tag:blogger.com,1999:blog-33943322729607994442024-03-13T13:49:14.265-05:00StoneboatStoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.comBlogger112125tag:blogger.com,1999:blog-3394332272960799444.post-64092324042389573942017-12-14T20:34:00.004-06:002017-12-15T08:21:04.190-06:00We're taking the Polar Bear Plunge again. Maybe. (It's up to you.)<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/_3ZlATx2cRw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/_3ZlATx2cRw?feature=player_embedded" style="clear: right; float: right;" width="320"></iframe>Here at <i>Stoneboat Literary Journal </i>and Pebblebrook Press, our annual fundraiser (<a href="http://www.stoneboatwi.com/donate.html">donate here</a>) has given rise to a New Year’s tradition. For three years in a row, our co-editors in chief took the Polar Bear Plunge to solicit monetary support for the journal and its press. In 2014, ’15, and ’16, Rob Pockat and Signe Jorgenson jumped into icy Lake Michigan on New Year's Day, despite subzero temperatures, to raise funds that offset our annual operating costs. While this helped us raise money, it also put their health in jeopardy each January. We gave our EICs the year off in 2017 and held a more traditional fundraiser instead. But there’s no fun in that—not for us, and not for you, our supporters.<br />
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<span style="color: red;"><b><span style="color: red;">So, we’re reviving the Polar Bear Plunge fundraiser in 2018</span> (</b><a href="http://www.stoneboatwi.com/donate.html"><span style="color: black;">donate here</span></a><b>)<span style="color: red;">, but with two twists</span></b></span>. First, <b>Poetry and Arts Editor Lisa Vihos will be joining Rob and Signe at the lakefront</b>. And second, our <b>donors will decide whether we stay warm and dry on New Year’s Day or jump into the water </b>with the crowd that chants “It’s not cold enough!” no matter how low the mercury dips. Donors will designate their contributions as “Plunge” or “Don’t Plunge,” and the group that raises the most funds will determine our fate. We’ll broadcast live from Lake Michigan on New Year’s Day, via Facebook, to announce the winner—and jump in if need be.<br />
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<i>Stoneboat Literary Journal </i>and Pebblebrook Press don’t receive any grants, university money, or other external funding; we rely solely on sales and donations to keep the boat afloat. Although our editorial staff is unpaid and our overhead is low, rising printing costs, web hosting costs, ISBN costs, and other operating costs threaten our ability to continue connecting contributors' work with an appreciative audience at an affordable price.<br />
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We become more reliant on donations as overhead increases, so we hope that you will consider making a contribution. A $10 donation covers the monthly subscription fee for our submission manager service. $25 covers the proof copies that we use to check an issue for layout and design problems, and $50 covers six months of PO Box rental. A $100 donation offsets 1/3 of our annual web hosting fees. As you can see, donations in any denomination make a huge difference, and we have been able to publish fifteen issues only through the generosity of our supporters. If you're able, please consider donating by clicking on this link: <a href="http://www.stoneboatwi.com/donate.html">http://www.stoneboatwi.com/donate.html</a>. (You’ll even get Stoneboat and Pebblebrook rewards if you donate $25 or more!)<br />
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We recognize that not everyone is able to offer monetary support, and we also want to express our gratitude for your moral support. Without friends and readers who have faith in our work, we wouldn't be able to continue doing what we're doing. Finances are critical to our operations, but so are contributors, readers, and supporters. Knowing that there are people out there who believe in us and appreciate what we do keeps us motivated and excited.<br />
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We look forward to another great year here at <i>Stoneboat </i>and Pebblebrook, and we wish you and yours a happy new year!<br />
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Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com1tag:blogger.com,1999:blog-3394332272960799444.post-70335040783252399672017-05-11T08:25:00.001-05:002017-06-30T16:10:06.545-05:00Stoneboat Literary Journal Welcomes Guest Poetry Editor <div class="MsoNormal">
<b>FOR IMMEDIATE RELEASE<o:p></o:p></b></div>
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Contact: Signe Jorgenson<o:p></o:p></div>
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<i>Stoneboat Literary Journal<o:p></o:p></i></div>
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PO Box 1254<br />
Sheboygan, WI 53082-1254<o:p></o:p></div>
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920-783-8512<o:p></o:p></div>
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stoneboat.journal @gmail.com<o:p></o:p></div>
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<b>Sheboygan, WI –May 4, 2017 –</b> <a href="http://www.stoneboatwi.com/" target="_blank"><i>Stoneboat</i> </a><i><a href="http://www.stoneboatwi.com/" target="_blank">Literary Journal</a> </i>is pleased to announce that Katie Amundsen will serve as Guest Poetry Editor for the Fall 2017 issue. Amundsen will take on the Poetry Editor role that is normally filled by Lisa Vihos, who will spend the coming months focusing on building a children’s reading garden in Malawi.<br />
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Amundsen was a natural choice for the guest editor role because she interned for <i>Stoneboat</i> from 2013-2015 and performed a variety of tasks critical to the journal’s operations. When Vihos decided to take a leave of absence, she presented the <i>Stoneboat</i> editorial staff with a list of potential guest editors. “We knew right away that Katie was our first choice,” said Co-Editor in Chief Signe Jorgenson. “She made an enormous impact during her internship, and we’ve missed her ever since she left us to pursue a graduate degree in poetry. We’re thrilled that she’ll be our guest editor, and we’re also excited to see the direction that the fall issue will take with someone new selecting the poetry.”<o:p></o:p></div>
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Amundsen graduated from Sheboygan South High School in 2011 and went on to major in writing at Lakeland College, graduating in 2015. She is now studying poetry in the creative writing <a href="http://www.wichita.edu/thisis/home/?u=creativewriting" target="_blank">MFA program at Wichita State University</a>. She was recently named as a winner of the prestigious <a href="https://www.awpwriter.org/contests/intro_journals_project_overview" target="_blank">AWP Intro Journals Project</a> for her poem “Whale Soup” and will serve as Editor in Chief of <a href="http://webs.wichita.edu/?u=deptenglish&p=/mikrokosmos/" target="_blank"><i>Mikrokosmos </i>and<i> Mojo</i></a>, WSU’s literary journals, beginning this fall. Amundsen says, “I’m excited! <i>Stoneboat</i> has a special place in my heart.”<o:p></o:p></div>
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<i>Stoneboat</i> has published two issues of poetry, short stories, essays, and black and white artwork each year since 2010. The journal features local writers as well as writers from around the globe. Additional information about <i>Stoneboat </i>and its editorial staff can be found online at <a href="http://www.stoneboatwi.com/">http://www.stoneboatwi.com</a>.<o:p></o:p></div>
Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-36873814688503523082016-12-13T20:58:00.000-06:002017-01-27T11:03:18.870-06:00Stoneboat & Pebblebrook Need Your Help<div class="separator" style="clear: both; text-align: center;">
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Dear Friends, <o:p></o:p></div>
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As many of you know, our co-editors in chief, Rob Pockat
and Signe Jorgenson, have taken part in the <a href="https://www.youtube.com/watch?v=_3ZlATx2cRw&t=2s" target="_blank">Polar Bear Plunge</a> fundraiser at
Sheboygan's lake front for the last three years, jumping into the lake in
sub-zero temperatures on New Year's Day to solicit your <a href="http://stoneboatwi.com/donate.html" target="_blank">support</a> for Stoneboat
literary journal and its imprint Pebblebrook Press.<br />
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What began as a wacky fundraising stunt in 2014 has grown
into one of the largest inflows of cash that Stoneboat and Pebblebrook receive each
year. The Plunge also gives our editors-in-chief ear infections, coughs, and,
last year, epic colds that verged on pneumonia. We have been wracking our
brains all year to come up with new ways to expand our revenue streams without
courting serious illness. <o:p></o:p></div>
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We recently held a launch reading in Milwaukee to work on
expanding our audience and subscriber base. We are also applying for a grant
that is specifically designed to help emerging small presses grow into
self-sustaining operations. Furthermore, we are investigating becoming a
501(c)3 nonprofit because this would allow us to seek other grant funding as
well as make your future donations tax deductible. We are so proud of
Stoneboat, our contributors, and the sweat equity we have put in over the last
seven years to find and deliver great fiction, nonfiction, poetry, graphic
literature, and black and white art twice a year through the journal and
intermittently through Pebblebrook Press. <o:p></o:p></div>
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Bottom line: we will not have Signe and Rob jump into the
lake on January 1, 2017. We ask, however, that you look into your pocketbook,
wallet, bank account or under the mattress and continue to <a href="http://stoneboatwi.com/donate.html" target="_blank">support us with a donation</a>. Any amount helps the journal, from $5 to $500. (As a "thank
you," we will offer a complimentary 1-year subscription, subscription
extension, or Pebblebrook title of choice to donors that contribute $50+.) <o:p></o:p></div>
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One last pitch. In response to the 2016 election, we have
put out a <a href="http://stoneboatwi.blogspot.com/2016/11/call-for-submissions-beyond-red-and.html" target="_blank">call for submissions </a>to create a special section within Stoneboat
7.2, "Beyond Red and Blue: Voices for America." We are seeking
poetry, prose, and artwork from all perspectives and hope to receive work that
digs deep while providing timeless reflection on this turbulent time in which
we find ourselves. If you <a href="http://stoneboatwi.com/donate.html" target="_blank">donate</a> by February 1, we will include your name in a
"donor thank you list" that will introduce this feature. (Of course, you
can remain anonymous if you prefer.)<o:p></o:p></div>
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We create Stoneboat and Pebblebrook Press for you,
really, and we trust that you are with us for the long haul, sans pneumonia. <o:p></o:p></div>
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Thank you,</div>
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The Stoneboat Team</div>
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Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-49199796335872574332016-12-01T11:30:00.000-06:002016-12-01T11:30:32.205-06:00Introducing our newest INTERNal recruit<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7U6xOXtZesgC9GmsB4bj2ol9qdj-yDiEJPOOByJMlqZEcTA2lPCsoN57ZwDPJ5IZrHu00gH11J0UtAFgODVRRfQ_w94ZMliKoYZIr8tv8adJDWSrE7SP_cTRh3UXkWHWtIUuXGEheXx8/s1600/15322569_10209986065341785_1662198437_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7U6xOXtZesgC9GmsB4bj2ol9qdj-yDiEJPOOByJMlqZEcTA2lPCsoN57ZwDPJ5IZrHu00gH11J0UtAFgODVRRfQ_w94ZMliKoYZIr8tv8adJDWSrE7SP_cTRh3UXkWHWtIUuXGEheXx8/s320/15322569_10209986065341785_1662198437_o.jpg" width="240" /></a><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Hello! My name is Brittany Beckmann—avid coffee drinker, reader, and writer. I will be interning with </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Stoneboat</span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> over the next several months. I graduated from</span><a href="https://lakeland.edu/" style="text-decoration: none;"><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; color: #1155cc; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Lakeland</span></a><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> in May of 2015, earning a degree in both creative writing and vocal performance. Like so many who frequent this blog or follow </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Stoneboat</span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, I also have a passion for writing—mostly nonfiction—and reading. During my undergrad, I had the opportunity to intern with </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i><a href="http://seemsmagazine.com/" target="_blank">Seems</a></i></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">under the direction of Karl Elder and am looking forward to working alongside editors and publishers once again. In my free time, you can find me singing with the Milwaukee Symphony Chorus, tutoring at the Mead Public Library, or playing piano for a church somewhere out in the boonies. I’m excited to work with </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Stoneboat</span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> and to learn more about the inner-workings of literary journals.</span></div>
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Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com1tag:blogger.com,1999:blog-3394332272960799444.post-55234136063729770382016-11-18T22:01:00.000-06:002017-01-27T11:04:19.309-06:00Call for Submissions: “Beyond Red and Blue: Voices for America”<div class="separator" style="clear: both; text-align: center;">
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<i><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><a href="http://www.stoneboatwi.com/" target="_blank">Stoneboat Literary Journal</a> </span></i><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">seeks <a href="https://stoneboat.submittable.com/submit/71930/special-section-beyond-red-and-blue-voices-for-america" target="_blank">submissions</a> of poetry, literary prose,
cartoons, b&w artwork, graphic literature, and photo essays for a special
section of the Spring 2017 issue, tentatively titled “Beyond Red and Blue:
Voices for America.”</span><br />
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<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The recent presidential election has
revealed a deep divide in the American political and cultural landscapes. Also
emerging in the wake of the election is a clear need for conversation among
Americans on all sides of this divide. We are excited to facilitate this
discourse by providing a space for all people to express their views, not only
about the election outcome but also about what it means to be an American in
2017 and what it means to make America great again. (Or, what already makes
America great.)<o:p></o:p></span></div>
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<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">We <i>are not </i>interested in ranting, name calling, finger pointing,
gloating, or shouting into the void. We <i>are</i>
interested in dialogue, critical reflection, deep examination, and genuine
attempts at understanding. We will select pieces that are fresh, concise, and
image-driven. We want work that digs deep and embodies a timeless quality. We
seek thoughtful, new insights from ALL points of view—Democrat and Republican,
conservative and liberal, rural and urban, popular and unpopular, and
everything between and outside of these limiting labels. We also welcome work
from contributors around the world because we feel that a layered portrait of
“America” and an exploration of what it means to be “American” can (and should)
include an international perspective.<o:p></o:p></span></div>
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<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">After careful consideration, we
have chosen to suspend two of our long-held traditions <i>for this special section only</i>. Although we do not generally publish
a writer or artist in back-to-back issues, we feel that it’s important to open
submission to all voices. Therefore, we welcome submissions from contributors
who appear in our Fall 2016 issue. Furthermore, we typically limit submitters
to one submission per issue; however, for Spring 2017 only, we will allow submitters
to submit work for both the special section and for general consideration.<o:p></o:p></span></div>
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<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">When <a href="https://stoneboat.submittable.com/submit/71930/special-section-beyond-red-and-blue-voices-for-america" target="_blank">submitting</a>, please include:<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">3-5
unpublished poems in a single document OR unpublished fiction/nonfiction up to
5,000 words OR 3-5 pieces of visual artwork (color or b&w) OR a
b&w photo essay with 5-10
photographs OR a b&w comic OR b&w graphic literature of up to 20 pages<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Cover letter<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Brief bio
(3-4 sentences max; can be included in cover letter)<o:p></o:p></span></div>
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<br /></div>
<br />
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<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">We look forward to creating this
literary and artistic snapshot of the American landscape. It is our intent to put
forth a layered conversation that represents a wide array of voices and views.
Please <a href="https://stoneboat.submittable.com/submit/71930/special-section-beyond-red-and-blue-voices-for-america" target="_blank">submit</a> your work no later than February 1, 2017.<o:p></o:p></span></div>
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<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b>Submit your work, via Submittable, <a href="https://stoneboat.submittable.com/submit/71930/special-section-beyond-red-and-blue-voices-for-america" target="_blank">here</a>.</b></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b>Subscribe to Stoneboat <a href="http://www.stoneboatwi.com/store.html" target="_blank">here</a>.</b></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b>Donate to Stoneboat <a href="https://www.paypal.com/donate/?token=ct8vdW4C4EcMtDIGuNC2Vol_PtSMuYRRXQLKVKFrJHkAThjG3rToVilu2p5d9YwR4V8O80" target="_blank">here</a>.</b></span></div>
Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-77422989811392087562016-07-07T21:38:00.000-05:002017-01-27T11:04:35.615-06:00Remembering the Vineyard <div style="text-align: right;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmBy7UR15lNwJGag1dBkCyCnDbOdoSf4gNWWBSbj-gbwEx6sgBN12SOE3MEhORwWLqFUxPDnzAFIHMFYahT0zDapiFNh9jItJdHTG2JvMEIV8NhGAriNNicGE2crMxKiaqpzvh1N3Btcc/s1600/Dacey_Philip-processed.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmBy7UR15lNwJGag1dBkCyCnDbOdoSf4gNWWBSbj-gbwEx6sgBN12SOE3MEhORwWLqFUxPDnzAFIHMFYahT0zDapiFNh9jItJdHTG2JvMEIV8NhGAriNNicGE2crMxKiaqpzvh1N3Btcc/s320/Dacey_Philip-processed.jpg" width="320" /></a></div>
Listen to the voice</div>
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of each dead poet</div>
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as if it were yours.</div>
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It is.</div>
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Philip Dacey</div>
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From <i>Mosquito Operas</i>, 2010</div>
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The sad news came today that a poet and good friend to Stoneboat, <a href="http://www.philipdacey.com/">Philip Dacey</a>, has died after struggling with leukemia for quite a while. I only met Philip in person on one occasion, and that was at the Great Lakes Writers Festival at Lakeland College back in 2007. At the time, I had not tried to write a poem for many years. I was on major hiatus as far as poetry was concerned. But meeting Philip and hearing his work, I was impressed by his poems and by his welcoming nature. He was not snobbish about poetry. He did not make it seem like an enterprise for only some special sect of people. He helped me see that poetry is there for anyone who wants to partake of it. He was a true mentor in that regard.<br />
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Later on, when we became email correspondents, he wrote to me often about "the vineyard." This was the place that he designated as the ground where all poetry comes from, and he believed that anyone who was willing to do the work of caring for the roots, fertilizing the soil, and tending to the vines would be able to enjoy the wine, eventually. He never said it was easy, but he also did not say it was impossible. The work was there to be done, if one so wished to engage in the endeavor. He always made poetry look like a vocation worth having.<br />
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Philip was clearly generous with his time and talent. He did not make distinctions, I think, between "high end" and "low end." For example, when we were in the process of devising our first issue of Stoneboat, I wrote to him and asked if he would be so kind as to send us some poems. He immediately sent six. He did not say, "Oh, you are below me, little upstart literary journal." He simply sent some work. It was quite a boost to my editorial ego to be given the opportunity to select three poems from a repeat Pushcart Prize-winning poet and include them in our debut effort. <br />
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Many years later, when Stoneboat celebrated its fifth anniversary, he submitted some poems to us without being asked. We were so happy to include them. His presence in our anniversary issue reminded us of how we had grown. Philip seemed to take pleasure in reminding poets (and editors) about what they were doing right. This kind of encouragement was part of his generosity of spirit. <br />
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I learned a lot from Philip over the years, even though our only contact was via email. It was Philip who told me that a poem could be just as fictional as any story. In other words, that a poem could tell a story that was not necessarily true. That was a new one for me! He also taught me that the "negative spaces" of a poem—what is not said in words—are as important, maybe more important, than the text. He got me to think about how creating a poem is like carving a sculpture, releasing the poem from its block of marble. He also admonished me to always take criticism as a kind of "structural stress test." To look at the suggestion, weigh its merit, and make a decision based on what felt right to me, the poet. <br />
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Philip taught me not to worry about rejections from editors. He said, "I get them still, all the time. No editor is obliged to take my work." He taught me to roll with the punches and keep trying. I remember one of his favorite encouraging phrases was "Go, go, go!" I use it now myself when I feel excited about what a fellow poet is up to. Philip taught me to be excited about the success of others, not envious. He taught me to trust my own voice, and to feel confident in what makes me unique as a writer. Keep doing the work. Visit the vineyard. <br />
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As for his poems, I was always so enamored of the way he could make use of forms (sonnets, triolets, pantoums, and more) and make them very readable, using common language, but taking its use to new heights. Together with David Jauss, he created the book <a href="https://www.amazon.com/Strong-Measures-Contemporary-Traditional-1986-05-03/dp/B01F9Q88NU/ref=sr_1_1?ie=UTF8&qid=1467988326&sr=8-1&keywords=jauss+dacey">Strong Measures</a> (HarperCollins, 1986). This is a book that explains many, many poetic forms by providing real-life manifestations of these forms from poets across the spectrum. It remains a great repository of helpful examples to both the budding and the seasoned poet. <br />
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My favorite Dacey collections are all the ones I have read: The Boy Under the Bed, The Deathbed Playboy, Vertebrae Rosaries, Night Shift at the Crucifix Factory, <a href="http://www.versewisconsin.org/Issue105/reviews105/dacey.html">Mosquito Operas</a>, and <a href="http://versewisconsin.org/Issue113/reviews/dacey.html">Gimme Five</a>. I must admit, I have not read his collections of poems about Walt Whitman or Gerard Manley Hopkins, but I'm quite sure I would love those, too. There are fourteenbooks in all, and I know now that I need to fill in the ones I have missed. <br />
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In one of his last emails to me at the end of April, he told me he was weakening, and that walking was getting hard. He wrote, "[I'm] working on three posthumous collections—last poems, selected poems, and selected essays." I was very sad knowing that he was preparing to go. But this is what happens, right? Philip knew he was dying, and he knew he wanted to leave us gifts to continue to inspire us. <br />
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And so, we have things to look forward to. There is much to learn from the life and poetry of Philip Dacey. He may be gone from this physical plane, but his poems will nourish the vineyard that all of us will be invited to visit for a long, long time to come. Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com1tag:blogger.com,1999:blog-3394332272960799444.post-10493552630026050312016-04-20T00:05:00.000-05:002017-01-27T11:04:57.318-06:00Break Out Your Dancing Shoes, Poetic Pairings Are Coming<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="background: white; font-family: "times new roman" , "serif"; font-size: 12.0pt;">Lisa Vihos, <i>Stoneboat's
</i>poetry and arts editor, reporting here:<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipxHdXz9o0AOJByMagxsrt0J9A_09AYMLefXP-7wYO9l-HgyWNZguqY46y-JJhZPYm9xXc7GudTKjrb-dqhHOIJJW0_VBg6328XIRdeL1kA_viX3kJUGzvCOtrplqaH8f5Td4TSaxXiFc/s1600/oral+tradition.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipxHdXz9o0AOJByMagxsrt0J9A_09AYMLefXP-7wYO9l-HgyWNZguqY46y-JJhZPYm9xXc7GudTKjrb-dqhHOIJJW0_VBg6328XIRdeL1kA_viX3kJUGzvCOtrplqaH8f5Td4TSaxXiFc/s1600/oral+tradition.jpg" /></a></div>
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<span style="background: white; font-family: "times new roman" , "serif"; font-size: 12.0pt;">I have been long fascinated by the way in which poetry, when
spoken aloud (as opposed to read in silence from the printed page) is in fact a
form of theater. This hit me upside the head a few years back when I staged a
reading from my then-new chapbook, <i>The
Accidental Present</i>, and instead of me droning on reading poem after poem, I had my friends and neighbors read the majority of
poems in my stead. I cast my poems in the voices of people of all ages and
walks of life, and the result was pretty nearly breathtaking. Seriously, it was very
cool. Even people who had not come to Paradigm coffeehouse that night for poetry looked up
from their laptops to listen.</span><br />
<a name='more'></a><span style="background: white; font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="background: white; font-family: "times new roman" , "serif"; font-size: 12.0pt;">Poetry is drama, comedy, and tragedy all rolled into one.
They don't call it the "oral tradition" for nuthin'. You know,
"spoken word." We must speak it, share it, converse it. We should do
more to raise our voices together more often to explore and unravel what poetry
has to tell us. <o:p></o:p></span></div>
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<span style="background: white; font-family: "times new roman" , "serif"; font-size: 12.0pt;">Hence, the idea was born to create "Poetic Pairings: How
Poetry Speaks," in celebration of National Poetry Month.<o:p></o:p></span></div>
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<span style="background: white; font-family: "times new roman" , "serif"; font-size: 12.0pt;">Come to the Rocca Meeting Room at Mead Public Library in
Sheboygan on Monday, April 25 for an evening of engaging poetic pairings. We'll
gather at 6:15 for refreshments and then the reading will begin promptly at
6:30. Think of it as "Dancing with the Stars," but without the glittery, low-necked dresses and high-heeled dance shoes. <o:p></o:p></span></div>
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<span style="background: white; font-family: "times new roman" , "serif"; font-size: 12.0pt;">You will hear from ten different members of the community,
including a pastor, a professor, a peace and justice activist, several
teachers, and Sheboygan's own mayor, Mike Vandersteen. These individuals will
be paired with ten local poets. And the pairs are:</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />
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<span style="background: white;">Corey Andreasen and Leighanne Metter-Jensen</span><br />
<span style="background: white;">Janet Ross and John Sierpinski</span><br />
<span style="background: white;">Leslie Laster and Sylvia Cavanaugh</span><br />
<span style="background: white;">Jim Kettler and Jean Biegun (read by Lisa Vihos)</span><br />
<span style="background: white;">Jim Hollister and Karl Elder</span><br />
<span style="background: white;">Romy Uceda and Gerald Bertsch</span><br />
<span style="background: white;">Carol Dussault and Maryann Hurtt</span><br />
<span style="background: white;">Xia Vue Yang and Jean Tobin</span></span><br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Tricia Marton and Marilyn Zelke-Windau<br /><span style="background: white;">Mike Vandersteen and Kathryn Gahl.<span class="apple-converted-space"> </span></span><br />
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<span style="background: white;">Poems by Maya Angelou, </span></span><span style="background-color: white; font-family: "times new roman" , serif; font-size: 16px;">Gabriela Mistral, </span><span style="background-color: white; font-family: "times new roman" , serif; font-size: 16px;">Pablo Neruda,</span><span style="background-color: white; font-family: "times new roman" , serif; font-size: 16px;"> </span><span style="background-color: white; font-family: "times new roman" , serif; font-size: 12pt;">Marge Piercy, </span><span style="background-color: white; font-family: "times new roman" , serif; font-size: 16px;">Gary Snyder,</span><span style="background-color: white; font-family: "times new roman" , serif; font-size: 12pt;"> and others will be
read by the community members in tandem with a local poet, highlighting the
ways that poetry allows us to enter into a greater conversation about our place
in the world.</span></div>
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<span style="background: white; font-family: "times new roman" , "serif"; font-size: 12.0pt;">Do not, I repeat, do not miss this!<o:p></o:p></span></div>
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<span style="background: white; font-family: "times new roman" , "serif"; font-size: 12.0pt;">The event is free and refreshments will be served. Oh, I
already mentioned refreshments. </span><span style="background-color: white; font-family: "times new roman" , serif; font-size: 12pt;">Anyway, see you next Monday at Mead Public Library. Bring dancing shoes. You know, just in case you feel so good from the poetry that you end up dancing. </span></div>
Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com1tag:blogger.com,1999:blog-3394332272960799444.post-67530631638467146632016-03-28T22:08:00.004-05:002017-01-27T11:05:09.005-06:00Forthcoming from Pebblebrook Press<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO1Vgfte4cfa-5c7n4m9fUMX_rlHHzvXFA2rlG5nLe9QMolW-8vwaeWmYD2xeObiN09p3UeUlxuhkYuKf0_7aaPdfviepuCbJzx07dJdhyphenhyphenilglxS62al5gANvQW47_C61WrXz29GggKkA/s1600/TomCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO1Vgfte4cfa-5c7n4m9fUMX_rlHHzvXFA2rlG5nLe9QMolW-8vwaeWmYD2xeObiN09p3UeUlxuhkYuKf0_7aaPdfviepuCbJzx07dJdhyphenhyphenilglxS62al5gANvQW47_C61WrXz29GggKkA/s320/TomCover.jpg" width="216" /></a></div>
<a href="http://weebly-link/453205134980473569">Pebblebrook Press</a>, an imprint of <i>Stoneboat Literary Journal</i>, is proud to announce the forthcoming release of its fifth poetry collection, Thomas J. Erickson's <i>The Biology of Consciousness</i>. The book is scheduled for release on May 1st, 2016.<br />
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Erickson’s poems exhibit a wide variety of voices: the child, the lawyer, the father, the teenager, the philosopher, the dreamer, the lover. In <i>The Biology of Consciousness</i>, the reader journeys with the poet to the heart of chaos, emerging on the other side with new (alleged) clarity regarding the way things are, or the way they might be.<br />
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Poet Michael Dennis, author of <i>Coming Ashore on Fire</i> and <i>The Uncertainty of Everything</i>, praises Erickson's work by saying, "Erickson is the first lawyer who has written a book of poetry I’ve read. More importantly, he is the first lawyer to write a book of poetry I love." <br />
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Ordering information for The Biology of Consciousness will be available soon.Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-33600452174553310232016-02-22T09:07:00.005-06:002017-01-27T11:05:17.961-06:00Elder talks craft, inspiration of Earth as It Is in Heaven<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: "georgia" , "serif";"><span style="font-size: x-small;">By Gina Covelli</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib9e0FmwYZ_YvMAUBaWvLN3LOx9g7zHSSQxOxcvX-3BWBg8Qeg3a1VtAHivFFz6iIipJ1vO1Eeq9y1BLVexxWW5mfhJPtxAV8EdOJjM4Zijgam8AgE_7tp86sMZxX3GKSAo384DxisKxE/s1600/karl.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib9e0FmwYZ_YvMAUBaWvLN3LOx9g7zHSSQxOxcvX-3BWBg8Qeg3a1VtAHivFFz6iIipJ1vO1Eeq9y1BLVexxWW5mfhJPtxAV8EdOJjM4Zijgam8AgE_7tp86sMZxX3GKSAo384DxisKxE/s320/karl.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Benjamin Wilks</td></tr>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">It
was like old times, sitting in the yellow vinyl chair across from Karl Elder in
his Lakeland College office, which was lit only by the late afternoon sun. The
standard can of cola in a faded coozie sat to the right of his computer
keyboard, hidden among the stacks of books and papers littering his desk. And
like I had done so many times before, when I was Karl’s poetry student, I took
a casual glance over my left shoulder to see the beautifully classic and
complex poster-sized portrait of Anne Sexton before beginning the conversation.</span><br />
<a name='more'></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I’ve
interviewed Karl Elder, Fessler Professor of Creative Writing and poet in
residence at Lakeland, many times in the past as a student journalist. But this
time was different. I didn’t sit down with a prepared list of who, what, when,
where questions that would become my interpretation of Karl’s story of how he
wrote his debut novel <i>Earth as It Is in Heaven</i>. I went in hoping to have
a candid conversation that would allow Karl to tell his own story.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">For
the first time in my experience of meeting with Karl, I was a little nervous
about how the interview would go. But it really was like old times, and the
conversation took off.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
You speak of some books that I happen to have read, the 30 books listed on the
back of your novel that in some way inspired yours.</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
To the best of my recollection.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
Can you elaborate on how some of those books inspired you?</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
It almost always had something to do with craft. In the case of <i>Slaughterhouse
Five</i>, Kurt Vonnegut—that’s the only novel he gave himself an A for, by the
way; he graded all his novels—I was so taken by the refrain that occurred in
the novel, “So it goes. So it goes.” You see it every 500 words or something
like that, “So it goes.” He used it in such a way that it suggested the mindset
of the characters so that I just started using devices like it. Every once in a
while, the main character will say, “That’s another story, although it ain’t
really.” And there are other phrases like that.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
Every time [the protagonist] Stick mentions Digger, he says “Bless him.” He had
certain phrases for certain people.<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
Yeah. But like I say, those things are craft. I was so taken by the book <i>Riddley
Walker</i>, which I had read in the early ’80s. It just blew my mind because it
was the greatest example of manufacturing a language that I had ever seen. I
was inspired to do that, even though what I do is a pittance relative to what
Russell Hoban does. It’s just fantastic. There’s a book in the list that I’m
sure nobody around [the Sheboygan, Wisconsin area] has read before called <i>Loony</i>.
It appeared as a special issue of <i>Apple</i>, a magazine that came out of
Champaign-Urbana. The book of poems was authored by William Kloefkorn, a poet
from Nebraska, and <i>Loony</i> is about a guy who just does not have his act
together. He’s intellectually challenged, so it was on my mind that I could
have a character that was intellectually challenged. Again, it’s a matter of
craft.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
As far as process goes, you have all these books that inspired you, but how did
you put this together? </span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
There’s not much that changed from the first draft. Not much at all. [The
changes] had to do with making the language consistent afterwards. The
storyline itself has seen very little change from the ’80s. I found, completely
by accident, the first note I took—what I believe to be the germ of <i>Earth as
It Is in Heaven</i>. It’s on the back of a small piece of letterhead from my
first job in Missouri in the late ’70s, which probably means I had been kicking
the novel around in my head for five or six years before I began it in earnest.
I can only remember one change. I added a joke. I thought of it when I was
reading a passage to a class one day. For me, it’s the funniest line in the
whole damn novel. I prefer not to say what that is. But for me, personally, it
was, “Why didn’t I think of this earlier!”<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
Was it a story line you mapped out, or was it something that came very
organically?</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: 0.2pt;">K: Organic. The underpinnings of the story involve life
experiences that are like little platforms, and I jump off of that platform
onto another thing. I’ll give you an example. When I was twelve years old, I
spent a lot of time in the summer riding my bicycle around town. The town was
only 650 people and I know all the streets, and one day I’m about two blocks
from my house. I see a car I’ve never seen before and the car is moving, not
parking. And a few minutes later, I see the car again, and it’s still moving.
That’s the impetus for the Corvair the narrator sketches [in the novel].
Because there was, in this little town, a bank robbery. So I hear about the
bank robbery, and of course I’m like every other kid, I don’t have anything
else to do, so I go to see what’s going on at the bank. In fact I may have
heard the alarm, but I can’t say for sure, because with this particular bank,
the alarm was known to go off on its own. But I’m standing there with a bunch
of other people outside the bank, and all of a sudden this guy comes out of the
bank. He’s wearing a three-piece suit,
and he wants to know if anyone’s seen a strange car. He’s the FBI. So they took
me into the bank and they had paint samples of cars and he wanted me to pick it
out. I picked it out even though I’m somewhat color blind. But back then, there
weren’t that many shades of silver. It’s little things like that in my
experience. I do know this, though: it was my dream to create a story with a
female Christ figure.</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
So, going into the novel, when you developed the Schoolteacher’s character, did
you go into it knowing she was going to have this message [as the female Christ
figure], or was that discovered along the way?</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
Discovered. I didn’t know how I was going to do it when I started. And you know
what, there’s not much that I discarded. It’s pretty much like one sentence led
into another. I wasn’t pulling out whole sections and rewriting. I spent a lot
of time on individual sentences and went from one sentence to another.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
Do you think that you went with that approach because of your background in
poetry?</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
Certainly I have a great deal of difficulty abandoning sentences. I can’t get
to the next sentence easily. I’ve spent an awful lot of time on lines. I’ve
never been able to live up to the advice I give my students—write it all out
first. Oh, I take that back. I’ve been able to do that with flash fiction about
ten times.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
You had mentioned in a <i>Sheboygan Press</i> article that writing this
manuscript helped you to write poetry. How did that happen?<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
I don’t know how it happened, but I know what the effect was. I know that, for
example, shortly thereafter, I was able to write a fairly long poem that was
one sentence. I found there was more music in the line than previously. I would
love to know, but I have no way of knowing how, unless I were to be hypnotized
or something. You know, I wrote the
novel in this room. I wrote it from eight in the morning until noon. I had a sign on the door, “Stay Away”—or
something to that effect—because I wrote it while on sabbatical. I’d read in
the afternoon, and I’d go home at night and get the kids supper and get them to
bed, but then, later that night, I was writing poems. I’d be exhausted by the
time noon rolled around, and the rest of the day would go by and then I was
writing poems. I bet I wrote in the neighborhood of a dozen poems while I was
writing the novel. I’m not one who dates the stuff, so I don’t know what poems
I actually wrote then. I just wonder if that contributed to the transition in
some way, from a style that was much more stark to one that was much more….
This is funny, I haven’t thought of this. It was that the stanzas, shall we
say, subsequent to the novel, weren’t as heavily edited. They were longer.
Before this novel, they were not heavily edited, trying to get all the stanza
out. Previously, they were heavily—I mean, initially I was working with lines
instead of stanzas. And afterwards, it was more like I was working with stanzas
instead of lines. That’s a crude way to describe it, but that’s the only way I
can put my finger on it now.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
The novel is set in Freeland, and there’s the nearby town of Lawless, but you
don’t really see the world that they’re set in. Is there a reason why you chose
not to have that in there?</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
If I could have done it without Lawless, I would have done it without Lawless.
But I figured I had to have Lawless for a very practical reason. I had to have
something to bounce this community off of so it would make it its own. If it
was just there by itself, it wouldn’t have seemed as real. But the thing that
led me to keep it as confined as I did was the first sentence: “It were the
Schoolteacher come to call it such as Anarchtopia what with all the goings-on.”
A utopia is a confined thing. It has to happen outside the context of the rest
of the world, it seems to me. And another thing, this being only my second
novel [first published novel], I needed to help myself maintain control over it
because I knew it wasn’t going to be realism. I had to put some kind of fence
around it, and, thus, to make it more credible. If these weird things are going
to happen, it seemed to me, it would be more believable if they happened in a
place and not any other place.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
Did the voice of the narrator come to you pretty easily? You just spoke that
first sentence of the story. Did the
dialect and the voice just come out of thin air to you, or was it something you
had to find?</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
I loved the way my mother-in-law says certain words. And I love that I have a
brother-in-law who, out of jest, plays with pronouns. He’ll use what for that.
I love that there are sayings that seemed almost indigenous to the community I
grew up in. And that led me to give a more southern tinge to the language. The
voice came pretty easily, and I can remember being pissed off when I saw <i>Forrest
Gump</i>, because I said, “Oh, shit, he’s stealing what I’ve already done.” I
had written the novel before the film appeared.
I’m taken by the colorfulness of certain southern dialects, too.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
I suspected you either had a lot of fun throwing everything in there or gave
yourself a lot of headaches trying to make them all connect.</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
It was a lot of both. It was a huge puzzle. But I went with it because I had
the strangest experience with the first novel. Maybe it wasn’t a strange
experience because I think everyone has it, who writes fiction. I threw in as a
detail a pocket watch into the first novel, and I don’t know why I did it. And
it turns out, it’s the pivotal thing, it’s the answer to everything in the
mystery.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
Were there other knots you had to untangle?</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
Oh, yeah. The “incest.”<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
Yes, I was going to ask you about the relationship between Stick and the
Schoolteacher, because “she is but she isn’t.”</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
And then the vehicle to convey that, it seemed to me, was Floyd. Floyd knew
her. I’m not as close to the story as I once was, and I can’t tell you that
what I’m about to say is accurate, but what I believe is that I got away with
it by simply saying, she was getting younger every day. Or “ever day,” as the
speaker says. So her body is changing. She’s not the same person, literally.
And I can imagine someone potentially being offended by what they perceive to
be incest, but on the other hand, I can imagine that reader worming out of the
problem by saying, it is miraculous. She’s physically not the same person.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
I suspected, as I read it, that something was going to happen with the two of
them. There was always a connection. In the beginning it was the
Schoolteacher’s eyes and the focus on her, and then as she got younger every
day and [she and Stick] kept interacting, something was going to happen. And
then you find out who she is, and it takes your mind a little bit to piece it
together. “She is but she isn’t.” It was interesting.</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
I’m glad you say so.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
Which character did you resonate with the most, or have the strongest
connection to, as you were writing?</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
It’s hard to leave any of them behind; they’re all my children. I don’t tend to
see people as schizoids. I think of people as their minds being complex. There
are a lot of influences that go into the making of a personality. In order to
answer your question, I think I have to say the main character. He wonders
things that I wonder, like when he’s talking about Cromangon Man for example.
Cromangon Man might have the right idea, but it seems to the narrator, if he
keeps thinking that way, it’s going to be a hell of a life—he’s going to have a
lot of conflict. There are things I’ve wondered in my life that I put into the
mind of the main character. I have
affection for nearly all of [the characters], except for Termite and the Banker
and Pyro. I don’t have much affection for them. I have a lot of sympathy for
the Banker’s wife. It’s real easy to identify with Luda, also. She’s got some
great motherly advice. I don’t know. But I love Little Ludy. Love Little Ludy.
You know what my thought was when I finished the book? Little Ludy will be in
the sequel. It didn’t happen. I started writing poems again. <o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
One thing I wondered as I read the novel was about the term gink. What does
that look like to you? I kept trying to picture what it meant. There’s a very
distinct difference in the narrator’s mind of who’s a gink and who isn’t, and
that’s the way it is. It didn’t appear his own father was classified as a gink
with the rest of them. I’m curious what that means.</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
Had I apprised you earlier of the fact that gink is an actual word? I was
shocked when I looked it up to find out it was a real word. But I heard my
mother-in-law use it. And what she was talking about was a weird kid. So if you
look it up, you see definitions like this: a peculiar boy, an odd boy. It’s
always a male.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
What’s one thing you hope readers will take away from your book?</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
Just joy. Have a good time with it. But when you produce something like this,
you say to yourself, wouldn’t it be interesting if somebody came along and made
a movie out of it?<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">G:
One final question—on the novel’s back cover, you mention a thank-you to Mark
Strand for his question. Can you tell me the question?<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">K:
Nope.<o:p></o:p></span></div>
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Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com2tag:blogger.com,1999:blog-3394332272960799444.post-11240704571161955652016-01-10T19:36:00.004-06:002017-01-27T11:06:01.021-06:00Marketing HappensHere at <a href="http://www.stoneboatwi.com/pebblebrook-press.html">Pebblebrook Press</a>, as is the case at so many small presses, we are grateful for the ingenuity of our authors’ marketing efforts to promote their books. Since our staff is only four people (all of us with day jobs and a literary journal called Stoneboat to produce twice a year), and since the bank account balance for the journal and press combined rarely exceeds triple digits, we simply don't have the time or the resources to extensively market our book titles. We send out review copies, we take books to festivals and other events, and we sing our titles’ praises on social media, but as far as actual "marketing campaigns" go, well, we know we are rather lacking in this department.<br />
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What we do not lack, however, is a willingness to support the creative efforts of the writers we have been lucky enough to publish, amazing writers, all of them. We are happy to assist them in the journeys they take into the land of self-promotion. We stand at the ready to follow each person's lead. We are here to send letters, make phone calls, nominate for awards, and show up at readings.<br />
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Thanks to the hard work of Pebblebrook author Mark Zimmermann, it is with great pleasure that the editors of Stoneboat/Pebblebrook Press will be at <a href="http://www.boswellbooks.com/opening-letter-0">Boswell's Books</a> in Milwaukee on Thursday evening, January 14, when Mark reads from his poetry collection, Impersonations, at 7:00 p.m. We applaud Mark for doing the legwork on this one, and for his diligence in staying on task to promote the book.<br />
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In addition to the reading, he will be interviewed on Milwaukee Public Radio’s <a href="http://wuwm.com/programs/lake-effect">Lake Effect</a> program next week. Mark made the initial contact with the program's producer, and then nudged us to write a letter on his behalf. The rest is history. (Well, not yet, but it will be soon enough.) Tune in to <a href="http://wuwm.com/">WUWM</a> (89.7 FM) on Tuesday, January 12h at 10:00 a.m. and hear it for yourself.<br />
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Please do catch the interview, and then, join us at Boswell's on Thursday night. Meanwhile, I think we might want to consider bringing some of our authors on board to help us market all of our Pebblebrook Press titles. They're pretty good at it...<br />
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<a href="http://mediad.publicbroadcasting.net/p/wuwm/files/201503/logo_fid.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://mediad.publicbroadcasting.net/p/wuwm/files/201503/logo_fid.png" height="83" width="200" /></a><a href="http://boswell.indiebound.com/files/boswell/Boswellfinaljustthebs600dpi.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://boswell.indiebound.com/files/boswell/Boswellfinaljustthebs600dpi.jpg" height="115" width="200" /></a></div>
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<a href="https://pbs.twimg.com/profile_images/290523920/WUWM-Twitter_400x400.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-13493734116018148152015-12-30T12:26:00.001-06:002017-01-27T11:06:07.620-06:00Freezin' for a Reason<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtOdXwCtvXh5u8ePrLXOO4NrJU7l9jDUMqYbWDiQD471QCeEoAkPsUaTsEO8mVzKRCvaKJfF5T1vKdtuXKx-C-qLIoXiATH3R3I4IddbQ6YjkmN5CVZAJW8uZRwqL-Hisx7LlwCgnpuzg/s1600/2014-01-01+12.28.43.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtOdXwCtvXh5u8ePrLXOO4NrJU7l9jDUMqYbWDiQD471QCeEoAkPsUaTsEO8mVzKRCvaKJfF5T1vKdtuXKx-C-qLIoXiATH3R3I4IddbQ6YjkmN5CVZAJW8uZRwqL-Hisx7LlwCgnpuzg/s320/2014-01-01+12.28.43.jpg" width="240" /></a><span style="font-family: "times new roman" , serif; font-size: 12pt;">When
was the last time you put on a swim suit and jumped into the icy cold waters of
Lake Michigan in the middle of goddamn winter?</span><span style="font-family: "times new roman" , serif; font-size: 12pt;">
</span><span style="font-family: "times new roman" , serif; font-size: 12pt;">For us here in </span><i style="font-family: 'Times New Roman', serif; font-size: 12pt;">Stoneboatlandia</i><span style="font-family: "times new roman" , serif; font-size: 12pt;">,
it has been almost one year to the day. Yes, my friends, it is time once again
for our annual Polar Bear Plunge fundraiser. (Donate <a href="http://stoneboatwi.blogspot.com/2015/12/polar-bear-plunge-2016.html">here</a>.) Let me say right away that I, Poetry and Arts Editor
Lisa Vihos, do not go in the water. I leave that to the professionals. I have
carried towels, blankets, and hot chocolate. I provide the warming house because
I live near the lake. I just don't go in.</span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Did
you know that the Polar Bear Plunge happens all over the world, under a variety
of different names? Canada, the UK, the Netherlands, anyplace where there is
cold water in large quantity, people are apparently eager to jump into it for a
good cause. In many places, plunges are held specifically to raise funds for
charities. For example, i<span style="background: white;">n Long Beach, New York,
the fun happens on Super Bowl Sunday, when about 2,000 people jump into the
Atlantic Ocean to raise money for the Make-A-Wish Foundation. “</span>Plungapalooza”
happens in Maryland at Sandy Point State Park and is the largest plunge event
in the United States. In 2007, that particular plunge had 7,400 participants
and raised $2.2 million for the Special Olympics. <o:p></o:p></span></div>
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">2.2. Million. Dollars. </span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">You see? We at <i>Stoneboat</i> are right in step with some of
the most lucrative, grassroots fundraising efforts on the planet, all because <i>Stoneboat </i>founder and Co-Editor in Chief
Rob Pockat had the brilliant (or crazy) idea, just a few days before the 2014
plunge, that he’d read a poem in the icy lake on New Year’s Day if he could
raise a mere $50 for the journal. We were all dumbfounded when the donations
began pouring in and the goal amount was reached in just an hour or two. Rob
then convinced Co-Editor in Chief Signe Jorgenson to sweeten the pot by making
the bold offer that if the donations reached a certain level, she would go in,
too. Perhaps she did not expect such great response. But, money was raised, and
in they both went. Talk about dedication!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">In
the Netherlands, there are 89 beaches across the country that host plunges on
New Year's Day. There, the event is called "Nieuwjaarsduik" (New
Year's Dive). In the UK, the event is
called "Loony Dook" and happens in South Queensferry, Scotland. Don't let the word "south" fool
you. It is f'n freezing, I'm sure. In the Northwest Territories of Canada, an event
is held in March and is called "Freezin for a Reason." How poetic is
that? <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Whatever
you call it, I'll tell you one thing: it is amazing what Signe and Rob are
prepared to do to keep our little boat<i> </i>afloat.
Please <a href="http://www.stoneboatwi.com/" target="_blank">click here</a> to make this ass-freezing adventure worthwhile for them and
for all the prose writers, poets, and artists who will warm the pages of <i>Stoneboat</i> in the coming year. On behalf of all of them, I say a heartfelt <i>thank you</i>.</span><br />
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Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-26903820192116804092015-12-21T15:16:00.001-06:002017-01-27T11:06:13.826-06:00Polar Bear Plunge 2016<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGATKq54Uwg-UIwE0jbluaz7DMuXcDtk2Q6JuCgfMtQwiLNQo2szWHfVbeUsdJhqWhAMTa2i5tthEjflE8NBb-Lhs4qtBk1vz_aDSX5Egt69dwPns58PppbT0GpFH6tOvuJ9xBL7wB4Bs/s1600/Plunge.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGATKq54Uwg-UIwE0jbluaz7DMuXcDtk2Q6JuCgfMtQwiLNQo2szWHfVbeUsdJhqWhAMTa2i5tthEjflE8NBb-Lhs4qtBk1vz_aDSX5Egt69dwPns58PppbT0GpFH6tOvuJ9xBL7wB4Bs/s400/Plunge.JPG" width="400" /></a></div>
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That's right! We're taking the
plunge—again. In 2014 and 2015, our editors-in-chief rang in the New Year with
a plunge into the icy waters of Lake Michigan to raise funds that have helped
<i>Stoneboat Literary Journal</i> stay up and running and able to continue publishing
great fiction, poetry, nonfiction, graphic literature, and artwork.<br />
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<span lang="EN-US">This year, Rob and Signe will be taking the
polar bear plunge again, and we'd like to give those who donate a little
something in return. Feel free to donate any amount—even a dollar or two
helps—but those who donate the following amounts will receive some exciting
<i>Stoneboat </i>prizes: <o:p></o:p></span></div>
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<span lang="EN-US"><b>$10:</b> handmade Stoneboat bookmark<o:p></o:p></span></div>
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<span lang="EN-US"><b>$30: </b>your choice of one of the following
Pebblebrook poetry collections: <i>Impersonations </i>by Mark Zimmermann, <i>Momentary
Ordinary </i>by Marilyn Zelke-Windau, or <i>a berserker stuck in traffic </i>by Erik
Richardson<o:p></o:p></span></div>
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<span lang="EN-US"><b>$50:</b> a one year subscription (or extension
of your subscription) to Stoneboat<o:p></o:p></span></div>
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<span lang="EN-US"><b>$75:</b> a two year subscription (or extension
of your subscription) to Stoneboat<o:p></o:p></span></div>
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<span lang="EN-US"><b>$100:</b> You choose the dedication for a future issue of Stoneboat!<o:p></o:p></span></div>
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<span lang="EN-US">Oh, and if you're super invested in the suffering
of our editors-in-chief in the numbing cold, you'll be happy to know that if we
reach our donation goal of $500, Rob and Signe will fully submerge themselves
underwater, a feat that is not so easily done, as you'll see if you watch the
YouTube footage below of last year's plunge.<o:p></o:p></span></div>
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Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-20728279863030673562015-04-30T12:11:00.001-05:002017-01-27T11:06:21.050-06:00Lipogram Contest Winner AnnouncedOur imprint, <a href="http://stoneboatwi.com/pebblebrook-press.html" target="_blank">Pebblebrook Press</a>, recently held a <a href="http://stoneboatwi.blogspot.com/2015/02/up-for-challenge-write-lipogram-poem.html" target="_blank">poetry contest </a>to celebrate the release of Mark Zimmermann's collection of lipograms, <i>Impersonations</i>. Entrants were challenged to write a poem using the lipogram constraint, which requires poets to deliberately exclude certain letters from their poems. Zimmermann was the judge; he read the poems blindly and selected Jason Primm's "Stoneboat" as the winner. Primm, whose short story "Light" appeared in <a href="http://stoneboatwi.com/2-1.html" target="_blank">Stoneboat 2.1</a>, used only the letters in the poem's title to compose his work, which appears below.<br />
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<span style="color: #990000;"><b>Stoneboat </b>An eon <br />sane.<br />No boots. <br />No boats.<br />No bent notes.<br />One soon noon?<br />As season <br />ebbs,<br />beat sonatas<br />on stone.<br />Toast taboos.<br />Nose ears.<br />Eat beast.<br />Boast: <br />“O Babe!”,<br />“O boon!”<br />As oboes <br />sob.</span><br />
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Judge Mark Zimmerann says, "In the winning poem, 'Stoneboat,' the author sets to work with only seven letters to use—a very challenging constraint—and comes up with a free associative word salad of sound and image that embodies the kinds of surprises that can result from lipogrammatic writing. Thanks to all who entered the contest. Your work shows, once again, that matters of poetic freedom, creative expression, and formal constraint aren’t mutually exclusive—not by a longshot."<br />
<br />
The Pebblebrook Press team joins Zimmermann in thanking all of the poets who entered the contest. The work was creative, thought-provoking, and fun to read. Zimmermann had a difficult task in choosing just one winner, and we're glad we weren't charged with making the decision.<br />
<br />
Zimmermann's collection of lipograms, which was released earlier this week from Pebblebrook Press, is available <a href="http://www.stoneboatwi.com/pebblebrook-press.html">here</a>. </div>
Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-66094347119037896182015-03-09T07:00:00.000-05:002017-01-27T11:06:58.725-06:00An interview with Mark Zimmermann <div class="MsoNormal">
We interviewed Mark Zimmermann, author of Pebblebrook Press's forthcoming poetry collection <i>Impersonations</i>, to find out more about his writing process and his experiences with the literary form of the lipogram. Zimmermann is a Wisconsin native currently living in Milwaukee. He was featured in Pebblebrook's first release, the anthology <i>Masquerades and Misdemeanors</i>, and he has spent time teaching humanities and writing courses, both abroad and here in the United States. <i>Impersonations </i>is his first collection.<br />
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To pre-order <i>Impersonations</i>, visit Pebblebrook Press's <a href="http://stoneboatwi.com/pebblebrook-press.html" target="_blank">website</a>. </div>
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<b style="mso-bidi-font-weight: normal;">How did this
collection evolve? Where did the idea come from?<o:p></o:p></b></div>
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Initially there was no idea. One morning in the summer of
2002 I was at home scanning the shelves for a book to read, when I just started
rattling off words I could make from names appearing in this or that book
title. I had no thought of even getting a poem or a few poems out of it, much
less a book-length work. It was all free associating and vocal riffing—playing
with language and seeing what would happen.<o:p></o:p></div>
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What happened was a stream of patter, as in these words made
from letters in <i style="mso-bidi-font-style: normal;">Napoleon</i>: “Lo! An ape
on a neon pole. Lope on, pal…” which turned out to be one of the more coherent
results of that morning. Still, this was enjoyable enough, so I began writing
some things down. I should also mention that ever since I was a kid I’ve
enjoyed word search games, Scrabble, palindromes, and rearranging letters from
terms and short phrases just to see what else was there. Writing lipograms is
in part an extension of that.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">When did you discover
the lipogram form? How did it grab hold of you?<o:p></o:p></b></div>
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I came across the lipogram sometime around 1990-91 when a
sprinkler malfunction flooded the UW-M bookstore, where I worked at the time.
Hundreds of books were damaged and ended up being sold for 75% off the cover
price. Employees got first choice and I took advantage, buying a pile of
hardcovers that I never could have otherwise afforded. One of them was O.B.
Hardison’s <i style="mso-bidi-font-style: normal;">Disappearing Through the
Skylight</i>, which included examples of lipograms. The form intrigued me as
novel, challenging, and a little crazy, but I didn’t pursue it further.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Has working with a
constraint like this ever surprised you, and if so, how?<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz5UIcNLNi3RIhfhFG30cmyIR5t_hwlmVSfaMPjr-NEHhybzKBrC1eUGZaF3EriiHWZPPTE2iLBtQfQm0gQC5HlHinYF6SpF1M_QjN8nEPyWVcWoORfywwX0T3ta4P9KkO0LMDsVerUsE/s1600/6912526.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz5UIcNLNi3RIhfhFG30cmyIR5t_hwlmVSfaMPjr-NEHhybzKBrC1eUGZaF3EriiHWZPPTE2iLBtQfQm0gQC5HlHinYF6SpF1M_QjN8nEPyWVcWoORfywwX0T3ta4P9KkO0LMDsVerUsE/s1600/6912526.png" width="205" /></a>Yes, I’ve been surprised in different ways at different
stages of writing the work. At first, I remember being struck again and again
by how often “renegade” letters kept creeping into what I was writing: “Damn!
How did the letter ‘b’ get in here?” Then I’d have to go back and take out
every word that had a ‘b’ in it. This happened countless times, and
occasionally it spelled the end of a poem, but as the months and years went by
I noticed that this was happening less often. This was another surprise, slowly
dawning though it was: No matter what poem I was working on, I was becoming
adjusted to the constraint to the point where it felt natural and comfortable.
Not only was I making fewer mistakes, I began to feel that the form itself
afforded the kind of creative freedom that can come from working with a
constraint that guides one into places they’d not otherwise go.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">How did the idea to
write persona poems evolve? Were your early lipograms based on fictional
characters, cultural icons, and historical figures, or did this focus develop
over time?<o:p></o:p></b></div>
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As much as I enjoyed the initial wordplay mentioned earlier,
it wasn’t too long before I knew that I didn’t want to just play around for the
sake of the form itself. So, I set myself to trying to see if I could work out
some material where form and subject came together in a way that I hoped would
convey something essential about each poem’s speaker. As for who to write
about, I went with persons and characters that interested me. My wife Carole
has been a great help on this count, giving me suggestions at times when I was
at a loss for who to write about. The Rasputin, Friedman, and Gaga poems are a
few of the works that got started because of her.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Who are the main
lipogram writers? Who else is exploring the form?<o:p></o:p></b></div>
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Writers who gave or are giving sustained attention to the
form make for a very short list of works available in English. The most
celebrated lipogrammatic work is <i style="mso-bidi-font-style: normal;">La
Disparition </i>(1969), a French novel by Georges Perec in which the letter “e”
is not used and is a key part of the story “chock-full of plots and subplots,
of loops within loops, of trails in pursuit of trails, all of which allow its
author an opportunity to display his customary virtuosity as an avant-gardist
magician, acrobat and clown,” according to the lipogrammatic cover flap of
Gilbert Adair’s e-free English translation.<o:p></o:p></div>
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Perec also wrote an essay “History of the Lipogram,” which
appears in <i style="mso-bidi-font-style: normal;">Oulipo: A Primer of Potential
Literature</i>, edited by Warren F. Motte, Jr.<o:p></o:p></div>
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Other lipogrammatic novels are Ernest Vincent Wright’s <i style="mso-bidi-font-style: normal;">Gadsby: A Story of Over 50,000 Words Without
Using the Letter E</i> (1939) and <i style="mso-bidi-font-style: normal;">Ella
Minnow Pea </i>(2001) by Mark Dunn. Christian Bok has written an unusual work, Eunoia,
part novella and part prose poem, in which the constraint in each of the work’s
sections is univocalic, using only one vowel. Bok further set himself to a
variety of subsidiary rules pertaining to subject matter. His work won’t be
mistaken for that of anyone else.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">What advice would you
give to other poets who are interested in using this form?<o:p></o:p></b></div>
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Pretty much what I’d suggest to any writer. Start with a
sense of curiosity and play, but expect difficulty too. You need not have a
goal at first; give it time. Concentrate. Turn off your goddam cell phone and
other gadgets. Try to think of new ways or reasons to use the form. If you
develop a feel for the lipogram at some point, read up on its history and
authors.</div>
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Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com3tag:blogger.com,1999:blog-3394332272960799444.post-89687521230065903712015-02-21T15:01:00.000-06:002017-01-27T11:07:07.829-06:00Are you up for a challenge? Pebblebrook Press is holding a poetry contest to celebrate the release of <i>Impersonations</i>, a collection of lipogram poems by Mark Zimmermann. A lipogram is <b>a written work composed of words chosen so as to avoid the use of one or more specific alphabetic characters</b>.<br />
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The words in Zimmermann's poems contain only the letters that appear in the title of each poem, and each poem's title is the name of the person or character that poem is about. For example, his poem titled "Emily Dickinson" uses only words that consist of the letters E, M, I, L, Y, D, C, K, N, S, or O.<br />
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Are you ready to give it a try? It's not easy, but it's a lot of fun!<br />
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<u>Here are the contest rules:</u><br />
<ul>
<li>You may enter up to three, original lipogram poems.</li>
<li>Poems can come in any of the following forms:</li>
<ol>
<li>Use only letters in the title of the poem. (The title doesn't have to be a person—it can be anything.)</li>
<li>Pick your favorite writer and use only the letters in his or her name. (Again, the title of the poem does not have to be the author's name.)</li>
<li>Use only the letters in "Stoneboat Literary Journal." </li>
<li>Writer's choice: Create your own restraint, but tell us what it is when you submit. </li>
</ol>
<li>Keep each poem under 25 lines. </li>
<li>Poems should be submitted to our email address: <b>stoneboat.journal@gmail.com</b>. </li>
<li>The deadline is <b>April 1, 2015</b>. </li>
</ul>
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The winner will receive a copy of <i>Impersonations</i>. Good luck!Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-12980174602373220382015-01-28T09:45:00.000-06:002015-01-28T09:45:26.166-06:00Introducing our newest intern...<div class="separator" style="clear: both; text-align: center;">
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Hello. My name is Kimberly Thimmig and I am in my final
semester at Lakeland College, majoring in religion with minors in writing and history. I live near Mount Calvary,
Wisconsin, with my husband, Gary, where I enjoy working on my perennial gardens,
establishing a native prairie on our property, and reading while enjoying a cup
of tea. I have loved writing all my
life, and it has spanned my divergent interests--things such as farming, religion,
cemeteries, maps, and pondering my love of canning fruits and vegetables. I have been transcribing my grandmother’s
diaries, which begin in 1946; this has fueled an interest in post-war American
society and my families’ histories. <o:p></o:p></div>
Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-46358096051374643002015-01-26T10:36:00.003-06:002017-01-27T11:07:23.851-06:00Duotrope Editor Interview Questionnaire<i>Co-Editor in Chief and Nonfiction Editor <a href="http://www.signejorgenson.com/">Signe Jorgenson</a> recently completed the <a href="http://www.duotrope.com/">Duotrope</a> editor interview questionnaire. We thought we'd share her answers. Check out Stoneboat's Duotrope listing <a href="https://duotrope.com/listing/5479">here</a>.</i><br />
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<b><span style="color: #990000;">Describe what you publish in 25 characters or less.</span></b><br />
Literature and art. <br />
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<b><span style="color: #990000;">What other current publications (or publishers) do you admire most</span>?</b><br />
<a href="http://www.uaa.alaska.edu/aqr/">Alaska Quarterly Review</a>, <a href="http://midwestgothic.com/">Midwestern Gothic</a>, <a href="http://www.bpj.org/">Beloit Poetry Journal</a>, <a href="https://www.creativenonfiction.org/">Creative Nonfiction</a> <br />
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<b><span style="color: #990000;">Who are your favorite writers?</span></b><br />
Joan Didion, David Sedaris, Jo Ann Beard, Sherry Simpson, Annie Dillard <br />
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<b><span style="color: #990000;">What sets your publication apart from others that publish similar material?</span></b><br />
We are a large-format publication that gives writers' work room to breathe. We are big fans of white space and believe that the visual presentation of the work is just as important as the work itself. With every issue, we strive to create a beautiful publication that will make our writers feel good about placing their work in our journal. Furthermore, we also have an imprint press -- Pebblebrook -- so we publish chapbooks, poetry full-length collections, anthologies,and novels as well. Doing both types of publishing has given us a greater appreciation for the importance of aesthetic, layout, and design. <br />
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<b><span style="color: #990000;">What is the best advice you can give people who are considering submitting work to your publication?</span></b><br />
Send us a polished piece. Novelist <a href="http://www.joannmapson.com/">Jo-Ann Mapson</a> once told me, "Send your work out in its church clothes." That's good advice. It seems so obvious that the submission should be free of typos, punctuation errors, or missing words, but we get a ton of work that commits these mortal sins in the first paragraph -- sometimes even the first line. Don't be that submitter. Please, don't be that submitter. <br />
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<b><span style="color: #990000;">Describe the ideal submission.</span></b><br />
It follows the guidelines. It requires very little copyediting. And most importantly, it's compelling -- it makes me care, it makes me want to turn the page, it makes me forget that I have another 15 submissions to read before I call it a day. It makes me want to email the other editors and say, "We need to take this NOW before some other journal steals it away from us." <br />
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<b><span style="color: #990000;">What do submitters most often get wrong about your submissions process?</span></b><br />
Our guidelines state that we won't publish a writer in consecutive issues, yet we sometimes receive back-to-back submissions from our contributors. That's a good problem to have. We're honored that writers are pleased with our journal and trust us with more of their work. We see it as a sign that we're doing something right. <br />
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<b><span style="color: #990000;">How much do you want to know about the person submitting to you?</span></b><br />
We ask for cover letters that include a brief bio. I don't look at the bio or publication credits when I first read a submission, but the info does sometimes come in handy after the initial read. For instance, if I'm on the fence about whether or not to give the submission a more in-depth look, and the editors of a journal I trust and respect have published the writer's work, that can convince me to spend more time with the piece. I wouldn't say that prior publications convince me to accept a piece (nor does lack of publications convince me to reject it), but a publication history can get me to spend more time considering the work. <br />
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<b><span style="color: #990000;">How much of a piece do you read before making the decision to reject it?</span></b><br />
I only read prose, so I can't say anything about how the poetry selection works at Stoneboat. However, those of us who read prose have an agreement: if the piece isn't well-written, or if it hasn't captured our attention in the first page or so, we can reject it without reading any further. We are a small team and we have an enormous number of submissions to get through. As much as we'd like to, we simply can't read everything all the way to the end. I try to think about it from a reader's perspective. Readers don't slog through 15 pages to see if a story or essay will eventually get good; if a reader isn't hooked pretty quickly, he/she will turn the page or set down the journal. If I anticipate the reader turning the page or setting down the journal, I'm not going to publish the piece. <br />
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<b><span style="color: #990000;">What additional evaluations, if any, does a piece go though before it is accepted?</span></b><br />
Although every submission is read by an editor, we do have our interns perform an initial screening. They then assign the piece to be read by one of our four editors. I can't speak to the process that the other editors use to evaluate their assignments, but I can tell you about mine. If the interns recommend rejecting a piece, I'll quickly scan to make sure I agree with their assessment, but I don't usually spend a whole lot of time on those submissions. (The interns are rarely wrong.) If the interns recommend accepting a piece, I'll slow down and read a lot more carefully. Our poetry editor reads all of the poetry submissions and makes the poetry publication decisions on her own, but the process is a little more complex for prose. There are three of us who read prose. We each compile a "short list" of work culled from our assigned submissions that we would like to see in the journal. Then, we read all of the pieces on everyone's short list and duke it out from there. We usually end up publishing about 1/3 of the prose that makes the short list. <br />
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<b><span style="color: #990000;">What is a day in the life of an editor like for you?</span></b><br />
It's a balancing act. My "real" job is teaching composition courses at small Midwestern liberal arts college. I teach four classes in any given semester, and almost always have three different preps. (For those of you who aren't in academia: that's a really heavy teaching load.) On top of that, there's committee work, advising, and overseeing the campus writing center. So, my editorial work gets squeezed in around my job and my life. (I have a family! I have friends! I, in theory, have a writing career!) I read submissions late at night, on weekends, during spring break, in airports and hotel rooms. You get the picture. <br />
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<b><span style="color: #990000;"> How important do you feel it is for publishers to embrace modern technologies?</span></b><br />
The journal is in its fifth year, and we've moved more and more toward modern technology. At first, we were accepting submissions via email, only took cash or check payments, and used a local printer. Signing up for an electronic submission manager changed our lives. Delving into the world of credit card payments has increased sales enormously. Switching to print-on-demand has cut our budget by a ton while giving us a higher-quality publication. That said, we still see the value in hard copy submissions, and we don't do our copyediting digitally. I still look things up in a hardcopy of the SOED and Chicago manual. Technology makes many things better and easier, but there's still a place for doing things the old fashioned way.</div>
Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-53743163302556272942014-12-19T10:31:00.000-06:002017-01-27T11:08:16.456-06:00We're taking the plunge...again!<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4B5Soht8fQr_kBeLdRPmhyNEmnr52FZP9mGH2Uco_jIno8Qoh-oUoNzwwVYYQT2Pj0aJnqu69hR_iEihsPxc5nqULmDFQ4ckRFTsA-xirfpfa3crUJD5uVD5Rwa_WVBoDcjnm0EE9wew/s1600/1526228_274637456023966_1271993951_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4B5Soht8fQr_kBeLdRPmhyNEmnr52FZP9mGH2Uco_jIno8Qoh-oUoNzwwVYYQT2Pj0aJnqu69hR_iEihsPxc5nqULmDFQ4ckRFTsA-xirfpfa3crUJD5uVD5Rwa_WVBoDcjnm0EE9wew/s1600/1526228_274637456023966_1271993951_n.jpg" width="320" /></a>That’s right—we’ll be taking the Polar Bear Plunge this New
Year’s Day <a href="http://stoneboatwi.blogspot.com/2014/12/were-taking-plungeagain.html" target="_blank">for the second year in a row</a>, and like <a href="https://www.youtube.com/watch?v=kPbE0_OteUE" target="_blank">last year</a>, we’re raising
funds for <i>Stoneboat</i> while we’re at
it.</div>
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Last December, our starting goal was $100, and the agreement
was that if we reached our goal, Co-Editor in Chief Rob Pockat would take the epic plunge. We reached
that goal so quickly that we decided to raise the stakes: if we reached $250 by
New Year’s Eve, Co-Editor in Chief Signe Jorgenson would join Rob in frolicking through the icy Lake
Michigan surf despite an air temperature of 14 degrees, wind chills in the single digits, and water temperatures in the low 30s. With the help of our wonderful supporters, we reached that goal,
and the rest is history. <o:p></o:p></div>
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This time around, we’re doing things a little bit
differently. There’s no question of <i style="mso-bidi-font-style: normal;">if </i>we
will be taking the plunge. We’re totally, 100% doing it. (Brrrr. I’m chilly
just thinking about it.) This year’s catch is that <i style="mso-bidi-font-style: normal;">you</i> get to decide how far we’ll go, and <b style="mso-bidi-font-weight: normal;">you get prizes in return for donating! <o:p></o:p></b></div>
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This is how it works: The more <b style="mso-bidi-font-weight: normal;">total</b> money we raise, the further we’ll submerge ourselves into the
water. For example, if we raise a total of $50, we'll enter the water up to our knees, $100 our mid-thighs, and so on: <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi38jkFJsOS0qnNAKD6Tb8Wde0uBT4IWEHv3XI35IFtsAiP1dlG8zVTQZoMdt2fQislIsQKm2xg_a_5Yb5o2UK0_x3wokG6Oy9a8COCp09F-KFTyEhGAquD4Nu7SnDE-2d4_oBiTRjsUp8/s1600/IMG_7453.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi38jkFJsOS0qnNAKD6Tb8Wde0uBT4IWEHv3XI35IFtsAiP1dlG8zVTQZoMdt2fQislIsQKm2xg_a_5Yb5o2UK0_x3wokG6Oy9a8COCp09F-KFTyEhGAquD4Nu7SnDE-2d4_oBiTRjsUp8/s1600/IMG_7453.JPG" width="320" /></a></div>
$50 – knees<br />
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$100 – mid-thighs<br />
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$150 –<span style="mso-tab-count: 3;"> </span>hips
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$200 –<span style="mso-tab-count: 3;"> </span>belly
buttons<o:p></o:p></div>
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$250 –<span style="mso-tab-count: 3;"> </span>chests<o:p></o:p></div>
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$300 – shoulders
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You can <a href="http://stoneboatwi.com/" target="_blank">visit our website</a> to donate, or click the button at the bottom of this post. We’re taking donations of ANY amount, but prizes will be
awarded at certain benchmarks:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBsWvVPJwL7dwF6ne1Zxo7muREkFJHLH0FEXInUV1h_vqpFW-ZMR9XnjQO1Kb3SuQSHtumTCCxKkKfiIa3dgxjRMIGERbnKl8fihGITAWHvrsVai9tGsegUugPtLUIFY0gk4L-5GjEhm4/s1600/528310_274637319357313_47933842_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBsWvVPJwL7dwF6ne1Zxo7muREkFJHLH0FEXInUV1h_vqpFW-ZMR9XnjQO1Kb3SuQSHtumTCCxKkKfiIa3dgxjRMIGERbnKl8fihGITAWHvrsVai9tGsegUugPtLUIFY0gk4L-5GjEhm4/s1600/528310_274637319357313_47933842_n.jpg" width="213" /></a></div>
<ul>
<li>$10 – one of our new, handmade <i>Stoneboat</i> bookmarks </li>
<li>$20 – a Stoneboat t-shirt </li>
<li>$50 – a one year subscription to <i>Stoneboat</i> <b>and </b>a poem of your choice (the first 10 lines, or the whole poem if it's less than 10 lines) will be read in the water/at the event* </li>
</ul>
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*We will try to read as many poems in the water as possible,
and we’ll ensure that all selections are read at the event. <o:p></o:p><br />
<br />
Thanks for supporting <i>Stoneboat</i>! Our journal doesn't receive any university funding, grant money, or external funding, so <b>we survive solely on your continued support </b>through subscriptions, book and t-shirt sales, and donations. We sincerely appreciate it. </div>
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<br /></div>
Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com2tag:blogger.com,1999:blog-3394332272960799444.post-66517185289137004102014-12-15T09:00:00.000-06:002017-01-27T11:09:32.547-06:00Holiday/Winter Deals! <div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSmZMo5Kjo8QF9zjCdTe-4EcRCQs2q4oyDp4vUOleAxP6LkQdNFCKGxkJLUz5ObJOU4alPmMpENW4UrccpUHSUtZdYhbFMe09nw7yX6q7WqMvbiwJM2DSESokXkpxk0j6PjHxJM8ecqJM/s1600/Winter+Deal+image.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSmZMo5Kjo8QF9zjCdTe-4EcRCQs2q4oyDp4vUOleAxP6LkQdNFCKGxkJLUz5ObJOU4alPmMpENW4UrccpUHSUtZdYhbFMe09nw7yX6q7WqMvbiwJM2DSESokXkpxk0j6PjHxJM8ecqJM/s1600/Winter+Deal+image.png" width="320" /></a>Just in time for the holidays (and all you last-minute gift-givers), we’re offering a couple different package deals
on our two latest Pebblebrook Press releases: Marilyn Zelke-Windau’s poetry collection, <i>Momentary Ordinary</i>, and Erik Richardson's chapbook, <i>a berserker stuck in traffic</i>. </div>
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<br />
<a name='more'></a><br /></div>
<div class="MsoNormal">
<o:p>We're offering <b>two</b> options: </o:p></div>
<div class="MsoNormal">
</div>
<ol>
<li>Both poetry books for <b>$25</b> and a FREE copy of <i>Stoneboat </i>5.1 (our fifth anniversary issue!)</li>
<li>Both poetry books and one year's subscription to <i>Stoneboat</i> for <b>$30</b></li>
</ol>
<br />
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These books can make great gifts for the lit lovers in your
life, but the deals won't end after the holidays. The sale will continue this winter through <b style="mso-bidi-font-weight: normal;">February 1, 2015</b>. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Visit our online store <b style="mso-bidi-font-weight: normal;"><a href="http://stoneboatwi.com/store.html" target="_blank">here</a></b>
to make your purchase! <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The editors of <i style="mso-bidi-font-style: normal;">Stoneboat</i> wish you a very happy holiday season. Stay tuned for an exciting
announcement regarding New Year’s Day and polar bears… <o:p></o:p></div>
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Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-9933409462513247272014-09-18T09:25:00.000-05:002017-01-27T11:09:43.721-06:00An Interview with Sandra Kleven <!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlsRyfR7BWGqz9ShIIoJ5XWLCI51OzrqrjpWBZQWzHtB4dIYed-Umb-mYymGY829PmkPNhGIphWSxf-jH-yYUILFoGRq9HoZE9-LBOjQ6nf08IlogkYRvOnxCO17I1VHO0a-FYVs2jzLU/s1600/Yah.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlsRyfR7BWGqz9ShIIoJ5XWLCI51OzrqrjpWBZQWzHtB4dIYed-Umb-mYymGY829PmkPNhGIphWSxf-jH-yYUILFoGRq9HoZE9-LBOjQ6nf08IlogkYRvOnxCO17I1VHO0a-FYVs2jzLU/s1600/Yah.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Michael Kleven</td></tr>
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We asked our friend <a href="http://www.heartworksak.net/" target="_blank">Sandra Kleven</a> to answer a few questions for us, covering her processes, beliefs, and experience as an artist. Sandra is a poet, writer, filmmaker, and editor of <i><a href="http://www.cirquejournal.com/" target="_blank">Cirque</a>, </i>a literary journal based in Alaska. Her answers, as expected, proved thought-provoking with just the right touch of that “quirky Sandy thing.” (Keep reading for more on that!)<br />
<a name='more'></a><o:p></o:p></div>
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Be sure to check out Sandra’s latest book, <i><a href="http://www.vpdhouse.com/index.php" target="_blank">Defiance Street: Poems and Other Writing</a>, </i>which <i>Stoneboat </i>Co-Editor in Chief Rob Pockat reviewed in our Spring 2014 issue, and read on to learn more about this excellent writer.<br />
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<b><i>You have a genuine inclination for aesthetic, whether it be visual
arts, performance, filmmaking, writing, or other forms of creativity. When did you first notice that penchant, and
what inspired you to pursue it?<o:p></o:p></i></b></div>
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I love the concept and hope it is true. <o:p></o:p></div>
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A creation of any kind has “content” or subject matter. The work can plainly lay it out like, say, a
tic-tac-toe board, all X’s and O’s.
Plain as milk, simple. Or you can doll up the content, do something new,
add a twist, solder in steel, or work toward laying out X’s and O’s in a manner
never done before. This is one way to see the aesthetic element. <o:p></o:p></div>
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<br /></div>
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But every “different” thing does not correlate with the
pleasing aspects of a deep aesthetic. Something else has to come into play, and
trying too hard will destroy a house of aesthetic cards. <o:p></o:p></div>
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Cleverness is one way to push the presentation further,
cranking up caution to avoid “cute”—to achieve something more like wit. Maybe, in the style of Dorothy Parker, this
is an aesthetic of entertaining. “All I need is room enough to lay a hat and a
few friends.” (This remark is from the 40’s, when most of us think the world
was square.)<o:p></o:p></div>
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Surprises can elevate the work. I like to wake up the reader, as in these
lines from my own poem, “Remnants:” <o:p></o:p></div>
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<i>Dangerous men have
taken my buttons. My sleeves fly wholly
in the wind. At night they come through
windows. I had to give them something small. <o:p></o:p></i></div>
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<o:p></o:p></div>
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Maybe these lines leave a reader saying, “What the heck?”
curious to read further. <o:p></o:p></div>
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I have a poem titled “BJ.”
The aesthetic of BJ, you could say, actually, is to offer the BJ as
anti-aging treatment. Readers have told me that they argued about whether or
not I meant the common, everyday, BJ. The
last line was the <i>reveal</i> to all but
the cloistered: <o:p></o:p></div>
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<br /></div>
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<i>Hey, buddy, whip out
that piccolo. <o:p></o:p></i></div>
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But for that, it’s pretty subtle. </div>
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<br />
Once your reader knows your proclivities, they can be
confident they are right about the territory you appear to be entering. I work
to push my boundaries, to enlarge the field of play in pursuit of a certain
strange liveliness, a quirkiness of soul. The assault on one’s own sensible
limits comes in steps, especially when it relates to exposing sketchy elements
of your own history—things parents or your own grown kids might have a choking
fit when reading. <o:p></o:p><br />
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<tr><td class="tr-caption" style="text-align: center;">Photo: Carmina Kleven</td></tr>
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As a younger writer, my first step in deeper disclosure
involved getting my kids’ permission to write things about them. Later, I’d run bits of work past the people
who were “discussed” or characterized in some way. <o:p></o:p></div>
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Then, especially in terms of my adult kids, I stopped
showing them the work. It was no longer
about them. My writing became my work,
my thoughts, my sins, my appetites and creative impulses that ran all over the
boards. They can seek out my published work if they wish, but their cool eyes
at my shoulder would inhibit me. I am close to my kids and, yet, I don’t really
want their feedback. <o:p></o:p></div>
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<br /></div>
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As I become more captured by the thought that I am making
art, I want to be left alone, free to be outrageous or to explore tender things,
like the body, the sensual, the embrace.
Lord knows I’d be (even) freer in my writing if I lived in an East
Village walk-up, without family everywhere around me. As I move headstrong into each area of
interest, I must forget family oversight. Sharon Olds is a great role model for this. In <i>The Gold</i> <i>Cell</i>, she writes
about her children in tender (and alarming) ways. She also creates a sexual scenario where she
is upended in the living room with some orifice or other, like a lily or tulip
in appearance.<o:p></o:p></div>
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Metaphorical sweat broke out on my forehead, not because it
was erotic, but because it was so daring, and it was not even flattering. I’ll
find the poem…here is her line: “My ass in the air like a lily with a wound in
it.” A very, very brave line, even while
it feels like over-sharing. But screw that. Let her be free so I can be
free. <o:p></o:p></div>
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I have taken aesthetic, here, to mean the extra elements added
to content/subject/theme that move material toward an artistic or pleasing form—at
best to the heights of such form—working in unbounded space, without regard for
who you are pleasing or upsetting. My own intention is the exploration of
thought, form, and experience, allowing the deep creative, the muse-type
miracle, to surface without restriction, when I am so graced. Like in the poem
“Circus, My Circus, “ published in <i>Stoneboat</i>
a couple years ago, I stepped into the center ring, ready or not, because “this
circus is the only show in town.” <o:p></o:p></div>
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Today, the paper reported that among thousands of items at
an archaeological dig near Quinhagak, a wedge was found, made from caribou
antler and decorated with a raven’s foot design. It was decorated with a design
of a caribou hoof. The archeologists say with typical certainty of such
scientists that it must have been repurposed, “once a handle, perhaps,” as such
items were not typically embellished.
This one was embellished. Maybe, they did things different in Quinhagak.
Maybe, one artist carver did things differently in 1640, introducing an
aesthetic to wedges. <o:p></o:p></div>
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<o:p></o:p></div>
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<b><i>The genres in which you write—poetry, creative nonfiction, playwriting,
and children’s books—contain an element of reflection that authors often
struggle with. How do you maintain that reflective narrative while avoiding the
pitfalls of sentimentality or melodrama?<o:p></o:p></i></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV8Kule5iZnEEjD5B15kEZ9kr_lupB4-2Vi1E4D9r_68yHsLBbmb_yjl2X4qEjCkEbEfRfIGQzwMVVM4TUZX_be4R3FT8PWOMH0pywUzFkIO9vAuaKefFEtzVFAcMu7aoyjO4pV9Vgb6A/s1600/DSC_0423.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV8Kule5iZnEEjD5B15kEZ9kr_lupB4-2Vi1E4D9r_68yHsLBbmb_yjl2X4qEjCkEbEfRfIGQzwMVVM4TUZX_be4R3FT8PWOMH0pywUzFkIO9vAuaKefFEtzVFAcMu7aoyjO4pV9Vgb6A/s1600/DSC_0423.JPG" width="211" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Carmina Kleven</td></tr>
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When I set out, I am trying to engage, hold, entertain, and
connect. I am not thinking about avoiding melodrama or sentimentality. I don’t
think about the quality of reflection referred to in the question. I am an <i>anti</i>-rule activist but have a few
internalized “guidelines:” I work hard to find the fewest words to say a thing.
My rewriting involves mainly cutting. I tend to work in the associative realm,
at best, writing what occurs and reading the runes later. I keep the strange
beasts as they take shape. I can cut later, but these oddities will provide
surprise. Novel elements prevent the
predictable, which I consider more deadly, really, than melodrama or
sentimentality. But, I don’t go toward the soupy. I am naturally restrained,
which benefits poetry. I have written three pieces about my grandson Jaden who
is profoundly delayed. My summary statement in one poem brings in advice from
family members who have recently died. I imagine them as wise entities, and
they tell me as the poem closes, “If Jaden is laughing, Jaden is fine.” And
Jaden, though he cannot reason or talk,<i>
is</i> all merriment—like a small laughing god. It’s heavy material to address
without going soupy—or mushy. <br />
<o:p></o:p></div>
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I work in the manner prescribed by Richard Rodriquez, among
others. The essay is your stage—perform,
entertain, dance, inspire, be edgy, do something different. Challenge the rules. Do it different, if
difference arises. Be your own persona. Inhabit the work. Do not allow sterility or purity. <o:p></o:p></div>
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I started my thesis so strangely that I am surprised it
survived my own scrutiny. But I dared to present it to the evaluating faculty
members, untouched. No one made a single reference to it. Consider this weird
opening from my thesis, “Defiance Street: The Essay:” <o:p></o:p></div>
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<span style="font-family: "times new roman";">I
walk in poetry’s mansion. Everything is shrouded with sheets, from tables for
toast to all things large. The sheets themselves are shrouded on the shelf
where they are stacked. Down in the root cellar the celery is shrouded. What a
sight, this shrouded celery! The sauna is shrouded; the sun porch, stairs,
salon, the situation, the sun, the sunset, the son, the sonic boom; the sherbet
and the sorbet. The swimming pool is shrouded. Simple things are shrouded.
Sandra is shrouded. The shrouded are getting crowded. Scimitars, slump, soot,
saliva, sloths and the Soviets are all shrouded. Don’t worry. This list is
under control. Everything in the universe that does not begin with the letter S
is shrouded. All the shrouded objects, situations, jokes, epochs, passions,
people (everything!) look like a gathering of common ghosts. This is good. I am
a poet. I have managed the universe with my mind.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman";">Accepted without
a blink or, perhaps, it just slipped by the scrutiny of the faculty. <o:p></o:p></span></div>
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<br /></div>
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~~~<o:p></o:p></div>
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<br /></div>
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I was thinking of writing my early poems. Say, the poems of
my twenties. Title it “Early Poems.” When they are released, people will know
these are fraudulent <i>early</i>
poems. <o:p></o:p></div>
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As time passes, the
fraudulence will be forgotten and, if convincing, the material will come to be
accepted as my early poems. (This imagines a shelf life of a few hundred years.)
Before too long, only a student of Sandra Kleven’s work will know this quirky fact. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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The student will announce, “You know, she actually wrote
these so-called early poems later in her life.“ <o:p></o:p></div>
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<br /></div>
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Teacher and students will raise eyebrows, dubious,
“Really?” <o:p></o:p></div>
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<br /></div>
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“Really, it was a game for her. She wanted to fill in the missing
years.” <o:p></o:p></div>
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“Right…”<br />
<o:p></o:p></div>
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<br /></div>
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<b><i>You are currently involved in many artistic endeavors. Tell us about
your work with </i>Cirque: A Literary Journal for the North Pacific Rim<i> as well as some of the other projects
you’re working on.<o:p></o:p></i></b></div>
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Because I’ve walked with good people down dark roads, I’ve
fractured the cup that once held my naivety; my child-like belief that the best
good would prevail—all of that spilled out like piss. I don’t think everything
is awesome. <o:p></o:p></div>
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<br /></div>
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So what do you do when you have lost faith? You carry on in
faith. With roots in social work, the movement of the ‘60’s, and as a past
VISTA volunteer I am interested in growth, justice, freedom and community. With
other roots, in pain, loss, and anguish, I like to shake things up and create
new order. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Photo: Sandra Kleven</td></tr>
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<i>Cirque</i> is a cup, a
glacial lake, large enough to carry contradictions. I have been graced with the
title of editor and the work this entails. Good comes from this. Writers are connected. Work reaches the
world. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Founded by Michael Burwell, <i>Cirque</i> draws from Earth’s cycle publishing on the Solstices with deadlines
on the Equinoxes. How could I have known when I wrote “Holy Land” that a carpet
would roll out that led to <i>Cirque</i>? I
have said, “I was born to this.” I have spent a lifetime getting ready. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i>Whether doing it as a vocation or avocation, writing is a tough gig.
What advice do you have for emerging writers?<o:p></o:p></i></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Don’t wait until the work is ready. Moving the work into the
world impacts it, cuts the diamond. The work needs the process of review. Don’t
start a book-length manuscript until you have had some success placing shorter
pieces. It is too easy to get hung up there, to die on the vine, if, after
years smothering in a book-length manuscript, you find no publisher. Too much
time is involved getting to that point. Maybe,
two years, five? Ten? The writer may wait two additional years to learn that
it’s <i>not</i> going to be sold to a major
publisher. The news can be devastating, and it will feel like an indictment of
one’s worth. It is hard to bounce back from this, especially if the writer does
not have other published work that serves to shore them up, to stand as evidence
of worth to the writer, themselves, and to provide the “platform” that a major
publisher may demand. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Rejection may not be a judgment on the writing, but writers
can rarely grasp this fact. If they spent two years writing and submitting in
the shorter forms, they would become a better, more confident writer. They
would know other writers and readers. They would be better positioned to devote
time to a book-length work. In fact, the first book length publication might be
a collection of the earlier pieces. This is the case with my latest book, <i>Defiance Street: Poems and other writing</i>,
reviewed in the current issue of <i>Stoneboat</i>. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i>Readers and writers often have some kind of metaphysical connection to
authors. Theodore Roethke seems to be almost a spirit guide for you. How did
that connection develop, and how has it guided your work and your aesthetic?<o:p></o:p></i></b></div>
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<br /></div>
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My Roethke period was quite a trip. He wrote that the dead
poets will help you. He gives an example of Yeats visiting him as he worked to
master a particular rhythm. Because of
spending five-plus years with Roethke’s work and those who knew him, I have
friends in Saginaw, Michigan (his home town). I spent a day with his student,
Tess Gallagher, at her home in Port Angeles. With my son, Michael Kleven, I
interviewed his former student and friend, the poet David Wagoner, who just
received a Lifetime Achievement Award from National Endowment on the Arts. <o:p></o:p></div>
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<div class="MsoNormal">
Everything started at the Blue Moon Tavern. In the early 1960’s,
my district friends made a home of the Blue Moon Tavern. I was too young to get
in legally. Roethke was part of this group, even earlier, holding impromptu
poetry seminars in the back. Today his
portrait hangs over the pool table. Roethke died in August of 1963. That summer,
I lived in the most posh digs in the district with my friend, the artist David
Hall-Coleman. Our house was about four blocks from the bar. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As noted, at 18 I couldn’t get in, but it was a home to many
of my district friends: poets, alcoholics, poets who were alcoholics, and a
ragged group of socialists and guys looking to score—drugs or chicks. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In 2009, my son and I made a movie about Roethke, traipsing
through the U-District with an actor playing the poet. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
During this period of study, I discovered that about seven
Roethke students went on to become well-known poets. David Wagoner, Richard
Hugo, Carolyn Kizer, Tess Gallagher, Joan Swift, James Wright, Sandra
McPhearson, and others. All had written
about Roethke as a teacher, so I pulled their words from various sources and
created a play with the premise that the former students are visiting a college
classroom to talk about their teacher. The script also includes a chunk of
David Wagoner’s play “First Class,” which allows a Roethke character to show up
and regale the class. It is both touching and hysterical. We recently performed
it in Seattle with a few of Roethke’s real students in the audience, Tess
Gallagher, Joan Swift, and a representative of David Wagoner. Annie Ransford,
who directs the Friends of Roethke in Saginaw, Michigan, was also present. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All of these good things occurred from following Roethke. I
have become friends with all of those mentioned associated with Ted Roethke.
His impact on my verse? Not so much, but
his impact on my life has been amazing. I do at times feel his presence, as in
this poem:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="Times">
<span class="Heading2Char"><span style="font-size: 13.0pt; line-height: 115%;"><b>Out of Place in Seattle</b></span></span><span class="Heading2Char"><span style="font-size: 13.0pt; line-height: 115%;"><br />
</span></span><br />
<span class="Heading2Char"><span style="font-size: 13.0pt; line-height: 115%;"><br /></span></span>
“A lively understandable spirit once
entertained you. It will come again. Be still. Wait.”<br />
—<i>Theodore Roethke</i><o:p></o:p></div>
<div class="Times">
<i><br /></i></div>
<div class="Times">
We don’t speak of stones or the
sea in Western Washington. We<br />
use other words in place of these, found out in your poetry. <br />
That’s how I knew you weren’t from here. <br />
We don’t talk the way you do. <br />
<br />
It’s an inclination to eschew words like eschew <br />
because you sound too <br />
big for your britches <br />
like I was when I was <br />
little in Seattle <o:p></o:p></div>
<div class="Times">
Crying though the diamond links<br />
crushed by a congress of friends<br />
with you locked up in the violent ward <br />
two Northeast blocks away. <o:p></o:p></div>
<div class="Times">
You came here from someplace
else <br />
to put things differently. <br />
<br />
Poetry’s province is elsewhere,<br />
a stone tossed up from the sea,<br />
embedded in the poet’s shoe<br />
one blink from catastrophe.<o:p></o:p></div>
<div class="Times">
<br /></div>
<div class="MsoNormal">
<i><span style="font-family: "times new roman";">A child kneels at the lip of a wave. <br />
She stretches out her hand to reach for something shiny. <br />
You know what she wants, drawing under weighty water. <br />
Walk weary to the beachhead waiting ’till she follows.</span></i><span style="font-family: "times new roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">We walk the
weary beaches ‘til clamshells <br />
leave half-moons on ours soles. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Then you say, <br />
<i>Stop now, Sandy. <br />
You have more than you can use. <br />
Let’s go home. </i><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i>The word “busy” is perhaps a gross understatement when describing your
life. How do you fit in time to write, and what is your process?<o:p></o:p></i></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When too much time has passed without the creation of some
writing I am proud of, I will think, “I have got to write something.” I had that
thought once when I got on the train to Fairbanks. It would be a round trip (each
way, 12 hours at 25 miles per hour). My plan was to write “something.” I knew
that UAPress was accepting pieces of 400 words about the cold, for an Alaska anthology.
I put myself to the task. I wrote a painful little piece, “Open Water.” It made
it into the anthology. Once I got into it, it took about two hours on the trip
up and about the same on the trip back. It is very gratifying to write with
intention and to have something reasonably good arise from it. <i><o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I used to write “Morning Pages” in the manner prescribed by
Julia Cameron in <i>The Artist’s Way </i>(every
morning, long hand, three pages). I have about four loose-leaf notebooks and
between them, maybe 800, of these never-read pages. Someday they may be the
basis for new work. Maybe, to help me write the poems of my middle years, the
1980’s and ‘90’s. Maybe for my
juvenilia. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Faculty members and others have complained that teaching and
editing will pull a writer away from their own work. But I do have quite a bit
written that still needs a home. When you write more, if it is good, then you
have work to do on behalf of the material you have created. That responsibility
can get quite out of hand. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i>What can readers expect to see from Sandra Kleven in the future?<o:p></o:p></i></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Before he invited me to edit <i>Cirque</i>, Michael Burwell asked me to write an essay about Roethke. He
said, "Just do your quirky Sandy thing." So I did, grasping for the first time,
and pleased that my style, my aesthetic, was evident as a “quirky Sandy thing.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin8c4zhdtOjjN_7uYjIKYxR0gVfoUZVnmGxjz2Xls7qLOsPBRRkSjW3mrM-10K2QO253oVlRF5S8s0LtZA3G3uV0sCIgIX3oYNlHptDVqO-bVxMEjBmNkEAPfKJQsiUq7hHsNPGVAlwyo/s1600/10549938_10152210428631604_7234104939137338863_o.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin8c4zhdtOjjN_7uYjIKYxR0gVfoUZVnmGxjz2Xls7qLOsPBRRkSjW3mrM-10K2QO253oVlRF5S8s0LtZA3G3uV0sCIgIX3oYNlHptDVqO-bVxMEjBmNkEAPfKJQsiUq7hHsNPGVAlwyo/s1600/10549938_10152210428631604_7234104939137338863_o.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Michael Kleven</td></tr>
</tbody></table>
I have discovered the essay of late and will continue to
explore the edges of creative nonfiction. I plan to teach and lead workshops,
associated with a writing program.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
More than this, I have two very large projects looming. The
first is the establishment of the Alaska Center for the Poem, an organization
to promote Alaskan poets and link them to the larger communities. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second is a publication, <i>Brandish</i>, which will collect writing that relates to social
services and the “helping” professions in Alaska. It will include critical
essays, memoir, historical accounts and other materials—at the level of a
literary journal. We are open to
submissions, now. <i>Cirque</i>, too, is
open for submissions. If you miss a deadline, we hold it for the next
issue. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Thanks for inviting me into this process. The questions
were the best ever. <o:p></o:p></div>
<!--EndFragment-->Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com3tag:blogger.com,1999:blog-3394332272960799444.post-52198365692028857142014-09-08T09:55:00.000-05:002014-09-08T09:55:24.147-05:00Introducing our new intern...<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNrCicKPMW4aD9xdI4-IPCiFPr93LLotRl-qm3k4NOit31EckZnb_qh7RadxcMvCmD3IgB5DiCNmCcO01pqyIu04oWVi4OsfdvbRm88iyoXRvydHgr9ODxbJ6EU55q1nDYZVk6FSeB9zU/s1600/Aviary+Photo_130545314517956816.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNrCicKPMW4aD9xdI4-IPCiFPr93LLotRl-qm3k4NOit31EckZnb_qh7RadxcMvCmD3IgB5DiCNmCcO01pqyIu04oWVi4OsfdvbRm88iyoXRvydHgr9ODxbJ6EU55q1nDYZVk6FSeB9zU/s1600/Aviary+Photo_130545314517956816.png" height="320" width="177" /></a><span style="font-size: 12.0pt; line-height: 107%;">Hello! My name is Caitlin Bailey and
I will be interning with <i>Stoneboat </i>starting this fall. I’ve lived all over Wisconsin and in parts of Minnesota and
Kentucky. I began journaling in middle school and have been in love with
writing ever since. My intended major had been instrumental music</span><span style="font-size: 16px; line-height: 17.1200008392334px;">—</span><span style="font-size: 12.0pt; line-height: 107%;">as I have a soft
spot for many art forms—but I decided to hone my writing skills during my freshman year.
Now here I am, three years into my writing major at Lakeland College and in
love all over again. Not much has changed since middle school. I still journal,
devour fiction and graphic novels, and continuously seek to become a better
writer. I expect that <i>Stoneboat </i>will
provide wonderful and knowledgeable experiences in the months to come.<o:p></o:p></span></div>
Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com1tag:blogger.com,1999:blog-3394332272960799444.post-87094834788471733472014-08-08T12:27:00.001-05:002017-01-27T11:09:58.570-06:00Erik Richardson’s chapbook, a berserker stuck in traffic, now available<!--[if gte mso 9]><xml>
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<![endif]--><a href="http://www.stoneboatwi.com/uploads/2/8/1/4/2814404/4034641.jpg?199" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Picture" border="0" src="http://www.stoneboatwi.com/uploads/2/8/1/4/2814404/4034641.jpg?199" style="max-width: 100%; width: auto;" /></a>Pebblebrook Press, an imprint of <i style="mso-bidi-font-style: normal;">Stoneboat Literary Journal</i>, is proud to announce the release of its
third publication, <i style="mso-bidi-font-style: normal;">a berserker stuck in traffic</i>. Authored by poet Erik Richardson, a past contributor to <i style="mso-bidi-font-style: normal;">Stoneboat</i>, this chapbook intelligently
reflects upon the lunacy of mundane existence through introspection and
exploration of an eclectic past.<br />
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B.J. Best, Assistant Professor of English at Carroll University
and author of several poetry chapbooks and collections, writes:</div>
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<i style="mso-bidi-font-style: normal;">...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</i> <i style="mso-bidi-font-style: normal;">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.</i></div>
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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.</div>
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It has been a pleasure collaborating with Erik to bring his
first chapbook to life.</div>
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<i style="mso-bidi-font-style: normal;">a berserker stuck in traffic </i>may be ordered
at the following link: </div>
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<a href="http://stoneboatwi.com/pebblebrook-press.html" target="_blank">http://stoneboatwi.com/pebblebrook-press.html</a></div>
Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0tag:blogger.com,1999:blog-3394332272960799444.post-45663890068404015602014-06-04T17:33:00.002-05:002017-01-27T11:10:08.919-06:00Art Prom 2014<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8HJNUC83zmRbiHqdqNFeBSv3SlWtzxU_pARQWlgTFylM0DNbXCZ3J2cc9qrI7dTjQT4ijRySD9JvqKlHKzJGqDku3zFKugew5bdNpaE_HmC4YQMcJpuDrHA5TQZnXPx9j3y5N1PYqhyphenhyphenA/s1600/IMG_0919.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8HJNUC83zmRbiHqdqNFeBSv3SlWtzxU_pARQWlgTFylM0DNbXCZ3J2cc9qrI7dTjQT4ijRySD9JvqKlHKzJGqDku3zFKugew5bdNpaE_HmC4YQMcJpuDrHA5TQZnXPx9j3y5N1PYqhyphenhyphenA/s1600/IMG_0919.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stoneboat Editors attempting to party</td></tr>
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With Lisa as the exception, we here at <i>Stoneboat </i>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 <a href="https://www.facebook.com/SheboyganArtProm" target="_blank">Art Prom</a>, 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.<br />
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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 <i>ton </i>of credit to Kate Krause and the rest of the folks over at <a href="https://www.facebook.com/pages/The-Paradigm-Annex-Theatre/236759649807854" target="_blank">Paradigm Annex Theatre</a>, 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.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMB5jg75hB666NG9GZVBybZU2_o1od9QtISulx9gf7y1gmsPut-f4MF1hmObDvgUY6qNVtZnB1pc7n-xaAZRwNUX7wmXVEKLOIC5KPReOy6G_M1pRNHYfASPF6gudM4NB2d2RQTsYLHok/s1600/10348222_621358037935_2502580334188299492_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMB5jg75hB666NG9GZVBybZU2_o1od9QtISulx9gf7y1gmsPut-f4MF1hmObDvgUY6qNVtZnB1pc7n-xaAZRwNUX7wmXVEKLOIC5KPReOy6G_M1pRNHYfASPF6gudM4NB2d2RQTsYLHok/s1600/10348222_621358037935_2502580334188299492_n.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Jodie Liedke</td></tr>
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Our <a href="http://stoneboatwi.blogspot.com/2014/04/zoltar-speaks-call-for-fortune-poems.html" target="_blank">human Zoltar machine</a> 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.<br />
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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.<br />
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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.<br />
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<br />Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com2tag:blogger.com,1999:blog-3394332272960799444.post-92203508671543177982014-04-21T13:37:00.000-05:002017-01-27T11:10:18.299-06:00It's that time...<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_9p8kU0I4i1URT5mZ-YFeXBMlKy9pupHkqjLLQhMzAwkD1QHNrB1Et1gI6cIlrwDh_KoREcjANIub1c6Huemrrs5jsiwswtlPpyHX54rDj-Kb0ne0WDu-cXmR9zU5te7aioBLJ1S4P-g/s1600/Sean.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_9p8kU0I4i1URT5mZ-YFeXBMlKy9pupHkqjLLQhMzAwkD1QHNrB1Et1gI6cIlrwDh_KoREcjANIub1c6Huemrrs5jsiwswtlPpyHX54rDj-Kb0ne0WDu-cXmR9zU5te7aioBLJ1S4P-g/s1600/Sean.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sean Gilligan reads his poem at the fall issue release reading</td></tr>
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<span style="font-family: inherit;">The <a href="http://www.stoneboatwi.com/current-issue.html" target="_blank">spring issue</a> is out, the subscriptions have been mailed, and the reading period for the Fall 2014 issue has opened, which can mean only one thing: <i>it's time to celebrate!</i></span><br />
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<span style="font-family: inherit;">We're having our eighth issue release reading on <b>Sunday, April 27th</b> at 2:00 p.m. The reading will once again be held at <a href="http://paradigmvenue.com/" target="_blank">Paradigm Coffee and Music</a> 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.</span><br />
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<span style="font-family: inherit;">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. </span><br />
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<span style="font-family: inherit;">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 </span><span style="font-family: inherit;">selling </span><a href="https://www.facebook.com/SheboyganArtProm" style="font-family: inherit;" target="_blank">Art Prom</a><span style="font-family: inherit;"> tickets. And, as always, we'll have issues, books, and T-shirts for sale. In other words, bring your wallets.</span><br />
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It's going to be an afternoon of great literature, great coffee, and great company. We hope to see you there.Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com1tag:blogger.com,1999:blog-3394332272960799444.post-23134281789165157352014-04-16T12:56:00.000-05:002017-01-27T11:10:38.362-06:00SBJ vs. n+1: The Two Cultures of American Magazine Editors<div style="text-align: justify;">
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As a founder and co-editor in chief of <i><a href="http://stoneboatwi.com/" target="_blank">Stoneboat Literary Journal</a></i>, 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 <i><a href="http://nplusonemag.com/" target="_blank">n+1</a></i> magazine Chad Harbach visited <a href="http://www.lakeland.edu/" target="_blank">my alma mater</a> to give an informative talk and answer questions about his books, magazine, and potential television project.<br />
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With his novel <i><a href="http://www.amazon.com/The-Art-Fielding-A-Novel/dp/0316126675/ref=sr_1_1?ie=UTF8&qid=1397667232&sr=8-1&keywords=the+art+of+fielding" target="_blank">The Art of Fielding</a></i> in hand, I was the very last person to approach his table to get my book signed. My mind was swimming with questions: <i>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>I didn't know which question to ask first of a man whom I respect and admire.</div>
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After he signed my book, however, the question became quite obvious: </div>
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<i>Will you arm wrestle me?</i></div>
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<tr><td class="tr-caption" style="text-align: center;">Chad Harbach and Rob Pockat lock hands before the big match.</td></tr>
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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.</div>
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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.</div>
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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.</div>
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I'm not ashamed to say that a <i>New York Times</i> best-selling author, Harvard graduate, and successful magazine editor owned me on that given table, on that given night, and yes, there's <a href="https://www.facebook.com/photo.php?v=310083385812706" target="_blank">video</a> 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.</div>
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Stoneboathttp://www.blogger.com/profile/10099734404338813190noreply@blogger.com0