I have an essay coming out in this new anthology of writing by poet-librarians: https://www.amazon.com/Poet-Librarians-Library-Babel-Meditations-Librarianship/dp/1634000285/ref=la_B005HW950C_1_7?s=books&ie=UTF8&qid=1523029403&sr=1-7 – in my essay, I discuss the way library workers are portrayed in Edith Wharton’s novella Summer, Philip Larkin’s novel A Girl in Winter, the movie Desk Set, and the tv show Buffy the Vampire Slayer. In the course of this discussion, I look at the clash between traditional stereotypes of what a library is and what librarians do, and the way library work and libraries are re-shaping themselves in response to the vast changes in how information is communicated in the digital age.
Back in November, my short story, “The Garden of Evil,” won Moment Magazine‘s annual Short Fiction contest. This story is part of a collection of linked stories, “The Fallen Ones,” that I have been working on for many years, so I was really pleased to have it published, especially since it has always been the story from the group that I felt the most nervous about, because the subject matter is so important that I wanted to be sure that it was exactly right. You can read the story here: https://www.momentmag.com/the-garden-of-evil/
A new book review, of Anna Journey’s collection of essays “An Arrangement of Skin” is up at The Rumpus: http://therumpus.net/2017/03/an-arrangement-of-skin-by-anna-journey/
My story, “The Winter Garden,” is up at Queen Mob’s Teahouse here: http://queenmobs.com/2017/02/the-winter-garden/ – this is a story that I first wrote in the spring of 2000, at 24, that is only now being published in 2017, when I am 41. I mention that only because the story contains the perspective of three women of different ages, so it’s interesting and a little strange to have passed from being only a little older than the youngest character to about the age of one of the two older women. It’s also a story, that although still challenging, was probably a little “harsher” when I first wrote it, in the tone of the ending of Irene’s section and her eagerness to get away. I think I felt at the time that the tougher it was the realer it was, but time has pushed me towards being more tender, which says nothing to what is real or not real, only to what felt right within the confines of this particular story and the reality it creates. It would have been possible to go the other direction, from tenderness to increased harshness, and that would have been just as valid. If this story had been published earlier, I don’t think it would have been a worse story, but it would be a different story. For some readers, it might even be a better story; it is hard to say. Publication is in a strange way like a kind of death for a piece of fiction, the moment when it is arrested in time, when it is fixed into a form that will never change. The writer may always be haunted by the echoes of cut sentences or even characters or changed settings or plot points or altered tone but to the reader, none of that ever existed – they are ghosts that appear only to one person, while everyone else in the room doesn’t hear or see anything at all.
Michalle Gould’s first full-length collection of poetry, Resurrection Party, published by Silver Birch Press, was a finalist in the Writers League of Texas Book Awards in poetry (and you can …
My review of Henry Green’s wartime novel, Caught, is up at the Rumpus today here. First published in 1942, Green describes the novel as follows:
“This book is about the Auxiliary Fire Service which saved London in her night blitzes, and bears no relation, or resemblance, to the National Fire Service, which took over when raids on London had ended.
The characters, while founded on the reality of that time, are not drawn from life. They are all imaginary men and women. In this book only 1940 in London is real. It is the effect of that time that I have written into the fiction of Caught.”
We are so used to reading novels and movies that are written and created long after the events they describe and portray; it is worthwhile to read a novel like Caught that is the product of the uncertain time of the event itself.
A collaboration I did with photographer Alex Norelli is up here at 7x7la. How it worked is that Alex sent me a photograph, then I wrote a short text in response, then he took another photograph, then I wrote another short text, and so forth for seven “turns” each in total. I am really happy with how this turned out. It was interesting because I did want to have some kind of framework in mind but to maintain spontaneity as well, and that’s how I ended up with the loose framework of thinking of each turn as a day. But I also didn’t want to get too formulaic about it and so that’s why I didn’t stick with a consistent phrasing of the sentence where I mentioned which day it was. I hope you enjoy it!