Tampilkan postingan dengan label GW Creative Writing. Tampilkan semua postingan
Tampilkan postingan dengan label GW Creative Writing. Tampilkan semua postingan

Kamis, 03 September 2015

Jane Shore Reading: Wednesday, September 9

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GW Arts Initiative Program: Poetry Reading: The Best Dressed Girl in School

"I could make you the best dressed girl in school," my mother said, "but I won't." GW Professor of
English Jane Shore grew up in the apartment over Corduroy Village, her parents' dress store in North Bergen, New Jersey. She will read poems from among her seven books of poetry, two of which are coming-of-age autobiographical novellas in verse about 1950s and 60s urban Jewish New Jersey. From when she was a young girl sleeping over the rows of dresses in her parent’s store, to taking her own daughter to shop at Urban Outfitters, clothing has always been at the metaphorical center of Shore’s life. 
GW Arts Initiative Programs explore topics related to art, history, and culture, and connect GW faculty, students, and the public. A collaboration with GW arts and humanities faculty. Free; no reservations required.

When

Wednesday, September 9, 2015
12:00pm

Where

The George Washington University Museum and The Textile Museum
701 21st Street, NW

Senin, 24 Agustus 2015

Introducing Jenny McKean Moore Writer-in-Washington: Kseniya Melnik

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JMM Writer-in-Washington
Kseniya Melnik
Photo Credit: Morgan Demeter
The Jenny McKean Moore Fund was established in honor of the late Jenny Moore, who was a playwrighting student at GW and who left in trust a fund that has, for almost forty years, encouraged the teaching and study of Creative Writing in the English Department, allowing us to bring a poet, novelist, playwright, or creative non-fiction writer to campus each year. While in residence, the writer brings a unique experience to the GW community, teaching a free community workshop for adults along with Creative Writing classes for GW students..  

This year we are especially proud to host Kseniya Melnik, whose debut linked short story collection Snow in May appeared in 2014.  The collection was on the short list for the International Dylan Thomas Prize and the long list for the Frank O'Connor International Short Story Award.  She has been interviewed in a range of venues about her work, including on NPR.  You can listen to that interview here.  Professor Melnik was born in Magadan, Russia, where the stories in Snow in May are set.  She moved to Alaska in 1998 at the age of 15, and went on to receive her MFA from New York University.  The GW community will have a chance to hear Professor Melnik read on September 24 as part of the Jenny McKean Moore reading series.  We caught up with her to pose a few questions in advance of her arrival.

What attracted you to the position at GW, and as Jenny McKean Moore Writer-in-Washington?

 
The location is exciting, for one. I had spent a couple of weeks in D.C. as a high school student attending an ambitiously-named "International Law and Diplomacy" program at American University, where we did a lot of model UN debates and were carted from monument to monument in a big bus. I've always wanted to go back. I am thrilled to be able to try on D.C. life as a temporary local. 


But most importantly I've been attracted by the perfect balance between community engagement and time to write that the JMM fellowship offers. I've taught creative writing on the undergraduate level before, at NYU, and am looking forward to working with young writers again, introducing them to my favorite authors and hearing fresh takes on stories (and life!). I took my first workshop as a sophomore in college, and it was a life-changing experience. I am still in touch with my first teacher, Jennifer Vanderbes, Colgate University's own writing fellow from that year. 

I am also very excited and intrigued to lead the free community workshop. When I lived in New York City and supported myself by working at law firm, I attended similar classes at The New School (albeit not for free). I was often blown away by the range of stories submitted for critique by people of wildly disparate backgrounds and ages, all united in their passion for writing and literature. I bow to the fellowship fund and the university for creating such a unique opportunity for people to incorporate creativity into their lives at a time when other things often take priority.   

I hope to create stimulating and supportive environments in both types of classes, and learn from my students as much as teach.

Tell us a bit about your debut story collection, Snow in May.  The linked stories are all in some way connected to the Russian town of Magadan, your hometown – can you describe this setting for us?  What sets this location apart from other Russian settings?


The stories are set in various Russian towns-Moscow, Stavropol, Petropavlovsk-Kamchatsky, and even in America, in California and Fairbanks, Alaska, but the emotional center of gravity is my hometown of Magadan.

Magadan, a remote port town in the northeast of Russia, has a very interesting history. It is cold, windy, isolated, but also beautiful and enchanting. It started out as a gold rush town in the 20s, then became an administrative center of a vast network of Gulag camps in the natural resource rich valley of the Kolyma River; in fact, prisoners, including Japanese POWs, built most of the original Magadan. After the Gulag era was over, many former prisoners remained in Magadan; many of them were from the Soviet elite and Magadan became a cultural center of the North. That special combination of romance of the uncharted territories of “Wild Far East,” high culture, and tremendous suffering is probably what makes Magadan most different from other Russian towns with Gulag history. 


The government encouraged people to move to Magadan in the 60s and 70s with subsidies to develop the north, so a lot of young specialists streamed in. It was quite a lively bustling town by the time I was born. Then, in the 90s, after the Soviet Union collapsed and subsidies ended, there was an exodus back to the "continent," as Magadanians call the rest of Russia. Magadan is a city of sharp contrasts. Surrounded by breathtaking scenery, it became a grave for more than one hundred thousand prisoners. The arts thrived despite stagnation, poverty, and crime. 

So, the collection is a result of almost ten years of trying to reconcile the Russia of my happy youth with the intricacies of a more complex reality, of trying to imagine what made the people living under such drastic historical conditions tick, cry, laugh, love, feel inspired, remain strong.    

The stories in Snow in May take place over the course of many years: what were some of the challenges you faced writing about characters across such a span of years in a country that saw so much change during that period?


 
The collection is set between 1950s and early 2000s and, of course, I wasn't alive for most of that time. On top of that, having moved to the US at fifteen, I now have a somewhat "American" perspective.  


I was quite fastidious about research, which I did online, in books, films, and through interviews. I believe that quotidian details sometimes play a bigger role in the characters’ conception of themselves and what dreams they dare to dream than the big political and historical movements. I also had the benefit of checking my research against the memories of family members who had lived in Magadan during different decades.     

Tell us what you’ve been working on.  Will you be presenting both from Snow in May and some of your new work when you open the JMM reading series in September?


I've been working on a novel. It started out in 2009 as a short story I planned to include in the collection, and since then grew into a long and ambitious project. It is also set in Magadan and includes school romance, missing fathers, picaresque road trips, the ghosts of Gulag, flying reindeer, talking skulls, and time travel. I may read from that or one of the new short stories I've been drafting.
 
Who are some of the short story writers you have been reading lately?  


Nina McConigley is a brilliant young writer whose first collection, "Cowboys and East Indians" is set mostly in the American West. Others are Molly Antopol, Laura van den Berg, Ramona Ausubel, and Colin Barrett. 


Welcome, Professor Melnik!

Senin, 17 Agustus 2015

GW English Alums on the Move: CJ Powell

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GW English Alum CJ Powell
GW English Alum CJ Powell: "Two of the investment banking managing directors in Project Finance with whom I worked had Bachelor of Arts degrees in Art History and Dance"

Like a lot of our department's majors, CJ Powell (she was then CJ Hall) headed for New York City with an interest in writing and editing.  Her journey through the worlds of art and business is an inspiring and instructive one.  She shares it with us here.

 First, tell us something about your time in the department.  You were a student of David McAleavey's.  Were you an English major?  Did you focus on Creative Writing?  Were there other professors who made an impression on you?

I enrolled at GWU in the Fall of 1979 to study Political Science, win an internship on the Hill, and change the world. Early Poli-Sci course requirements -- Intro to Statistical Social Science;  Intro to Computer Programming;  Scope & Methodology of Political Science -- dampened my enthusiasm, while I was energized by the English Department offerings of  Intro to Creative Writing and The Short Story.  In the Spring of my sophomore year I declared my major in American Literature.  It wasn’t a completely unexpected turn of events.  I had always written short stories and poetry and was the editor of my high school poetry magazine.  I loved being part of the poetry crowd on campus, participating in open poetry and fiction readings in the 5th Floor lounge of the Marvin Center every Friday evening and hanging out with other writers.   I had the honor of being a member of the editorial staff for Volume 1 of  the G.W. Review’s 1980 founding issue, associate editor for fiction and poetry for Volume 2, and editor-in-chief for Volumes 3 and 4.  The campus literary magazine featured a Po’ Biz Calendar with listing of poetry and fiction activities in the DC area that kept me active in the thriving DC literary scene.  My writing appeared in campus publications The GW Hatchet, The Current, Wooden Teeth and George Mason University’s The George Mason Review.  During my years at GWU, a full-time employee could take classes for free.  I landed a secretarial position in the School of Business Administration and finished my studies tuition free in 1984 with a Bachelor of Arts in American Literature.  I obtained the American Literature degree through a Proseminar in American Literature that was offered at the time.  David McAleavey taught the creative writing classes I took, A.E. Claeyssens taught the Writing Fiction – The Novel course, and Robert Ganz taught American poetry.  These and all the other professors in the English Department deepened my knowledge, love and respect for American Literature.


You have clearly had an impressive career in banking.  What did you study after you graduated from GW?  Were you ever tempted to study further in the humanities?

My first job out of college was as a production assistant for The Living Stage, a non-profit professional improvisational theater company that was part of Arena State for over 30-years.  I responded to an ad in The Washington City Newspaper, and my GWU BA was an important credential in winning the position. Under the direction of Robert Alexander, Living Stage performed with men, women, children, teens, prisoners, disabled and disadvantaged people from all walks of life, teaching the importance of self-expression.  I was privileged to be a part of that artistic team for three years.  After I left Living Stage, I decided to return to my literary roots and enrolled in the 6-week Radcliffe Publishing Course.  I can’t remember who told me about the Radcliffe Publishing Course, but I’m very grateful to have learned about it.  It turned out to be an important credential; it got me both a job and an apartment in New York. My roommate-to-be previously took the course and was working in publishing.  She posted an ad for a roommate on the bulletin board at Radcliffe, knowing new graduates would be flocking to NYC.  She had a two bedroom 4th floor walk-up in Park Slope.  I called her and rented it sight unseen.  I was able to land a job as an editorial assistant at G.P. Putnam’s Sons. The position was advertised in The New York Times and the editor who hired me was familiar with The Publishing Course, and when she saw I was a GWU grad, she remarked, “Good school!”   It was a refrain I was to hear throughout my career.  I worked with Lisa Wager, editor to a variety of writers: detective, fiction, self-help, romance.  I read unsolicited scripts, did some copy editing and maintained her books’ production schedules.  After some time working for a publishing house, I found my sympathies for writers growing, and was able to work instead for a literary editor, the great Elaine Markson at Elaine Markson Literary Agency in Greenwich Village.  My good friend Lisa Callamaro, whom I’d met at Radcliffe, worked there and had told me about the literary assistant position. Lisa has since opened her own film and television agency in Beverly Hills.  I had fantastic exposure to all kinds of writers and literary events in and around the city.  Unfortunately, the pay as editorial and literary assistant was so low I had to get a second job to afford life in NYC, even sharing an apartment.  While I enjoyed moonlighting at Shakespeare & Co. Bookstore on the Upper West Side, a job advertised in The Village Voice, I grew tired of feeling overworked and poor.   My own writing had long since fallen away under the strain of two jobs.  I decided to look for a better paying position.

  In what ways did the literature grounding you got at GW contribute to your further education, and then your career?  Was there a big disconnect between literature and business?

In the early nineties in NYC, I figured the highest paying fields were investment banking and law.  I had a friend who worked as a paralegal for a NYC law firm and had heard stories about the long hours and crazed attorneys, so I went for something in finance. It was never my intent to sell out.  I hoped to find a decent paying 9-5 job that would finally leave me time to write. I took a job as a secretary at First Boston (the company has since merged with Credit Suisse).  While the position paid substantially more than the two jobs I’d been working combined, I remember my father being very disappointed that I wasn’t using my college degree, although I’m sure it was an important factor in being hired And he was right; none of the other secretaries had degrees.  However, I was surprised and delighted to find myself working with the highly intelligent and cultured men and women who bought and read the books, paid for the theater tickets, and talked about literature, art, history.  My characteristic hard work, writing, and organizational skills were very much appreciated. I was given the opportunity to work on reviewing, doing graphics and editing presentations.  After a couple of years I moved to a position at UBS (also through a newspaper ad), in the investment banking project finance department, my GWU degree once again keeping me in good stead.  Project finance is the financing of power plants, mining projects, infrastructure like toll roads and airports, telecommunications, and the projects are all over the globe.  I found the subject matter of the work varied and interesting and have worked in Project Finance ever since.  I found that, by taking on administrative projects that no one else wanted to do, I gained recognition and moved from secretary, to administrative assistant, to project manager, to associate.  I was able to work in the portfolio administration group where I was introduced to the voluminous documentation necessary for project finance deals.  I loved reading the credit and agency agreements, piecing together the operational and business duties of the banking work like a jigsaw puzzle. I worked for UBS for 7 years and in the last year my manager recommended me for credit training, a fantastic opportunity.  There was a reorganization at UBS and some of the managers I worked for moved to Deutsche Bank.  They looked me up and I moved to DB as an assistant treasurer in project finance doing portfolio administration.  Once at DB, I moved within the company and learned more about loan operations and management.  I moved to the  Deutsche Bank Trust Company Americas project finance team where I became expert in reading documentation and eventually became Vice President and team leader of their transaction management team, responsible for negotiating and implementing new deals.  I’ve been at Citibank for the last four years, in their corporate trust shop, reviewing documentation and implementation of new deals as they relate to agency roles.  So many of the people I work with have a business or finance background, are expert in spreadsheets and analysis, and would rather poke a stick in their eyes than read a 400 page credit agreement word for word.  Basically, for the last several years I have a job where I read for a living, and I love it. 

What advice do you have for our majors who may be thinking of entering the business world?

Don’t be afraid to move around and try new paths.  I would never have as much appreciation for where I am today if I hadn’t tried different careers.  If you really have your heart set on doing creative work, it’s better to work hard and struggle than to work in a corporate environment for 75% of your life and think you’ll have brainpower left for imagination.  Business needs creative thinkers who can problem solve.  

 Is there anything in particular you miss about GW?  About college in general?


I loved being at a university that was in an urban environment, where you could experience the culture of the city, with professors like David McAleavey to guide you.  I loved the nurture and support of the Poetry Crowd, Lilian Weber, Ron Weber, Richard Flynn, A.L. Nielsen, Hugh Walthall, Paul Brucker and many others.  While I’m happy with my story and where I am today, I think if I was going to do anything differently, it would be to understand and appreciate the importance of being in a creative community.  I think if I had continue to seek out other people who were working to write, and tell stories, I would have been able to take my writing further than I did.  At the end of the day, I don’t think I had the courage and devotion for the sacrifice necessary to live the life of a writer, but the background I experienced provided me with the skills that have made me a success in where I am today.

Jumat, 29 Mei 2015

Alexi LeFevre (BA '05) Publishes New Novel

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Alexi LeFevre (GWU '05)
Alexi LeFevre is a 2005 alum of The George Washington University. Although he studied international affairs, he describes himself as someone who has had a lifelong passion for creative writing.  At GW, he pursued that passion in a formal setting for the first time.


In the spring of 2003, Alexi took the Honors Creative Writing course, which at that time was taught by acclaimed author Vikram Chandra (now a faculty member at UC - Berkeley).  Alexi reports that he learned the value of peer review in this class.  Additionally, "It was in this class where I first learned that characters matter, that their lives and voices, their passions and hatreds, must come through to the reader. It was in this class where I absorbed the importance of structure, of tone, of voice, and of point-of-view. While the seed of creative writing had always been there, the Honors Creative Writing course at GWU watered it amply."


Since then, Alexi has written numerous short stories and manuscripts, inspired by his travels around the world. The Pilgrims of Saint Sebastian is his first novel and can be found at his web page here.

Congratulations Alexi!  GW English is happy to present this excerpt from the new novel.

The Pilgrims of Saint Sebastian (An Excerpt)
By Alexi LeFevre

After the nightmare in the hospital, she stopped getting her monthly visits from Seu Chico. It took a few months before she realized this and when she did, she threw out her sanitary napkins. By the autumn of that troubled year, her movements around the compound resembled Nicky’s forlorn and dejected existence in Austin after his return. The same hunched shoulders, the same blank stares, going on for moments at a time until someone nearby said, hey, what was wrong, what was she thinking about? She stayed in her room for days at a time, watching herself in the shimmering surface of the bathroom mirror, encased in a gilded bronze frame that someone had stolen from a wealthy house many years ago and presented to her as a gift. Bichinho had given her some pills, here, love, she should take those, only two a day but certainly never less than eight hours apart, they’d help her relax, maybe let her see what she needed to see. The first day she took one, her hair was unkempt and she wore a pair of old green shorts and a blue t-shirt with the logo for Antarctica beer. It was from a Carnival festival in Mundão earlier that year, when she had gone with Flavia to the sambódromo, and within an hour the gray floor opened up and she stepped down into a blue and black world.
All nine hours of live performances, but the best must have been that of Chapeu de Mangueira, a fine tribute to the farmer! To the sertanejo player and the countryman! To the sertão, the hinterlands, the netherworld of Brazil’s crab-infested paradise! Rolled up denim and low-buttoned shirts, oh, said Flavia, what a show they put on, look at the caipiras, just like when she was a girl. They bathed in the comfort of a private VIP box, yes, Dona Alice, she could have it for just one year, a sign of thanks for her efforts, the councilmen owed her, many of them owed her, and one of the judges came by and delivered shirts from Chapeu de Mangueira, a school she had loved since childhood, he had glittering gold bracelets, a paunch and hair the color of silver, here, for Dona Alice, after all the money she’d given to the school they should all be kings! And then looming high above the whip-cracking of fireworks, the pounding surdo, discordant in the speakers, and they were looking across the sambódromo, Flavia said, oh look, and they all watched the golden straw baskets float through the air, filled to the brim with bleached crystalline eggs the size of watermelons, what a magnificent display and then Bichinho from behind, why this was like Festa Juninha in February! She turned, oi, Flavia, could she pass another beer? Their eyes lingered and the moist pockets of air shrunk down around their faces. They had not yet begun the romance that would lead to an unborn infant’s death but she had begun to appreciate Flavia’s presence in an intangible and frustrating way. It left her sleepless at night. She tossed her blanket off the bed, panting, and stayed up until dawn imagining the dogs wandering the alleys of Mundão and then sometime much later there was the inside of Flavia’s home, look here, Flavia said, she had discovered a bed of roses in the yard, and the bucket of slender and erect stalks was on the table, drawing their faces inward. Flavia drew one and dipped the puckered and crimson lips into a bowl of chocolate, here, she should try it, it would be like nothing she had eaten before, and they passed the evening with her feeding Alice small, pink rosebuds, letting a spot of chocolate occasionally lie there upon her bottom lip, and the samba schools went by and she said, the gringos were marching behind the floats, it must have been so easy for them with their money to come in and buy up what they wanted but Flavia, dressed as always in the loose fabric of an earthly and spiritual vagabond, said, love, life was the same everywhere in the world, the rich celebrated while the poor wept, but while the rich were content, the poor yearned for better things, and when they occasionally received them, the question was always there: Had they paid too great a price for them?
The first blurred and gray day of memories had already gone and she had not bathed. Bichinho, busy running the syndicate in her absence, peeked in once during the night. He let her sleep and put another pill next to the sink. It was around this time that he developed a dry, lingering cough. He fell sick himself but said nothing and pushed on, for he already knew then that the definition of their lives was under threat.
The morning came and she leaned on the sink and enjoyed the feeling of her warm palm against her stomach. She looked up at the mirror and there were glass crystals in her eyes and one fell to the sink. What a difficult and damned thing, she thought, to be a woman in a country and a profession so dominated by men. Men who pressed their weight upon the backs of women, who ran the country and dictated the rules, who determined their lives and made abortion illegal, who sent them to slave in the kitchens, who told them which relationships were proper and which were not. And even with a woman as president! Although, I can tell you, Jorge Amado also once said that the only better business, the only more profitable racket, is to be the president of the republic, so perhaps she should not have expected too much from the president, Brazil was the country of the future, and always would be, she told herself, aware of her sad reflection, and next to her hand the little blue button, okay, just another little one. A cup of water, a sip, a flick of her head, and then she slid away from the sink and lay on the bed with her head hanging down at the edge where her feet should be, the painting of two hills inverted on the wall, and the other paintings that she had already begun gathering, little children, babies, all manner of youth, dancing in entertaining poses, laughing and smiling, little girls in church dresses and boys chasing after ducks around the edges of ponds. A hand stabbed out and grabbed the nearest thing, which was the red linen dress that had the black eyes. She wrapped it around her shoulders and inhaled that warm, earthly, bodily, womanly scent.
She thought of babies throughout the day and night and the images eventually grew worn out and lost all meaning, like a word spoken over and over until it was nothing else but the audible product of a voice box and a mouth. She kept her eyes closed and swam through a thick, jelly-like fluid, hearing the doctor, no, ma’am, it was impossible, they had conducted a full hysterectomy, but she still called out, ai iê ieu Mamãe Oxum! Orai iê ieu Oxum! She besought the heart from which a river is born. She wished she knew more about the faith of the interior, which made mothers of virgins. Oh! Her voice rose such that Bichinho knocked once on the door but received no answer. Then she was a child and at the Feira de São Cristóvão to speak with a mãe-de-santo of umbanda for the first time, oh, she’d like this, Bonequinha, it was the other part of Brazil, the heart, Renan said to her, and in the fair, she remembered the sticky taste of acarajé, the salt of the shrimp, the stubborn glue of manioc paste, the flat greasy taste of dendê oil, he told her, she needed to put some hot sauce on it, like this, she should do it just like this. The beautiful and glamorous dances in the center square and the high stages, the men in their loose jeans and dress shirts unbuttoned to below their chest, resting beer cups atop their mustaches, and the women with tight jeans and fancy shoes and modern tops, all dancing forró to the music trumpeting from the large stereo-store speakers. Oh, she exclaimed, how beautiful, the glittering reds and blues of the shop front stalls decorated in tinsel, even the sweet smell of garbage waiting in stacks behind the restaurants and food stalls to be picked up that evening and carted away to make room for the next day’s events. Yes, she thought, and who was that? The priestess, Renan said, come on, she should go meet her.
An overpowering scent of body odor, a shadow like a push broom on her upper lip, hair flowing back in a twisted mess made worse by the addition of coconut oil that she could still smell to this day, the smell of fruit sitting out in the summer sun, the smell of complete abandon from the known world because of some knowledge gained from the spiritual one. She placed a dirty, rotten hand on her forehead, and she wanted to run but Renan there made her feel better and she did not want to embarrass herself. The woman closed her eyes and called out to the orixás and acted surprised when she looked down and said, oh, child, she would settle down in the south of the country, could she see it? She would marry a man in the navy, she would have three beautiful children who would speak both Spanish and Portuguese like poets, it would be wonderful, and now could she give five reals please for a poor woman? Leaving, what a crazy woman, she thought, crazy country beliefs, just like all of those from the interior, they only learned them because they were the beliefs of their fathers and their fathers’ fathers, Renan smiled, so, he said, she’d be marrying a navy man, she’d better get ready for him and Alice said, no, she did not believe it at all, no one could predict the future, to predict the future, one had to be able to see the past, but nobody ever bothered to remember the past, and then the sun shattered the glass of her room and in flew a butterfly. It alighted on the edge of her bed and flicked its antennae with a desolate gesture and she realized that she no longer doubted the beliefs of the people from the interior. The butterfly rested near her hand and when she lifted a finger to brush the velvet on its wings, it did not move. Even when Bichinho opened the door bringing in some breakfast, it stayed still and she said to him, she needed a cage. He looked at her, what was that, dear? What was she talking about? For the butterfly, she said, the edge of her finger still tracing the orange arc of its wing. The sunlight was transparent through its skin and she thought everything beyond the wing looked like something from an old movie. For the butterfly, she said again, she wanted to build a cage for the butterfly. Bichinho approached the bed and she rose up out of the dwindling, drug-induced swamp. She fixed her eyes on his and said, okay, so what was new with the gang? Bichinho, his mouth agape, set the plate of food down on the nightstand. He closed his mouth and smiled. He was glad she was back, dear, he said, because there was some business about a judge.

Kamis, 16 April 2015

Sally Wen Mao Reads April 24 in the JMM Reading Series

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Poet Sally Wen Mao
Reads April 24
Poet Sally Wen Mao treats words like clay.  She molds them into new ideas, even as they retain their  original meaning. Language is shaped and adapted in her hands.  She also plays with a variety of forms, including field notes, and travelogues. The results are original, ironic and fresh.   Her debut work, Mad Honey Symposium was described by Publishers Weekly as "linguistically dexterous and formally astute" with a strong connection to varied sources including "news clippings, Greek and Roman history, and Chinese myths" and maintains a "rich, deliberate emotionality and musicality."
Mao was born in Wuhan, China and raised in Boston. Her work has been featured in Colorado Review, Guernica, Gulf Coast, Indiana Review, Third Coast, West Branch, Washington Square, Poetry, The Missouri Review, Black Warrior Review and other publications.  She is the winner of the 2012 Kinereth Gensler Award and a Publishers Weekly Top Ten  Pick of Fall 2014.  Her work has been anthologized in The Best American Poetry 2013 and she has received fellowships from Kundiman, Bread Loaf Writer's Conference, Hedgebrook, and Saltonstall Foundation.  She is currently a professor of Asian American Poetics at Hunter College.

Mao is the Jenny McKean Moore author for April.  The GW English Department will be hosting a reading by her in Gelman, Room 702 on Friday, April 24 at 7:30 pm. 

 Here is an example of her work:
Lessons on Lessening
In the rigmarole of lucky living, you tire
of the daily lessons: Sewing, Yoga, Captivity.
Push the lesson inside the microwave.
Watch it plump and pop and grow larval
with losses. Watch it shrink like shrikes
when they dodge out of this palatial
doom.  On the sky's torn hemline, this horizon,
make a wish on Buddha's foot.  How to halve,
but not to have--how to spare someone
of suffering, how to throw away the spare
key saved for a lover that you don't
have, save yourself from the burning turret
with the wind of your own smitten hip.
Do you remember how girlhood was--a bore
born inside you, powerless?  How you made
yourself winner by capturing grasshoppers
and skewering them?  You washed a family
of newts in the dry husked summer, wetted
them with cotton swabs before the vivisection.
That's playing God: to spare or not to spare.
In the end you chose mercy, and dropped
each live body into the slime-dark moat.
Today is a study in being a loser.  The boyfriend
you carved out of lard and left in the refrigerator
overnight between the milk and chicken breasts.
Butcher a bed, sleep in its wet suet for a night.
Joke with a strumpet, save the watermelon
rinds for the maids to fry in their hot saucepans.
Open your blouse and find the ladybugs
sleeping in your navel.  Open your novel
to the chapter where the floe cracks and kills

the cynget.  Study hard, refute your slayer.

Kamis, 19 Maret 2015

Trey Ellis at GW: Friday, March 27

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Trey Ellis
The GW English Department is pleased to welcome Trey Ellis as part of the Jenny McKean Moore Reading Series. Ellis, currently an associate professor in the Graduate School of the Arts at Columbia University, is a novelist, screenwriter, playwright, and essayist. He is the author of several novels, Platitudes, Home Repairs, Bedtime Stories: Adventures in the Land of Single-Fatherhood, and Right Here, Right Now, which received an American Book Award. His work with films includes the 1995 film The Tuskegee Airmen, which won the Peabody Award and was nominated for an Emmy, and the 2003 TV movie Good Fences, which was shortlisted for the PEN award and nominated for a Black Reel award. Ellis is a prolific essayist, primarily known for his piece titled New Black Aesthetic in which he coined the term “cultural mulatto” and discussed racial characterizations and their relationship to a new aesthetic movement. His essays have appeared in The New York Times, The Washington Post, The Los Angeles Times, and the Huffington Post. The discussion will be held on Friday, March 27 in Gelman Library, Room 702 beginning at 7:30pm.

Jumat, 06 Maret 2015

Brando Skyhorse and Lisa Page in Conversation

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Join Jenny McKean Moore Writer-in-Residence Brando Skyhorse and Acting Director of Creative Writing Lisa Page in a discussion to be held this Monday at the Hill Center at the Old Naval Hospital.  Presented by Hill Center & PEN/Faulkner.

921 Pennsylvania Ave SE, at 7:00 PM. Free and Open to the Public.



Selasa, 03 Maret 2015

GW English Alums on the Move: The Poetry of Andrew Kozma

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Andrew Kozma
"GW was the place where I first dreamed myself as a writer."
GW English and Dramatic Literature Alum and poet Andrew Kozma recently had one of his poems selected for inclusion this year in The Best American Poetry.  Professor Margaret Soltan caught up with Andrew to talk about poetry and pedagogy, and about his time at GW.  The poem of Andrew's that Professor Soltan mentions is reproduced at the bottom of the interview.
First, congratulations on having one of your poems selected, by Sherman Alexie and David Lehman, for this year's edition of The Best American Poetry.  I look forward to reading it. 

Meanwhile, I love your poem, "Ode to the Love Bug," which concludes O Tiny Fuckers, teach us to let the world consume us.  I find your 'ode to bugs' series of poems wonderful, the work of a postmodern John Donne.  Tell me something about your approach to poetry, your influences, etc.
First, thank you so much for the comparison to Donne. Though he’s not a direct influence of my poetry in the past, he was definitely an inspiration for the insect odes. Part of what I wanted to do was combine the highest diction with the lowest possible subject, which is in Donne’s line of conflating the spiritual with the sexual.
 My approach to poetry is very language-oriented, the sound of a phrase calling forth another series of words. Ideally, in successful poems, the meaning of the whole poem is constructing itself as I write.
 One aspect of my writing which helps my free-wheeling composing style is that I’m somewhat addicted to form. While I think this attachment to symmetry has always been in me, William Logan at the University of Florida really brought it out completely. The benefit to being fluent in the sonnet and relatively comfortable with various poetic meters is that I can let my mind focus on the form, which then frees up my unconscious to reveal the metaphors and poetic ideas I didn’t even know I wanted to talk about.
 I’m not sure I have poets who influence me in the way that I feel like I’m emulating them, but there are a number of poets whose work I admire. Anne Carson. John Berryman. Anthony Hecht. In some ways, it’s easier to point out younger poets who I feel I’m writing like, who seem like kin. Lisa Olstein and her book Radio Crackling, Radio Gone, for example.
You've written in a number of prose as well as poetry modes.  Talk a little about the other kinds of writing you do.  
I like writing every genre except that of academic essays: non-fiction, plays, novels, stories, flash fiction, and poetry. In every case, the mode of writing does something different for me, allows me to tell a specific kind of story or create a specific effect. For example, the difference between fiction and drama: in fiction I’m often trying to make the unreal seem real, while in drama I’m twisting the real so it seems unreal.
 I’m also interested in storytelling through unconventional means. I did a Kickstarter a few years ago (The Postcard Story) which told a single story through four postcards, each postcard being a picture (taken by a photographer friend of mine) meant to comment on the story obliquely, almost like images in a poem.
Do you enjoy teaching writing?
 Currently, I’m teaching technical writing, essentially the bare bones of professionally-oriented writing. Strangely, being skilled in poetry is useful for this task since both technical writing and poetry deal in compact forms, saying the most in the smallest amount of space possible. Granted, poetry focuses on allusiveness while technical writing (business letters and the like) concerns itself with facts and the manipulation of the facts—the more I talk about both, the more similar they seem. 
What did your experience at GW mean to you?  Were there particular professors who made an impression on you?
 GW was the place where I first dreamed myself as a writer. I ended up taking a creative writing course every semester and majored in Dramatic Literature partly because the required courses allowed me to focus on what I wanted (writing) while avoiding what I didn’t want (everything else). My interests have always been varied, so in the first few years I dabbled in Physics (which would’ve stolen me except for the math involved) and Philosophy (which spit me out) before simply settling on English mostly because in studying literature I could study everything else as well.
The professors who made the most impact on me were Patricia Griffith and Faye Moskowitz. Patricia was so supportive with my playwriting and encouraged me to do whatever I wanted within the form—as a fan of the absurdists and Eugene Ionesco in particular, this encouragement was very welcome. Faye, on the other hand, was encouraging more simply by who she was and is. She gave me the sense that I could do anything, and that if obstacles showed up in my path, I should simply push against them until they gave way.
 Where did you study after GW?  What sort of degrees did you pursue? 
 After GW, I took a few years off and then went to the University of Florida for an MFA in Poetry, directly followed by heading to the University of Houston for a Ph.D. in English Literature and Creative Writing.
 For our current students who may be thinking about doing similar things, could you talk about the decision to pursue higher study in literature, in creative writing?  Was it difficult to make the choice to do this?  Why or why not?
 1. I’ve always enjoyed school, and never been in a hurry to leave it.
 2. After my experiences at GW, I was pretty sure that writing was what I wanted to do. As far as I could tell, the best way to do more writing—while learning about writing and studying literature—was an MFA program. After I completed my MFA, I was still hungry, and so looked at Ph.D. programs.
 3. The choice wasn’t difficult to make, but I had a lot of things going for me. I had no debt (due to lucky scholarships and generous parents) and no other obligations. Also, I only applied to schools which provided funding so that I didn’t have to pay for any of my post-graduate studies. 
4. Finally, there was no job I was itching to get out into the world to do. I wanted to write, and if you can go to a graduate program that pays you for being there, then it is sort of like having a fellowship specifically to write. I didn’t go into higher education expecting a job to be there waiting at the end of it, and you shouldn’t either if you are studying writing. Writing itself is the end point, and whatever you can do to make that happen is what you should do, whether that’s taking a job that allows you freedom outside of the job to focus on writing or going on to get your MFA.
 What, if anything, do you miss about GW, Foggy Bottom, the east coast?  Does where you're located make any difference to the sort of writing you do? 
I miss the city a lot. I miss being able to walk across the breadth of D.C. in a day through sidewalks crowded with people. I miss the way the city empties out at night to become its own ghost.

Where I write definitely influences the sort of writing I do—or, more specifically, what I end up writing about. The writing itself has a lag time, though, in that even after having lived in Houston for thirteen years now, I feel that it’s only just becoming a major force in my writing. It’s a city that’s constantly changing, reinventing itself, re-constructing, not its ideals, but its body, the roads, the buildings, the parks, all of it ever in flux.

What are some of your future writing projects?

I have been working on young adult novels recently, mostly science-fiction and fantasy. Though I never think of myself as a horror writer—though my poems might disagree—each novel is strewn with horrific elements. To return to an earlier question, one of the benefits of writing in multiple genres is that you learn things about your own writing you might not otherwise, in the same way you learn more about your native language by studying other languages.

On the poetry front, I have a new manuscript consisting of the bug poems plus songs—more persona-esque poems sparked by states of being or, more concretely, how someone might be identified. A couple of the latter, to give an example, are the “Song of the Starving” and the “Song of the Psychopath.”


Sometime this year I’ll be doing another postcard-based Kickstarter called Mailpocalypse that, if funded, will tell the story of the end of the world via alternate futures described in letters by those experiencing it. This will happen over the course of a year with one postcard being written each day, and then collected into an on-line repository (so that everyone can read all the postcards) that might then be further collected into a book.

Ode to the Love Bug

O Unthreatening Sex Fiend, climb your gendered body-twin
and strive to futurize. Four days alive (a little more

if male) is barely time enough for love, or even death.
But, O Fragile Gloves, how you throw your bodies into it!

In smokes of thousands, you dress the baking highway
and declare your passion to every passing glass. Do you see

yourself eternal? Even as you die, your angel-self in air
declares another love affair, and those two, too,

are crushed against the grill of this fine day. O girl, come with me
and love as only insects can. Let us be reborn

a hundred times an hour to fresh our faces to each other’s lips.
O Tiny Fuckers, teach us to let the world consume us.

*******************
("Ode to the Love Bug" originally appeared in Kenyon Review.)
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