Reading Widely and Writing Routinely: An Interview with Poet Alex Zitzner

By B.J. Hollars

If, over the past six years, you attended Cirenaica or The Priory Writers’ Retreat, then chances are you met Alex Ziztner—the ping-pong playing, hardworking poet whose retreat duties included everything from doorknob fixing to workshop, to hosting live readings.  Through it all, Alex was also working on his own craft.  A few weeks back, his hard work and dedication resulted in his admittance to New York University’s prestigious Master of Fine Arts program, where Alex will be working alongside renowned writers such as Terrence Hayes, Claudia Rankine, Sharon Olds, among others.  A committed literary citizen, Alex has been serving our region’s writers since his second year of college at the University of Wisconsin-Eau Claire.  I recently chatted with Alex about his journey, the lessons learned, and what comes next.   

B.J. Hollars: Tell us a bit about your writing journey at UW-Eau Claire and in the wider community. What inspired your work?

Alex Zitzner: Strangely, up until a few months before attending, I thought I was going to do pre-med or geology as my major instead of creative writing. Once I got to UWEC my first goal was to be published in NOTA, which somehow I was lucky enough to get into those first two semesters, and then somehow I became their editor-in-chief my second year. Taking on that role pushed me forward as an all-around writer, reader, and editor. I was reading a book of poems either every day or every other day, plus the occasional novel and short story collection, just to make sure I was as widely read as possible when it came time to evaluate submissions. It’s a never-ending game of catch-up though, trying to read books being published every month and then reading books published in the past.

As far as the wider community goes, since [as an editor] I couldn’t publish in NOTA, I published a decent amount of work in online and print journals across the states. I’ve taken a step back from submitting lately, and one day I’ll try to get some stuff published again, but it’s not something that really interests me at the moment. What inspired me or what still inspires me is friendship, which sounds mega corny. My main example, though, is that when I was living in Eau Claire, prior to covid, I’d get together with friends and we’d write. Like Chloe Ackerman, Connor Drexler, Katy Hackworthy, Mary Shaw, Reed White—I’d meet up with them one on one generally, though sometimes we’d have a crew, at a coffee shop, write and read for a while, then we’d go to the Joynt, sit in the poets corner if it was open, and talk about what we worked on over beer, or we’d play pool. It was great to have friends that I could write with and also hang out with outside of writing, because those are a few of my very good pals, and I’m stoked on their writing, which in turn got me stoked.

BJH: In addition to your course work, you also served as NOTA's editor-in-chief, an academic apprentice for fellow undergraduates, a CVWG board member, and a college assistant at both Cirenaica and The Priory. Can you share about how these literary activities influenced your growth as a writer?

AZ: Definitely, though I should say, I was a part of every English club for a certain period of time, primarily the English Ambassadors for incoming creative writing majors/minors and for the curriculum committee.  Plus, I helped proofread The Flipside on weekends. I’d say the overlapping growth came from feeling a sense of community through those literary activities. I always felt extremely proud to represent each position I served in, and maybe that didn’t necessarily grow my actual ability to write, but I feel like it was each a maturing opportunity as a literary citizen. This isn’t to say I didn’t grow a lot as a writer through those activities, but being a literary citizen is even more important.

BJH: What were some of the challenges you faced as you began eyeing the possibility of graduate school?

AZ: Cost was the largest challenge. I’m not sure exactly how much I can reveal, but one aspect of NYU that was enticing was that at the very least, I think every student gets some funding, plus opportunities for fellowships and can teach in their second year. Mainly what I can say is that I got lucky with being able to attend, though I’ve already begun going over the headache which is then affording to live in New York City as a student. Aside from that, another challenge was choosing where I wanted to go, and then essentially gambling on being accepted. I was fairly particular with where I wanted to go and was ready to be in it for the long haul of reapplying year after year until I got into where I wanted to go. The largest challenge though prior to all of this was putting together my writing sample and letter of intent. I mean everyone always said to just submit my best work, which is what I did, but my packet was all over the place which kinda worried me. Like I had narrative poems, lyrical poems, translations, erasures, etc. I was extremely worried about there not really being a sense of cohesion, but I guess looking back that most accurately displays my writing style which is probably the most important, like that the selection committee saw a glimpse into how I write outside of just that sample.

BJH: What advice might you give undergraduate writers hoping to continue their studies at the graduate level?

AZ: Go to a school that pays you, offers funding, and offers teaching experience. Prior to applying, depending on where you’re at in your undergraduate journey, read as much as you possibly can and don’t stop. That will do more for your writing than only focusing on writing. I’m sure that advice has been given numerous times, but also read widely. If you’re not sure what to read, do what I did and pester your professors for recommendations. On the same level of importance would be to get involved with the writing community. If you’re a UWEC student reading this, or an Eau Claire community member looking to get an MFA, there are so many opportunities to get involved. There are always craft talks, open reads, and workshops going on. Plus there are numerous magazines and journals to potentially work for or get published in.

BJH: What excites you most about your forthcoming experience in New York University's MFA program?

AZ: I’m not sure if there is one aspect that excites me more than others, because it’s all very exciting. I think if I were to pick one, meeting the students and professors is really exciting. I’ve missed being in workshops and going to readings with friends, so I’m looking forward to getting to do that again too. I’m going to miss Wisconsin, especially Eau Claire and all of the friends I made there, but I can’t wait to represent the Guild and UWEC at NYU, as I’m very excited and proud to have that opportunity to do so.

Open Yourself Up to the Power of Poetry at the Unitarian Universalist Congregation’s Local Poetry Showcase

Elaina Myers

It’s fair to say that the last few years have been hard for all of us due to the COVID-19 pandemic. Carrying the stress of not knowing what each day will bring caused the whole world to hold their breath, but as we finally seem to be reaching the end of this exhausting journey it’s time for us to breathe again. What a better way to celebrate this transition back to “normal” life than during National Poetry Month at this year’s Local Poetry Showcase!

 The Unitarian Universalist Congregation in Eau Claire has partnered with CVWG to host a showcase of local poets on April 20th from 6:30pm to 8pm. The event is open to the public and people are encouraged to attend in-person, although there will be a live online streaming on the UUC Facebook page. The theme of this showcase is centered around “Awakening,” which is defined as the act of coming into existence or awareness in not only a spiritual way, but an emotional and physical realization as well.

 There will be an array of local poets performing at this event including Lopamudra (Lopa) Basu, Debbie Campbell, Max Garland, two UWEC students Dawson Jollie and Carlee Shimek, and a handful of others. Each poet will be reading original poetry that they feel captures their own interpretation of the theme “Awakening”.

 “Honestly, I'm just ecstatic having another opportunity to meet more local poets. Sure, I'm happy to present, but I'm looking forward to being immersed in an environment filled with such creative minds,” said Dawson Jollie, one of the CVWG interns. “For me, the concept of awakening is like a "call to arms" for the body: the mind shouts into the deepest corners of the heart, telling it to get up once more. It's a wonderful feeling, but in these uncertain times I fear we need more of it.”

 Although poetry is something that should be recognized every day, this showcase comes at a unique time of growth and conversion from the unknown to the familiar. Reverend Julianne Lepp, main coordinator of the event, recognizes the impact that poetry can have and hopes that those who attend the event feel a deeper connection to the poets and their words.

““I think we’ve all been through a collective trauma with the pandemic and we are all encountering different challenges reentering into community, so I hope the power and inspiration that poetry contains will touch something in each of us and awaken our realities.” ”

— -Rev. Julianne Lepp

“I think we’ve all been through a collective trauma with the pandemic and we are all encountering different challenges reentering into community, so I hope the power and inspiration that poetry contains will touch something in each of us and awaken our realities,” said Lepp. “I believe this will be a beautiful event and I am excited to be apart of this safe space that allows us to process our feelings and dig deeper within ourselves.”

 For more information on the event visit https://www.cvwritersguild.org/events/2022/4/20/local-poetry-showcase.

“Widening the Way Forward”: A Sneak Preview of Verse in the Valley

By Dawson Jollie

 We all know the old saying: April showers bring May flowers.  But no one said it has to be just about rain and flowers…especially when it’s National Poetry Month!

Of course, you could spend the day cleaning floors or dusting shelves; but why not take a break from all the spring cleaning and join a host of poetry enthusiasts at Artisan Forge for their upcoming event: “Verse in the Valley!”

Co-sponsored by the CVWG and L.E. Phillips Memorial Public Library, on April 12 at 6PM Artisan Forge Studios is welcoming visiting poets Abraham Smith and Mark Ehling for a night dedicated to a love for the lyrical! They, along with a host of local poets such as Asha Sen, Xin Obaid, Sara Bryan, and more, look forward to sharing their poetry live.

In addition, those who come to enjoy a bit of poetry will have an opportunity to share their own at the open mic! Because what good would this awesome poetry event be without audience participation?

B.J. Hollars, founder and executive director of the CVWG, sees Verse in the Valley as an opportunity to emphasize a special unity in the writing community: one that goes beyond the accolades and professionalism that society strives for.

““What I love about Verse in the Valley is that it provides an opportunity for nationally recognized poets to read alongside newer readers in our community.””

— BJ Hollars

“Inclusion is at the core of our mission, Hollars said, “What I love about Verse in the Valley is that it provides an opportunity for nationally recognized poets to read alongside newer readers in our community.”

Alone, a single poet can write and read their work; but when you put a whole group within the same room, a synergy develops between minds. Poets and audience members can support one another, and inspire a collective motivation to utilize their art in a way that makes them most happy.

Author of the poetry collections Dear Weirdo, Bear Lite Inn, and several more, Abraham Smith expands on the communal benefits of events such as Verse in the Valley.

““Poetry widens the way forward...one of its many sweet fruitions is embodied empathy… all of us joined together can’t help but be a dear thing: a deepening of the senses….””

— Abraham Smith

“Poetry widens the way forward,” Smith said, “one of its many sweet fruitions is embodied empathy… all of us joined together can't help but be a dear thing: a deepening of the senses….”

Although the genre deserves attention year-round, National Poetry Month is a particular time to highlight poets of all levels.  This was what inspired Hollars, Smith and Ehling to collaborate to create a “safe, supportive, and free event for the whole community.” Artisan Forge was the ideal partner for that proposal: a location teeming with art that embodies the epitome of artistic expression.

Therefore, with so many disciplines converging in one event, it only makes sense that visual art from Mindy Huntress and live music by Lee Mynott will be accompanying the festivities on April 12!

And did I mention this is all free?! And will include snacks?  What are you waiting for? Save the date, spread the word, and see you at Verse in the Valley!

Verse in the Valley will be held on April 12 from 6:00-8:00 pm. Click here for more information and directions to Artisan Forge! (just off Clairemont Ave.)

For more on other events happening this month, visit the Guild’s events page!

Calling All Poets: An Interview with Saba Keramati

Elaina Myers

Poetry is one of the most beautiful types of literature in the world, but can also hold the most challenging forms to write. It can be easy to find yourself stuck in drafts of poetry that lose their intended impact, but have no fear because Saba Keramati is here.

 On Tuesday, April 5th Keramati is hosting a virtual poetry craft talk, “Kickstart Your Poetry: Experiments and Forms,” from 7 pm to 8 pm central time. This craft talk aims to help writers experiment with their existing drafts to bring a new life into them, whether that’s through form or voice.

““I am hoping that this craft talk inspires folks to let go of this idea that every draft needs to be perfect. I think folks get stuck in this mindset that if they write something and it doesn’t get published, then it is bad, but I want to show them that there is so much more they can do with every draft.””

— Saba Keramati

“I am hoping that this craft talk inspires folks to let go of this idea that every draft needs to be perfect,” said Keramati. “I think folks get stuck in this mindset that if they write something and it doesn’t get published, then it is bad, but I want to show them that there is so much more they can do with every draft.”

 To achieve this, Keramati plans to introduce poetry from poets that influence her, including Mag Gabbert and Noor Hindi, because she values the benefits writers gain from reading other work and finding tricks that they can then implement in their work. She also plans to present forms like the sestina and the ghazal to challenge you and show you new paths that your poetry can travel down. The revision process can be long and sometimes daunting for many poets, but Keramati stresses just how imperative it is to achieve the best version of a poem you possibly can.

 Keramati is not only an accomplished writer and editor at Sundog Lit (you can read more about her work at www.sabakeramti.com), but she also taught literature and creative writing classes at UC Davis. Aside from the amazing work she does in the literary world, she is also very passionate about social justice. She has served as a panelist for the National Asian Pacific American Women’s Forum. “I really love poetry as an art form because I find it is one of the most freeing ways to express both anger and a hope for change,” said Keramati. “I think it is really important to look to activists we admire, especially for people of marginalized identities, because it is difficult to separate those experiences from your writing.”

 If you find yourself struggling with writer’s block, sitting on a poetry draft that has sucked all the inspiration out of you, or are just interested in trying your hand at poetry, I highly encourage you to register for Keramati’s craft talk because I guarantee you will leave with exactly what you were searching for.

Telling of the Two minds: Introducing Barstow and Grand’s Newest Prose Editor, Elizabeth de Cleyre

Alexandra Mae Photography

By Dawson Jollie

In the world of prose writing, it takes an expansive skillset to willingly shift mindset between the two roles intertwined in publication: that of writer and editor. For Elizabeth de Cleyre, it’s like holding two brains in one skull.

“I find it helpful to move between both realms,”de Cleyre said in a recent interview.  “Having a writing practice helps me empathize and communicate with writers in the editing process, and having an editing practice helps me with my own revisions.”

Joining Barstow and Grand’s masthead as prose editor, de Cleyre already possesses an extensive history of writing and editing for both local and online journals such as The Millions, Brevity, EAA SportAviation, and several others. She’s also a co-founder of Dotters Books.

As a writer of prose, her love for the profession began in the third grade, when her mother introduced her to journaling. Daily journaling soon developed into something of an obsession, to the point where nowadays de Cleyre “can’t not write.” It’s become a way of life for her, a form of guidance that allows her to “find her place within” the world. However, she still understands the importance of taking a step back from her own writing to enjoy life and hold onto an identity outside professional life.

Through her previous editorial work, de Cleyre has helped over 70 writers on the road to publication.  She possesses a deep understanding of the obstacles facing writers, including motivation.

““It seems like many [writers] are asking themselves whether to write at all, or whether a story is important, or whether writing matters.””

— Elizabeth de Cleyre

“It seems like many [writers] are asking themselves whether to write at all,” de Cleyre said, “or whether a story is important, or whether writing matters.”

Another problem lies in the less existential effort of physically starting a piece.  Faced with similar struggles in her own work, she suggests seeking answers from fellow writers.  De Cleyre has recently taken refuge in George Saunders’ A Swim in the Pond in the Rain—a wonderful source of craft advice through storytelling. De Cleyre also recently enjoyed Jay Nelson’s The Long Way, which employs a boat-building project as a means to describe how some things are best endured by “learning through doing,” a lesson easily applied to any writer looking to kickstart their work.

Aside from taking motivation from other writers, we can also become inspired by the editorial process itself. A process which De Cleyre compares to that of a midwife.

“It seems like an apt metaphor on its face, because in both cases, at the core is a complex and ever-changing emotional process….” Cleyre explained, “which can be euphoric one minute and bring you to your knees the next.”

Of course, publishing in local literary journals like Barstow and Grand is another way to stay inspired. From de Cleyre’s perspective, some of the lesser-known journals serve as fertile terrain for the “experimental,” drawing out their significance in their ability to take chances on creative outlets unfitting for larger journals. She holds a special place in her heart for those local journals, spending part of her MFA reviewing magazines for The Review Review, where she encountered “new writing and voices” rarely seen in larger publications.

Yet in the face of current events, de Cleyre is one of many who’ve seen the prolonged COVID pandemic drastically transform the literary industry, moving in tandem with the Black Lives Matter Movement to prompt critical questions over who’s “published” and who’s hired to do the “publishing.”

“This absolutely impacts us on a local level, from what we’re reading, to who we’re reading alongside, what conversations we’re having, who’s included in those conversations….” de Cleyre said.

Despite the uncertainty of so much social upheaval, she appreciates the substantial benefits to virtual events brought about by the pandemic. The decision to conduct literary gatherings online at the local, regional and even international levels is an economic savior for those without the means to travel.

For upcoming writers and editors, local or not, de Cleyre provides a piece of advice that’s just as important to these professions as for those outside the field: to seek therapy when the stories written begin consuming the self.

“The stories we tell ourselves can be so deeply entrenched we hardly see them, which is why it’s important to build community, to be in conversation with others, to read, and encounter other narratives.”

Introducing Barstow and Grand’s Newest Prose Reader, Scout Roux

By Dawson Jollie

Literary communities can be like families: tightly-knit networks of people seeking to support one another through common goals. As an active literary citizen both here in Eau Claire and Wisconsin as a whole, Scout Roux understands the apt comparison.

Writing fiction for a collection of journals and publications such as HASH and Lunch Ticket, the former UW- Eau Claire English major also spends invaluable time as a fiction editor for Nightingale and Sparrow. More recently, Scout signed on to serve as a prose reader for Barstow and Grand.

“I’m really proud of being a writer from Wisconsin,” Roux discussed in a recent interview with the Guild. “There are so many interesting people and situations we come across that aren’t often represented in literature, especially in any positive way… These uniquely Wisconsin experiences are fundamental not just to my development as a writer, but also as a person…”

Roux credits the state’s literary community, which serves as an ideal region for upstart writers seeking a “vibrant,” nurturing environment. To a strong degree, they believe the Guild plays its part locally as well, to help “mold and maintain” these strong connections, much akin to other organizations across Wisconsin.

Roux’s past and present involvement with fellow local writers, allowed them to develop key insight on fiction as a craft to establish a unique voice in their work. And when it comes down to the nitty-gritty, they deem it essential to simply emphasize reading and listening. According to Roux, “diversifying one’s reading” is the perfect opportunity to gain an understanding for a variety of characters since the genre is “trying to make sense of real life.” Similarly, listening to individuals and the way they converse in public helps to form a more realistic, compelling dialogue for these characters.

Roux is but one of many literary magazine editors who believes that these local journals help home these vital skills for writers. Such publications, online and print, serve a purpose: bringing together creative minds and helping them express their work to the public.

““Community and literary citizenship: these ideas look like a lot of different things, but the way they often culminate is in journals. They’re celebrations of local writers; reading them, also, a celebration.””

— Scout Roux

“Community and literary citizenship: these ideas look like a lot of different things,” Roux said, “but the way they often culminate is in journals. They’re celebrations of local writers; reading them, also, a celebration.”

Though currently living in Madison, Roux often views their interactions with the Chippewa Valley’s literary community beyond journal work such as reading for Barstow and Grand. The connection runs deeper, Scout explains, back to classroom experiences at UWEC, involvement in student organizations such as NOTA, and once again staying in touch with the Guild. Roux praises the CVWG for its effort in rallying Eau Claire and the Chippewa Valley toward the celebration of literature.

“The people who work with the Guild in any capacity are tireless in their efforts to bring writers together and encourage nonwriters that they’re writers, too, as long as they want to be,” Roux said.

And what better a place for new writers than Barstow and Grand? With prose and poetry submissions open until April 30, maybe it’s time to take that leap onto the page!

For more information on submissions for Barstow and Grand: click here!

New Intern Alert: Meet Dawson!

 By Elaina Myers

For most college students, getting an internship is crucial to gaining practical experience in a work setting related to their career interests. UW- Eau Claire student Dawson Jollie is no exception. Currently studying creative writing and journalism, Dawson hopes to one day be a published author.

Dawson grew up in Iron Ridge, Wisconsin and took an interest in UWEC after learning that a few of his high school teachers attended the school. It wasn’t until he toured the campus that he fell in love with how inclusive and considerate the community can be. Dawson is most excited to use this internship as an opportunity to improve his interviewing skills and meet more local writers around the Chippewa Valley.

 As a new intern myself, I recently had the pleasure of interviewing Dawson and learning more about his passions for reading and writing literature that led him into this internship opportunity.

Elaina Myers: What was your favorite thing to read growing up?

Dawson Jollie: When I was younger, I usually read a weird combination of comic books and historical nonfiction, mostly pertaining to military history such as the World Wars. I would seldom read back then, and I think it wasn’t until high school that I took in a fascination for grim-dark science fiction and longer historical nonfiction. Sophomore year was when I really started reading books, including Warhammer 40,000, the universe in which a lot of my favorite books are written in.

EM: What is one book/short story/poem that you wish you wrote yourself and why?

DJ: One poem I wish I would have written is “The Death Bed,” by Siegfried Sassoon. It’s based on an injured soldier during World War I who’s fading in and out of consciousness, essentially on the verge of death. Sassoon’s portrayal of the experience is beautifully uncanny: he paints it as a colorful, dream-like existence that’s constantly interrupted by the pain of his wound, then ends when Death himself arrives to the soldier’s life. In all, it’s an outcry against the senseless slaughter of the young during the war and I completely respect that message.

EM: If you could have lunch with any author (dead or alive) who would you choose? And what would be the first question you ask them?

DJ: I would absolutely choose to sit down with Leo Tolstoy and discuss his thought process behind War and Peace. I would immediately ask him about how he conducted his observations on the events relative to his time and the difficulty of transporting such to written content.

EM: Who is an author you admire and what about their writing do you admire?

DJ: I think I just really admire Dan Abnett and his ability to conduct science fiction with an equal balance of brisk action, thoughtful analysis of the world-encompassing characters, as well as those characters’ believable dialogue.

New Intern Alert: Meet Elaina!

Dawson Jollie

Looking forward to another productive spring, the CVWG is thrilled to introduce UW-Eau Claire student Elaina Myers, our newest intern. Working with a full plate, Elaina studies journalism, creative writing, and multimedia communications, in addition to seeking a certificate in sign language. As a native of Chippewa Falls, Elaina’s initial interest in UWEC was due to its close proximity to home, but her love for the campus and its reputation for journalism helped seal the deal. Hoping to find a future career in writing, she wishes to spend time traveling, possibly building experience as a freelance writer.

As a new intern myself, I recently chatted with Elaina about a few of her literary interests that drew her to the CVWG, as well as her desire to bring her writing to life.

Dawson Jollie: Do you have any genre or style of writing you feel is your favorite, or perhaps "strongest?"

Elaina Myers: I feel my strongest and favorite style of writing is prose/realistic fiction. I have always loved writing short stories, even when I was a kid, so I have gotten a lot of practice with it. I also find creating characters that could be real and are dealing with things that people can relate to is the best way for me to express myself.

DJ: What themes/motifs do you admire most in literature, be it fiction/nonfiction?

EM: I think my favorite motif in fiction writing is dishonest or unreliable main characters because as a reader it is then your job to decide whether or not you can trust the things they are saying. An example of this is found in one of my favorite books Rebecca by Daphne du Maurier. You can tell the main character is jealous and envious, so a lot of the things she says have to be taken with a grain of salt.

DJ: Was there a particular author you looked up to when you were younger? If so, who was it and why?

EM: Believe it or not, I was reading classical books like Pride and Prejudice and Emma when I was in fourth grade, so I would say Jane Austen was probably my favorite author growing up. I think it is pretty obvious why so many people, especially women, are drawn to Austen’s work simply because she is so talented. As a kid, I always loved reading about romance in the 19th century because there was something so genuine and passionate about it, and romance is still my favorite genre to this day to read.

DJ: If you could put yourself into any fictional literary world, what would it be? What kind of role would you play in that setting?

EM: If I could choose to be a part of any fictional world it would have to be Lord of the Rings, which is one of my favorite fantasy series of all time. I can’t decide if I’d want to be a hobbit and travel with Frodo Baggins—because he always had something going on—or if I would want to be Arwen, since she was a Queen and my favorite character growing up.

Calling all Weirdos: Eau Claire’s Steve Dayton on his film, gIVE, screening at Midwest Weirdfest 2022

Dawson Jollie

For any filmmaker, it’s a joy to see their work on the big screen; and for horror fan and creator Steve Dayton, it’s the accumulation of over two decades of practice and patience.

Back in December 2020, the Eau Claire local released his film, gIVE: a low-budget, psychological horror casting an intense observation on the ways people cope with loss. As the protagonist, Jay, struggles with his daughter's disappearance and his wife becoming unresponsive, he’s faced with the trial of moving on with life.

Since its release, Dayton’s film has enjoyed pleasant success, enough to earn acceptance as a feature at Midwest Weirdfest 2022, a film festival hosted by the Micon Cinema in downtown Eau Claire. Here, film fans worldwide will come in dedication to everything horrifying, supernatural… and simply weird!

With the sixth annual Weirdfest coming this March, the Guild is pleased to be covering Dayton’s gIVE once more; thankfully, he managed to “give” me the opportunity to share his excitement for the occasion!

Dawson Jollie: As writer, director, and producer of gIVE, what were some of your biggest inspirations that led to its creation?

Steve Dayton: It sounds funny, but one day I was going to take a nap, and so I put on Stanley Kubrick's 2001 Space Odyssey.  As I was drifting off to sleep, I thought to myself ‘I should make a movie like this.’  It's funny to think about that moment because I was watching a masterpiece and thought, ‘Hey I should give it a shot.’ gIVE is not even close in the same category, but I believe if you watch gIVE you can see the inspiration in it.  I also think that gIVE was born from my two greatest fears: as a child, the fear of being taken away, specifically by aliens, and as an adult, my fear of having something happen to one of my children.  gIVE tries to relate to the viewer through our understanding of loss and how devastating it can be.

DJ: In what ways are your interests in horror translated into gIVE?

SD: I like suspenseful horror: I think the most powerful scare is the awkward movement where you think ‘is this normal’ or ‘is something wrong with what's going on’?  I like horror that sticks with you and makes you think for a long time.  The movie Mother comes to mind; I'm not sure if you would consider that horror, but the uneasy feeling has stuck with me since I've watched it. I want gIVE to make people think why the events in the movie happen and how different the situation would of gone for them if they were in Jay's place

DJ: The coping of loss appears to have major significance to the film's story; however, how close does this movie follow your own perspective on loss?  

SD:  I think gIVE is me looking at different people deal[ing] with loss and how that can affect the world around them.  All the characters think and act a little bit like me: some keep everything inside, some pretend like it's not happening, and others completely shut down. I would be bold enough to say that we all deal with loss with a combination of these three ways. This movie is personal and should feel personal when you watch it.

DJ: With gIVE's acceptance into Midwest Weirdfest 2022's lineup, how does this reflect upon the film's success since its initial release in 2020?

“The acceptance of gIVE into Midwest Weirdfest has been the summit of this journey.  I’ve been making movies for over 20 years, and this is going to be the first time I’ve seen something that I’ve worked on be on the big screen”

— Steve Dayton

SD: The acceptance of gIVE into Midwest Weirdfest has been the summit of this journey.  I've been making movies for over 20 years, and this is going to be the first time I've seen something that I've worked on be on the big screen.  I'm excited to sit in the theatre and feel the reactions of the audience watching it.

DJ: What else does Weirdfest mean to you, as a creator in the Chippewa Valley?

SD: WeirdFest is such a special event to have in the Chippewa Valley.  It's a great place to not only meet other creative people from the area but this fest brings in film makers from all over the world.  Like I said above, every year I've gone I've come away with something sort of interesting experience.

DJ: Considering the film's low-budget, how beneficial was it to have your family, home and the forests of Eau Claire play such large roles?

SD: When writing a low-budget movie, you have to write and plan the movie with what you have for resources.  My wife said, “if you are going to make another movie you have to bring the kids along,” so I made them all characters. I had a house, and Eau Claire's beautiful forest area, so I brought those locations in.  Time is always so limited, so I also knew that I would not have time to jump from one locations to another so I needed to plan a lot of different scenes in a few locations.

Dayton and cast members discuss the next scene.

DJ: If a bigger budget were available at the time, could you ever imagine gIVE appearing any other way than it does now?

SD: Yes.  Budget means time and resources.  The more I think about that question, I actually flip flop on it.  If I had a huge budget, gIVE [would] not the movie I made.  gIVE is a heartfelt approach to connect big ideas in an interesting package.  When making a movie, where you start and where you finish are two very different places.  It’s sometimes easy to look back and say ‘I could of....’ ‘I wish I would of...’ but that's just not the way it goes.  Like life, you do the best with what you have, and you keep getting after it.

DJ: Following Weirdfest, are there any other hopes you hold for the film's future?

“When you make movies, they live with you forever.  gIVE is always going to be a part of me, but this will be the last big screening of the movie.”

— Steve Dayton

SD: When you make movies, they live with you forever.  gIVE is always going to be a part of me, but this will be the last big screening of the movie.  Like I said above, I'm moving on to new projects and are always looking for new people to collaborate with

Midwest Weirdfest will be held Friday, March 4 through the 6 at Micon Cinema; Dayton’s gIVE will be screening Saturday, March 5 at 2pm.

For previous work from the Guild, featuring Steve Dayton, click here!

To stream the film on Amazon Video, click here!

For more information on Midwest Weirdfest 2022 and tickets, click here!

“Public Memory, Race, and Heritage Tourism of Early America”: A Humanist Perspective on How Issues of Race in Early America is Portrayed to Tourists

By Elaina Myers

The study of rhetoric and public memory is interested in understanding the ways that arguments about the past are made and shared among a group of people. Public memory is related to history, but it is more contested and changeable because it focuses on the ways in which history is memorialized in public spaces. UW-Eau Claire Professor Dr. Cathy Rex and UW-Milwaukee Professor Dr. Shevaun Watson address these studies of heritage tourism in their first edited scholarly collection, Public Memory, Race and Heritage Tourism of Early America, published in October of 2021. This collection includes contributions from a diverse group of humanities scholars that offer their own research and expertise into all eight chapters.

 “Very often historic sites of early America, where instances of race or racialized violence occurred, are discussed through the lens of tourism studies or discussed completely theoretically,” Dr. Rex explained in a recent interview. “We are trying to pull multiple threads together where humanities professors are writing about it from their different disciplines while also weaving in that tourist experience.”

 Dr. Rex contributed a chapter to the book focused on her experiences traveling to Jamaica with students and visiting Rose Hall, whose history involving white enslavers appeared to be glamorized and romanticized for profit.

 “Rose Hall gives candlelight tours, people get married, and they hold beautiful receptions and luncheons, and all of that would go away if they were truthful,” Dr. Rex explained. “This is the type of tension that a lot of the essays in this book unpack.”

 For many, early American issues of race seem far removed from those who don’t have deep historical family ties from the period. But Dr. Rex and Dr. Watson’s edited collection reminds readers that these issues remain relevant, and vital, today. Their collection confronts many difficult truths in America’s early history, which will interest students, academics, and those interested in forming a deeper understanding of the connections between tourism in America.

 Dr. Watson contributed the afterword of the book aimed to tie all the chapters together by highlighting the connections between public memory in the past and its effects on the present. She drew inspiration from the current political system, poetry, and the Dylan Roof massacre to start this discussion from different angles.

 “A lot of people argue that public memory is a really important route to racial reconciliation and [that] different kinds of representation of the past helps with richer understandings of the present,” Dr. Watson said. “What we see in our public landscape about the past has a huge impact, that isn’t even palpable to us, unless we really think about it, and I feel it is something worth thinking about.”

 Click here to learn more about their new book!

Behind-the-scenes with "Loss And Other Rivers That Devour" : An interview with Poet Gustavo Barahona-López

Poet and teacher Gustavo Barahona-López moved to Eau Claire in the summer of 2020—deep into the days of the pandemic.  Despite the difficulties of building community in these socially distanced times, Gustavo and his partner Kati—along with their children and dog Balto—have quickly begun building a community here.  In addition to teaching Spanish at a local middle school, Gustavo is also a published poet, whose debut book, Loss And Other Rivers That Devour, was just released from Nomadic Press.  We recently sat down with Gustavo to learn more about his new book, its inspiration, and the voices that inspire him.  Scroll on for the complete interview.          

B.J. Hollars: In your collection’s introduction, you note that this book centers on your “ever-evolving grief” for your father.  Can you share about how that became the focal point of your collection, and what impact the writing process may have had on your efforts to work with your grief?

 Gustavo Barahona-López: My father and our relationship have been the central topics of most of my writing. This focus stems in large part because of his cancer diagnosis while I was a high school senior and his death while I was in college. I had always adored my father and wanted nothing more than to earn his approval. A Mexican immigrant, my father made countless sacrifices to give his children a better life in the United States. To my teenage self, he was the embodiment of intellect, strength, and dedication to family. So when my father was diagnosed with terminal pancreatic cancer with a one-year prognosis, I was left dumbfounded. How could the strongest man I knew be withering before me? How is it fair that at 21 years of age, I would no longer have his presence or guidance in my life? I had these and many more questions that I could not get myself to ask him. What I did instead is turn to the pen. I wrote poems and journal entries trying to make sense of his dying and his death. Initially, I tried to get over his death, to go through the steps of grief and come to terms with it. But I soon realized that that path and mindset regarding grief could not serve me. Instead, I leaned into the memory of him and the haunting. As I grew into adulthood and fatherhood, I continued to write about my father. However, what that writing revealed was that just as my father offered his love, his views on what masculinity should look like caused me a lot of harm. My memory of him has shifted from one of glorification to complex personhood, a man who tried his best given the social milieu where he grew up. Loss and Other Rivers That Devour is the culmination of years of grieving and reflection that began in 2005 in a Kaiser Hospital in Oakland, California. 

BJH: You write that your poems are “an incomplete cartography” of your “growth, setbacks, longing, and [your] grief.” I really like the idea of knowing that the work is ongoing.  That the cartography remains “incomplete.”  Do you find yourself returning to this subject in your current poems, or has the work changed now that this project is complete?

“I had previously believed that once I completed a project dealing primarily with the mourning of my father such as Loss and Other Rivers That Devour, it would bring closure and I would be able to move on to other topics. So far that has not been the case. ”

— Gustavo Barahona-López

GBL: When I write poems now my father’s memory has a way of inserting itself, though it is less of a focus now. I had previously believed that once I completed a project dealing primarily with the mourning of my father such as Loss and Other Rivers That Devour, it would bring closure and I would be able to move on to other topics. So far that has not been the case. What has changed is the vessel for my writing about him. I have been working on a few prose pieces that deal more explicitly with my father, our relationship, and his ideas about vulnerability and masculinity. Each new work elucidates a different part of our relationship. The lens of fatherhood for instance has shifted how I view my own childhood as I consider which of my father’s lessons I want to pass on and which, in hindsight, were detrimental to my emotional growth.

BJH: Can you share about some of the struggles you may have encountered while writing this collection? 

GBL: My earliest poems in this collection tended to glorify my father. Within my family there was a cultural expectation that children should never criticize their parents. The first few times that I wrote any less than favorable characterization of my father I heard a voice in my head saying, ‘malcriado’ meaning ill-mannered/ill-bred or ‘hijo ingrato’ which translates to ungrateful son. However, over time I learned to quiet that voice so that I could express my experience of my childhood and the complexity of my relationship to the man I loved and feared most.

BJH: Your collection makes use of various forms.  Is there any one form that you found worked best for the subject of grief?  How can form explore grief differently?

GBL: Many of the poems in my collection that deal more directly with death and mourning are either free verse or make extensive use of white space. I implemented free verse when I wanted to let my thoughts run. If I had a moment where the loss felt especially salient and I was drawn to the page with urgency, I could count on free verse to help me get those thoughts onto the page. I also have several poems that make use of white space. I find this style of poetry lends itself to the fracturing of identity and can begin to reflect the complexity of relationships. Some of my more recent work like Waterfall Duplex, employs forms that include repetition of individual words or entire lines. I think this is a useful structure to demonstrate the cyclical form that the mourning process can take for some people, myself included.

BJH: What poets/writers/artists have influenced your work?

GBL: Some of my early influences include Pablo Neruda and Federico García Lorca. My work has also been inspired by the works of many contemporary poets. Eduardo Corral’s Slow Lightning, Vanessa Angélica Villareal’s Beast Meridian, Sara Borjas’ Heart Like a Window, Mouth Like a Cliff, Alan Chazaro’s Piñata Theory, contributed to my understanding of how to weave the histories of Latinx people into verse. These works also encouraged me to explore the complexities of relationships between immigrant parents and their second-generation children living in the United States. Finally, three books stand out to me in the way they approach the grieving process are: Victoria Chang’s Obit, Preeti Vangani’s Mother Tongue Apologize, and Jenny Qi’s Focal Point. Many of the poems in Loss and Other Rivers That Devour are a result of direct engagement with the works of these wonderful poets. 

BJH: What do you hope readers take from your collection?

GBL: Once a poem or book is out in the world as the author it is impossible to control what readers get out of it. However, what I would want readers to come away with from reading my collection is that there is a multitude of ways to grieve. In my case, mourning my father is something that I do in small and big ways every day. Some days the grief is a slow ebb, others it feels like being swirled in a whirlpool, but it is always there. And for me, that’s OK. My father gets to be a part of my life even in his absence. There isn’t a singular way to mourn and mine is another example of how we as people process an immeasurable loss.  

Click here to purchase Gustavo’s book today!

Author Patrick McBride on His Teenage Years Spent Alongside The Milwaukee Bucks, Green Bay Packers, and the Milwaukee Brewers

In his teens, Patrick McBride worked for the Milwaukee Bucks, Green Bay Packers, and the Milwaukee Brewers from 1970-76.  No that’s not egregious typo—just proof that Pat may very well have been the “luckiest boy in the world.”

He worked inside the locker rooms of all 3 professional sports teams, and at the age of 18, became the youngest Equipment Manager and Assistant Trainer in professional sports history when he was named to those positions by the world champion Milwaukee Bucks in 1971.   He also worked as a student Assistant Trainer for the University of Wisconsin-Milwaukee and University of Wisconsin-Waukesha.

“The book tells the story of a skinny kid lacking confidence and growing up in a large, dysfunctional family who finds mentors in the most unlikely place—the world of professional sports,” Pat shared in a recent interview. “As a 15 year old I entered a 25-word essay contest and became the Milwaukee Brewers first batboy; called the Milwaukee Bucks office and got a job on their bench; and hustled my way into a job with the Green Bay Packers. Though I met hundreds of stars and celebrities, presidents, governors and politicians, it was my mentors in the organizations that changed my life by giving me the confidence in myself and convincing me to go to medical school. Though struggling with Imposter Syndrome in my career, I became a professor and a Dean of a medical school.”

“The book tells the story of a skinny kid lacking confidence and growing up in a large, dysfunctional family who finds mentors in the most unlikely place—the world of professional sports,””

— Pat McBride on "The Luckiest Boy In The World"

Dr. McBride is an emeritus professor in the UW SMPH Department of Medicine's section of cardiovascular medicine and the Department of Family Medicine.  Dr. McBride directed the UW Hospital and Clinics' Preventive Cardiology program, and other clinical initiatives for people at risk for cardiovascular disease. He served as the UW SMPH Associate Dean for Students and the Associate Dean for Faculty. 

Join him for a reading and book signing at Pablo Center on Saturday, February 5 at 6PM.

He’ll also speak at First Congregational Church on Tuesday, February 8 at 6PM.

Books will be available for purchase.

A Mini-Interview with Priory Writers' Retreat Writer-in-Residence Angela Trudell Vasquez

This summer, we’re thrilled to host Madison poet laureate Angela Trudell Vasquez as on of our four Priory Writers’ Retreat writers-in residence! When you are accepted into The Priory, you’ll have the option to schedule a personal one-on-one session with Angie!

Angie Trudell Vasquez is a Mexican-American writer and holds an MFA in poetry from the Institute of American Indian Arts. Finishing Line Press published her third collection of poetry, In Light, Always Light, in 2019, and recently accepted her fourth collection, My People Redux, for publication. Her poems have appeared in the Yellow Medicine Review, The Slow Down, the Raven Chronicles, The Rumpus, on the Poetry Foundation’s website, and elsewhere. She is the current poet laureate of Madison, Wisconsin and the first Latina to hold the position.

Read on for a mini-interview with Angie!

1.     What about The Priory Retreat are you most excited by? Giving back to the writers what I have learned about putting a collection together, sharing my knowledge, and processes.

2.     Can you share a bit about a mentor or writing experience that helped shape your own work? Wow, this is such a big question. I can think back to when I was an undergrad in my twenties and Jody Swilky, one of my first early poetry mentors, asked me why I never write about my own culture. And later in my forties, I think of my poetry mentors at IAIA (Institute of American Indian Arts) and what they gave to me in terms of being able to edit my own work and other’s. Sherwin Bitsui, Joan Naviyuk Kane, and Santee Frazier were my poetry mentors at IAIA, and for two years all I did was live and breathe poetry. Post MFA, I examine and reflect on the inner architecture of a manuscript or a poem now. This is something I practice.

3.     What are you reading these days? Braiding Sweetgrass by Robin Wall Kimmerer; the Yellow Medicine Review Fall 2021 edition, guest edited by Shauna Osborn, The Music Issue with a playlist; Sandra Cisneros’ Martita, I Remember You; Above the Bejeweled City by Jon Davis; and collected poems of Federico Garcia Lorca.

4.     Bonus: What has been keeping you creating during these pandemic days?

“Love. The world keeps spinning and we keep breathing alongside the people we love and care about. It is a way to recognize loss too. People live on in poems. ”

— Angie Trudell Vasquez

Love. The world keeps spinning and we keep breathing alongside the people we love and care about. It is a way to recognize loss too. People live on in poems. Writing has always been where I go to. I have been journaling my feelings during this time of the pandemic. It helps. Poetry is my salvation. I can carefully craft a poem. I am in control on the page, and there is so much to write about.

Five Reasons To Apply To The Priory Writers' Retreat Today!

“If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.”

—Toni Morrison

If you’re looking for a writers’ retreat that’s inclusive, joy-filled, and dedicated to your craft, then we’ve got the place for you! Welcome to The Priory Writers’ Retreat—a vibrant, inclusive, and collaborative writing community in the heart of Wisconsin’s Chippewa Valley. Take Toni Morrison’s advice: use three days this June to write the book you’ve always wanted to read!

Deadline to Apply: February 1, 2022.

Retreat Date: June 23-26, 2022.

Click here for Summer 2022 details.

Click here for information on applying.

Click here to apply beginning January 1!

A Mini-Interview with Priory Writers' Retreat Writer-In-Residence Barrett Swanson

This summer, we’re thrilled to host nonfiction writer Barrett Swanson as on of our four Priory Writers’ Retreat writers-in residence! When you are accepted into The Priory, you’ll have the option to schedule a personal one-on-one session with Barrett!

Barrett Swanson is a contributing editor at Harper’s Magazine. He was the recipient of a 2015 Pushcart Prize, and his short fiction and essays have been distinguished as notable in Best American Short Stories (2019), Best American Nonrequired Reading (2014), Best American Essays (2014, 2015, 2017, and 2019) and Best American Sports Writing (2017).

Read on for a mini-interview with Barrett!

1.) What about The Priory are you most excited about?

“Because writing retreats usually take place over the span of four or five days, they always end up being these concentrated spurts of inspiration and camaraderie where conversations are rich and meaning-laden and where you get right down to the essence of things. Artistically, it’s a jolt to the temples and leaves me feeling more awake to possibility.”

— Barrett Swanson

Talking with the attendees and reading their essays. Because writing retreats usually take place over the span of four or five days, they always end up being these concentrated spurts of inspiration and camaraderie where conversations are rich and meaning-laden and where you get right down to the essence of things. Artistically, it's a jolt to the temples and leaves me feeling more awake to possibility.

2.) Can you share a bit about a mentor or writing experience that helped shape your own work?

For fear of offering a maudlin portrait of my high school English teacher (the wonderful Mrs. Keane!) or offering a stale writerly bromide ("getting rejected from that magazine taught me that, in this business, perseverance is important," etc.), I will instead share an anecdote about a writer whom I admire. Delillo says somewhere that he's obsessed with how words look on a page and will alter sentences so that the very shape of the letters in a single phrase will be evocative of the emotion he is trying to conjure. I seem to recall that he wrote one of his books entirely on notecards, the diminutive size of which forced him to focus on a little crop of sentences before moving onto the next. Doing so ensured that he could pumice down each clause and mold all the words' shapes to his liking. I mention this because the possible neurosis of his practice has allowed me to feel more comfortable in my own oddball habits, about which (nice try) I will end public discussion here.

3.) What are you reading these days?
I'm reading The Triumph of The Therapeutic by Phillip Reiff and Fragments of an Infinite Memory by Maël Renouard.

A Mini-Interview with Priory Writers' Retreat Writer-In-Residence Nickolas Butler

This summer, we’re thrilled to host fiction writer Nickolas Butler as on of our four Priory Writers’ Retreat writers-in residence! When you are accepted into The Priory, you’ll have the option to schedule a personal one-on-one session with Nick!

Nickolas Butler is the internationally-acclaimed author of several books of fiction, including Godspeed, Little Faith, The Hearts of Men, Shotgun Lovesongs, and the short story collection, Beneath the Bonfires. He is the winner of France's prestigious PAGE Prix America, the 2014 Great Lakes Great Reads Award, the 2014 Midwest Independent Booksellers Award, the 2015 Wisconsin Library Association Literary Award, the 2015 UW-Whitewater Chancellor's Regional Literary Award, and has been long-listed for the 2014 Flaherty Dunnan Award for First Novel and short-listed for France's FNAC Prix.

Read on for a mini-interview with Nick!

1.) As our longest serving writer-in-residence, what do you appreciate most about the CVWG retreats?

​This is easy to answer. I love the folks who travel from around the world to Eau Claire to improve their craft. I really do. I've formed friendships with many of these students and writers and I treasure our time together. Writing is often a lonely endeavor, but when you can sit down and simply talk books with other people who appreciate stories and poem and essays as much as I do, well, it's very therapeutic, very enjoyable.

2.) Can you share a bit about a mentor or writing experience that helped shape your own work?

“But for me, the best mentors teach us about life, and about this mystery of becoming a good and decent human being.”

— Nick Butler

​I often think of my first workshop-teacher at the Iowa, the great James Alan McPherson. Jim was an incredible soul, and it's true true that he taught me a great deal about the craft of writing. But for me, the best mentors teach us about life, and about this mystery of becoming a good and decent human being. Jim often asked me as much about my wife and young son as he did about my craft. And what I took away from our conversations was that while writing was a craft and to an extent, an obsession, we both shared, what was paramount ultimately, was our relationships.

3.) What are you reading these days?

​I'm reading a stack of unpublished novels, to be honest. But prior to that I enjoyed reading THE LINE THAT HELD US by David Joy and LOST IN SUMMERLAND by Barrett Swanson.

Bonus: Can you share a bit about your walks? Do they spur creativity, or are they simply a chance to leave the working world behind for a bit?

​Candidly, writing is a very sedentary activity. Long walks are my most regular form of exercise, but I also believe walking is a good activity for writers because the real stuff happens away from our computers. Take a walk and you'll interact with the world, with nature, with other human beings in a totally improvisational sort of way. This can only be good for the writing.

A Mini-Interview with Priory Writers' Retreat Writer-in-Residence Nicole Kronzer!

This summer, we’re thrilled to host young adult writer Nicole Kronzer as on of our four Priory Writers’ Retreat writers-in residence! When you are accepted into The Priory, you’ll have the option to schedule a personal one-on-one session with Nicole!

Nicole is the author of the young adult novels Unscripted and the forthcoming The Roof Over Our Heads. Unscripted was named a Best Book for Young Adults by the American Library Association and was a Minnesota Book Award Finalist. Nicole is also a high school English teacher and former professional actor. She loves to knit and run (usually not at the same time). She lives with her family in Minneapolis.

Read on for a mini-interview with Nicole!

1.) What about The Priory are you most excited about?

I'm excited to return to Eau Claire to write and talk about writing in such a beautiful setting during a beautiful time of year and to reconnect with fellow MHS alum Nick Butler!

2.) Can you share a bit about a mentor or writing experience that helped shape your own work?

“I used to treat setting as an afterthought, but now I really think about it as I write—how does the fact that there’s a key rack by the door, or that the couch is thirty years old, or that the carpet is worn in front of the window influence the action of the scene? ”

— Nicole Kronzer

Two come to mind. I took a class with Ibi Zoboi a couple years ago that was focused on setting. She stressed that when you write a scene, the specific setting has to matter. It's not any old living room, it's this specific living room. And that space must influence the characters and plot. I used to treat setting as an afterthought, but now I really think about it as I write--how does the fact that there's a key rack by the door, or that the couch is thirty years old, or that the carpet is worn in front of the window influence the action of the scene? How can these details provide insight into my characters?

The second is an exercise given to me by Nina LaCour. She had us list out five pivotal moments in our protagonist's life before the book begins. This simple action deepens my characters' lives so quickly--it's something I do every time I develop a significant character now.

3.) What are you reading these days?

In addition to writing books for teenagers, I teach teenagers. I read a lot of YA for both reasons! My students are very into murder right now (I remember when it was vampires, then zombies, then general post-apocalyptic whatnot), so I just finished Karen McManus's latest, YOU'LL BE THE DEATH OF ME. I love historical fiction, so I'm also listening to Mackenzi Lee's final book in the Montague Siblings trilogy, THE NOBLEMAN'S GUIDE TO SCANDAL AND SHIPWRECKS. Lit Circles are coming up in my senior English class, so I'm also re-reading GIOVANNI'S ROOM by James Baldwin, THE NAMESAKE by Jhumpa Lahiri, and THERE THERE by Tommy Orange.

Bonus: What has been keeping you creating during these pandemic days?

Creation has saved me during the pandemic. The world has felt out of control, but when I'm writing, I have ultimate control. I decide who shows up, what they say, what happens--I don't know how I would have survived intact without it.

Joy to the Word Storyteller Spotlight: Ken Szymanski

“I leave my Santa gear in the car. What’s socially acceptable at Lambeau is not necessarily socially acceptable at Subway.””

— an excerpt from Ken Szymanski's "Lambeau Santa"

 Joy to the Word is an event that comes once a year that features five incredible storytellers, four great stories, two musical artists, and a partridge in a pear tree. This in-person show starts at 7 pm on Thursday, Dec. 16th, and is hosted by B.J. Hollars and Jonathan Rylander with musical performers Derick Black and The UKE Klub.

I had the pleasure to interview the five storytellers in a series of mini-interviews. One storyteller is Ken Szymanski, an Eau Claire Writer in Residence and author of Home Field Advantage, a book of local non-fiction stories. According to Ken’s website, the book is about childhood, family, sports, and many other events that feature people and places in Eau Claire. Ken will be reading a story from Home Field Advantage titled “Lambeau Santa”.

Aidan Sanfelippo: Why did you pick this story?

Ken Szymanski: I’ve written several Christmas stories, but “Lambeau Santa” has the biggest range of emotions. (Joy to the Word musician) Derick Black really tapped into this range when he created a soundtrack, which he will play live on guitar while I’m reading. With his music, he’s able to take the story to a new level. We had a lot of fun rehearsing and fine-tuning it, and we think the audience will enjoy the two art forms woven together.

AS: What is a quote from your story that stands out to you?

KS: “I leave my Santa gear in the car. What’s socially acceptable at Lambeau is not necessarily socially acceptable at Subway.”

AS: What is your most joyful winter memory?

KS: My most joyful winter memories come in two parts. First, growing up, I loved sledding with friends and brothers on Eau Claire’s north side. Secondly, I’ve enjoyed taking my own kids sledding on some of those same hills. Sledding at night was—and still is—my favorite.

Joy to the Word will be held at the Pablo Center at the Confluence at 7 pm on Thursday, Dec. 16th. More mini-interviews of the other storytellers and tickets for Joy to the Word are available on the Chippewa Valley Writers Guild Website.

Joy to the Word Storyteller Spotlight: Jeff DeGrave!

“Security was nestled all snugged in with the feds; While visions of guns-mixed-with-alcohol danced in their heads...””

— an excerpt from Jeff DeGrave's "Twas the Night Before the Olympics"

Joy to the Word is an event that comes once a year that features five incredible storytellers, four great stories, two musical artists, and a partridge in a pear tree. This in-person show starts at 7 pm on Thursday, Dec. 16th, and is hosted by B.J. Hollars and Jonathan Rylander with musical performers Derick Black and The UKE Klub.

I had the pleasure to interview each of the five storytellers in a series of mini-interviews. One of the storytellers I was able to interview was Dr. Jeff DeGrave, the Intercultural Immersions Coordinator for the University of Wisconsin Eau Claire. In this position, Dr. DeGrave oversees intercultural immersion programs and helps the students and faculty prepare for their time abroad.

Aidan Sanfelippo: Why did you pick this story to tell?

Jeff DeGrave: “[Twas the Night Before The Olympics]” was probably the most unique, bizarre, and absurd winter experience I have ever had. I still sometimes ask myself if it truly happened. I'm just glad I have some photographs to continue to confirm that it was all real.

AS: What is a quote from your story that stands out to you?

JD: “Security was nestled all snugged in with the feds;

While visions of guns-mixed-with-alcohol danced in their heads;”

AS: What is your most joyful winter memory?

JD: Walking around central Tallinn (Estonia) on Christmas day in the town square where there were live reindeer, a medieval castle, cobblestone streets, glogg, kids on a skating rink, church bells, and big soft warm flakes of snow. This is what life must truly be like for those living inside an Estonian snow globe.

Joy to the Word will be held at the Pablo Center at the Confluence at 7 pm on Thursday, Dec. 16th. More mini-interviews of the other storytellers and tickets for Joy to the Word are available on the Chippewa Valley Writers Guild Website.

Dr. Dorothy Chan’s BABE: Queer Happiness & Luscious Intimacy Unfold

Aja St. Germaine

Dr. Dorothy Chan is an Assistant Professor of English at the University of Wisconsin-Eau Claire, Editor Emeritus of Hobart, Book Reviews Co-Editor of Pleiades, and Co-Founder and Editor in Chief of Honey Literary Inc., a 501(c)(3) literary arts organization. This month, they published their third book, BABE, on December 2nd, 2021. Her other collections include Attack of the Fifty-Foot Centerfold , Revenge of the Asian Woman, and a chapbook, Chinatown Sonnets.

Dorothy Chan’s latest book, BABE, explores themes such as queerphobia, Chan’s experience as a queer Chinese American, pop culture, and queer satisfaction. Their poetry oozes details of passion, intimacy, and queerness that will make you swoon. In this interview, Chan offers insight into their reminiscent title, killer triple sonnets, and reflecting on queer and BIPOC joy during a pandemic.

Aja St. Germaine (ASG): How does BABE complement your other works?

Dr. Dorothy Chan (DC): BABE is my third full-length poetry book, and my fourth collection overall. Title-wise, she’s an oddball amongst my other books. I usually go for long titles, like Revenge of the Asian Woman (Diode Editions, 2019) and Attack of the Fifty-Foot Centerfold (Spork Press, 2018). But you know what, BABE is one damn good word. It’s also reminiscent of my nineties childhood. I remember texting gifs of Babe, the pig, to my friends when the book got accepted by Diode.

ASG: Do you see your scholarly work reflect in your poetry? How does your work as a professor bleed into your work as a poet, and vice versa?

DC: Great question! You know, I think all this work is connected, and the more I progress in my career, the less I think about these clear demarcations. Whatever I do, I always set out with a contemporary feminist mission. My work as an active editor and a publishing poet informs my work as a professor, especially when teaching intermediate and advanced poetry workshops. When I’m teaching, I might be wearing my “professor cap” predominantly, but the “editor cap” comes on quite frequently too. It’s like the difference between workshopping and getting your work published. Both are important. But during workshop, I might say “If you want this to be published, you might want to try [x].” I also believe that the best poets are the best researchers. I think about poetry books I admire, such as Jessica Q. Stark’s Savage Pageant (Birds LLC) and Rosebud Ben-Oni’s If This is the Age We End Discovery (Alice James Books). Both these books are examples of highly researched collections. As a professor, it’s also my job to constantly research, whether it’s re-reading and discovering new materials for a course or researching for my next book.

ASG: Your use of triple sonnets is killer, and it’s one of your many strengths. What compels you to employ triple sonnets?

DC: Thank you so much, Aja! The Triple Sonnet is my signature form and it’s my own creation. I’m obsessed with excess. I mean, why have one of something, when you could have three or five or one hundred or one million?

“Every poet should have their own signature form. I love the sonnet in general because it provides an abundance of voltas, the absolute best part of any poem”

— Dorothy Chan

Every poet should have their own signature form. I love the sonnet in general because it provides an abundance of voltas, the absolute best part of any poem. I have fond memories of studying the sonnet with Lyrae Van Clief-Stefanon at Cornell.

ASG: Diode Editions describes BABE as “paying homage to the first girls who ever loved [you] in this analysis of sexuality, queerness, popular culture, and resilience.” I would love to hear you speak more on your perspective of the relevance of these themes, particularly amidst the pandemic.

 DC: The pandemic has given me a lot of time to reflect. My writing routine fluctuates. But right now, I keep coming back to the themes of memory and nostalgia and the question of “What truly made me happy?” This has then made me re-explore my first loves and first discoveries. Or maybe it’s just odd spending my first years of my thirties in a pandemic. Maybe my early thirties are the right time for me to look back and see what I can improve.

The above themes are increasingly relevant during the pandemic. If we’re talking about public health and the mental and physical well-being of individuals, then we certainly cannot erase discussions of identity, race, gender, and sexuality. When we talk about public health, we need to discuss what neighborhoods get the best and most convenience healthcare access. And then we can start unraveling the social, economic, and political reasons for that.

ASG: What have you done to celebrate the release of BABE?

DC: I’m having a Zoom party reading with my favorites on Thursday, December 9th at 7 PM central time. Confirmed reader list so far: Alan Chazaro, Amorak Huey, Antony Fangary, Avni Vyas, I.S. Jones, Jane Wong, Jessica Q. Stark, José Felipe Alvergue, Joshua Nguyen, Justin Greene, Kendra DeColo, Nabila Lovelace, Ricky Ray, Rita Mookerjee, Rosebud Ben-Oni, Stephanie Niu, Taneum Bambrick, and Zeeshan Khan Pathan.

ASG: How can people participate in your Release Party via Zoom? Tell us more about the event!

 DC: It’s going to be a great time! I’ve invited some of my closest writer friends and favorite poets—the best and the brightest— to read with me.

Click here to register today.