Archive by Author

“Threads of Memory” in Jewish in Seattle

4 Feb

I wrangled some complicated family history into “Threads of Memory,” a short personal essay for the February/March issue of Jewish in Seattle. The opportunity to write about my family’s immigration story and relationship with Judaism brought up a lot more material than a single piece can contain, so stay tuned for more!

Here’s how the piece begins:

Family lore says my great-grandmother Margaret — we called her Mami — survived the Holocaust by hiding under a pile of bodies. She was not known for her pleasant demeanor but for her steeliness. continue reading

Video and photos from Pay Dirt, a literary evening on art, money, and desire

17 Dec

Many thanks to Samudre Media for documenting Pay Dirt, the event culminating a year + of work on my novel PARALEGAL, thanks to an Art Project grant from 4Culture and a Jack Straw Fellowship. The Samudres do beautiful work in the Seattle arts community.

 

Aside

Three Winning Stories

16 Dec

Some people have been asking what I submitted for the Artist Trust / Gar LaSalle Storytelling Award. They were three short stories:

  1. The Zoo,” published in Washington City Paper
  2. Old Boyfriends,” published in Propeller Magazine
  3. Sugar,” published in Gastronomica

I didn’t submit a novel excerpt, following the general grant-writing advice to use a work sample that has a beginning, middle, and end. I also strived to show a range in styles and put the sample together in the order above to modulate tone, starting with the sad/happy, getting quite dark, and then ending on a lighter note. Just putting my process out there in case it’s helpful! NB: Artist Trust gathers an amazing list of funding resources here. And here’s a post on writing artist statements.

 

Thrilled to be Awarded Inaugural Artist Trust / Gar LaSalle Storyteller Award

7 Dec

In news that has made my year, I have been awarded the very first Artist Trust / Gar LaSalle Storyteller Award! I am honored and overjoyed. This recognition means–so–much.

My deepest gratitude to physician, sculptor, filmmaker and author Gar LaSalle for generously donating the award and for selecting me from among the finalists. Many thanks to panelists Aaron Counts, Angela Fountas, and Samuel Ligon for moving my work forward. And many thanks to Artist Trust, for the all the amazing hard work they do on behalf of artists in Washington State.

Update: Many thanks to Seattle Review of Books and Paul Constant for this lovely write up!

Aside

“Cauliflower Tells You” Nominated for a Pushcart

4 Dec

Great news! My story “Cauliflower Tells You,” which appeared in Monkeybicycle in February (on my birthday, no less), has been nominated for a Pushcart Prize. I’ve never been nominated for a Pushcart, and this might just be the strangest story I’ve ever written to date, so that is very encouraging indeed. Many thanks to editor James Tate Hill for the nomination!

 

Upcoming Classes

1 Dec
Strange trinkets and doo-dads on display in Astoria, Oregon.

Objects galore, courtesy a storefront in Astoria, Oregon. An image-based writing prompt for you.

There are still some spots in my 30-minute, $10 online class Powerful Objects, meeting December 9 at 7 pm.  This micro-class is via OneRoom, an online platform designed specifically for creative writing classes allowing real-time interaction via video. The format of the micro-class is a great way to sneak in some writing in this busy time of year, if I do say so myself. Here is the class description:
Italo Calvino wrote that “the moment an object appears in a narrative, it is charged with a special force and becomes like the pole of a magnetic field, a knot in the network of invisible relationships.” We’ll read Kate Bernheimer’s short-short story “Pink Horse” to see how she uses imagery and detail to bring out the psychic power of a particular object. Then we’ll do a writing exercise exploring a character’s relationship with an object. Register here.
In 2016, I’m teaching 1000 Words a Week, a six-week class in which–you guessed it–we will write 1000 words a week. It’s like NaNoWriMo but at a more merciful pace. Class meets Thursdays 7-9 pm, starting January 14. General registration opens December 8; if you’re a Hugo House member you can register today. Scholarships are available! Apply by December 14. Class description here:
Each week we’ll write 1000 words using big-picture and fine-grain prompts. In class, we’ll lightly workshop pieces, focusing on questions like “What creates energy in this story?” and “What do you want to know more about?” Stories may be part of a larger work or stand alone. We’ll also discuss writers’ thoughts on writing, from classics like Anne Lamott’s “Shitty First Drafts” to newer essays like Rikki Ducornet’s “The Deep Zoo.” Students will leave class with 5000 new words. Register here.
Finally, I am teaching a mini-lesson called The Priceless Detail at Hugo House’s Write-O-Rama, this Saturday at 12 pm & 1 pm.  Here is the class description:
Good liars know that selective detail, not a pile of facts, make a more convincing story. In discussing Chekhov’s exceptional use of detail, Francine Prose notes that we live in detail, remember in detail, identify, recognize, and recreate in detail. But finding the right detail in fiction takes a lot of sifting. We’ll look to excerpts from Chekhov for inspiration, then immerse ourselves in an exercise drawing on keen observations of our own experiences. Register here.
Wishing you a writing-full season & 2016!

Pay Dirt: A Literary Performance on Art, Money, & Desire

12 Nov

Pay Dirt, an event supported in part by an award from 4Culture and the Jack Straw Writers Program, features fiction and poetry on topics of art, money, and desire, by Anca L. Szilágyi, Bernard Grant, Emily Bedard, Martha Kreiner, and Matthew Schnirman

On December 3 at 7 pm, I’m reading from my novel PARALEGAL at the Jewelbox Theater in Belltown. This performance culminates a year+ of work on a project whirred forward by support from 4Culture and Jack Straw Cultural Center, for which I am very grateful. I’ll be joined by four fantastic Jack Straw Fellows whose work intersects with mine, on the topics of art, money, and desire: Bernard Grant, Emily Bedard, Matthew Schnirman, and Martha Kreiner.  Please come!

“I Loved You in New York” in alice blue books’ SHOTGUN WEDDING, Vol. 4

14 Oct
Coney Island Beach July 4 by Jaime Haire

“Coney Island beach July 4” by Jaime Haire, Licensed under CC BY-SA 2.0 via Wikimedia Commons

My short story “I Loved You in New York” is being released as a chapbook in alice blue books’ fantastic series SHOTGUN WEDDING. It’s a story about cities (New York, Montreal, D.C.), bodies, relationships, history. It glances fleetingly at Coney Island, George Grosz, James Brown, and, uh, Marquis de Sade. This is the fourth volume of the SHOTGUN series, a special double issue which includes my dear friend and excellent poet Janie Elizabeth Miller, as well as Dennis James SweeneyLillian Ruth NickersonAmy Ratto Parks, Brian CooneyStephen Danos, Sarah Gallien, Will GallienEvelyn HamptonGraham Isaac, and Ashley Benson.

I’ll be reading an excerpt from the story at Vermilion on October 22 at 6 pm as part of the Seattle Lit Crawl–our event is called Quick & Dirty. The chapbooks will be available at Fred’s Wildlife Refuge during the after party’s mini-book fair. You can also pick up a copy at the Seattle Center during Short Run, a small press and comix expo, on October 31 11-6. I expect the Seattle Center on Halloween to be super fun! Finally, you can also snag a copy via Etsy.

Many thanks to Amber Nelson for giving this story from my in-progress collection MORE LIKE HOME THAN HOME a home.

“Bedtime Stories for Ghosts” in Electric Literature

18 Sep

My essay “Bedtime Stories for Ghosts: Reading Aristotle to Coco Chanel and Other Encounters in a Massive Art Installation” is up on Electric Literature today! This piece has been in the works since the beginning of the common S E N S E, Ann Hamilton‘s show at the Henry Art Gallery in October 2014, evolving as the show evolved and growing stranger with each of my visits. It draws on Aristotle and J.A. Baker and Mercè Rodoreda and Rikki Ducornet and humming birds and egret capelets and more.  (Not incidentally, the Coco Chanel egret capelet makes an appearance in my story “Cauliflower Tells You,” over on Monkeybicycle.) I’m excited to have my work in Electric Literature and am thankful to Kelly Luce for taking it on.

How Do I Fit This Ghost In My Mouth?

8 Sep
From Geoffrey Farmer's "The Surgeon and the Photographer" at the Vancouver Art Gallery

From Geoffrey Farmer’s “The Surgeon and the Photographer”

I’m grateful to have caught “How Do I Fit This Ghost in My Mouth?”, Geoffrey Farmer‘s exhibit at the Vancouver Art Gallery this weekend. I had never heard of Farmer, and I was entranced. “The Last Two Million Years” is a collage sculpture that takes up an entire room, comprised of hundreds of figures meticulously cut from a found Reader’s Digest encyclopedia of the same title. I was awed not just at the amount of work that went into the installation, but the impulse to pin down layers of ephemera–not only tiny details in a vast history that feels impossible to contain but also the fleetingness of the found book itself, which stands eviscerated as you exit the room.

The Surgeon and the Photographer” gathers images in a similar though more surreal manner, creating Dadaist characters from used books salvaged from a closed down used bookshop as well as fabrics. The sculptures are called puppets, suggesting one might inhabit them, give them voice and stories, and they’d be rich and complex stories indeed. Somehow this piece recalled for me a bizarre puppet movie I once saw as a tiny person, sitting alone in the attic in front of our old knobbed television tuned to a UHF channel. Faceless wooden mannequins sat chained in tubs of water and turned their heads, vaguely squeaking but unable to talk. I was utterly mesmerized and alarmed and had no idea what I was looking at.

The most thrilling installation for me was “Let’s Make the Water Turn Black” — an eerie room filled with moving sculptures made of old movie props (lion heads, snakes with blue light bulb teeth), a haunting soundscape (bells, chimes, wind), and lights that shift from green to red to blue so that when it finally becomes white, the colors of the objects are almost a shock. The room is programmed to last the duration of an entire day, and I was very tempted to try and experience it for that long.

Alas, we did not spend the entire day there. After leaving the museum, we encountered a zombie-themed wedding and wondered if the square outside Vancouver Art Gallery has a similar function to New York’s Union Square. On the beach by English Bay, at sunset, we saw someone make enormous soap bubbles that shrieking children and adults alike chased to pop. We found a wonderfully curated independent bookstore called Pulp Fiction (I picked up The Dud Avocado and M picked up Wanderlust), and we watched a man train an enormous pit bull puppy on Kitsilano Beach with the help of beautiful red husky, and we gorged ourselves on Ukrainian, Malaysian, and Italian food. We also found time to just sit still and read. And, thanks to Geoffrey Farmer and all kinds of other stimuli, I wrote a poem, possibly the first I’ve written that I actually kind of like. Maybe I’ll even send it out. Art wins!

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