무료 등록 바카라 패턴 분석_프로모션 mgm 바카라 규정_제안 마카오 텍사스홀덤
Writing Through Grief in 5,000 Words or Less: An Interview with Melissa Wiley
by Elyssa Finkelstein, Tyler Riggs, & Kelly Walz
image via Twitter
Grief comes in many different forms, and so does the writing of it. Writing through grief does not necessarily crave an audience at first, but a desire to craft and reflect on past experiences in order to learn and heal. Often, writers are drawn to write about their grief in an attempt to put the pain into words. Author Melissa Wiley lost both of her parents over a short period of time, so she is well-acquainted with grief.
Lyric essays have allowed Wiley to not only explore her grieving process, but also her travels, sexuality, body comfort, and emotional release. In her own words, “for me to have a shot of functioning in this world, I have to express my own torrent of emotions in some way.” In her collection of essays, Antlers in Space and Other Common Phenomena (Split Lip Press), Wiley presents her experiences to the reader as beautiful, connected stories grappling with pain and identity. She pursues reconciliation and forces the reader, inescapably, to empathize with her.
Lyric essays have allowed Wiley to not only explore her grieving process, but also her travels, sexuality, body comfort, and emotional release. In her own words, “for me to have a shot of functioning in this world, I have to express my own torrent of emotions in some way.” In her collection of essays, Antlers in Space and Other Common Phenomena (Split Lip Press), Wiley presents her experiences to the reader as beautiful, connected stories grappling with pain and identity. She pursues reconciliation and forces the reader, inescapably, to empathize with her.
INTERVIEW ARCHIVE
An Audio Interview with Ed Briant
by Ron Block
Host and Rowan University professor Ron Block spoke with Ed Briant, illustrator, musician and author of the new young-adult novel I Am Not The Walrus. Briant, who grew up in the UK, explained why he set the novel in a town much like the one he grew up in and music's influences in the story. Later, Briant explained what took him from illustration to writing novels. Finally, he shared upcoming projects from a picture book with his wife to a graphic novel.
Host and Rowan University professor Ron Block spoke with Ed Briant, illustrator, musician and author of the new young-adult novel I Am Not The Walrus. Briant, who grew up in the UK, explained why he set the novel in a town much like the one he grew up in and music's influences in the story. Later, Briant explained what took him from illustration to writing novels. Finally, he shared upcoming projects from a picture book with his wife to a graphic novel.
Right and WronG: An Interview with Eugene Cross
by Phil Cole
In his debut short story collection, Fires of Our Choosing, Eugene Cross shows us what humanity exists in the American Northwest. None of his characters are spoon-fed to us. Through Eugene’s masterful storytelling, we’re forced to leave behind our understandings of good guys and bad guys as we watch every-day people do wrong. Eugene Cross was kind enough to answer questions and help a reader dig deeper into the mind of himself and his characters.
In his debut short story collection, Fires of Our Choosing, Eugene Cross shows us what humanity exists in the American Northwest. None of his characters are spoon-fed to us. Through Eugene’s masterful storytelling, we’re forced to leave behind our understandings of good guys and bad guys as we watch every-day people do wrong. Eugene Cross was kind enough to answer questions and help a reader dig deeper into the mind of himself and his characters.
An Interview with Christopher DeWan
by Jordan Moslowski, Emily Strauser, & Eric Avedissian
Once upon a time, fairy tales delivered heroes into their happily ever afters, but what happens when “happily ever after” ends and reality sets in? In his latest book, self described storyteller Christopher DeWan presents the fairy tale genre in a new light. Hoopty Time Machines: fairy tales for grown ups is a collection of short stories that explore what happens “after happily ever after,” incorporating some of the darkness that comes from the original fairy tales. By flipping the roles around—turning the scariest of monsters into heroes, and breaking our favorite heroes from their cookie-cutter molds—he brings fairy tales back to reality, where things are not always so black and white.
Once upon a time, fairy tales delivered heroes into their happily ever afters, but what happens when “happily ever after” ends and reality sets in? In his latest book, self described storyteller Christopher DeWan presents the fairy tale genre in a new light. Hoopty Time Machines: fairy tales for grown ups is a collection of short stories that explore what happens “after happily ever after,” incorporating some of the darkness that comes from the original fairy tales. By flipping the roles around—turning the scariest of monsters into heroes, and breaking our favorite heroes from their cookie-cutter molds—he brings fairy tales back to reality, where things are not always so black and white.
Moving Pictures: An Interview with Eric Dyer
by Jane Blaus, Jason Egner, & Karen Holloway
Upon first glance, you may realize that there is something inherently different about Eric Dyer’s animations. It’s not quite clay animation, yet not quite digital animation, either. So what is it? Rarely does an artist present a new medium quite like Dyer. His work aims to explore the animation styles developed before the invention of film. Using a zoetrope, a cylindrical device of rotating static images, Dyer brings his sculptures and images to life. Upon exploring his installations and videos, you will come across a word you can’t Google: cinetrope. Eric’s unique way of blending antiquated technology with 3D printing and handmade 2D paper cut-outs spawned a new film medium; a sculpture/machine he calls the "cinetrope."
In this interview, Dyer discusses his drive to work with old cinematic technology, as a way to “reclaim 'trash' and to memorialize a disappearing medium.” He also explains the active role of the viewer in his animations, sheds light on the music composition side of his work, and reveals how he pushed through waves of uncertainty and setbacks to bring us something truly innovative.
Upon first glance, you may realize that there is something inherently different about Eric Dyer’s animations. It’s not quite clay animation, yet not quite digital animation, either. So what is it? Rarely does an artist present a new medium quite like Dyer. His work aims to explore the animation styles developed before the invention of film. Using a zoetrope, a cylindrical device of rotating static images, Dyer brings his sculptures and images to life. Upon exploring his installations and videos, you will come across a word you can’t Google: cinetrope. Eric’s unique way of blending antiquated technology with 3D printing and handmade 2D paper cut-outs spawned a new film medium; a sculpture/machine he calls the "cinetrope."
In this interview, Dyer discusses his drive to work with old cinematic technology, as a way to “reclaim 'trash' and to memorialize a disappearing medium.” He also explains the active role of the viewer in his animations, sheds light on the music composition side of his work, and reveals how he pushed through waves of uncertainty and setbacks to bring us something truly innovative.
Paradoxes of Identity: An Interview with Julie Enszer
by Rachel Carly, Sarah Knapp, Myriah Stubee, & Alexis Zimmerman
Now more than ever identities are being called into question, trivialized, and often dismissed. People are searching for validation and acceptance from society, peers, and even themselves. This affirmation often comes in the form of words.
Addressing these concerns in her poetry, Julie R. Enszer explores the “relationship between how we label ourselves and how others label us…[and explores] that dynamic tension.” Enszer provides voices for identities that are often marginalized. Representing communities such as women, LGBTQ, and Jewish Culture. Tapping into social movements, mythology, and the complexity of identity, Enszer works to discover truths.
Now more than ever identities are being called into question, trivialized, and often dismissed. People are searching for validation and acceptance from society, peers, and even themselves. This affirmation often comes in the form of words.
Addressing these concerns in her poetry, Julie R. Enszer explores the “relationship between how we label ourselves and how others label us…[and explores] that dynamic tension.” Enszer provides voices for identities that are often marginalized. Representing communities such as women, LGBTQ, and Jewish Culture. Tapping into social movements, mythology, and the complexity of identity, Enszer works to discover truths.
An Interview with Michael Fink
by Patricia Dove & Elaine Paliatsas-Haughey
People believe that time will heal the racial divides in America; however, it is only when people change the way they think and look at the world that racism will eventually be stopped. It has to start with a change of heart.
In his most recent publication, Change of Heart, honored journalist Mitchell Fink tells the story of Robert Dunn. Dunn grew up in an all-white neighborhood in Queens during the 60's and resented white people for the way they treated him. In the spring of 1998 Dunn received a heart transplant, but at the time he didn't know that the heart would be from Dorothy Moore, a white woman, and that it would forever change his view on race. Fink and Dunn teamed up to write this book; however, just as their agent began shopping it to publishers, Dunn had a heart attack and passed away. Eventually, Fink decided to move forward with his effort and finish this book for Dorothy Moore and Robert Dunn.
People believe that time will heal the racial divides in America; however, it is only when people change the way they think and look at the world that racism will eventually be stopped. It has to start with a change of heart.
In his most recent publication, Change of Heart, honored journalist Mitchell Fink tells the story of Robert Dunn. Dunn grew up in an all-white neighborhood in Queens during the 60's and resented white people for the way they treated him. In the spring of 1998 Dunn received a heart transplant, but at the time he didn't know that the heart would be from Dorothy Moore, a white woman, and that it would forever change his view on race. Fink and Dunn teamed up to write this book; however, just as their agent began shopping it to publishers, Dunn had a heart attack and passed away. Eventually, Fink decided to move forward with his effort and finish this book for Dorothy Moore and Robert Dunn.
Your New American Best Friend: An Interview with Olivia Gatwood
by Juliana Crescenzo, Ashley Haden, & Mikaela Langdon
In the digital age, artists are able to interact with their audiences more closely than ever before. This is especially true for poet Olivia Gatwood whose spoken word videos regularly obtain over 100,000 views. Gatwood’s charm and transparency make her seem like the girl next door, so it’s no surprise she titled her first poetry book New American Best Friend.
In addition to writing and performing poetry, Gatwood also runs writing workshops at schools across the country as a Title IX Compliant educator in sexual assault prevention and recovery. Her passion for feminism and social justice heavily influence her work. A self-described believer in “girl power,” Olivia Gatwood doesn’t shy away from the awkward, the burdensome, or even the offensive. New American Best Friend is an honest reflection of her past experiences, and it leaves readers feeling like they found a friend.
In the digital age, artists are able to interact with their audiences more closely than ever before. This is especially true for poet Olivia Gatwood whose spoken word videos regularly obtain over 100,000 views. Gatwood’s charm and transparency make her seem like the girl next door, so it’s no surprise she titled her first poetry book New American Best Friend.
In addition to writing and performing poetry, Gatwood also runs writing workshops at schools across the country as a Title IX Compliant educator in sexual assault prevention and recovery. Her passion for feminism and social justice heavily influence her work. A self-described believer in “girl power,” Olivia Gatwood doesn’t shy away from the awkward, the burdensome, or even the offensive. New American Best Friend is an honest reflection of her past experiences, and it leaves readers feeling like they found a friend.
The Status Quo is the Enemy: An Interview with David Gerrold
by Joseph Berenato & Katlyn Slough
Science fiction writer David Gerrold created the fictional philosopher Solomon Short in the hostile world of the series The War Against the Chtorr, which, according to Gerrold, is “an extremely hostile universe. Nothing gets resolved. So it takes a lot more courage and commitment to be heroic.” But Solomon did survive and became a great man and philosopher, an inspiration to others and iconic both in his series and outside of it with sayings like, “You can lead a horse’s ass to water, but he’s still a horse’s ass.”
Gerrold, in a career that spans close to fifty years, has achieved great success in our hostile world: as an outspoken member of the LGBT community, he inspires other writers to fight for what they believe in. No matter the backlash, Gerrold stops at nothing to express his opinions, taking others to task both directly and indirectly through the adventures of famous characters. His writing alone often challenges the majority opinion, raising questions both from larger issues about gay rights, respect for others, and equality for everyone, and from small battles like overcoming poor self-image and what it means to create a family. He is the Solomon Short of real life—someone to help us through whatever oppositions stand in the way because he knows he can.
Science fiction writer David Gerrold created the fictional philosopher Solomon Short in the hostile world of the series The War Against the Chtorr, which, according to Gerrold, is “an extremely hostile universe. Nothing gets resolved. So it takes a lot more courage and commitment to be heroic.” But Solomon did survive and became a great man and philosopher, an inspiration to others and iconic both in his series and outside of it with sayings like, “You can lead a horse’s ass to water, but he’s still a horse’s ass.”
Gerrold, in a career that spans close to fifty years, has achieved great success in our hostile world: as an outspoken member of the LGBT community, he inspires other writers to fight for what they believe in. No matter the backlash, Gerrold stops at nothing to express his opinions, taking others to task both directly and indirectly through the adventures of famous characters. His writing alone often challenges the majority opinion, raising questions both from larger issues about gay rights, respect for others, and equality for everyone, and from small battles like overcoming poor self-image and what it means to create a family. He is the Solomon Short of real life—someone to help us through whatever oppositions stand in the way because he knows he can.
An Interview with Cynthia Graham
by Michael Fotos & Michael Comoroto
A reader’s initial reaction to Cynthia A. Graham’s novel Beneath Still Waters may be to categorize the piece a murder mystery as readers successfully locate the tropes that fit the genre. Along the way, however, we uncover a greater distinction, one of meaning and purpose. Graham explores the American military and its practices to bring forth conversations about the ethical responsibilities of having lives in our hands. Her findings set forth an army of questions to her reader’s who will inevitably battle with the ugly truths of being human.
A reader’s initial reaction to Cynthia A. Graham’s novel Beneath Still Waters may be to categorize the piece a murder mystery as readers successfully locate the tropes that fit the genre. Along the way, however, we uncover a greater distinction, one of meaning and purpose. Graham explores the American military and its practices to bring forth conversations about the ethical responsibilities of having lives in our hands. Her findings set forth an army of questions to her reader’s who will inevitably battle with the ugly truths of being human.
So Sing On: An Interview with Ernest Hilbert
by Stephanie Kohler & Brian Maloney
For Ernest Hilbert, the sonnet is the most basic unit of human expression - it captures a moment in one “little song.” The couplet is the equivalent to a punchline, the form serves solitary contemplation, and the genre is intentionally blurred. Yet Hilbert views his modern take on the old tradition just as he views his predecessors and their craft. Art will always be art, he says, the “ancient things that still work.”
His latest anthology All of You on the Good Earth is no exception to his rule, and, as an antique book dealer, it is his expectation. In “Cover to Cover,” Hilbert explores his affair with books. “I don’t collect them,” he writes, an obvious and ironic fallacy. Like stories, “they just accumulate,” as time passes and as he experiences more of the world. An avid traveler, Hilbert is most interested in the variations among individuals, even if the pervasive voice in his poems is at most times alone. Though no name is mentioned, he speaks for everyone, to everyone, with the sonnet as his steadfast device.
For Ernest Hilbert, the sonnet is the most basic unit of human expression - it captures a moment in one “little song.” The couplet is the equivalent to a punchline, the form serves solitary contemplation, and the genre is intentionally blurred. Yet Hilbert views his modern take on the old tradition just as he views his predecessors and their craft. Art will always be art, he says, the “ancient things that still work.”
His latest anthology All of You on the Good Earth is no exception to his rule, and, as an antique book dealer, it is his expectation. In “Cover to Cover,” Hilbert explores his affair with books. “I don’t collect them,” he writes, an obvious and ironic fallacy. Like stories, “they just accumulate,” as time passes and as he experiences more of the world. An avid traveler, Hilbert is most interested in the variations among individuals, even if the pervasive voice in his poems is at most times alone. Though no name is mentioned, he speaks for everyone, to everyone, with the sonnet as his steadfast device.
Defying Boundaries Through the Lens of Constraint: An Interview With Paul Lisicky
by Nicolina Givin, Amanda Rennie, & Jacqueline Session-Ausby
“Making—whether it’s designing cities or composing music or writing— is a way toward freedom, individuality, expressiveness, connecting to others. A way to feel less alone.”
Engulfing us in his tug of war of emotions and bringing to life the burning and rebuilding of his relationships, award winning writer, Rutgers University creative writing professor, and South Jersey native Paul Lisicky explores “making” as he talks to Glassworks magazine.
In a candid and self-aware interview focused on his most recent memoir, The Narrow Door, Lisicky discusses his thoughts on successful relationships, how creative nonfiction has evolved as a genre, his writing process, and how it has transposed over his work in various genres.
“Making—whether it’s designing cities or composing music or writing— is a way toward freedom, individuality, expressiveness, connecting to others. A way to feel less alone.”
Engulfing us in his tug of war of emotions and bringing to life the burning and rebuilding of his relationships, award winning writer, Rutgers University creative writing professor, and South Jersey native Paul Lisicky explores “making” as he talks to Glassworks magazine.
In a candid and self-aware interview focused on his most recent memoir, The Narrow Door, Lisicky discusses his thoughts on successful relationships, how creative nonfiction has evolved as a genre, his writing process, and how it has transposed over his work in various genres.
AN Audio Interview with Cartoonist Scott McCloud
by Ron Block
Rowan Radio host Ron Block sat down with Scott McCloud, a comic book writer and the speaker at the Rowan University's College of Communication's Presidential Lecture series. McCloud explains how he got into comics and the transition from superhero comics to other genres in comics. In addition, McCloud describes the cultural differences in comics. He describes comics as an art form. For more information and to purchase McCloud's books, log onto www.scottmccloud.com.
Rowan Radio host Ron Block sat down with Scott McCloud, a comic book writer and the speaker at the Rowan University's College of Communication's Presidential Lecture series. McCloud explains how he got into comics and the transition from superhero comics to other genres in comics. In addition, McCloud describes the cultural differences in comics. He describes comics as an art form. For more information and to purchase McCloud's books, log onto www.scottmccloud.com.
The Right Stuff - Redefined: An Interview with Jan Millsapps
by John Gross, Rachel Saltzman, & Christina Thomas
“I grew up with the space age: the Soviet Sputniks launched just as I started elementary school and the first Apollo moon landing happened just as I finished high school, but these were times when girls were not encouraged to study science, math and technology. Instead I was routed into the arts and humanities, where I've certainly been content and productive, but I've always had that unfulfilled hunger to know more about space science and space exploration. Studying cosmology and other space sciences has not only answered this need, but has also provided me the foundation I needed to think and write more effectively about all things beyond my Earth-bound experiences.”
Jan Millsapps’ crossing of multimedia boundaries has left an impact on film, digital media, and writing. Professor Emeritus of Cinema at San Francisco State University, her creative work exemplifies her passion for the space sciences and her advocacy for women’s advancement in STEM careers and space exploration. We were happy to be able to talk with Millsapps about her contributions to both digital and print media, her fascination with Mars, and her efforts to ensure gender equality in space exploration.
“I grew up with the space age: the Soviet Sputniks launched just as I started elementary school and the first Apollo moon landing happened just as I finished high school, but these were times when girls were not encouraged to study science, math and technology. Instead I was routed into the arts and humanities, where I've certainly been content and productive, but I've always had that unfulfilled hunger to know more about space science and space exploration. Studying cosmology and other space sciences has not only answered this need, but has also provided me the foundation I needed to think and write more effectively about all things beyond my Earth-bound experiences.”
Jan Millsapps’ crossing of multimedia boundaries has left an impact on film, digital media, and writing. Professor Emeritus of Cinema at San Francisco State University, her creative work exemplifies her passion for the space sciences and her advocacy for women’s advancement in STEM careers and space exploration. We were happy to be able to talk with Millsapps about her contributions to both digital and print media, her fascination with Mars, and her efforts to ensure gender equality in space exploration.
An Interview with Anis Mojgani
by G. Mitchell Layton and Gabrielle Lund
“I strive to offer myself up to my audience in a manner that allows them to come inside whatever room I am offering to them, I want to invite folks in and make them comfortable.” So says spoken word artist, Anis Mojgani, who is a two-time national slam poetry champion and has released four poetry collections with Write Bloody publications. He has performed in competitions, the “Heavy and Light” tour for To Write Love on Her Arms, and even for the United Nations.
In wake of the release of his newest book, The Pocketknife Bible, he was kind enough to talk to Glassworks about the experience of revisiting his childhood, his return to the art of graphic novella, the way his performance poems transfer onto the page, and the message he hopes to leave with his audience through a variety of mediums.
“I strive to offer myself up to my audience in a manner that allows them to come inside whatever room I am offering to them, I want to invite folks in and make them comfortable.” So says spoken word artist, Anis Mojgani, who is a two-time national slam poetry champion and has released four poetry collections with Write Bloody publications. He has performed in competitions, the “Heavy and Light” tour for To Write Love on Her Arms, and even for the United Nations.
In wake of the release of his newest book, The Pocketknife Bible, he was kind enough to talk to Glassworks about the experience of revisiting his childhood, his return to the art of graphic novella, the way his performance poems transfer onto the page, and the message he hopes to leave with his audience through a variety of mediums.
Identity, Appearance, and Performance: An Interview with Pedram Navab
by Michael Fotos
What is Identity and how does one claim it? What are the benefits and costs of claiming identity? We believe without anesthesia answers these questions aesthetically through its remarkable narrative. However, we would like to see the conversations of the text in a practical lens. How do we put into practical words the emotion of without anesthesia and in effect the emotion of a social world hung up on our identities? Perhaps its author Pedram Nevab, has the best insights as he has lived in the narrative and has invested time to its social commentary.
What is Identity and how does one claim it? What are the benefits and costs of claiming identity? We believe without anesthesia answers these questions aesthetically through its remarkable narrative. However, we would like to see the conversations of the text in a practical lens. How do we put into practical words the emotion of without anesthesia and in effect the emotion of a social world hung up on our identities? Perhaps its author Pedram Nevab, has the best insights as he has lived in the narrative and has invested time to its social commentary.
An Interview with Michael Pagdon
by Andrew Bates, Kevin Coopersmith, & Amanda Kozlowski
In Michael Pagdon’s world, society is as alienated as it is populated. Giant robots enforce stripes on would-be zebras, humanoid spiders navigate large oppressive machines, and introspective, half-finished robots contemplate the changes around them. Michael Pagdon has spent over a decade in the Philadelphia arts scene, utilizing his BFA in Illustration from University of the Arts to depict science-fiction and fantasy worlds of highly expressive and emotional subjects. He cites his goal of thorough storytelling and problem-solving as motivation in his work, and his career thus far has provided works that are as aesthetically pleasing as they are haunting.
Glassworks reached out to this New Jersey native in an effort to better understand his creative process and his aspirations. First and foremost, we looked to understand the strong science fiction presence in his works, and how it influences his creative vision.
In Michael Pagdon’s world, society is as alienated as it is populated. Giant robots enforce stripes on would-be zebras, humanoid spiders navigate large oppressive machines, and introspective, half-finished robots contemplate the changes around them. Michael Pagdon has spent over a decade in the Philadelphia arts scene, utilizing his BFA in Illustration from University of the Arts to depict science-fiction and fantasy worlds of highly expressive and emotional subjects. He cites his goal of thorough storytelling and problem-solving as motivation in his work, and his career thus far has provided works that are as aesthetically pleasing as they are haunting.
Glassworks reached out to this New Jersey native in an effort to better understand his creative process and his aspirations. First and foremost, we looked to understand the strong science fiction presence in his works, and how it influences his creative vision.
An Interview with Aimee Parkison
by Kathryn Brining, Denia R. Martinez, & Michael Nusspickel
Winner of the Christopher Isherwood Fellowship and a Kurt Vonnegut Fiction Prize, Aimee Parkison sets out to explore the damage of our world with her fiction and poetry. Parkison’s short story collection, The Innocent Party (BOA Editions, 2012), is an intriguing look at what happens when an innocent party becomes the guilty party. Parkison’s most recent work, a short poetic novel, The Petals of Your Eyes (Starcherone Books, 2014) takes a look at the nightmare of the world of human trafficking through the eyes of one of its captives. Through tone both dream-like and visceral, Parkison pulls no punches and leaves the reader with more questions than there are answers, both about the book and the horrors of the sex trade.
Winner of the Christopher Isherwood Fellowship and a Kurt Vonnegut Fiction Prize, Aimee Parkison sets out to explore the damage of our world with her fiction and poetry. Parkison’s short story collection, The Innocent Party (BOA Editions, 2012), is an intriguing look at what happens when an innocent party becomes the guilty party. Parkison’s most recent work, a short poetic novel, The Petals of Your Eyes (Starcherone Books, 2014) takes a look at the nightmare of the world of human trafficking through the eyes of one of its captives. Through tone both dream-like and visceral, Parkison pulls no punches and leaves the reader with more questions than there are answers, both about the book and the horrors of the sex trade.
An Interview with Brad Parks
by Cherita Harrell & Caroline Marinaro
When a person thinks of New Jersey “inspirational” may not be the first thought that comes to mind. However, this is how author—and Shamus and Nero award recipient—Brad Parks describes the Garden State. Although his contributions to the crime-fiction genre are fairly recent—his first book Faces of the Gone was published in 2009—Parks is no stranger to crime writing. In fact, the first book in his Carter Ross series is loosely based on a quadruple homicide in Newark—a story he covered while working as a reporter for The Star-Ledger.
In reading a Parks novel, readers can expect a story that examines social and political issues—while still maintaining a level of humor that reflects Parks’ amiable personality. Although his stories deal with darker topics, Parks’ witty persona comes across in his writing, and his stories take readers on a journey through New Jersey—a place which Parks describes as both energetic and electric.
When a person thinks of New Jersey “inspirational” may not be the first thought that comes to mind. However, this is how author—and Shamus and Nero award recipient—Brad Parks describes the Garden State. Although his contributions to the crime-fiction genre are fairly recent—his first book Faces of the Gone was published in 2009—Parks is no stranger to crime writing. In fact, the first book in his Carter Ross series is loosely based on a quadruple homicide in Newark—a story he covered while working as a reporter for The Star-Ledger.
In reading a Parks novel, readers can expect a story that examines social and political issues—while still maintaining a level of humor that reflects Parks’ amiable personality. Although his stories deal with darker topics, Parks’ witty persona comes across in his writing, and his stories take readers on a journey through New Jersey—a place which Parks describes as both energetic and electric.
Drama & Short Attention Spans: An Interview with Chris Rakunas
by Jason Cantrell, Steve Royek, & Christina Schillaci
“Did we make a difference?” healthcare executive Chris Rakunas asked himself in early February 2010 as he was preparing to leave earthquake-ravaged Haiti. “I should have felt elated at what we had accomplished,” he thought. “Instead, I kept asking myself if any of it mattered.”
Rakunas and his colleague, Dr. Stephen Schroering, both employees of a southwest Florida hospital, had just completed a week-long relief mission to distribute 21,000 pounds of donated medical supplies across the island. As they walked along the hot, dusty tarmac, Rakunas questioned whether he, they, or anyone could affect positive change when faced with such vast devastation and suffering.
“The only thing I felt I had succeeded at was taking a single drop of water out of the ocean,” he would write less than a year later in the nonfiction bestseller that chronicles his mission, Tears for the Mountain.
“Did we make a difference?” healthcare executive Chris Rakunas asked himself in early February 2010 as he was preparing to leave earthquake-ravaged Haiti. “I should have felt elated at what we had accomplished,” he thought. “Instead, I kept asking myself if any of it mattered.”
Rakunas and his colleague, Dr. Stephen Schroering, both employees of a southwest Florida hospital, had just completed a week-long relief mission to distribute 21,000 pounds of donated medical supplies across the island. As they walked along the hot, dusty tarmac, Rakunas questioned whether he, they, or anyone could affect positive change when faced with such vast devastation and suffering.
“The only thing I felt I had succeeded at was taking a single drop of water out of the ocean,” he would write less than a year later in the nonfiction bestseller that chronicles his mission, Tears for the Mountain.
An Interview With Artist Carlos Ramos
by Manda Frederick
What possibly strikes a viewer first about Carlos Ramos' work is that the images have a sense of familiarity - but not familiar like, say, a Van Gogh print that you've seen all your life on a postcard or a refrigerator magnet. When you view Ramos' paintings inspired by David Bowie and Stanley Kubrick, you don't think, “I've seen this before.” Because, of course, you have not seen Ramos' paintings before. But you think: “I somehow know this. I have experienced this.” Because Ramos' work distills the vivid, real-life personas of Bowie that we know and the narratives of Kubrick's films that we've watched, his paintings ask viewers to call up a string of concrete, sensual memories and experiences related to the content: that Greyhound bus ride to Seattle listening to “Rock 'n' Roll Suicide” from The Rise and Fall of Ziggy Stardust on repeat, waiting for the moment when the music cuts out and Bowie sings that we're not alone; that Comp II visual analysis paper your student wrote on the use of sound and color in The Shining; that summer you spent, as a child, at your uncle's house in the Michigan country-side, watching and re-watching The Labyrinth. Glancing through Ramos' work is like flipping through a scrapbook you don't remember making.
What possibly strikes a viewer first about Carlos Ramos' work is that the images have a sense of familiarity - but not familiar like, say, a Van Gogh print that you've seen all your life on a postcard or a refrigerator magnet. When you view Ramos' paintings inspired by David Bowie and Stanley Kubrick, you don't think, “I've seen this before.” Because, of course, you have not seen Ramos' paintings before. But you think: “I somehow know this. I have experienced this.” Because Ramos' work distills the vivid, real-life personas of Bowie that we know and the narratives of Kubrick's films that we've watched, his paintings ask viewers to call up a string of concrete, sensual memories and experiences related to the content: that Greyhound bus ride to Seattle listening to “Rock 'n' Roll Suicide” from The Rise and Fall of Ziggy Stardust on repeat, waiting for the moment when the music cuts out and Bowie sings that we're not alone; that Comp II visual analysis paper your student wrote on the use of sound and color in The Shining; that summer you spent, as a child, at your uncle's house in the Michigan country-side, watching and re-watching The Labyrinth. Glancing through Ramos' work is like flipping through a scrapbook you don't remember making.
An Audio Interview with Mary Salvante
by Ron Block
Rowan University Creative Writing Professor Ron Block speaks with the Curator of Rowan University's newest Art Exhibit, Mary Salvante. Mary talks about the exhibit, titled Dialogic, and how it explores the relationship between images and words as imagined by contemporary visual artists.
Rowan University Creative Writing Professor Ron Block speaks with the Curator of Rowan University's newest Art Exhibit, Mary Salvante. Mary talks about the exhibit, titled Dialogic, and how it explores the relationship between images and words as imagined by contemporary visual artists.
The Clarity and Objectivity of Emotion: An Interview with Jill Smolowe
by Leslie Martinelli, Jessica O’Shea, & Kaitlin Zeilman
“One of the most valuable lessons that I learned during my decades writing for People, Time, and Newsweek is the power of a well-chosen anecdote,” says Jill Smolowe, author of An Empty Lap and Four Funerals and a Wedding, about her writing process. “It’s the classic ‘show, don’t tell’ approach to storytelling,” she says, “a style that enlivens virtually every type of writing,”
In her two memoirs, Smolowe combines the clarity and objectivity of her journalistic background, while never shying away from the emotional impact that gives such gravity to her work. In a candid interview with Glassworks Magazine, she delves into the specifics of her writing process and the drive she feels to fill the gaps in literature surrounding family and grief.
“One of the most valuable lessons that I learned during my decades writing for People, Time, and Newsweek is the power of a well-chosen anecdote,” says Jill Smolowe, author of An Empty Lap and Four Funerals and a Wedding, about her writing process. “It’s the classic ‘show, don’t tell’ approach to storytelling,” she says, “a style that enlivens virtually every type of writing,”
In her two memoirs, Smolowe combines the clarity and objectivity of her journalistic background, while never shying away from the emotional impact that gives such gravity to her work. In a candid interview with Glassworks Magazine, she delves into the specifics of her writing process and the drive she feels to fill the gaps in literature surrounding family and grief.
Redefining the Straight and Narrow: An Interview with Julie Marie Wade
by Amanda Baldwin & Carly Szabo
Julie Marie Wade, author of such works as When I Was Straight and Small Fires, explores the nature of homosexuality and its social recourses through her incredibly thought-provoking and emotive works. Growing up under strict, biblical parental figures only adds fuel to Wade’s fire as she moves through each piece describing how gender stereotypes affect a child’s understanding of what it means to be a man or woman. In an interview with Glassworks, Wade was kind enough to offer insights into these issues as well as her personal experiences with them. Her responses make one thing clear: a change needs to occur in our sensitivity and language (especially towards children) in regards to what it connotes to be on the “straight and narrow.”
Julie Marie Wade, author of such works as When I Was Straight and Small Fires, explores the nature of homosexuality and its social recourses through her incredibly thought-provoking and emotive works. Growing up under strict, biblical parental figures only adds fuel to Wade’s fire as she moves through each piece describing how gender stereotypes affect a child’s understanding of what it means to be a man or woman. In an interview with Glassworks, Wade was kind enough to offer insights into these issues as well as her personal experiences with them. Her responses make one thing clear: a change needs to occur in our sensitivity and language (especially towards children) in regards to what it connotes to be on the “straight and narrow.”
