is still easy for the readers to completely grasp the story because where there are vague answers such as “several times a day” there are more descriptive answers such as the description of where the narrator found “an empty jam jar” under her sister Nerys’ window. This story with the odd format ended up being one of my personal favorites in the collection due to the amazing and interesting way it was told through only a long list. The best part was that the narrator almost seemed bored as she was answering the questions about her sister turning into an entity known as “Her Immanence.” Another story that was interesting format was “A Calendar of Tales” which combined 12 short stories into one, each story representing a month of the year. Every small story within this larger one was written expertly, however each of them ended on a cliffhanger that left me gripping to the last sentence hoping the next story would expand upon the previous one. They never did.
Gaiman did a wonderful job of creating twenty-four (well, actually thirty-five considering “A Calendar of Tales”) different worlds with spectacular imagery which assists the readers in truly experiencing the stories. In “Down to a Sunless Sea,” Gaiman introduces a woman who “does not appear to care about the rain” by writing the story in second person telling us that we “want to pull [a bone necklace] from her neck, to toss it into the river for the mudlarks to find or to lose.” Some of the other worlds presented to the readers were familiar, at least in my case, as I got to visit London and India with the famous Sherlock Holmes in “A Case of Death and Honey,” a story which reimagined the reason he has been a character who has been revived many times since his original death by Arthur Conan Doyle in 1893. I also got to travel to the year 1984 with the eleventh Doctor and his companion Amy, and being a huge Doctor Who fan myself, I enjoyed getting to be with those characters again on a new adventure. I also got to visit worlds that were familiar, but not quite the ones I knew. In “The Sleeper and the Spindle,” we learn about a different version of sleeping beauty with another fairytale princess, now queen, being the fierce heroine of the story.
Being that Neil Gaiman is a spectacular writer, all of his stories and poems, at least in this collection, are written to represent that. While not all of these stories may immediately seem enchanting, they are well worth the read. The fun thing about short story collections is that there is no necessity to read each story in the order that they are printed. You can read the stories front to back, back to front, or in any order that pleases you. You can even go back and reread your favorites, as I did. If you’re looking for creative intelligence that fuels a random assortment of fun, creepy, and interesting stories, this is the book for you.
About the Author:Neil Gaiman was born in Hampshire, UK, and now lives in the United States near Minneapolis. As a child he discovered his love of books, reading, and stories, devouring the works of C.S. Lewis, J.R.R. Tolkien, James Branch Cabell, Edgar Allan Poe, Michael Moorcock, Ursula K. LeGuin, Gene Wolfe, and G.K. Chesterton. A self-described “feral child who was raised in libraries,” Gaiman credits librarians with fostering a life-long love of reading: “I wouldn’t be who I am without libraries. I was the sort of kid who devoured books, and my happiest times as a boy were when I persuaded my parents to drop me off in the local library on their way to work, and I spent the day there. I discovered that librarians actually want to help you: they taught me about interlibrary loans.”
About the Author of this Post: Kate Haley is a sophomore at North Central College where she studies English Writing and Organizational Communication. When she is not spouting off random facts about anything and everything, she fills her time with reading copious amounts of books and writing novels that will hopefully become best-sellers (or at the best, sellers).
Within the pages of “Dynamite,” the reader will find a collection of poems that explode with emotion as Anders Carlson-Wee’s speaker experiences love and loss off and on the streets of America.
The first poem in Carlson-Wee’s chapbook is titled, “Dynamite” and speaks of a childhood game he and his brother used to play, where everything they threw at each other was dynamite. They would hurl everything from pine cones to choke-chains at each other until they were bruised and bloody. He ends this poem by saying:
I say a hammer isn’t dynamite.
He reminds me everything is dynamite.
Carlson-Wee turns this last stanza into the thesis of his chapbook, showing his readers through a series of poems that every encounter in one’s life leaves a lasting impact. Carlson-Wee backs up his claim by writing about everything as common as a photograph, to something as catastrophic as a flood and showing readers how each instance affected his life.
These pages are filled with the skeletons of those long ago lost, but not forgotten. Carlson-Wee writes as though their ghosts are whispering in his ear; his words occupy a space somewhere between reality and those he has lost. Carlson-Wee writes about the nursing home he grew up visiting his grandmother at but now, years after her passing, as he hitchhikes down Country 19, he can’t help but feel drawn to the lot where the nursing home once stood:
The woman asks me where I’m going
And I say as far as you can take me,
But as we pass the old folks home, I tell her to pull over.
He organizes his poems to tell a story. Each poem is plucked from the days Carlson-Wee spent hitchhiking or bumming rides on freight cars and is filled with the people or places he met on his journey. By the time readers reach the final destination, they will know every screw, every rail, and every nail that built the track of Carlson-Wee’s journey and where it lead him to”
It’s not about suffering. It’s not about fear.
We must peer out the *owl’s eye.
—from “Riding the Owl’s Eye”
Carlson-Wee swings from word to word, doing the poetic monkey bars; every word and phrase has a purpose and is connected, such that each poem hits the reader like a stick of dynamite.
*”circular hole on the porch of a Canadian Grainer train car, in which a train hopper car can ride in concealment” (Carlson-Wee 27)
About the Author:Anders Carlson-Wee is a 2015 NEA Fellow and 2015 Bread Loaf Bakeless Camargo Fellow. His work has appeared in Narrative, New England Review, The Missouri Review, The Southern Review, Blackbird, Best New Poets, and The Best American Nonrequired Reading series. Winner of Ninth Letter’s Poetry Award and New Delta Review’s Editors’ Choice Prize, he holds an MFA in poetry from Vanderbilt University.
Lucia Berlin’s collection of short stories, A Manual for Cleaning Ladies, takes you everywhere – from Mexico to Colorado, Texas to Chile. This seems fitting, considering Berlin herself jumped from place to place throughout her life. Berlin is known for having based the stories off of her own life, almost to the point of considering them autobiographical and not fictional, and this book of short stories shows that this is true of her writing. The stories are almost always focused on single, divorced women or young girls struggling through the different situations life throws at us and you can’t help but notice that the characters have recurring thoughts, actions, and surroundings. Characters also reappear throughout different stories and the main characters all maintain a very similar persona, which reinforces the feeling that they are all about the author herself. With the rawness and detail that she uses in writing a variety of experiences, Berlin must have lived a thousand lives in order to tell these tales so accurately.
Berlin writes elegantly, but it is what she writes about that keeps a reader engaged. She is unflinching in describing situations that would make many readers uncomfortable – a young girl pulling the teeth from her grandfather, an alcoholic crawling to the store for a fix, a woman preparing to get an abortion. Berlin does not back down from writing about difficult or gruesome subjects; her stories thrive on them. She turns the disturbing into a scene you cannot stop reading, such as when the main character in “Dr. H.A. Moynihan” describes her grandfather after all his teeth have been self-removed. “Without any teeth, his face was like a skull, white bones above the vivid bloody throat. Scary monster, a teapot come alive, yellow and black Lipton tags dangling like parade decorations.” When Berlin tells the story of an alcoholic mother, the woman’s gradual transformation from a barely functioning human to a halfway decent parent sneaks up on the reader, showing how a drink can be the normalizing element for an alcoholic.
And she is not only a powerful writer, but a funny one (granted, the humor is dark in most cases). In one story, she writes of her mother and sister and the ofrendas — a collection of items to welcome the deceased to the afterlife — that accompany them in death. On her mother’s ofrenda, the main character writes that there are “sleeping pills and guns and knives, since she was always killing herself. No noose . . . she said she couldn’t get the hang of it.” Although you don’t want to, you cannot help but laugh at the obvious joke. In another story, she makes a blatant pun about a character’s mistreatment of a police officer when drunk. “I owe Wong one [an apology]. I wronged Wong for sure.”
Berlin’s stories leave the reader wanting more, but shortening the collection could have made for a greater impact. By the end of the 43 short stories, readers could be burnt out from the onslaught of emotions that they produce. Omitting the less powerful stories would allow for some breathing room for the readers, letting them digest the message of each story individually rather than piling them on until they cannot make sense of how they feel.
However, the conclusion of the book is the most impactful. The final story, “Homing,” follows an older, sick woman who seems to be nearing death. She is reflecting on her past as she studies the crows that inhabit the maple in tree in her yard. As she recalls events in her life, she imagines the alternative paths her life might have taken if she had chosen differently, if an earthquake had hit, if she had married someone else. Some of the imagined events connect to stories from earlier in the book, making it seem as though this woman is the narrator from all of them and the reader has become a character in her story. In closing, she decides that whether she had chosen differently or not, “my life would have ended exactly as it has now, under the limestone rocks of Dakota Ridge, with crows.”
The reader can’t help but agree.
About the Author: Lucia Berlin (1936-2004, pronunciation: Lu-see-a) published 77 short stories during her lifetime. Most, but not all, were collected in three volumes from Black Sparrow Press: Homesick (1991), So Long (1993), and Where I Live Now (1999). These gathered from previous collections of 1980, 1984, and 1987, and presented newer work.
About the Author of this Post: Michaela Daly is a junior at North Central College and is majoring in English and Journalism. She enjoys short walks to the couch and refrigerator, and all potato-based foods.
H is for Hawk is a memoir which confronts themes of depression, obsession, and loneliness; all of which Macdonald artfully highlights in her first scene describing the tumultuous “landscape [she’s] come to love very much indeed.” This English landscape is reminiscent of all the grey-scape dreariness that postmodern authors like Thomas Pynchon evoked when describing industrialized Britain; a land of “twisted pine trees, burned-out cars, shotgun-peppered road signs and US Air Force bases.” Macdonald’s self-proclaimed love of the desolate is explored throughout the memoir, with the motif of a lost and desolate world as a common thread.
In the beginning of the memoir, Macdonald’s father passes away from a sudden accident. Macdonald’s emotional foundations are sundered and she is left longing for “that world already gone, [where she] was going for dinner with Christina . . . who’d been there all along, sitting on the sofa when the phone rang.” The death of her father silently kills the world which she lived in.
Macdonald’s isolation and depression also play out in her own attempts to dampen the natural ferocity of her goshawk, a process which is juxtaposed with the futile attempts of the literary giant T. H. White to train his own hawk. Macdonald digs into the life of White and discovers a past of abuse and despair which played out into White’s search to regain that childhood which he felt he has lost. In Macdonald’s desire to relive that time of innocence in which her father was alive, a feeling of deep empathy is established between the two authors.
In one of the most gripping scenes of Helen Macdonald’s memoir, T. H. White wanders a darkened barn after having spent two sleepless nights attempting to break the will of Gos, his temperamental Goshawk. In a manic fervor, White “had refused the humanity in favour of hawks, but he could not escape himself . . . He found himself in a strange, locked battle with a bird that was all the things he longed for, but had always fought against.” It is a jarring scene, as those who are familiar with White know him as the author of TheOnce and Future King, the man who forged the modern mythos of King Arthur and inspired the countless medieval dreams of children. In this scene, White’s red-rimmed eyes are facing the deep schism that separates his amiable public self and the insecure child buried in his soul.
Macdonald turns towards her relationship with White’s work, specifically the pseudo-autobiographical novel The Goshawk, to confront her own world split in two by grief. She utilizes her pedigree as a research scholar from the University of Cambridge to present a well-detailed and factual historical analysis of the art of falconry and T. H. White’s literary impact, enriching the memoir with a scholarly depth that pairs well with her evocation of raw emotion. The breadth of topics which Macdonald effortlessly blends together is astounding; she proves to be a true artist who understands both complex philosophy and the potential of memoir. Macdonald deconstructs the invisible wall dividing history from present in her deeply personal analysis of White’s literature. However, it is her emotional vulnerability that will draw most readers in; Macdonald’s candid style paints a beautiful picture of the paradoxical mania which brooding depression can cause. Macdonald’s soaring prose combines with an intoxicating topic that allows H is for Hawk’s to sink its talons into readers of any background.
About the Author: Helen Macdonald is a writer, poet, illustrator, historian and affiliate at the Department of History and Philosophy of Science at the University of Cambridge. Her books include Falcon (2006) and Shaler’s Fish (2001)
About the Author of this Post: Nathan Leatherman is a junior at North Central College majoring in English with a literature focus. He spends his days reading books, braiding his hair, and relaxing next to bubbling brooks. His goal in life is to own a private library/dog hotel.
Joshua Robbins is the author of Praise Nothing (University of Arkansas Press, 2013). His recognitions include the James Wright Poetry Award, the New South Prize, selection for the Best New Poets anthology, and a Walter E. Dakin Fellowship in poetry from the Sewanee Writers’ Conference. He is Assistant Professor of English and Creative Writing at University of the Incarnate Word. He lives in San Antonio.
How did you get started writing? And did you always want to be a writer?
I suppose I started writing poems in high school, mostly imitations of Sylvia Plath and Sharon Olds, David Bowie lyrics, as well as some fiction/prose modeled after William S. Burroughs and Jean-Paul Sartre. Of course, I had no idea what I was doing in terms of craft, nor did I plan on “becoming a writer.” But I do think those first steps were toward a path of apprenticeship in poetry that began in earnest in college and in my MFA program. I had no sense of writing as career choice until my poetry teacher in college, Laurie Lamon, pulled me aside and told me I could “make a career of poetry.” At the time, I was excited by the notion, but had no idea what that would mean for the future and the trajectory of my life in poetry.
How long did you have to submit before you were published in a journal?
I started submitting work in earnest around 2001 when I discovered that my MFA peers were doing so and finding success. I placed my first poem in The Canary River Review (which became The Canary and, later, Canarium Books) in 2002.
What advice do you have for young authors trying to get published?
Wait. Be patient. Don’t submit your work until it’s ready. (You’ll know when that is.) Focus on learning the craft. Read, read, read. Read widely and deeply. I realize none of my answer so far is about actually trying to get published, but I’m reticent to give nuts and bolts advice to young authors because I’ve found that, over the last 5-10 years, undergraduates are incredibly anxious about publishing, which is astonishing to me. It’s a considerable problem with the po-biz and the focus on being a career writer. Believe me: there’ll be plenty of opportunities for worrying and publishing later. Now’s the time for reading and studying, searching your own poetics and voice, figuring it out. But, if you do need me to answer directly, I’d say look to get involved with literary publishers and literary arts organizations in your area. It’s important, I think, to get a sense of how publishing works and how other writers do it. Get involved in your school’s literary arts journal. Put together a reading series with some friends. Share your work in public. Give your poems an opportunity to interact with the community of actual people around you, then you can look to submit for print publication.
Do you think there are any special challenges associated with getting a poetry book, such as Praise Nothing, published, compared to a novel?
I’ll be honest and tell you that the process for publishing a novel is one I cannot relate to in any way. Sure, it’s all “writing,” but the business end of fiction is wholly different from poetry, for the most part. My fiction-writer friends talk about getting agents and landing contracts, “advances,” which don’t exist in poetry. (Especially the advances.) For me, publishing Praise Nothing was the result of submitting the manuscript to contests over a two-year period. Sometimes I think people don’t realize that, for poets, getting a book published within the contest system can cost a significant sum of money, which also, I think, results in slamming doors in the faces of many writers who can’t afford to participate in the game. It’s really unfortunate.
Do you have any writing rituals?
I used to get up at 4am every morning, make coffee, and get down to business writing. If I had any “rituals” in the past, I suppose they were more object oriented, more like talismans: a particular coffee mug, earplugs, hooded sweatshirt, a specific pen and notebook. Now that I have children (three boys: 4, 2, and 3 months), time doesn’t afford rituals. Or talismans. I jot notes on whatever’s around: receipts, envelopes, my arm. I’ve recently started making notes in Evernote on my phone and have found that, when I do have an extended period of time to just write, I can get into drafting much more quickly because I already have the raw materials at hand.
Could you explain your writing process to us?
I usually begin drafting longhand in a large notebook or on a legal pad and listening for the emerging language’s cadence and the line’s natural measure. After that, it’s long process of making pass after pass over the poem: counting syllables and scrapping the excess. In the past, I would usually work toward a three- or four- or five-beat line. Now, that’s not so much the case. For me, though, the process of revising is how I come to figure out the poem’s content, movement, figuration, etc., and what questions I want the poem to ask, what arguments I want to make.
Who or what influences your writing? Do you have literary heroes?
I think influences change over time. Gerard Manley Hopkins, Adrienne Rich, Robert Lowell, and Charles Wright, were very important to me when I first started writing. I’d put all of them on my “literary heroes” list. Most recently, I think what influences my poetry most are my readings in theology, particularly in the area of theodicy and theopoetics.
I noticed that in a few of your poems, religion, specifically heaven, comes up. I noticed this first in “Heaven As Nothing but Distance.” Would you be willing to elaborate on how/why this topic seems to influence some of your writing?
I am, quite simply, obsessed with matters of faith and doubt, with what I believe is a broken connection to the transcendent. Always have been. Poetry is my means for considering and examining this struggle. And it’s really the only mode of artistic expression I’ve got. The act of writing, the process, is the means by which I can begin to approach and, maybe, understand the disorder of my day-to-day life and, perhaps, become a means to locate some order, to locate meaning in the confusion and chaos of being.
About the author of this post: Nicholas Drazenovic is currently a senior at North Central College and is a co-editor of 30 North. He is studying English with a concentration in Writing, as well as Computer Science. After graduation, he hopes to pursue a career in either technical writing or software development.
I can’t remember a specific moment when I started or decided to start. I can, however, point to a couple of signposts. When I was eleven or so, I saw a production of Thornton Wilder’s The Skin of Our Teeth on TV, and I remember loving the way the characters talked to the audience from the stage. I also remember a high school English class where a teacher explained symbolism in a short story by Irwin Shaw called “The Eighty-Yard Run.” My teacher just kept pulling back layers of the story and revealing all this stuff going on under the surface. These are both moments when I was struck by what language can do, though I’m sure there are others I can’t specifically remember. Such experiences convinced me that I wanted to do something with writing.
What advice do you have for writers just starting out?
I don’t want to sound like an English professor (which I am, actually), but read. Read a lot. Read widely. Don’t just read what your teachers tell you to read, or what your friends are reading. If I had only read what my teachers told me to read, I would never have discovered as many possibilities for how to write and what to write about. Don’t get me wrong—the syllabus is a good starting point. But if you’re serious about becoming a writer, it’s only a starting point.
Could you explain your writing process for us?
I keep a notebook where I record ideas. “Ideas” is actually a generous way of describing what I jot down. What I really work from are images and bits of language. I’ll just record something and let it sit for a while—months or even years. After some time, those bits will gather other bits to them—an image will suggest a place, for instance, or a sentence fragment will hint at a narrator’s voice. That’s when I start imagining my way into a story, sentence by sentence. Sentences turn into paragraphs, paragraphs into scenes, scenes (eventually) into a story.
How has your work evolved over time?
After years as a short-story writer, I’m finishing my first novel. (There have been others, but this one is the first that feels complete to me.) The transition has been rough. My short stories feel easier to control; the big picture can be seen all at once. If you change something on p. 103 of a novel, it potentially affects the narrative in any number of ways, from 1-102, and from 103 onwards. I had to let go of my sentence-by-sentence process and just hammer out a draft in order to figure out the bigger structure. That first draft was a mess! But there was also another kind of pleasure that (gradually) emerged once I started hacking away—the clarity that emerged when discovering connections between different characters, settings, and ideas. Those connections wouldn’t have been revealed without thinking on a novel’s scale. I look at some of my published stories now and wonder if I cut off possibilities in them by seeing them as shorter narratives.
Your work often takes the common and makes it uncommon. Apart from Francisco Goya, the namesake of your chapbook Stories After Goya, where does this influence come from?
My favorite stories are often those that play with perception. For instance, C.S. Lewis’s Narnia books don’t start off in Narnia. They start off pretty realistically, on the ordinary side of the wardrobe. I feel the same way about Ray Bradbury (and George Saunders, and Kelly Link, and Mary Caponegro, and Angélica Gorodischer, and…). In each of these authors, there are compelling characters and plots, but more importantly, you see your own world differently, even after you put the book down. I like to think that I’m part of this tradition.
How has your skill of making strange developed over time?
Very slowly. The uncanny is often obscured by the clever, which gets a few laughs but rarely sticks with you. I’m not sure I can articulate the difference beyond rough analogies. When I read something clever (or write something clever), I can always feel the author reading over my shoulder, nudging me as I turn pages in order to ask (rhetorically), “Wasn’t that funny?” I may laugh at something uncanny, but I know I’m alone and I’m afraid to take my eyes off the page because if I do, I could find myself inside the very story I’m reading.
Your novel Dreamland is a dystopia. What was the rationale behind this?
Dystopia is hot! At least, I thought it was hot when I started Dreamland in 2012. By the time I had a handle on the story (see above), it was clear that my dystopia was not going to be hot. It was going to be cold. Very cold. Without much of a hero or a moral message. Unfortunately, this lack of hotness is what interested me most and motivated me to finish.
Now that it’s mostly said and done, I recognize important similarities between Dreamland, and my previous (unpublished) novel. That last project was supposed to be a novel in short episodes, based on Goya’s etchings. (A sequence of remnants came out as Stories After Goya.) Both of these projects have dystopian elements, and I think it’s because the line between present and disastrous imagined future seems to be thinning every day. Dystopia is reality if you follow the news. So I guess you could call Dreamland my first significant foray into documentary realism.
What is one question about your writing no one ever asks you? Could you answer it?
It’s not so much a question I never get asked, but it’s how the question is asked. My work is often considered in terms of what’s lacking rather than what it’s doing (or trying to do). The language is dense; the characters can be hard to sympathize with because they are placed at a distance from the reader; the plots aren’t exactly page-turners. So it would be nice if I were asked why I do what I do, instead of why I don’t do what I could/should do.
Funny you should ask…The worst thing a reader can say, in my opinion, is “I’ve been there before.” Don’t even get me started on being “relatable.” If something is relatable, it’s easier to set aside and forget. But maybe some stories can live on, even if only as shadows, those feelings and experiences we only think aren’t there because we haven’t been paying attention.
About the author of this post: Hope Kennedy is a sophomore at North Central College, where she’s studying English and Management. Likes include writing, cats, and sleeping in on rainy days. Dislikes include inaccurate movies based on good books, the sound people make when they chew ice, and that awkward smile you exchange with a stranger when you make eye contact.
Brittany Cavallaro is a poet, fiction writer, and old school Sherlockian. She is the author of the Charlotte Holmes novels from HarperCollins/Katherine Tegen Books, including A STUDY IN CHARLOTTE and THE LAST OF AUGUST (forthcoming in February 2017). She’s also the author of the poetry collection GIRL-KING (University of Akron) and is the recipient of a National Endowment for the Arts fellowship. She earned her BA in literature from Middlebury College and her MFA in poetry from the University of Wisconsin-Madison. Currently, she’s a PhD candidate in English literature at the University of Wisconsin-Milwaukee. She lives in Wisconsin with her husband, cat, and collection of deerstalker caps.
How did you get started writing? Did you always want to be a writer?
I’ve always wanted to be a writer—I was pretty serious about it from a young age. I attended an arts boarding school and then went on to study writing through undergrad and grad school. I used to be a little concerned that I was missing out by not really exploring other paths, but I’ve come to realize that writing is less of a job and more of a practice, a way you collect and organize your thoughts and obsessions.
What advice do you have for young authors trying to get published?
Focus for as long as you can on perfecting your craft. Read everything. Everything. Try to push yourself in new directions—write formally, write in genres you’re less comfortable in, take in different kinds of art. Try to wait until at least your last semester of undergrad before you’re really pushing to get published, so that you can focus until then on honing your work in a supportive environment.
Who or what influences your writing? Do you have literary heroes?
I think I have a lot of answers to this that aren’t necessarily the ‘right’ answer. I have writers whose work I love and admire—Sir Arthur Conan Doyle, obviously, and Daphne du Maurier, John Berryman, A.S. Byatt. But I also read quite a bit of mass market fantasy (Mercedes Lackey, Jacqueline Carey), play a lot of immersive video games whose stories and characters get under my skin (Mass Effect, Bioshock), pull ideas from art history and YouTube and conversations with my husband. I think it’s really important to be honest about what inspires you, to try to be as porous as you can. There’s no reason to restrict yourself to loving things that other people have vetted as ‘important.’
Who are you currently reading that you find exciting?
Do you have any writing rituals? What does your process look like?
There are definitely things that I like to do or have around me when I’m setting up to write, though I try to be careful not to insist on them. Ultimately, I need to be able to work in a variety of places and situations! But I enjoy writing in my room, on my bed, with a candle burning. I try to light different candles for each project, which helps trigger some kind of sense memory. I also tend to play Dustin O’Halloran’s albums when I’m working—they’re familiar enough now that they serve as a kind of white noise, but they’re also atmospheric. I also do a lot of work in coffee shops, though, in the end, I find that’s better for more administrative tasks (email, email, email).
You’ve recently published your first young adult novel – congratulations! A Study in Charlotte (March 2016, Harpercollins) reimagines the classic tale of Sherlock Holmes and John Watson through the eyes of their young descendants Charlotte and Jamie. Were you a big Doyle fan growing up, or did you discover the fandom later in life?
Definitely a big Doyle fan when I was a kid, though my current obsession with Sherlockiana happened during grad school. I discovered the Granada television adaptation of the stories, and that led me back to the stories themselves. There was so much there. I felt like I could unpack them forever.
What inspired you to retell the story of Sherlock Holmes in a modern context?
Sherlock Holmes, as a character, has been reimagined in so many different ways—adaptations of the Doyle stories are really in vogue right now (though they’ve obviously never not been popular). But even though the story has been recast so many times, I was having a hard time finding an adaptation that was willing to imagine the genius as a woman. Which is crazy to me. When I have trouble finding a particular story, I try my hand at writing it. In the Charlotte Holmes books, I wanted to recast the detective as a troubled, morally ambiguous genius who happened to be a teenage girl, and then imagine how her life would be different because of it.
What do you want young readers to take away from A Study in Charlotte?
More than anything, I want to tell a good story that’s both an homage to Sir Arthur Conan Doyle and a feminist reworking of his stories. If A Study in Charlottesends readers looking for the original Sherlock Holmes tales, I feel like I’ve done my job!
About the author of this post: Crystal Ice is a junior at North Central College where she studies English Writing, and is currently considering a program in Writing, Editing, & Publishing. A budding author, she enjoys writing in her spare time, and maintains two blogs while working on one of her many novels and poems.