Around 11 p.m. most nights I begin my nightly ritual. This routine has been in place since my three boys were born. I methodically go from one bedroom to the next listening for the same sound. Sometimes I hear it right away and other times it takes a few seconds, but I don't leave until the sound I'm waiting for is confirmed: their breath. Then I'm able to sleep.
When my kids were infants there were times when their breath sounded different or strange. There were nights when they would snore or hold their breath for what felt like an eternity.
Then came asthma. When one of my son's was around 2 years old we started what became our annual trip to the hospital for severe breathing problems related to asthma. Watching him wheeze and struggle for a single breath is a vision that's hard to shake. And I know I'm not alone. There are so many children and families afflicted with breathing issues.
There's a new resource available for both new and veteran parents that would have been incredibly helpful when my children were infants: Take a Deep Breath: Clear the Air for the Health of Your Child, a book written by Dr. Nina Shapiro.
Read my review of the book over at Moms Clean Air Force. Thanks to Dr. Shapiro, two lucky winners will receive their own copy of Take a Deep Breath. To enter head on over to Moms Clean Air Force and join the force then leave a comment under my review on the Moms Clean Air Force site letting us know that you joined. It's that simple!
Disclosure: Thank you to Dr. Nina Shapiro for a complimentary copy of this book to review. The opinions expressed in the review are my own and are based on my observations while reading this book.
I do the same thing. Do you think we will ever stop checking?
Also, it is really challenging when there is a dog or two in the room with them and they are breathing loudly or snoring.
I don't think I'll ever stop Marsha. Have you read the children's book "I'll Love You Forever" ? Your question made me think of that book. I cry every time I read it.
I listen for little E breaths when she is sleeping, too!
Hi Stephanie, It's so comforting to hear them breathing and sleeping, isn't it?
Me too, i check breathing, give kisses, then I just watch them for a bit. They look sooo angelic.
I was just commenting over at Moms Clean Air Force about how I check to make sure my son is breathing too! I see a few of the previous commenters do that too. Must be a universal thing!
Just wanted to thank you personally for reading the book and writing the review. You were the perfect fit, and your review was great!
Hi Trish, I think as parents listening for our children's breath is just an innate need! Thank you for your kind words. I truly enjoyed reading the book. There was so much great information. If only this book had been around when my kids were infants-I would have slept a little better.
It is fun to watch them sleeping Tiffany. They look so peaceful-and there's no attitude!
I'm Heading to New York City for an EPIC Premiere!


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In the Type 1 community, food and eating habits are not only a common subject of conversation, but a necessary component of management. A common dietary practice that is important to acknowledge in this space is Fasting.
There are many different reasons for fasting and sometimes it cannot be avoided. Religious and spiritual fasting manifests in many different practices and belief systems such as Judaism, Buddhism and Islam. Fasting before medical procedures like surgery or blood tests is often required. Additionally, fasting for detoxification, or "doing a cleanse" is a growing dietary practice. So, is it safe for those with Type 1 diabetes to fast? If so, what are the best practices to follow while participating in a fast?
Most of the research regarding fasting and diabetes surrounds Ramadan and most often, the medical recommendation for those with diabetes is to avoid fasting. The main health risk is hypoglycemia – particularly if you continue taking insulin while fasting without regular blood glucose monitoring. If you do choose to fast for spiritual or personal reasons, talk with your healthcare provider about a plan and regularly monitor glucose to avoid health emergencies.
Safety first is the best practice, and this is recognized in most spiritual communities. I was raised Jewish and distinctly remember the announcements from our Rabbi during long Yom Kippur services pleading individuals in various circumstances to not fast for their own safety and instead display their faith through another outlet. Again, fasting may not be out of the question, just be sure to talk with your healthcare provider, create a plan and be flexible in stopping the fast if risks become too high.
When it comes to various medical procedures, fasting is often required. It is common that before a medical procedure people will release hormones such as adrenaline and cortisol (both of which increase glucose levels in the blood) due to stress. In individuals without Type 1 diabetes, insulin levels will increase to balance out the hormones. In patients with Type 1 diabetes, insulin is not produced to balance out these changes and so may still need to be administered to maintain normal glucose levels even while fasting. This is one of the many reasons that managing Type 1 diabetes while fasting before a medical procedure can be difficult. The good news is , you will be surrounded by medical professionals that can both advise you and help you if there is a problem.
Detox diets refer to short term diets, ranging from a few days to a few weeks, which claim to help remove toxins from the body. Typically, these diets focus on exclusively drinking specific teas, juices or eating specific vegetables such as cabbage. Currently, there is not much research showcasing the benefits and side effects of detox diets. They tend to be expensive, ones that contain herbal supplements are not tested by the FDA and may have unknown side effects, and they often to do not teach or encourage people to stay healthy between detoxes.
With my background in nutrition, I personally do not understand the benefit of detox diets. Yes, the juices are generally jam packed with nutrients and your body will get rid of a lot because you are feeding it a lot of fiber. Our bodies have the functionality to rid of toxins on its own when it needs to and we don't need to force our bodies to do this — they're pretty smart! Additionally — especially with Type 1 diabetes — regularity in diet is extremely important and a cleanse might throw you more off balance. If you are interested in trying a cleanse or have used one in the past and liked it, right on! Just be sure to talk with your healthcare provider first and be aware of the risks.
Read Why the Paleo Diet is Good for Type 1 Diabetes by Caroline Potter.
Carly is a Bay Area native and recent Cal Graduate. At UC Berkeley she studied Nutrition with a focus in physiology and metabolism following her passion for increasing awareness in nutrition and reconnecting with food. She is excited to work with an organization committed to taking action and changing the conversation around Chronic Disease. In her free time, Carly loves cooking, being outdoors, and bringing home succulents.


Liveworks: Festival of Experimental Art is a two-week celebration of art spanning the frontiers of performance and blending disciplines to bring new experiences to our audiences. Taking over the entire Carriageworks precinct, Liveworks 2016 features acclaimed Australian and international artists creating fascinating and ambitious contemporary works.
Art Festival previously on at Carriageworks in New South Wales, Australia.


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Write for us: Know everything about electrical productsWrite for usWrite for us: Know everything about electrical products
tribeca electrical corporation
I love the Tribeca Electrical corporation. Their new website is wonderful. The information is well-written and easy to follow. I like the color scheme. It is simple and elegant. The whole site is aesthetically pleasing while the information is concise.
One good thing about Tribeca's new website is that they have added a new section to help visitors understand the electricity industry. They call this "The Electricity Industry" because of the various electricity companies that use electricity and the variety of products that you can find at a gas station or your local electrician.
The Electric Industry is one of the largest business sectors in the U.S. and is the primary industry that drives the U.S. economy. Unfortunately, this industry is often overlooked and the wrong business sectors are associated with many of the major storms that hit the U.S. each year. For example, more than a dozen major hurricanes hit the USA in the last decade.
In fact, it's a little ironic that electricity is often used as a political weapon in many countries. Why? Because the industry has a major impact on the economy of a country. When a country has more people engaged in the electricity industry, they have a much higher percentage of their population employed in this industry. This increases their overall prosperity and it also increases their ability to absorb and deflect a major storm.
In the U.S, there are lots of different electrical companies. If you've ever tried to call your electric company in your own town, you know that the first number you dial is just a number that has a 0 before it. So a person who has a phone number like that will probably just get put on hold. That's because most electricity companies are public utilities.
Electrical companies are not limited to having a single number. Electricity companies have a number of different numbers that they use to let you know that you've reached the right number. And for some reason everyone who works at a company that makes power is required to have the same number, which is generally the same number as your zip code.
In this case, a person who has a phone number like that will probably just get put on hold. Thats because most electricity companies are public utilities.
The question is, why is it that people who work in power companies are also forced to wear the same clothes? It just seemed like a good way to let the customers know that its a company that exists, so they can be more comfortable with its existence.
It's a good question because power companies are public utilities which means that anyone who works at a power company is subject to the same rules, regulations, and rules that apply to any business. For instance, the public utilities I worked for were required to have their own safety standards (the same ones that every business has to adhere to). Even so, we had to wear the same clothes, we had to abide by the same rules, and we had to report our health and safety incidents.
I was once a public utility employee for a while, and I can tell you that we had a lot of issues. We were all required to wear safety boots, eye protection, helmets, and be covered in body armor. For some reason, I felt like my job was more dangerous than people who worked for me. This is not to say that we were not all capable of being very dangerous, but I think it is true that the same standards apply to everyone.
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Indian Ambassador to Russia Pundi Srinivasan Raghavan has given an interview to Interfax ahead of the BRICS and SCO summit in Ufa in which he speaks about India's attitude to the two organization, as well as bilateral Indian-Russian ties.
Question: To what extent and why India is interested in the BRICS format? Does India consider this format a means of countering the attempts made by some Western countries to even further consolidate their leading position in global politics?
Answer: In recent years, BRICS has emerged as an important multi-lateral forum for consultation, coordination and cooperation on contemporary global issues of mutual interest. The agenda of BRICS meetings has considerably widened over the years to encompass issues such as international terrorism, climate change, food and energy security, global economic trends, sustainable development and WTO deliberations. We have convergences in the position of BRICS countries on the elements of a democratic, multi-polar world order.
BRICS brings together five major economies, comprising approximately 40% of the world's human resources and about 25% of the world's GDP. Together, they constitute a global economic powerhouse. Also, there is considerable potential for strengthening intra-BRICS cooperation in areas like online education, affordable healthcare platforms, virtual BRICS University, small and medium enterprises, tourism, youth exchanges and science and technology. We hope to see forward movement in these areas in BRICS 2015.
Therefore, we can say BRICS today plays an important role in global politics and economics.
Q.: What is India's attitude towards the fact that Russia is under sanctions and partly isolated over the situation in Ukraine?
A.: India has enjoyed a close relationship of friendship, trust and mutually beneficial cooperation with Russia over many decades. We term our relationship today as a special and privileged strategic partnership. Our relations are not affected by external developments.
Regarding Ukraine, we support an end to violence and conflict in that country, and support diplomatic efforts to resolve all issues in a way that meets the aspirations of all sections of Ukraine's population and in harmony with the legitimate interests of all countries in the region.
Q.: Does Delhi plan to switch to national currencies when handling settlements with Russia? When might this happen?
A.: Answer: India and Russia have been discussing trade in national currencies as an initiative for significantly increasing volume of bilateral trade. Our Central Banks have set up a Joint Working Group to work out the modalities. There have been talks between the EXIM Bank of India and the Vnesheconombank of Russia for a guarantees cooperation arrangement, towards facilitating loans in local currencies for Indian and Russian companies seeking to invest in each others' countries. Such arrangements could boost mutual investment.
Q.: India and Pakistan are close to joining the SCO. Why is Delhi interested in this organization? Can the membership of India and Pakistan in this organization assist the further normalization of relations between the two countries?
A.: The Shanghai Cooperation Organization is an important regional mechanism for cooperation in the areas of economy, regional security, counter-terrorism, energy, transport connectivity and culture. India has been actively associated with SCO as an observer since 2005 and we have stated our willingness to play a larger role in the Organization as a full member.
As for your question relating to our relations with Pakistan, India seeks peace and friendship with all its neighbors on the basis of mutually beneficial economic cooperation and mutual sensitivity to core concerns. We follow a bilateral approach to developing such relations and do not bring them into multilateral organizations.
Q.: Is there an opportunity to consolidate effort within the SCO framework given the growing terrorist threat in Afghanistan?
A.: As we have already mentioned, SCO is an important mechanism in many areas including counter-terrorism and regional security. The organization can play a positive role in addressing regional security concerns in its neighborhood.
Q.: India and the United States have recently renewed the bilateral military and technological cooperation agreement. Can this have a negative impact on Russian-Indian interaction in the military and technological sphere?
A.: The relations between India and Russia have always been characterized by long-standing friendship and mutual trust. Russia is an important strategic partner of India and will remain so. It is our leading partner in military-technical cooperation and the only country with which India has an Inter-Governmental Commission on Military-Technical Cooperation headed by the defense ministers. Our military-technical cooperation is intensive and multi-faceted and is not impacted by other bilateral relationships.
Q.: Is Delhi concerned about the development of military and technological cooperation between Russia and Pakistan?
A.: As India's Ambassador to Russia, my focus is on India-Russia bilateral relations. It would not be appropriate for me to comment on Russia's relations with third countries.
Q.: Is Delhi interested in developing energy cooperation with Russia? Russia's Zarubezhneft Company earlier planned to increase its activities in India. Has the Indian side made any practical steps in this direction?
A.: Russia is a major energy producer and India is one of the faster growing energy consumers. Obviously we would like to see an expansion of energy cooperation with Russia. Oil India Limited (OIL) has signed a [memorandum of understanding] MOU with M/s. Zarubezhneft, Russia during the India-Russia Annual Summit on December 11, 2014 at New Delhi. The two sides are exploring specific projects in which they can collaborate for joint research and evaluation. At the annual Summit in December 2014, both the countries placed special emphasis on identifying specific projects for cooperation in hydrocarbon sector. Our major oil and gas companies are in touch with Russian oil and gas companies towards this goal.


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World United Kingdom England Portsmouth
The travels continue in the UK
The Bear sign
hotel..from a bad angle
At the back (where the stables would have been)
a twitten
King Edward V11
Flint Stone house wall
at the cross roads
I found this pub on the internet. Not the cheapest Ive had but the best I could find near Southport. Train services in both directions were good.
It had the worst service of anywhere I've been. Not baqd. in fact they did everything they should. But there was none of the energy and enthusiasm of other places. When I booked in the girl at the desk said "room 18" and pointed to a door with 6 steps visible behind. So off I went. There was a bend and a door; more steps; more landings; passages; more doors and more steps. Even after I opened my door, four more steps!
FIFTY steps to get to my room. There were a few times on the narrower steps of last stretch that I thought both the case and I would go careering back down again!
When I mentioned the next day that when she had pointed to the door, I thought that was it, 6 steps. She said without turning a hair" oh yes, you're at the top"
A fellow lodger carried my case down this morning.
Havant (pronounced "haven't') is a town were there were stage coaches. Queen Victoria stopped here to have her horses changed on the3 way to Portsmouth 9she had sent horses, 4 greys, ahead. She didn't get out. She didn't speak to anyone. But its still a noteworthy event!
I walked around and as always there3 are some points of interest.
Which is a bit like "betwixt and between" a very narrow lane enabling you to get through to places at the back. A twitten in Chichester lead to an Art Gallery. You would need to be in the know!
Edward V11 on throne for 11 months. In that time this post office was built and has his insignia on it. I bet they wished the building had been delayed just a little. OR did it bring them attention?
like the flowers, there is always a sculpture or two to be found.
Flint stone houses have mortar of crushed rock/sand. When the flint isn't crushed totally this is the effect. It looks 'prettier" would it have been regarded as better, or just lazy? Somewhere I have a photo of a whole house. But I'm sure you can picture one.
AT the centre of town, there were two main coach routes crossing. So imaginatively North South East and West Street all start from this point.


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Allspice, otherwise known as pimento, is a type of spice that is grown only in the Western hemisphere, mostly in the Caribbean, Mexico and Central America. It is an important ingredient in Caribbean, Latin American, and Middle Eastern dishes, used to flavour everything from savoury dishes to desserts and beverages. Because of its name, many people tend to believe that allspice is a combination of different spices. However allspice is simply the dried, unripe berry of the pimento tree.
Where does the term allspice come from?
While allspice is not a unique blend of different spices, it was originally thought to be as such. The spice was discovered by Christopher Colombus on his voyage to the New World, and named by Dr. Diego Chanca. The spice was thought to taste like a combination of cinnamon, nutmeg, pepper, and clove. Thus the name 'allspice' was born to capture the flavour of this unique fruit.
Allspice vs peppercorns and pimento
The dried allspice berry is often mistaken for peppercorn due to their extremely similar appearance. However, allspice is larger than peppercorns and has a smoother surface. Because of its other name, pimento, allspice is also often confused with pimiento, a Spanish chilli pepper known for its red colour and heart-shaped form.
Where does allspice come from?
The allspice berry grows on the pimenta dioica, an evergreen tree that grows wild in the forests of Central and South America. The tree is popular in Jamaican cuisine, with almost all parts of it used in their cooking. Allspice is the dried fruit of this tree. The berries are picked while unripe and still green, traditionally dried in the sun. When dry, the berry receives its brown colour and peppercorn-like appearance. In Jamaican cuisine, the fresh leaves of the tree are also used in cooking, with a similar use to bay leaves. The wood and leaves of the tree are also used to smoke meats.
How is allspice used in cooking?
Allspice is one of the main ingredients used in Caribbean cuisine. In Jamaica, it is used in the traditional jerk seasoning, both for flavouring and smoking the jerk. It is also used in pickle seasonings, mole, and as an ingredient in curry powder and sausage. Allspice is another extremely important ingredient in Middle Eastern cuisine, especially food from the Levant region. There it is used as a flavouring for various dishes, from meats to stews, sometimes as the sole seasoning in a recipe. In the US and Great Britain, allspice appears in desserts such as cakes, as well as an ingredient in beauty products. In Poland, you can find allspice in deli meats, pickle flavouring, soup seasoning, and marinades.
You can use both ground and whole allspice for your cooking. The spice is best used freshly ground, as it can quickly lose its pungent flavour the longer it sits as a powder. The fresher it is, the more intense the flavour. Whole allspice is often used in pickling, soups, stews, and as a brine, while the ground version is better in desserts and baking.
Substitutions for allspice
If you're using a recipe that calls for allspice and don't have any on hand, you can substitute the flavour by combining equal parts clove, cinnamon, and nutmeg powder. The opposite works, too: if you need to use any of the spices above, substitute with allspice instead.
Andouille


Recently, I found Stylish Dress Book at my local library.
I love the simplicity of the Japanese patterns in this book. The first part of the book show cases all of the pattern options, one for each page, labeled A-Z. The second part of the book illustrates the instructions to construct each pattern. All of the patterns can be found in a little pocket at the very back of the book.
It was hard to pick just one. I really want to make them all, but lets be honest, how could I say no to a buffalo check top? (Pattern P). I went with a slightly bigger print with my fabric, and I really like how bold it reads. I found my fabric at Joann's. This pattern is SO easy, and simple. I put the whole thing together in a few hours. I blindly followed the pattern in size small. I realllllly wish it was longer. Note to self, don't trust the picture on the pattern and MEASURE. I was trying to hack this out for a weekend getaway, and didn't take the time I should have to measure the length. The model must be wearing a few sizes up, a little oversized. I also had to add a little more elastic in the neckline than what the pattern calls for. Other than the length, I am happy with the over all results.
Just a cute, little simple top if you're looking for a quick project. Coming up next is something I've been waiting to make for a few weeks now, and I'm so excited to get started. Stay tuned!
Very cute! We don't have the weather for that here right now, but it would be lovely for summer!
That's so lovely! What a difference styling can be, I like it 100 times better on you!


Frankie & Benny's serves up the best of New York Italian cuisine to offer you big flavours and massive choice.
On placement you will observe and assist in the busy restaurant, front house and kitchen.
You will serve customers; take drink and food orders accurately.
You will observe the chef when preparing orders.
You will support on reception desk; take booking over the phone.
Also complete general housekeeping duties.


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271235 Bellay è un asteroide della fascia principale. Scoperto nel 2003, presenta un'orbita caratterizzata da un semiasse maggiore pari a 2,8880270 UA e da un'eccentricità di 0,0381555, inclinata di 1,59501° rispetto all'eclittica.

L'asteroide è dedicato al poeta francese Joachim du Bellay.

Collegamenti esterni

Bellay
Corpi celesti scoperti nel 2003

redpajama_set_name: RedPajamaWikipedia


Argon7LS floorstanding loudspeaker is the largest model in Amphion's Argon family of high-end home audio speakers. Argon7LS follows the trend of employing design and technologies from our professional studio monitor line. This approach provides extremely natural, transparent, and precise sound reproduction with deep emotional impact. Argon7LS 'floorstanders' deliver an exceptionally precise imaging and wide sweet spot, keeping the sound well-balanced even when you move around the room.
Argon7LS uses a passive radiator design which is also present in all Amphion studio monitors as well as Argon3S and Argon3LS home audio loudspeakers. Passive radiators eliminate the known problems associated with reflex cabinets, where the correct signal is always followed by an unwanted tail. Argon7LS design creates a more natural energy transfer, providing the listener with an improved physical connection to the music, even on lower listening levels.
Just like all Amphion loudspeaker models, Argon7LS uses the company's signature approach to crossover design. Placed at 1600 Hz, the crossover is located outside the most sensitive human hearing range, allowing the use of the tweeter in that area, where our hearing is most perceptive. This way the speakers perform as point-sources, solving the problems we generally experience with coaxial or dual concentric designs, where the tweeter is housed in the moving "waveguide" ie. the woofer. The specifically designed waveguide creates an even dispersion, allowing you to immerse yourself into a room-wide sweet spot.
Amphion's acoustic design together with the unique approach to crossover implementation, have proven their value in some of the finest recording, mixing, mastering, and postproduction facilities around the globe. Argon7LS loudspeaker uses very similar technologies and is fine-tuned for home use. This makes them the perfect alternative for audio enthusiasts who want to experience their recordings as the producer and artist intended.
Argon7LS is the new front-runner in Amphion's Argon family of high-end home audio speakers.
Argon7LS uses the Amphion's signature approach to crossover and passive radiator design.
Argon7LS integrates acoustic design features proven in the finest global studio facilities.
Argon7LS's specifically designed waveguide creates an even, room-wide, sweet spot dispersion.


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Court filings show Caesars unit owes Gordon Ramsay, Nobu
Jan. 15, 2015, 10:41 PM UTC / Source: The Associated Press
It's no secret that a unit of casino giant Caesars Entertainment Corp. owes billions of dollars to lenders, hedge funds and investments firms stemming from a $30.7 billion buyout in 2008 that was paid for, primarily, with debt.
But a court filing from Caesars Entertainment Operating Co. on Thursday revealed a few recognizable people, places and companies that were still owed when it filed for Chapter 11 bankruptcy protection Thursday.
According to the filing, among the 50 creditors owed the most and listed as unsecured who would be among the last in line to be repaid are:
—Gordon Ramsay. The celebrity chef is owed $307,479. Gordon Ramsay Pub & Grill locations are inside Caesars Palace and planned for its Caesars Atlantic City property.
—Nobu. The restaurant chain co-founded by actor Robert De Niro has a location inside Caesars Palace in Las Vegas and is owed $459,964. It's also the brand attached to its own luxury hotel on the Caesars Palace property.
—Clark County. The Las Vegas Strip isn't in Las Vegas, it's in Clark County. The agency is owed $46.9 million for a bond issued in 2008 to move power lines underground on Caesars' land on Flamingo Road. A county spokesman says the county is working with Caesars attorneys to correct a mistake that listed the agency as an unsecured creditor even though the debt is secured, which would bump it up in line to be paid back.
—Charlotte Hornets. The basketball team is owed $393,750, according to the bankruptcy filing. A call to the team's executive offices wasn't returned. The team's chairman is NBA Hall of Famer Michael Jordan.
—Slot machine makers. International Game Technology is owed $28.5 million, Bally Gaming is owed $757,241, Aristocrat Technologies is owed $521,932.


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Arts and Sciences Blog
In a Finch
Prof. Kristin Pepper with Finch—a robot the size of your hand
By Mattia Ciurlino
Writing algorithms and code are the most essential tasks in computer science and in developing and maintaining software. It's adventurous work but learning it can be tedious.
So how do you keep students engaged?
Just bring in a robot.
That's what Kristin Pepper, a visiting assistant professor, did last fall when she introduced Finch—a robot the size of your hand that looks like a stingray—to her Introduction to Computer Programming course. Her innovative approach promoted interactive learning, where students write code and algorithms that instruct Finch, which then performs tasks based on the students' work.
"If you can get students to play with their work and turn it into something fun, they will spend more time doing it," Pepper said. "They will become better coders.
Students contemplate Finch while learning to code.
"Finch can speak, buzz and make a few sounds," she explained. "His little nose and eyes have a sensor of position so that he sees whether he is about to hit something, even though he is not so good at it. He can see on the right and on the left, identify the temperature, and he knows his orientation, thanks to a three-axis accelerometer, which works pretty much the same way as a Wii remote controller."
The product of a four-year study at Carnegie Mellon's CREATE lab, Finch avoids obstacles, reacts to lights and turns on a dime. Pepper purchased the first robot on her own and seeing how it energized her students has made it a staple in the classroom. The department is now the proud owner of 10 Finch robots making regular appearances in classes and at meetings of the Robotics Club, which Pepper started in Fall 2014.
"I do think computer scientists needing to work with robotics is becoming more prevalent in the workplace," she said. "Robotics will be helpful to the students to visualize how their programs work with moving hardware."
This article appeared in the Spring 2015 edition of The Catalyst, the College of Arts and Sciences newsletter.
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The Emerging Writers Network
The EWN was created to develop a community of emerging writers, established writers deserving of wider recognition, and readers of literary writing, in order to develop as large an audience as possible for those writers.
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Book Review 2018-006: The Coffins of Little Hope by Timothy Schaffert
Book Review 2018-006
The Coffins of Little Hope by Timothy Schaffert
2011 by Unbridled Books, 272 pages
(I received an ARC of this novel from Unbridled Books and Caitlin Hamilton Summie)
So, after waiting 70 plus days into 2018 to begin reviewing, and remembering to jump in a bit during May, we've slipped to nearly halfway through the year with not too many reviews. To us, it makes perfect sense then to jump back to a book we've owned for seven years.
The Coffins of Little Hope is the fourth novel by Timothy Schaffert that I've read and I do believe he has written his best novel to date (that date being 2011). It contains many of the same elements of his earlier novels--offbeat characters, humor that sneaks up on you and a ton of empathy for his oddballs.
The premise this time around involves a post-retirement age woman whose been writing the obituaries for the small town newspaper since her late teens, a possibly missing girl, a YA book series on the level of Harry Potter, and they all settle down on the small town in Nebraska. The "Coffins of Little Hope" of the title stems from that YA series as its to be the title of the final book in that series--where Miranda and Desiree wander Rottgut's Asylum for Misguided Girls (note that Schaffert might also have one of the best abilities to put titles together--The Phantom Limbs of the Rollow Sisters, The Singing and Dancing Daughters of God, and Devil's In the Sugar Shop were his previous novels, and even within some of his titles.
The narrator of the tale is the obituary writer, 83 year old S Myles (the S short for Esther, or Essie, or Ess). It's a great choice by Schaffert as she's seen the town's history, as the "missing girl" story ramps up it's mainly through the County newspaper, which not only does she do the obituaries for it, but the publisher is her grandson, Doc, whose daughter Tiff also plays a large role. It also helps the novel that S is caustic and funny and gives no cares at all about how others see her.
The biggest problem I have every time I consider reviewing one of Mr. Schaffert's novels is that if I were to do a real plot description, it would be a 45 page book review. The thing is, he pulls it off every single time. His novels meander and come back on themselves and occasionally open holes that are never filled but Schaffert does this is a manner that his readers simply do not care; they are more than happy enjoying the ride so much that finding an immediate destination does not matter at all. Which isn't to say that his novels don't get anywhere or say anything because they do. I find myself seeing others in a brighter light when I'm reading his novels, or thinking about them and I believe that's based on how he treats his characters. None of them have all the pegs lined up perfectly and in fact frequently might have less than half of them lined up, but they continually prove themselves worthy of empathy, or attention, or not looking away.
Without obviously attempting to do so, Schaffert sneaks humor into his tales, and he gets you to care about the plight of his characters. Not necessarily the aspects that the plot suggests you should (in Little Hope a woman claims her daughter has disappeared. Not everybody remembers the daughter. No birth certificate can be found. Meanwhile there are Lenorites (the girl's name was Lenore) sitting on the family's lawn. And while that seems to be a plot driver, it was never a main concern of mine reading the book--to discover what, if anything, happened to Lenore, or where she was. All of which helped make the book a can't put down novel for me. And I've not even gotten into the various relationships that the author of the YA series had and how they affect the story.
All of which is to say, in a long-winded rambling way (albeit, one unlike Mr. Schaffert, does not read well to me), Schaffert has put together a very interesting cast of characters in a small town in Nebraska, created a plot that pulls their various story lines together yet still doesn't force that plot to move in any certain way, does so with a little humor, a little empathy, and even a little spookiness, and does so in a manner that would have left me happy had the story gone on another 500 pages had it done in the same manner as the first 200.
June 14, 2018 in Book Reviews, Indie Publishers, Unbridled Books | Permalink | Comments (0)
Brain Candy - June 18, 2018
Just five days from now we'll be hosting Brain Candy from 7-9 p.m. at Green Brain Comics in Dearborn on Michigan Avenue.
This will be month two of the new monthly Arts/Reading Series where we bring together a poet, a prose writer, a musician and a visual artist to read, play, and show off their arts. The EWN is of the belief that most that are interested in one of these art forms is most likely interested in more than one, and maybe all four, and in the spirit of the original vision of the EWN, continue to attempt to build a community of artists and those that admire their works, and to develop this community across the various art genres.
This month's event will see:
Singer-songwriter Emma Guzman, known cat enthusiast, rumored star child and compelled by unknown forces, has always felt the need to express herself through music. Choosing to spend her time humming melodies and frantically scribbling lyrics in various notebooks and on random scraps of paper, she has quietly amassed a substantial collection of songs. Described by the Detroit Metro Times as a "song writing prodigy" and one of their top 15 artists to watch in 2016, Emma released her second album "Roots" on Backburner Records in 2017.
Michael A. Ferro's debut novel, TITLE 13, was published by Harvard Square Editions in February 2018. He was named as a finalist by Glimmer Train for their New Writers Award, won the Jim Cash Creative Writing Award for Fiction, and been nominated for the Pushcart Prize. Michael's writing has appeared in numerous literary journals and anthologies. Born and bred in Metro Detroit, Michael has lived, worked, and written throughout the Midwest; he currently resides in rural Ann Arbor, Michigan. Additional information can be found at: www.michaelaferro.com.
Terry Blackhawk is the author of Escape Artist, winner of the John Ciardi Prize, The Light Between, three chapbooks, and two other full-length collections. She has awards from Poetry Atlanta, America, Marlboro Review, The MacGuffin and Nimrod International, which awarded her the Pablo Neruda Prize in 2010. In 2015 she retired from Detroit's InsideOut Literary Arts Project which she founded in 1995. Blackhawk is a 2013 Kresge Arts in Detroit Literary Fellow and now resides in Connecticut.
Detroit based artist Ryan Herberholz received his BFA from the Stamps School at University of Michigan and his MFA from Wayne State University. His main focus is acrylic and oil paintings based on various locations in Detroit. He has also completed several murals in the city and occasionally works sculpturally. Some of his work can be seen at http://ryanherberholz.com/index.html. His Artist Statement: "I stop my bike on a street corner to snap a photo, I try to imagine the past, present, and future occurring simultaneously – I never get a clear image. My paintings are confluent landscapes of memory, encounters, images, and reverie that attempt to form a nebulous cosmology of my neighborhood."
Come on out Monday evening and hear a few songs, enjoy some artwork, and a couple of great readings. Join this developing community of artists and fans, and don't forget to wander around the store--Green Brain is a fantastic comic book store and a great home to this monthly (third Monday evening of every month) event.
June 13, 2018 in Author Readings | Permalink | Comments (0)
NSSM 2018: Mini-interview with Glen Pourciau (View)
We absolutely loved Glen Pourciau's first collection a few years back and were not even close to disappointed with 2017's View. We thank Glen for taking some time to answer our questions.
DW: Your short story collection, View, was published in 2017. What story within the collection had the earliest publication history outside of being in the collection, and what was that history?
GP: "Hired Hand" was written in late 2002. I submitted it to the New England Review on October 25 and it was accepted on December 13, one of only a handful of stories I have ever submitted that were never rejected.
DW: How did the publication of this particular collection come about? Were you solicited by the publisher, win a contest, agent submission, etc.?
GP: I submitted the collection to Four Way Books in the summer of 2010 during their open reading period. It was rejected without any comment that I remember. In March 2014 I got an email from Martha Rhodes, the Director of Four Way. She said the collection had stayed with her, and their decision to reject it had bothered her ever since. She said if I had that collection available or any other she'd like to publish it. Fifteen minutes later, I had sent her an email accepting her offer, a Word file attached. She said they had commitments and it would take three years to publish the book. In March 2017, the collection appeared.
DW: Where do short stories fit within your life as an author? Primary form to work with, or something you write when an idea hits, or …?
GP: Short stories are the only thing I write. I am a shrinker, not an expander. The last story I wrote started at 3600 words and wound up at 1526. As I edit, I constantly repeat: "Too much, too much."
DW: Where do short stories fit within your life as a reader?
GP: I am interested in mental hallways and tunnels. For that reason, I like vertically oriented short stories. Kafka's "The Burrow" is an example, an interior and subterranean landscape, submerged content abounding.
DW: How will you be celebrating National Short Story Month this May?
GP: I will be writing short stories. To me, every month is Short Story Month.
DW: Thank you very much for your time!
Glen Pourciau's Invite, was published by University Of Iowa Press in 2008 and won the Iowa Short Fiction Award. His collection, View, was published by Four Way Books in 2017. Pourciau lives in Plano, TX.
June 08, 2018 in Interviews, NSSM 2018, SSM 2017 | Permalink | Comments (0)
NSSM 2018: Mini-interview with David Jauss (Nice People: New and Selected Stories II)
One of the few writers we know with two big Selected or Collected type of collections (we know TCB does as well--we're sure there are others, but not a ton). David Jauss is also an author we've had the pleasure of working with a bit when Dzanc Books did two of his previous short story collections in their rEprint series. David was kind enough to answer a few questions for us.
DW: Your short story collection, Nice People: New & Selected Stories II, was published in 2017. What story within the collection had the earliest publication history outside of being in the collection, and what was that history?
DJ: My novella "Last Rites" originally appeared in my first collection, Crimes of Passion, way back in 1984, but I extensively revised it before Dzanc Books republished that book in e-book format in 2014 and I made some additional minor revisions to it before Press 53 included it in Nice People in 2017. Three of the other stories in Nice People date back to the mid-nineties, when they appeared in my collection Black Maps (which Dzanc Books also republished in e-book format), but the remaining nine stories in Nice People are either brand-new or revised versions of stories that appeared in magazines in recent years.
DJ: After reading some of Press 53's impressive short story collections, I queried its publisher, Kevin Morgan Watson, about publishing a New & Selected, and he asked me to send him the stories I was considering including. I sent him enough stories for two books, and I expected him to choose only half, but he liked the stories so much that he decided to print my New & Selected as a two-volume set. The first volume, Glossolalia: New & Selected Stories, appeared in 2013. Nice People would have followed more quickly, but I wanted to write a few new stories for it.
DJ: Although I've published two collections of poetry and a collection of essays on the craft of fiction, the short story has always been my primary form. I think it's the ideal literary form, one that combines the compression and intensity of a poem with the exploration of characters and events of a novel. I'm with Amy Bloom, who said that the difference between a novel and a story is "not the difference between Mt. Everest and a large hill. It's like scaling Everest faster."
DJ: Just as the short story is my primary form for writing, it's my primary form for reading. At least 70% of the books I read are story collections, and I confess I read more poetry and nonfiction than novels.
DJ: For me, every month is National Short Story Month, so this May I'll be doing exactly what I do every month of the year: buy and read a wide variety of short story collections.
DJ: And thank you for your support for short fiction!
David Jauss is the author of four collections of short stories, Black Maps, Crimes of Passion, Glossolalia: New & Selected Stories, and Nice People: New & Selected Stories II; two books of poems, You Are Not Here and Improvising Rivers; a collection of craft essays, On Writing Fiction; and a short monograph on the issue of completion in a work of art, A Crack in Everything: How We Know What's Done Is Done. He has also edited three anthologies, Words Overflown by Stars, an anthology of essays on the craft of fiction, poetry, and creative nonfiction from past and present faculty of Vermont College of Fine Arts, The Best of Crazyhorse: Thirty Years of Poetry and Fiction, and, with Philip Dacey, Strong Measures: Contemporary American Poetry in Traditional Forms.
June 08, 2018 in Interviews, NSSM 2018, Short Story Month | Permalink | Comments (0)
NSSM 2018: Mini-interview with Aaron Tillman (Every Single Bone in My Brain)
One of the nice things about doing this Short Story Month deal every year is discovering writers I was previously unaware of. I'd not read any of Aaron Tillman's work until picking up his collection late in 2017 after adding it to the SSC Database. I've not finished the entire collection, but really liked what I've read to date.
DW: Your short story collection, Every Single Bone in My Brain, was published in 2017. What story within the collection had the earliest publication history outside of being in the collection, and what was that history?
AT: The oldest and opening story in the collection, "The Great Salt Lake Desert," was first published in 2002, and it was my very first published story. In a stroke of incredibly good fortune, it was the first-place winner in Glimmer Train Stories' Short Story Award for New Writers, and I couldn't have asked for a better landing spot.
The story was written during a transitional period in my life. I was moving across the country from New York to San Francisco, as Ian—the central character in the story—longs to do. As my life was changing, I was simultaneously fulfilling this fantasy that I had had since I was a kid about crossing the George Washington Bridge, getting on Interstate 80, and not turning back: driving all the way across the country until I crossed the Bay Bridge in San Francisco. But the real-life fantasy was mixed with substantial anxiety, and the combination took me to a near-breaking point in Nebraska. It was dark and flat and the winds were fierce, shoving the moving truck I was driving all over the road. I felt a kind of paranoid split in my brain, and I was fairly convinced I was going to die. Not to spoil anything, but I survived. I felt changed a little, though. It wasn't until the following day, when I made it into Utah and stopped at the Great Salt Lake Desert that I started to regain some composure. I remember looking over this vast stretch of salt and all the seeds of paranoia that had been planted during the previous days started to wriggle. Since I had sort of fled the east coast and was now looking over this seemingly endless expanse of salt, Sodom and Gomorrah came to mind fairly quickly. The short story really flowered from there.
AT: In 2014, my friend Mike Martin (Michael Gerhard Martin) published his first collection of short stories, Easiest If I Had a Gun, with Braddock Avenue Books. I was not only impressed with the stories in Mike's collection, but with the look and feel of the book itself. It was beautiful. As the generous person he is, Mike made an email introduction to Jeffrey Condran and Robert Peluso, the publishers of Braddock Avenue Books, and they encouraged me to submit my collection, Every Single Bone in My Brain. As they were considering my work, I found myself picking up other books from Braddock Avenue, and they were terrific and all wonderfully put together. Although it took some time, Jeff and Robert eventually got back to me with an offer to publish my book. I was thrilled and am still in awe. When the first box of books arrived, I wanted to bathe in. They did such an incredible job—they really make beautiful books! They're worth getting just to look at and to hold. The words, merely gravy.
AT: Although I have written and am currently writing a novel-length work, the short story is the most natural and really my favorite literary genre to write and to read. I often imagine the world around me as a series of short stories, some with recurring characters and overlapping themes; some very real and others truly surreal. Ideas for stories enter my head-space fairly often, and as I begin to put them down on the page, they become richer and more exciting. Connections start to occur and the ideas begin to take on a certain shape. Once that shape is in place, I keep cycling around it, like a kid in a malleable cul-de-sac, letting my imagination run wild and allowing new possibilities to emerge within a space that grows more familiar and mysterious with each new lap. Creating fiction involves such a process of writing and rewriting, that I relish the opportunity to read over a complete work nearly every time I revise, which is something that short story writing usually allows. It is the ideal drafting process for me, and it's a literary form I really love.
AT: I was introduced to and really came to love so many of my literary heroes from the short story: from Borges and Kafka to James Baldwin, Flannery O'Connor, Grace Paley, Lorrie Moore, George Saunders, Aimee Bender, and the list, thankfully, goes on and on. I read them and teach them all the time. There is an obvious appeal: you can start and finish a story over a cup of coffee or in the bath or before bed. And just like that, this complete thing is now living in your mind where it can hang out on its own, or interact with other, fully or half-formed things, influence the way you think about the world. And if you want, you can read the same story again in a short enough period of time, and it takes on more color and complexion, more definition to help you understand and relate to circumstances and events both inside and outside the text. What more could you ask for?
AT: I have the pleasure of teaching literature and creative writing at a small college in Massachusetts, so May is a wonderful time to celebrate National Short Story Month as we revise and reflect on the work we've been reading and writing. In my creative writing class, we not only share our short story revisions, but we comprise a collective list of stories that we didn't read for the class—gifting these recommendations to each other—and begin to scratch out the beginnings of our next writing projects. Whenever possible, I like to end courses with beginnings, and in this case, we have new stories to write and to read—a fitting way to celebrate this most worthy month!
AT: It was a thrill to think and to write about the short story. Thank you so much for the opportunity and for being such a champion of the genre!
Aaron Tillman is a fiction writer and 2018 Pushcart Prize nominee. He is Associate Professor of English at Newbury College and Director of Newbury's Honors Program. His short story collection, Every Single Bone in My Brain, was published by Braddock Avenue Books in July of 2017, and his book of criticism, Magical American Jew: The Enigma of Difference in Contemporary Jewish American Short Fiction and Film, was published by Lexington Books in November 2017. Aaron received a Short Story Award for New Writers from Glimmer Train Stories and won First Prize in the Nancy Potter Short Story Contest at University of Rhode Island. Two pieces of his flash fiction were nominated for inclusion in The Best Small Fictions of 2015 anthology, and his novel was a finalist in the 2016 Molly Ivors Prize for Fiction. His stories have appeared in Mississippi Review, Glimmer Train Stories, Sou'Wester, upstreet, The Tishman Review, The Madison Review, Arcadia Magazine, The Carolina Quarterly, great weather for MEDIA, Prick of the Spindle, Burrow Press Review, and elsewhere. He has recorded two stories for broadcast on the Words & Music program at Tufts University and another for Functionally Literate Radio. His essays have appeared in The Writer's Chronicle, Studies in American Humor, Symbolism, The CEA Critic, and The Intersection of Fantasy and Native America (Mythopoeic 2009).
NSSM 2018: Mini-interview with Cris Mazza (Charlatan: New and Selected Stories)
I don't remember where it was, or what event we were at, but I had the pleasure of sitting at a dining table with Cris Mazza, I'd guess my involvement was EWN-related and pre-Dzanc, or really early Dzanc--so a while ago. She was extremely interesting and I knew she'd published some work (I didn't realize how much work) and I picked up some of her titles afterward. But like most events of that nature (whatever it was) I always found myself picking up a LOT of books shortly after and then barely dipping into the works of those new writers I'd just stumbled upon. I've dipped into Cris's writings but nowhere near enough for how good they've been. She probably needs to be one of those writers that I snag all of the works of and read through them during the course of a year. Maybe that will be a 2019 goal. Curbside Splendor was kind enough to put together many of her stories into one volume last year. Cris was kind enough to answer some questions.
DW: Your short story collection, Charlatan: New and Selected Stories was published in 2017. What story within the collection had the earliest publication history outside of being in the collection, and what was that history?
Cris Mazza: Since this book is a "selected stories," it spans my 20-years of short-story publishing, which was from 1989 (my first book) to 2009 (my last story collection). So the earliest story, "Second Person," was written in 1979-80. Even though "Second Person" won honorable mention in the Atlantic Monthly writing-program short-fiction contest in 1980, it was not my career's first published story, and wasn't accepted by a lit mag until 1987.
Cris Mazza: Charlatan was acquired through my circulating to various publishers the idea that the time had come for my "selected stories." A "selected stories" often is acquired for publication in different ways than other collection manuscripts, in that there was no manuscript and the publisher was offered the opportunity to assist in choosing which stories from my other books would be included to make it a comprehensive career-picture. This is something the author herself is not as able to see objectively.
Cris Mazza: I began my career with short fiction, as most students do, because it suits the "workshop process" better than novels. (Since becoming a professor in a writing program, I teach mostly the novel workshop, and we've found ways of dealing with novels effectively.) Both my master's and MFA theses were novels, so my rhythm of novel-writing began early, and continued. But in between novels, periods of story writing could re-invigorate writing intensity after the long-haul of a novel.
Cris Mazza: For reading, I actually prefer long stories, like Alice Munroe, Cheever, etc. I've written my share of ultra-short ones, which work great at readings -- and I appreciate the short ones when I attend readings as well, because absorbing a story via listening is more difficult than reading, when I can re-read paragraphs, etc.
Cris Mazza: May is the beginning of my fishing and gardening seasons, so my celebration of story month is a lot of isolation when I can clear my head of my academic duties. But I'll take along a few of the lit mags that have arrived in the mail this year and see what's been coming out.
Cris Mazza has authored over a dozen other books, mostly novels and collections of short fiction. Mazza now lives in the Midwest and is a professor in the Program for Writers at the University of Illinois Chicago.
NSSM 2018: Mini-interview with N. West Moss (The Subway Stops at Bryant Park)
Just over a year ago, May 2017, saw the publication of N. West Moss' short story collection, The Subway Stops at Bryant Park. She has kindly replied to some questions for us here at the EWN.
EWN: Your short story collection, The Subway Stops at Bryant Park, was published in 2017. What story within the collection had the earliest publication history outside of being in the collection, and what was that history?
N. WEST MOSS: The first story published was "Beautiful Mom." I was in grad school at the time, and that was the first real short story I felt I'd ever written, with round characters and tension and setting, etc. .It all came together in that story for the first time for me, and I was already over 45. I applied for a residency at the MacDowell Colony that same year and "Beautiful Mom" was the story I submitted as my writing sample (which embarrasses me a little bit now, because I am a better writer today, but back then it was my strongest work), and they gave me a residency, based just on that little story. What a thrill.
EWN: How did the publication of this particular collection come about? Were you solicited by the publisher, win a contest, agent submission, etc.?
N. WEST MOSS: I had submitted the collection to a few contests and had also sent it to a publisher in NYC to read, but they passed on it and it didn't win the contests. One of the stories in the collection was picked up by a journal that was, it turned out, connected to Leapfrog Press, and when they heard that I had a collection, they asked to read it. I had a contract within a few days. Leapfrog Press, by the way, is a pretty terrific press, and I'm lucky that my first book and first publishing experience was with those smart, kind people.
EWN: Where do short stories fit within your life as an author? Primary form to work with, or something you write when an idea hits, or …?
N. WEST MOSS: Well, I think short stories are the ideal form for MFA programs and for workshopping. I had attempted two books before getting my MFA and was flummoxed. I just couldn't pull off the long-form, and when I went back for my MFA, and we were focusing on short stories … well it was the ideal place to learn my craft. I still write short stories from time to time but as I feel stronger as a writer I am experimenting in other genres. I am working now on an essay collection. I have a full-length illness memoir with my (new) agent, and I'm writing a play that is a series of monologs, which are, in essence, short stories,.
EWN: Where do short stories fit within your life as a reader?
N. WEST MOSS: I read widely. I'm in the certificate program right now studying Narrative Medicine at Columbia University, so I'm reading a lot of medical memoir-type stuff. But I also teach and I just assigned, and read for the first time, Tim O'Brien's The Things They Carried, and I am blown away by it. One short story in there called "How to Tell a True War Story" is like a master class in fiction writing. So, short stories play an essential role in my life as a reader, but also as a teacher. I try to drink from many cups, and so in addition to short stories, I like essays and poetry as well (I have a couple of volumes of Wendell Berry's poetry and essays on my nightstand now). I always get the annual Best American Short Story anthologies to keep up with what is happening right now, and to see who is publishing the best work. I need a bigger nightstand. I always need a bigger nightstand.
EWN: How will you be celebrating National Short Story Month this May?
N. WEST MOSS: As you mentioned, my short story collection came out last summer. I figured that the fanfare was pretty much over, but it's been nice to be invited to read and speak and teach all over the place. So I have several readings coming up in May (and had more in April), all of which came to me, rather than me having to seek them out. I've been invited to speak at a few book clubs, and that is new for me, and really nice. Book clubs seem to be filled with amazing, sincere, careful readers who are excited to have an author chat with them about the book. In fact, one book club is taking me out to lunch IN Bryant Park this summer, and I can't wait.
EWN: Thank you very much for your time!
N. WEST MOSS: Thank YOU for supporting writers. There are not a lot of venues dedicated to the short story form, and we short story writers depend on advocates like you.
N. West Moss' work has been published in The New York Times, The Saturday Evening Post, McSweeney's, Salon, Brevity, Hospital Drive, Lunch Ticket, The Blotter and elsewhere, including on Radio France International.
She is a fellow at MacDowell, at VCCA in Virginia and at Cill Rialaig in Ireland.
NSSM 2018: Mini-interview with Adam Schuitema (The Things We Do That Make No Sense)
Hair must be on fire somewhere--two posts before 8 a.m. again! It's always exciting for we in the EWN headquarters to be discussing short stories, but to be chatting with a Michigan author as well? Outstanding. Adam Schuitema's second collection is his third book publication and we have Switchgrass Books to thank for it.
EWN: Your short story collection, The Things We Do That Make No Sense, was published in 2017. What story within the collection had the earliest publication history outside of being in the collection, and what was that history?
ADAM: A couple of the flash pieces—in somewhat different forms—go way back. There's one called "Peering through Blinds" that was one of my first publications as a grad student, appearing in Crazyhorse in 2003. I'd originally planned on it appearing in my first collection, Freshwater Boys. But that book's initial manuscript was too long, so my editor and I cut some of the stories, like "Peering through Blinds," that weren't as directly tied to landscape. I loved the story, though, and hated the idea of it never seeing the light of day in book form, especially since it continues the narrative of a family who appear in several of my stories over the course of my two collections. The Things We Do alternates between long and short pieces, so the story nicely found a home as one of those transitional fictions.
ADAM: I was extremely fortunate in this regard, and I feel like maybe it's good karma after my past experiences, which were such struggles. My previous two books went through years of rejections and then, when accepted, went through very long processes before publication. By contrast, The Things We Do That Make No Sense was relatively easy. The publisher, Switchgrass Books (an imprint of Northern Illinois University Press specializing in Midwestern fiction) also published my novel, Haymaker. They had the option of publishing my follow-up book, and fortunately they were interested in this one. It went through NIU Press's normal process of two outside readers in the field and then approval from the board, and fortunately that all went well.
The one small issue—and I knew this when I offered them the manuscript—was that, for an imprint specializing in Midwestern fiction, some of the stories in the collection (including some of the longest stories and the ones I felt most passionate about) didn't have direct ties to the region. I didn't want to cut them, but I talked with the editor at the time and I made some small but pivotal revisions that did create some organic tie-ins to the Midwest. In the end, I like the versions more this way.
ADAM: Even as I work again on a novel, my instincts are to drift toward stories because of the way they represent moments. Impressions. Shorter narratives feel more like things I can frame and hang on a wall and look at. Or show to others. Individual images and gestures full of color and texture.
A lot of the flash pieces in this latest collection came as a result of feeling buried beneath the burden of working for years on my previous novel. I had a manuscript that had ballooned to an untenable 660 pages, and I didn't know how to fix it. I took a year off from it and just wrote stories that were a couple of pages in length. The sense of accomplishment—seeing little pieces to a conclusion!—was so great. And I eventually figured out that novel. But I think it took the short bursts of narrative energy from a year of returning to flash fiction to make that happen.
ADAM: When it comes to that precious reading that's not affiliated with my teaching but is truly for my own inspiration and pleasure, I'm always trying to rotate between old stuff, new stuff, and stuff I've read before but want to experience again. Lately, I've been reading a lot of old Sherlock Holmes stories. I've also been loving the historical fiction that The Southern Review has been publishing lately. And then I'm constantly reading short pieces from online journals that friends and other fellow writers are sharing on social media.
ADAM: I'd mentioned reading stories that get shared on social media. This works really well with microfiction, of course, and it's an area where poets are able to really thrive. Poems are perfect for online reading and sharing. But for writers who tend to go long with their works—and many of my stories are in that twenty-plus page range—it's a challenge to harness the power of social media. But I'm sure there are writers and publishers out there who are doing it well, so I want to spend the month seeking those resources out and learning more about how we fictionists can better share this art form we care so deeply about.
ADAM: Thank you for supporting short stories and short-story writers!
Adam Schuitema is the author of the short-story collections The Things We Do That Make No Sense (2017) and Freshwater Boys (2010) and the novel Haymaker (2015). His works have twice been named Michigan Notable Books by the Library of Michigan.
Adam's stories have appeared in numerous magazines, including Glimmer Train, North American Review, Indiana Review, TriQuarterly, and The Southern Review. He earned his MFA and Ph.D. from Western Michigan University and is Professor of English at Kendall College of Art and Design. Adam lives in Grand Rapids, Michigan with his wife and daughter.
NSSM 2018: Mini-interview with Andrew Roe (Where You Live)
The Emerging Writers Network, where National Short Story Month takes two months to wrap up. There are as many posts to go for last month as have been posted to date--going to do my best to get them all in this upcoming week and not do a half-ass job with them because I'm trying to get them all up. Andrew Roe has published a couple of titles the past couple of years and Where You Live, the short story collection of the duo, was published by an EWN favorite, Engine Books, last year. Andrew was kind enough to write us an NSSM essay as well (about Joy Williams) as answer some questions!
EWN: Your short story collection, Where You Live, was published in 2017. What story within the collection had the earliest publication history outside of being in the collection, and what was that history?
AR: My memory continues to alarmingly erode, but I'm pretty sure the first published story was "Rough," which appeared in Glimmer Train back in 2004. I submitted the story through the slush. And I'll never forget coming home one day and listening to a message on my answering machine from Linda Swanson-Davies (one of Glimmer Train's editors) saying the story had been accepted. It was a long time before I erased the message.
AR: I published my first novel, The Miracle Girl, in 2015. That took a while to write. And all along I was writing stories too. Since my novel didn't exactly set the world on fire, my agent (Michelle Brower) and I thought it would be best to send the collection to smaller, independent publishers.
Victoria Barrett, the publisher and editor of Engine Books, knew my work because she'd published one of my stories—which is included in the collection—when she edited, along with Andrew Scott, the online literary magazine Freight Stories.
We had also met in person at AWP. I think I was supposed to buy Victoria and Andrew a drink but somehow got the time wrong. Anyway, when Michelle and I were putting together a list of publishers to submit the collection to, I made sure to include Engine Books, and they made an offer.
AR: That has varied throughout the years. There was a time, after my wife and I started having kids, when I was writing only short stories. But the past five, six, seven years (maybe more than that, actually) I've gravitated toward novels. I did recently write a few flash fiction pieces, but before that it had been a while.
AR: I'm always reading short stories. Even when reading a novel I'll take a break and read short fiction. It's sustaining for me. And I find great, reliable, always-there, go-to inspiration in two writers known for their short fiction: Charles D'Ambrosio and Joy Williams.
AR: Margaritas.
AR: Thank you, Dan! I really appreciate all you do for writers—and especially for shining love and light on short stories.
Andrew Roe's latest book is Where You Live, a collection of short stories. His debut novel, The Miracle Girl, was a Los Angeles Times Book Award finalist. His fiction has been published in Tin House, One Story, The Sun, Glimmer Train, Slice, The Cincinnati Review, and other publications, as well as the anthologies 24 Bar Blues (Press 53) and Where Love Is Found (Washington Square Press). His nonfiction has been published in the New York Times, San Francisco Chronicle, Salon.com, and elsewhere. He lives in Pleasant Hill, California, with his wife and three children. Find out more at andrewroeauthor.com.
NSSM 2018: Mini-interview with Jennifer Colville (Elegies for Uncanny Girls)
I'm a fan of Indiana University's Break Away Books and last year's Elegies for Uncanny Girls by Jennifer Colville continues the positive streak they've had with me. Colville was kind enough to take some time to answer questions for us. We'll also have an essay from her later during our celebration of the short story.
EWN: Your short story collection, Elegies for Uncanny Girls, was published in 2017. What story within the collection had the earliest publication history outside of being in the collection, and what was that history?
JENNIFER: The story "Details' was published in 2001 in The Literary Review's website. It's about a young woman trying to frame or narrate a confusing seduction by a creative writing professor, as the seduction happens. I'm interested in the everyday narrative moves we make to help us maintain order in confusing situation. The funny part is that this story about the comfort of storytelling, once it was published, kept coming back to bite me. It was published on the web, so everyone read it. My students read it, my family read it, my friends read, my fiancé read it and they all had either questions for me, or concerns for my sanity.
On a separate note, it was the only fully realized story that survived the piles of stories I wrote as an MFA student. It took me three year after my MFA to get it to a publishable place. After that, I didn't publish again until 2008.
JENNIFER: I finally had a group of stories that hung together. I've written many more stories than are contained in the collection, and though most of them are about women and the negotiation of self in a patriarchal culture, I guess I was looking for yet another kind of thread. I found that thread when I started thinking about my stories formally. I went back to school, did a PhD with an emphasis in narrative theory – and was finally able to take seriously the way in which the stories stood at the border of fiction and non-fiction. I found that treading this line wasn't just self-centered, it could reveal interesting and universal things about how we perceive the world always and already through a fictional lens. Once I embraced my own inclinations, I wrote a couple more stories in this vein and then felt the collection was ready.
I started sending out feelers, letting my writer friends and mentors know that I was ready. I asked for their advice: "where should I send this?" or "do you know any small presses looking for semi-experimental books?" A half a year later I got a little note from Michael Martone asking if I'd like to submit to Break Away Books, a wonderful imprint of Indiana University Press that specializes in hybrid literary writing. I sent my book to a board of editors, and "hooray!" they liked it!
JENNIFER: Short stories are my primary form. I see short stories as a place to experiment – to push against traditional notions of form. There is less at stake commitment wise in a short story – less time away from your life (I have two kids, and my own press http://promptpress.com so my life outside writing is significant). Also, short stories don't have a long history. Poe and Hawthorn started to invent and theorize the genre in the mid 1800's. People (including me) have sometimes tried to apply Greek dramatic theory to short stories, but these theories don't account for the way in which shorts are often born out of and carried along by descriptive details, atmosphere, interiority, and place. I think the short history and relative lack of theory make the short story a natural space for play. And I'm hyper visual. I love the collage form, which clusters super saturated a-linear moments through linking imagery. This structure is hard to sustain (at least for me) in a novel. But I can write short stories that work in this way.
JENNIFER: I love the intensity of the form. I love that you can read a story in one sitting and come away feeling as if your world has been altered. It's like coming out of a dark theater after a good movie, but somehow better. A story can be more internalized. You have to create the images yourself , you have to make more creative leaps -- the form requires more participation. But my favorite thing is to read entire collections. With a collection I feel as if a reader has enough evidence to begin to invent the life of the creative perspective behind the stories. To ask, what are his, her or their preoccupations? What kind of writer is this? From where are they borrowing their moves. I'm not really interested in who the author is outside of their writing, but I am interested in how they stage themselves on the page.
JENNIFER: Thanks you for asking me this! Now that I know it is National Short Story Month, I will treat myself to some new collections. I just read Jane Bowles, Two Serious Ladies, and have been itching to read her collection Plain Pleasures. I will also go right ahead and buy The Complete Stories of Clarice Lispector, from my local book store, Prairie Lights.
Jennifer Colville holds an M.F.A. from Syracuse University and a Ph.D. in English and Creative Writing from The University of Utah. Her stories have appeared in The Literary Review, theMississippi Review, The Iowa Review, and on the Huffington Post. A collection of short stories, Elegies for Uncanny Girls, was published by Indiana University Press in 2017. She is the founding editor of PromptPress, a journal for the interplay of visual art and writing. Jennifer has taught at The University of Iowa, San Francisco State, the University of San Francisco, and Coe College. She now co-organizes the Free Generative Writing Workshops in Iowa City.
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