From time to time, I interview poets (and occasionally artists) about their work. If you have a new book/chapbook out and are interested in being featured in a spotlight interview, please contact me at andrea [at] andreablythe [dot] com.
Chella Courington grew up in a family of storytellers. Seduced by the written word, she pursued her Ph.D. in literature from the University of South Carolina and her MFA in poetry from New England College. In addition to teaching literature and writing at Santa Barbara City College in California, she writes and publishes poetry and fiction, which has appeared in several books and chapbooks. Here, Chella speaks about her two latest publications, a flash novella and a new collection of poetry.
A life in flashes, it tells of Adele and Tom, a writing couple now in California. Told from both points of view, the novella explores the increasing distance between two artists trying to occupy the same space: one writer’s success is another’s failure.
But finally, the story is Adele’s as she struggles with relationship, self and aging. A woman born in the Appalachian South yet finding home in California, she tries to understand who she is through the past and the present.
You’ve described The Somewhat Sad Tale of the Pitcher and the Crow as a flash novella. How did flash fiction as a structural form lend itself to the telling of a larger tale
Flash fiction is not naturally a form that lends itself to a longer traditional narrative (one with a mainly linear plot line). But flash fiction does lend itself to a pointillist novel/novella where each flash provides a point, an emotional brushstroke. The combined points, artfully arranged, tell a tale.
The flash novella is a good choice for writers with time constraints because the structure allows for the creation of many individual pieces of art that can be written in bursts of limited time. Each piece is small with a focus on language and imagery, rewarding close attention and revision. The flash novella does not depend on an outline nor require high drama (murder and mayhem).
Kristina Marie Darling is the author of over twenty collections of poetry and hybrid prose. Her writing has been described by literary critics as “haunting,” “mesmerizing,” and “complex.” She has been awarded with a number of fellowships and grants by both U.S. and overseas universities, institutes, and organizations. She is currently working toward both a Ph.D. in English Literature at S.U.N.Y.-Buffalo and an M.F.A. in Poetry at New York University. Here, Kristina shares a bit about her latest collection of poetry, hybrid art forms, and the act of writing as catharsis.
Your most recent book of poetry is Failure Lyric. Tell us a bit about this project and how it came about.
Failure Lyric began as a series of erasures. I took a black marker to my four year correspondence with a male writer, who, out of respect for his work, will remain unnamed. What started out as an act of destruction became generative, since the hybrid prose pieces ultimately grew out of the erasures at the beginning and end of the book. Once I had erased every last email, note, and inscription, I started to write flash essays, which map my heartbreak and all of the unexpected places it brought me to: Saint Louis, Iowa, Burlington, and the now infamous Dallas/Fort Worth airport. So my initial attempts to destroy artifacts of the relationship became a documentary project, charting the crazy orbits that grief set me on.
Hello, lovelies! I’m thrilled to introduce my first poet spotlight, Laura Madeline Wiseman. She is author of numerous books and chapbooks of poetry and fiction with a speculative bent. Her work explores myth and folklore, history and pop culture. She has collaborated with artists on projects such as broadsides and calendars and has taught a variety of courses in poetry, creative writing, literature, and women’s and gender studies. Here, Laura shares about her latest collection of poetry and her love of community.
Jill and I have been friends for a number of years and her work has delighted and inspired me from the start. Using a combination of magazine clippings, tissue paper, newsprint, and photographic transfers along with modeling paste extender, pumice gel medium, and other mediums, Jill Allyn Stafford creates richly textured mixed-media art the expresses conflict, love, humor, and loss. Her style and techniques have evolved and grown over the years and am excited to announce that her work featured in her first solo show.
In addition to making art, Jill is a mother and a legal assistant in a small health-law law firm. She actively works to fund raise and increase awareness for children’s literacy and for breast cancer research. She donates art to multiple non-profits and charities and attempts to coax other artists into sharing their work with the public. Jill also helped form the nonprofit arts group Vox Sacramento, and is a current board member of 916 INK.
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What got you interested in creating art? What draws you to mixed-media art?
I stopped making art when I was in the 6th grade. I became so disillusioned with my inability to draw anything realistically, and so threw in the towel and labelled my self as “not creative.” Fast forward to my 30s when I felt this urge to create. I still couldn’t draw, but I could cut up magazines and put the images together. It just fell together that way. And that’s also why I enjoy mixed media art — you can have no drawing or painting skills, but if you have an eye for putting things together, you can!