Friday, August 8, 2014

Erik Richardson’s chapbook, a berserker stuck in traffic, now available

PicturePebblebrook Press, an imprint of Stoneboat Literary Journal, is proud to announce the release of its third publication, a berserker stuck in traffic. Authored by poet Erik Richardson, a past contributor to Stoneboat, this chapbook intelligently reflects upon the lunacy of mundane existence through introspection and exploration of an eclectic past.

B.J. Best, Assistant Professor of English at Carroll University and author of several poetry chapbooks and collections, writes:

...Richardson is a modern mythmaker. From his cauldron of history, science, philosophy, and mathematics bubble lives we’d forgotten we lived, or those we thought—until now—were impossible. [This collection] asks us to recall the wilderness, wonder, and even violence of our collective past and return to it in our times, chained to cubicles though we may be. Richardson’s poems remind us of our latent powers, and offer the hope that one day we will tell stories where we are not workaday dullards, but demigods.

Erik Richardson lives in Milwaukee, Wisconsin, with his family and assorted pets. In addition to teaching, he attends grad school in psychology, coaches several award-winning robotics teams, and runs a small communications firm. He is a three-time winner of the Gahagan Prize at the world’s largest Irish festival, received honorable mention for the Hixson Award, and is a regular contributor to Centrifugal Eye. His work has appeared in Nerve Cowboy, Verse Wisconsin, and Chiron Review among others.

It has been a pleasure collaborating with Erik to bring his first chapbook to life.

a berserker stuck in traffic may be ordered at the following link: 

Wednesday, June 4, 2014

Art Prom 2014

Stoneboat Editors attempting to party
With Lisa as the exception, we here at Stoneboat are not extroverts. Our social skills are lacking, our willingness to go out in public is minimal, and our desire to meet new people is nearly nonexistent. Even talking on the phone gives us the willies. For Rob, Jim, and I, dancing the night away in front of strangers is about as appealing as water torture.  So when Lisa first proposed the idea of Art Prom, a "prom for grown-ups" fundraiser, we were a little skeptical. Willing to go along with it and willing to help her make it happen, but definitely skeptical. (And scared.) In the weeks leading up to the big event, we secretly wondered if anyone would come. We wondered if we'd lose a lot of money putting on this big dance party. And we wondered how on earth Lisa had convinced us to go along with it.

Our misgivings were, of course, unwarranted. Prom night arrived and it was as magical as it had been during high school -- more magical, probably, on account of being able to legally and openly drink. We have to give some credit to our intern, Mary Kate DeJardin, for engineering a stunning balloon arch, and we have to give a ton of credit to Kate Krause and the rest of the folks over at Paradigm Annex Theatre, our prom co-hosts, for having the business savvy and connections that we simply have not developed while sitting in Rob's basement keeping to ourselves and reading submissions. We couldn't have pulled this off on our own, and we are grateful for their willingness to partner with us and lead us through some intimidating event planning.
Photo by Jodie Liedke

Our human Zoltar machine was an enormous hit and a huge fundraiser (thanks to everyone who submitted a poem!), and the silent art auction raised awareness of some local and national artists while also generating funds for our organizations. All in all, we'd say that Art Prom 2014 was a huge success and we're excited for Art Prom 2015. We've already got some ideas for how to do it better and generate a bigger crowd, and the introverts among us are a little less nervous after surviving the inaugural prom.

We made some new friends in the community, we pushed ourselves to do something outside of our comfort zone, we brought poetry to the masses in the form of Zoltar fortunes, we got to see each other in fancy clothes, and Rob's daughter got to attend her first formal with her father.  All in all, not a bad outcome.

If you didn't make it this year, we forgive you. We were a little unsure about the prom concept, too. It ended up being a seriously kick-ass party, though, so you should definitely plan to be there next year. How many opportunities do you get to dance, drink, and dress up while supporting the arts? Not many. And how many opportunities do you get to watch me and Rob Pockat bust a move?  Even fewer. Trust us -- that alone is worth it.

Monday, April 21, 2014

It's that time...

Sean Gilligan reads his poem at the fall issue release reading
The spring issue is out, the subscriptions have been mailed, and the reading period for the Fall 2014 issue has opened, which can mean only one thing: it's time to celebrate!

We're having our eighth issue release reading on Sunday, April 27th at 2:00 p.m. The reading will once again be held at Paradigm Coffee and Music in Sheboygan (1202 N. 8th Street). We'll begin with selections from the issue and end with an open mic. Mark your calendars, and bring a poem or short prose piece (or excerpt) to read.

We're lucky enough to have several of our contributors joining us from near and far to share their work, too -- Paul Scot August, Susanna Lang, Emilie Lindemann, Julia Rice, and possibly Robert Penick. 

Our interns have been working hard to make this reading a success, and they're trying something new this time -- they've planned a raffle. They'll also be selling Art Prom tickets. And, as always, we'll have issues, books, and T-shirts for sale. In other words, bring your wallets.

It's going to be an afternoon of great literature, great coffee, and great company. We hope to see you there.

Wednesday, April 16, 2014

SBJ vs. n+1: The Two Cultures of American Magazine Editors

As a founder and co-editor in chief of Stoneboat Literary Journal, I often wonder what big-league editors do to build a successful magazine. I recently had the opportunity to do just that when best-selling author and editor of n+1 magazine Chad Harbach visited my alma mater to give an informative talk and answer questions about his books, magazine, and potential television project. 

With his novel The Art of Fielding in hand, I was the very last person to approach his table to get my book signed. My mind was swimming with questions: How did you build funding for your journal? What did you do to grow your audience? Where did you find resources for constructing a marketing plan? How do you carve out time to write every day? I didn't know which question to ask first of a man whom I respect and admire.

After he signed my book, however, the question became quite obvious: 

Will you arm wrestle me?

Chad Harbach and Rob Pockat lock hands before the big match.
While I must admit that I'm one who harbors constant impulsivity issues, I'm normally quite able to contain those impulsive behaviors in public. Not so much on this given evening.

Chad's a fellow born-and-bred Wisconsinite, so he wholeheartedly accepted my challenge. Like most people from our home state, Chad takes what he does very seriously, but he's not afraid of a little good-natured levity. Yet even in the convivial spirit of this competition, I could see an instant fire in his eyes...a fire that made the final results of the match quite apparent to me before we even locked hands.

I walked away not knowing how to build funding, grow an audience, construct a marketing plan, or find time to write, but I did find affirmation in my belief that great art--writing, painting, music, drawing, film-making, etc.--comes from good people who aren't afraid to take a chance. Chad Harbach, as we say in Wisconsin, is good people. And he's definitely not afraid to take a chance.

I'm not ashamed to say that a New York Times best-selling author, Harvard graduate, and successful magazine editor owned me on that given table, on that given night, and yes, there's video to prove it. I am proud to say, however, that I wasn't afraid to take a chance to share a few minutes of amusement with a fellow Wisconsin denizen.

Friday, April 4, 2014

Is Writer's Block All Bad?

I always used to use the excuse of writer’s block whenever I couldn’t think of something to write that day or if I got stuck writing a piece of prose. (I'm a poet.) But then I thought about what writer’s block really is. It’s just an excuse to not write or avoid writing. A lot of people use random excuses to not write: I have to do laundry. I need to pick my kids up. I have homework to do. I have to eat. In my opinion, true writers write, and those who truly love writing will always find a way to get around writer’s block—they don’t let is defeat them.

Something I do when I can’t write is read other people’s work. This will usually get me thinking about different ways to approach about the same ideas. I will pick up one of my many poetry books that I have accumulated over the years and open up to a random page. I will read that poem over and over again until I think of different ways to write that idea. If that doesn’t work, I pick another random page or book until an idea pops into my head.

“Writer’s block” is not always something to frown upon. It can lead you to someplace great because you are working hard to get past the rough spot of writing. Sometimes you have to get stuck and frustrated to create something new and amazing; sometimes you have to find new and interesting ways to work yourself out of the block, and this will lead you to new and different places for your writing.

Philip Dacey had a workshop about writer’s block and gave a list of things that writers could do when they “can’t write.” A previous blog post listed the first nine things from Philip Dacey’s workshop. Here are the next five things that you can do when you "can’t write":

10.   Deceive your reader. Write something that is so plausible to your readers so they don’t realize that you are lying to them. This is similar to the persona activity where you would write something in the perspective of another person or identity, but instead, you are hiding instead of signaling.
11.   Permuting the line. This seems like a fun yet inspirational idea to experiment with language. Take one line and change it. Change the idea of the line but changing the order of the words. Replace one word with another to change the rhythm and meaning.
12.   Write only first lines, free of the obligation to complete the poem. I’ve done this many times when writing my poetry. I would have this one line stuck in my head unsure of where I would go with it. I would write that one line and see where it goes.
13.   Try automatic writing. Just write for however many lines and see where it takes you. Don’t think about revising or scratching lines out with your pen. Just write. If you are caught revising, it’s not automatic enough.
14.   Brainstorm through your memory. I, myself, love doing this when I’m not sure what I want to write about. For five minutes or so I would just write about my past memories using as few words as possible and move onto the next memory to see where it takes you.

Try a few of these ideas and go write.

Wednesday, April 2, 2014

Zoltar Speaks! Call for Fortune Poems!

Perhaps you have heard we at Stoneboat are collaborating with our friends at the Paradigm Annex Theatre Collective (PATC) to offer Art Prom, a fundraiser to support the work of our two organizations.

As part of the fun and festivities of Art Prom, scheduled for Saturday, May 31, 2014 at Paradigm Coffee and Music in Sheboygan, we are going to offer a "human Zoltar machine." In order to do this, we need a human. We have him. We need a costume. Have that. We also need fortunes. These, we do not have. This is where you come in.

Please submit a fortune to support both Stoneboat and the PATC. The fortunes can be written in poem form, prose form, or whatever form best expresses the fortune you wish to put out into the world for some unsuspecting soul. This is what real Zoltar cards look like and you are free to interpret the fortune writing as you wish:

Please send your fortune submission in the body of an email (no attachments please) to by midnight, May 16, 2014. In the subject line, please write [your last name] Zoltar Submission. Please include your name, address, and phone. No bio necessary. We will have the poems printed up on cards and will charge a small fee for prom goers to receive a fortune from Zoltar. We cannot pay you for your work, but please know that your creative effort is going to a good cause, two good causes in fact: Stoneboat and the Paradigm Annex Theatre Collective.

And, while you are at it, come to Art Prom and have some fun from 8 p.m. to midnight on Saturday, May 31! Must be 21 or older to attend. For $15 per person, ($25 per couple) you will get DJ, dancing, booze, snacks, prom attire, balloon arches. What more could a grown-up ask for on a spring night?

Sunday, March 23, 2014

Calling to the Muses

"Where do you get the inspiration for your [insert chosen media here]?” is an inquiry often heard in the “question and answer” portion of any typical artistic event. I heard it tonight at a poetry reading on Lakeland College’s campus, where Stephanie Lenox, a poet from Oregon, read from her debut collection, Congress of Strange People, as well as some of her newer, not-yet-published work.

The poems that Lenox chose to read are characteristically odd in their subject matter. They’re monologues of world-record holders (Dean Sheldon for example, who holds the world record for holding both the largest scorpion and the most scorpions at one time in his mouth). They’re odes to the ampersand and the word um. They’re poems about what bosses and secretaries would do in heaven. They’re weird in the best kind of way.

“How the hell do you come up with this (awesome) stuff?” seems like a natural enough question. “Where do you get the inspiration for your poems?” is probably a more appropriate one. Lenox answered this by saying something along the lines of “I start with things that frustrate me—that I can’t figure out or that I need to know more about.” As an example, she explained that she kept getting mad at herself for using the word um when she’s speaking. Upon trying to figure out why she (and most of the general population) does this, she decided to write about this frustration that turned into an ode to the word um.

Now there’s something. If I wrote a poem about all of the things that frustrated me, I could probably fill an entire library.  Jokes aside, listening to all of this inspiration talk tonight got me thinking about the things that inspire my writing. I tend to write about things that just won’t leave my mind—the things I obsess over or dwell on endlessly, no matter how mundane. For example, when I moved into my first apartment, I became obsessed with candles. I always had (and still have, honestly) one or more candles burning in my apartment. They’re always around, and consequently, in the months I’ve been living here, I’ve written multiple candle poems (Yes, candles to me are like cats to a cat lady—sadly, there are no pets allowed in my apartment, or I might be writing more cat poems).

In the end, though, I think I like Lennox’s method better than mine. I believe that the quest to know stuff, to figure things out, should be at the heart of writing. What’s the point of writing about something if the very idea of it is set in stone, unmalleable, unchanging? All in all, I think getting a little frustrated and seeking to understand that frustration is a great starting point for any creative work. I’m going to try it, but don’t be surprised if my next poem is titled “Please Drive Faster or Get Out of the Left Lane.” 

-Katie Amundsen