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What facts are used to support the argument? Are these convincing? Do you agree with the writer? What kind of writing is this? Slams down receiver. Dials Operator. Operator: Your call, please? Stevenson: Operator? Will you try it for me, please? Operator: Murray Hill ? One moment, please. Sound: Phone buzz. It rings three times. Receiver is picked up at the other end. Man: Hello. Stevenson: Hello? Second Man: slow, heavy quality, faintly foreign accent Hello.
First Man: Hello. George: Yes, sir. Stevenson: louder and more imperious, to phone Hello. What number am I calling, please? First Man: We have heard from our client. He says the coast is clear for tonight. First Man: Where are you now? George: In a phone booth. First Man: Okay. You know the address. Be sure that all the lights downstairs are out. There should be only one light visible from the street. At eleven fifteen a subway train crosses the bridge.
It makes a noise in case her window is open and she should scream. What number is this, please? George: Okay, I understand. First Man: Make it quick. As little blood as possible. Our client does not wish to make her suffer long. George: A knife okay, sir? First Man: Yes, a knife will be okay.
Our client wishes it to look like simple robbery. Stevenson: clicking phone Oh! Bland buzzing signal continues. She hangs up. How awful! What number were you calling? This was a wrong number. And you dialed it. Stevenson: Oh, why are you so stupid? Look it was obviously a case of some little slip of the finger. I will try to get it for you, madam. Stevenson: sarcastically Thank you. Murray Hill is busy. Stevenson: frantically clicking receiver Operator. Yes, madam. I asked explicitly.
And all you did was dial correctly. Operator: I am sorry. Now I want to trace that call. I will connect you with the Chief Operator. Stevenson: Please! Stevenson: Chief Operator? I want you to trace a call. A telephone call.
Because it was about a murder. Chief Operator: I see. Stevenson: high-strung, demanding Can you trace it for me? Can you track down those men? Chief Operator: It depends, madam. Stevenson: Depends on what? Chief Operator: It depends on whether the call is still going on.
Stevenson: Disconnected! Chief Operator: If the parties stopped talking to each other. Chief Operator: Well, I can try tracing it. Stevenson: Mrs. Elbert Stevenson. Stevenson: more irritated Plaza But if you go on wasting all this time-- Chief Operator: And what is your reason for wanting this call traced? Stevenson: My reason? Chief Operator: Have you told the police? Stevenson: No.
How could I? Stevenson: Yes. All right, then, I will call the police. She slams down receiver Ridiculous! Second Operator: Ringing the Police Department. Rings twice. Phone is picked up. Sergeant Duffy: Police Department. Precinct Duffy speaking. Stevenson: Police Department?
This is Mrs. Sergeant Duffy: Eh? Stevenson: trying to impress him It was a perfectly definite murder. I heard their plans distinctly. Stevenson: And there was a private patrolman on the street.
He was going to go around for a beer on second Avenue. Stevenson: About eight minutes go. Stevenson: impatiently Mrs. Duffy: And your address? Stevenson: 53 North Sutton Place. Stevenson: Murray Hill Stevenson, and see if we can check it with the telephone company. Duffy: Oh, yes? Stevenson: highhanded Personally I feel you ought to do some- thing far more immediate and drastic than just check the call.
This coincidence is so horrible. And do you happen to know how many bridges there are in the city of New York alone? Stevenson: But I heard the call on the New York dialing system. Telephones are funny things. Would this murder have made any difference to you then?
Stevenson: I suppose not. Stevenson: Me? Oh, no, I hardly think so. Stevenson: But what will you do? Stevenson: Will you broadcast it all over the city?
And send out squads? Stevenson: Oh! She slams down receiver hard. Operator: Ringing Murray Hill Busy signal The line is busy. She darts for it instantly. She picks it up. Dials operator. Third Operator: Your call, please?
Stevenson: very annoyed and imperious Hello, operator. Now, look. The whole world could be murdered, for all you people care. If you will hang up, I will test it for you. Operator: gently I am afraid that is not possible, madam. Stevenson: storming Not possible? And why, may I ask? Operator: The system is automatic, madam. Stevenson: Well, of all the stupid, complicated--! Stevenson: Check it! Check it! She picks up the receiver.
Stop ringing, do you hear me? Answer me? What do you want? Is this Plaza ? Stevenson: Catching her breath Yes. This is Plaza Man: This is Western Union. I have a telegram here for Mrs. Elbert Ste- venson. Is there anyone there to receive the message? Stevenson: trying to calm herself I am Mrs. El- bert Stevenson. Terribly sorry. Tried to get you for last hour, but line busy. Leaving for Boston 11 P.
Back tomorrow afternoon. Keep happy. Signed, Elbert. Do you wish us to deliver a copy of the message? Western Union: Thank you, madam. Good night. He hangs up phone. Stevenson: mechanically, to phone Good night. She hangs up slowly, suddenly bursting into tears. Operator: coolly Your call, please? Operator: Ringing Murray Hill Call goes through. We hear ringing at the other end.
Ring after ring. Oh, Elbert, how could you? She hangs up phone, sobbing pityingly to herself, turning restlessly. Information: This is Information. Stevenson: I want the telephone number of Henchley Hospital. Information: Henchley Hospital? Do you have the address, madam? Information: I do not know, madam. You may find out the time by dialing Meridian Information: The number of Henchley Hospital is Butterfield , madam.
Stevenson: Butterfield She hangs up before she finishes speaking, and immediately dials number as she repeats it. Phone rings. Woman: middle-aged, solid, firm, practical Henchley Hospital, good evening. Woman: Who was it you wished to speak to, please?
I want a trained nurse. I want to hire her immediately. For the night. Woman: I see. And what is the nature of the case, madam? Stevenson: Nerves. I was a patient in your hospital two years ago.
Stevenson: growing hysterical Well, it is absolutely necessary. And what is your name, madam? Stevenson: Miss Phillips.
And when do you expect her in? She cries out. Oh, my clock has stopped. I thought it was running down. What time is it? Woman: Just fourteen minutes past eleven. Sound of phone receiver being lifted on same line as Mrs. A click. Woman: What was what, madam? Stevenson: scared But I did.
Someone downstairs in the kitchen. In a suffocated voice. She picks up receiver. Bland buzzing sig- nal. She dials operator. Ring twice. Operator: fat and lethargic Your call, please? Please speak louder. Can you hear me now? What number are you calling, madam? Oh, please. Bursting out wildly. Operator: Ringing the Police Department. Phone is rung. We hear sound of a train beginning to fade in. On second ring, Mrs. Stevenson screams again, but roaring of train drowns out her voice.
For a few seconds we hear nothing but roaring of train, then dying away, phone at police headquarters ringing. Police Department. Sorry, wrong number. Choose your an- swers from the synonyms in the box. Stevenson is identified as a querulous and self-centered neurotic.
She became imperious when she could not connect to the number she dialled. When she dialled again, she only got a bland buzzing signal and heard the conversation on the cross line. She gave a highhanded reply when she sensed Sgt. Duffy did not take action on her complaint. Listen to the radio play as you read the text excerpt. Notice the delivery of the lines, the tone of voice of the characters, and the sound effects used.
Tracking events Arrange the events according to their occurrence in the play. Enter your answer in the box, then explain the acceptability of your arrangement 1. She accidentally overheard a conversation between two men planning a murder.
Desperate to prevent the crime, she began a series of calls--to the operator, to the police, and others. Stevenson is an invalid confined to her bed and her only life- line was the telephone. One night, while she was waiting for her husband to return home, she picked up the phone and called his office.
Her conversation with Sgt. Duffy made her realize the description of the crime scene and victim. Discovering traits Describe the characters by putting traits on the strands.
Stenvenson Sgt. Duffy C. Gathering leads to suspense Based on the script, point out the parts in the play that help build tension, including the pace. Releasing features Focus on the features of a one-act radio play--delivery of the lines, the tone of voice of the characters, and the sound effects used. Explain their importance to the play.
Which parts of the story can you find heightened tension and suspense? What is its effect on you? Was Mrs. Stevenson able to connect to get help? Would you be willing enough to face danger just to help somebody in trouble? Explain your answer.
Hence, it is important that words have to be sounded correctly. These are some critical vowel sounds. Practicing the sounds Work in four groups. Each group must work on one short vowel sound, then present the output to the class. A sailboat waits on the bay. A plate of bacon and eggs is on the table. Many peasants are ready to fill the land. The land map was accurate.
He brought ham and apples. She won a carpet at the lottery. The doll had a lovely locket. He offered us sardines with olives. Do you do this, too? Read the sentences below and answer the questions that follow. Studying and excelling in many extra-curricular programs and my church youth group have given me many opportunities to improve my school as well as help the community. Some activities that make me happy are doing volunteer work and pur- suing my career.
I am confident in saying that I am well-adapted and prepared to succeed and be involved in the community.
I enjoyed volunteering at the Parish Rest House, making beds, cleaning windows, and mopping floors. My passion, helping people, gives me satisfaction. Processing: 1. What do you notice about the underlined words?
What do you call a word derived from a verb? How is a gerund used in each sentence? Examples: Subject: Exercising is good for our health. Object of a preposition: Merla keeps herself in good shape by dancing.
Direct object: Lester does boxing in the gym twice a week. Appositive: My only exercise, walking, is not taxing. Giving it a try. Study the paragraph. Identify the use of the underlined gerunds by choosing the letter of your answer from the box. And I used to help everyone I could. Even though I was the rescuer, it seemed like I always had to pay a personal price for being kind to people. Honing skills Write the gerunds. Then, explain its use in each sentence. Helping a friend is an automatic yes in your book.
Helping others with a favour is dangerous and should be avoided. Although simple, it is similar to the rules that prevent people from bump- ing into others in the streets. Individuals may even get mad for saying no to them.
You can boil this down as the difference of needing vs. One way to deal with this is by giving your closest friends and family a higher priority. Mastering it! Work with a partner. Convert the following verbs to gerund and construct sentences using its varied functions. Describing a photo: Pair work Share a picture with your partner and talk about it using a gerund.
Example: I remember taking this picture. It was a weekend in July. My family was at the beach. I remember asking my sister to take the picture quickly because the sun was in my eyes. It was a beautiful, sunny day. Explain your answer to a partner. Theater is the same as theatre. Drama is different from a play. A script is the written conversation in a play. A change in time is one scene in a play. A one-act play has all the elements of drama.
Familiarizing Yourself with the stage 1. With a partner, study the stage layout. Make directions from the perspective of the actor facing the audience and of the audience facing the stage.
Is Sorry, Wrong Number a one-act play? The elements of a one-act play are found in the script. Fill-in the grid below with the needed information. Elements of one-act play Details 1. Setting 2. Plot and plot structure 3. Character and characterization 4.
Conflict 5. Theme 6. You have a civic obligation to help others. Would you be willing enough to take the risk of helping others in need? Choose one from the possible situations below. Possible situations: 1.
A friend is habitually absent and asks you to cover up his being hooked to computer games. You witness a hit and run vehicular accident and the victim needs your help. Your neighbor badly needs money, but the only money you have got is your weekly allowance. A close friend runs away from home and asks you to let him stay in your house. Her only 1. The time and place should be indicated at lifeline is the telephone.
One the beginning of the synopsis night, while waiting for her husband to return home, she 2. She picks up the phone story and accidentally overhears 3. She begins a series of calls--to the opera- 5. The synopsis must be no longer than tor, to the police, and others, words long desperate to prevent the 6. The story must be told in the present tense crime. When telling the story, dialogue should not be included. The story should be related in an informal way. With just a click of a button or a mouse you have email, Facebook, Twitter, blogs, online fora, list-servs and threads, vir- tual reality, webcasts and webinars, instant messaging IM , text messaging and many other features of technology and you are able to connect to the world.
This lesson allows you to further explore the world and see how people make a difference in the lives of other people by making use of their time, talent, and heart. Your involvement in making connections is an enriching and empowering experience. What is in the poster that would make you accept the invitation to join the conference?
Likewise, I have to ask, what responsibility does the reader have toward me? None, of course. If I do that, the reader will find me, perhaps.
They are lyric narratives. My style of poetry, what I like to write, are lyric narrative stories with a metaphor buried deep inside so that on one level it has one meaning, but there is an undercurrent message.
Writing poetry is difficult, wrought with numerous missteps along the way. Regardless, we keep pursuing perfection, which is unobtainable. Once you realize perfection is unobtainable, you can relax and venture forward to do your best, to be a good steward of the written word. Oftentimes the best thing about being a poet is encouraging and supporting other poets, especially younger poets.
They are hungry for. That is. I had set the novel in the little town where I grew up, where my mother grew up, where my grandfather lived for fifty years—with one exception. I changed the name of the town to Baker. As well, I fabricated everything about the town. When I decided to re-. I have two novels coming out: Lakewood and The Pig Rider.
I started writ-. I kept at it for a number of years, but it was awful. Over the years I would look at it, but I never did anything with it. It was one of. In fact, Deputy Barney Kellogg, and. It was so terrible, juvenilia, drivel. One thing about the novel—I always liked the characters and the plot, and over the years, I thought about the novel.
I decided to give it another try after twenty. My grandfather makes an appearance. However, the main characters are all fictional. Except for the publisher and my reader-friend,. With the original manuscript, I cut about one hundred pages of terrible writing and plot lines that went nowhere. In the end, I sent the entire novel back to my reader, where she made her edits and gave me some suggestions. From there, I sent it to my publisher.
Within three weeks they sent a contract. So, from start to finish, Lakewood took thirty-six years to write. I take a long time to write a poem so for a novel to take thirty-six years is probably par for the course. I tend to take years to finish projects, as I have a long gestation period. So, you are probably beginning to see a pattern here—I like to have numerous projects going at one time, working here and there on them, finishing nothing, but then all of a sudden one is ready to be set free.
Believe it or not, the pandemic has been great for me. I have five other novels that are close to being finished. In one novel, all I need is the last thirty pages—the ending. I know what it is, and I have the dialogue conversations in my head, but I need to sit down to write it. I keep thinking about it all the time, trying to get it perfect in my mind before I sit down to write.
I am finishing up the other novels and have mapped it out to have all of them ready over the next three to five years. For years, I have simply rolled along without any sense of urgency. That has all changed. It took me a number of years to work out the plot and cer-. I always bring copies to my reading, of course.
You can find it online—see the link below. Or, just type in the title and it should pop up on the internet. When the world finally opens back up, I hope to see people and sign copies and talk to the readers. What Sparked the Creation of the Citron Review? Angela: The Citron Review was founded in by an MFA cohort of friends and writers, the Citrons, at Antioch University Los Angeles that wanted to create an online journal that celebrated the short form. How is your journal different from others out there?
Angela: The nature of promotion is that you usually try to make yourselves different from others, but we have really focused on how we can do better by the writers. Journals are often thought to belong to the cities of their editors and publishers, but a perceived location has the potential to transform into belonging to the places where the writers and readers reside.
You have gorgeous branding. How did you come up with such a vibrant presence? JR: Thank you so much! I accidentally dragged the logo across the whole width of the promo and it just landed in the center. Letting go of perceived rules allowed us to take chances. It also helps to have a font that you never get tired of. We can use variations on this until the citrons come home. I have a background in graphic design for publishing and newspapers. The pull-quote is usually a necessity of.
Will each tile be compelling on its own? Will readers respond by clicking out of the social environment - or in Instagram go that extra step and paste a link? We hope so. Or that is identifiable but uniquely told? No one can tell your love story, but you, with your words and emotions.
No one owns your sweat, tears and laughter but you. Zest is a forum in which our editors review books, post interviews, and get creative with content that supplements the reading experience of our quarterly issues. This last issue we published an interview between two former contributors, Charlotte Hamrick and Tara Isabel Zambrano. When new opportunities arise, we try to start with yes.
Even our look is everchanging, though familiar. I think of the definition of zest that involves energy or the rind of citrus fruit, which contains acidity. Acidity, in wine or food, cuts through fat and acts as a great harmonizer Soft Close Drawer Slides Not Closing All The Way Youtube of flavors. What do you feel is your responsibility to the public? Angela: In our Tenth Anniversary Anthology, we explored this question and reaffirmed that a decade later we still believe in publishing small works.
Their ability to draw us into a single, present moment allows us to experience snapshots of stories like and unlike our own, that we are not alone in this world that often seeks to divide us. How do we keep up with you online? JR: New issues arrive four times a year whenever the seasons change — every solstice and equinox. The next one is Saturday, March Prior to that and continuing today , my work has consisted predominantly of writing, editing, acting, and producing. I studied theatre in both college and graduate school, so the arts, literature, and performance have always held a central place in my life.
What moved you to create The Festival Review? As a lifelong writer and reader, I wanted to create an outlet for high quality writing from bold voices in modern literature. I am continually humbled and inspired by the writers that give us the opportunity to share in their work and their process.
How is your journal different from others? There could be any number of differentiating factors from one publication to another, but perhaps the single most important element is the people.
As with so many other publications that we admire, at The Festival Review our people care deeply about the written word and its capacity to effect change, its crucial humanity, and its ultimate legacy.
We aim to produce something unique and lasting, to contribute to the long and storied conversation of great literature, and to give writers more opportunities to add to that ongoing dialectic. What do you look for in the work you accept for publication? Here are a few things that excite us as we consider submissions: lucidity, immediacy, incisiveness, poignance, erudition, rhythm, and great storytelling.
How can we keep up with you online? We also have a free newsletter people can join on our website at www. Introduce yourself to our readers. I have a chapbook, Optimism About Trees, have been nominated for a Pushcart prize and have been published in various journals. When we started Poetry. What sparked the creation of Poetry. In , I was doing a reading with other poets, one of whom asked my partner, Wayne Lindberg, to take some photos.
Wayne was curious about YouTube which had just started in He thought videos of poets in performance posted to YouTube would be interesting. We started our video project by taping open mic poets at that same venue, Redondo Poets at Coffee Cartel in Redondo Beach, California, and moved on from there to many other venues and featured poets throughout Southern California.
How does Poetry. LA stand out among other literary groups? We are a video gallery of poets in Southern California which anyone can access at www. Essentially, we are presenting poets performing in Southern California and giving them a wide internet audience. How did it feel to have one of your own on Jeopardy? Oh, yes! Our interview host, Lisa Grove, was a Jeopardy guest on the show that aired on September 23, We were thrilled that Alex asked her about Poetry.
We miss him. We revised our list of poetry venues to focus on those with virtual readings which, by the way, are open to poets across the globe. Look at our List of 17 Virtual Readings.
Of course, during the pandemic we have not been doing any live taping. LA via Zoom. Website: www. John Palen has lived a dual life as a journalist and poet. A reporter and editor for daily newspapers, he earned an American Studies doctorate from Michigan State University and taught journalism at Central Michigan University. His poetry has been published in magazines, chapbooks, books and anthologies over a year span.
Mayapple Press brought out his third full-length collection, Distant Music, in He lives in retirement on the Grand Prairie of Illinois. How and when did you know you were a poet? I grew up in a very small place. It was a good upbringing, but I was bored a lot. I remember writing my first poem in study hall in 7th grade looking out the window.
It was full of teenage melancholy and all of that. I wrote through high school, kind of wildly throwing things on the page. I was extremely fortunate to go to Washington University where there was a poet-in-residence named Donald Finkel.
He was an excellent teacher. He never crushed a student; he was helpful even when I was awful. When did I know I wanted to be a poet for sure? I was just blown away by it. I thought, this is what I want to do. Set the type himself on his typewriter. What bit of wisdom or advice have you found the most useful as a writer? Don Finkel taught me that if you set up expectations in a poem, you should stick with those expectations And every poem should have a surprise. If you frustrate the expectation without delivering, then the poem still needs some work.
Those are all formal elements. The sequence of things that happen. From where do you get inspiration for your writing? I ride public transit as much Soft Close Drawer Slides Not Closing All The Way Python as possible. I like to be out among crowds. I grew up in southwestern Missouri. I recently wrote a poem about the button industry on the Illinois River.
Before plastic they used mother-of-pearl. It was terribly hard work to harvest the mussels and then cut them out and finish the blanks into buttons. Then the mussel beds were fished out and many species went extinct. One of the things that journalism did for me was that it made me an outward-facing person. Although I think that looking outward and exploring that world reveals a lot about you. Who are your creative mentors? John Donne has had a big impact on me.
I like having a line that does something. He had strong, compact, rugged lines. They were dense. I like to write a dense line. Walt Whitman was an outward-facing poet, too. Gwendolyn Brooks. May Swenson. She would just go out into the city and look at life with an inquiring eye and I love that. Gary Snyder. Gregory Orr digs into the pain of living without overstating it or beating his chest. But sometimes we get stuck reading our contemporaries.
With him you always get this sense that there is a character speaking to you. He creates a play around himself. Both had a tremendous impact. One thing that Finkel advised me that has stuck with me is about accessibility. So what if nobody can hear them? What makes life worth getting up for? What gives you peace of mind? I remember listening to Sherman Alexie give a talk at the University of Oregon years ago, and he said that happiness was overrated—he just wanted to be interested.
You do great things in the classroom. How do you keep your heart fresh in class as a professor in this madness? I adore getting to teach writers. The students in the MFA program at Southern New Hampshire University where I work are so committed to their craft, so enthusiastic and ambitious and smart. Writers need to honor their creative process. I try to engage my students with a great deal of humor, a great deal of candor when talking about writing and editing and publishing.
Tell us a little about that. Jonathan asked me if I wanted to drive up to Portland with him to pick up pounds of frozen rats, and a live baby barred owl to take to our local raptor rehabilitation center. I asked him what a raptor was. It was one hell of a first date. Who are your top three favorite poets, authors, and musicians? This is a tough one. Then again, we might just talk about basketball. Dinty W. What are you reading now? You also do interviews. I so appreciate the freedom I have to explore those literary magazines and conferences that have a focus on inclusivity and celebration of diverse voices.
I also really love interviewing writers, editors, literary agents, publishers, and booksellers for the features I write. Who is Nicole Tallman? What is it about your life that created the author today? I am an only child and my mother taught me to read and write when I was very young. Some of my earliest memories are of her reading to me and teaching me to recite poems from an early age.
She tried to talk me out of it. In fact, I pursued an undergraduate degree in public relations instead of creative writing at her insistence. I managed to squeeze in a double major in French because I loved the language so much. Later in life, I went back to school for a Master of Arts in English. Every job that I have had since I was 21 has involved writing. What is your chosen genre and why does it still speak to you? Genre is something I struggle with a bit. Professionally, I write a ton of correspondence, speeches and opinion pieces.
Personally, I mostly write poetry. I definitely. I get flashes of inspiration and like to capture my thoughts quickly, before they evaporate. It may sound corny, but poetry literally speaks to me. I hear it when I first wake up, and often have to silence it throughout the day so that I can be productive at work. You are an editor for South Florida Poetry Journal. Tell us about that and how that fits into your life. I jumped at the opportunity to build a local poetry community, to have an additional creative outlet, and to be part of a publication that gives a voice to poets at all stages of their writing journey.
Do you have any books out there? If so, enlighten us. I have not published any books to date. I have spent most of my writing career as a ghostwriter for public figures, which has resulted in significant ink for others and little for myself. I do have a few bylined pieces in newspapers and magazines, but only recently started publishing poetry.
In that regard, I just finished my first chapbook, which is tentatively titled The New Normal. The poems in my chapbook are situated in a communal grief arising from the pandemic, and a personal grief I simultaneously processed as I came to grips with the loss of my mother through the stasis of my quarantine.
I also took online classes with Alex Dimitrov and Richard Blanco to further workshop my poems. Now that I feel like it is ready for the larger world, I am in the process of finding the right home for this debut work. Was his reflection the voice of Liriope? What are you reading right now? I have a nearly-toppling tower of books and journals on both my nightstand and writing desk.
How does music play into your creative process? What is your responsibility to your readers as a writer? When I can, I also try to help people feel less alone. I work a lot. I also read and write a lot. I also do Vinyasa yoga when I can, and try to focus on a mindset of gratitude. I am grateful for this opportunity to talk to you, for example, and for everyone who is taking the time to read this interview, especially when there is so much competition for our time and energy these days.
I also have a website that I use more for ghostwriting than poetry: nicoletallman. I will add more poems to my website as I get braver and publish more. We publish four times a year, but the reading period is open year-round to all genres of poetry, and submission is free.
As I navigated the death of my mother and the pandemic, I started to see grief not as something that was happening in five or seven stages that I was entering and exiting, but as a blurry, imperfect circle of alternating distraction and reflection activities. I liken grief more to Ouroboros eating his own tail -- to the idea that we or parts of ourselves may need to vanish from view from time to time to keep existing…that we may need to deconstruct or kill off parts of our old self to recreate a new self that allows us to carry on after our losses.
It is good to meet you, Stephanie Lamb. Tell us a bit about yourself. In my teenage years I attended open mics at local coffee shops and bistros to listen to live music and poetry. I never had the nerve to get on stage myself though.
So, although I began writing at a young age, I primarily kept my work in private journals. I rediscovered my voice almost a decade later and now I write and share my words to empower others and give a voice to the voiceless. I am an advocate for mental health and hope to help end the negative stigma surrounding it. I am an accountant by trade and education and use writing as a healing outlet. I also spend a significant amount of time administrating self-help groups, encouraging others to safely taper off anxiety and other psych meds.
I am currently a contributor for Emotional Alchemy Magazine based out of New Jersey, where I write a monthly astrology forecast column.
I am also the founder of an Instagram page Quillkeepers Foundry whose primary focus is to help other creative writers find publishing opportunities and grow their brand and craft. Naturally, that has evolved into my own small indie publishing company Quillkeepers Press. Oh goodness… I am always reading. I currently have around a half-dozen poetry books sitting bedside including Mythos from Phillip Douglass philthy. Joe Dispenza, and Christopher Hitchens.
Just to name a few. Quillkeepers Foundry is a unique project. Please tell us about it. Quillkeepers Foundry is a platform page that focuses on finding publication information and opportunities for all types of writers and artists. It was originally conceived and geared more towards poets. However, it has evolved into so much more. I wanted to find a way to give back to the community that had given me so much.
And as I began my journey to get published, I realized there are not enough known resources available to writers and other artists. There is no shortage of artist feature pages, but very few publishing opportunities pages.
Submittable is an invaluable tool, but not everyone knows it exists, or they rather stick to social media. In addition to highlighting publishers, we enjoy celebrating artists accomplishments.
We also create poetry and other published work vodcast. As well as informational videos about various literary topics.
How do folks submit to be a part of Quilkeepers Foundry? I am always scouring the internet and social media platforms for new opportunities for our fellow writers and artists.
If any publishers would like to send me their opportunities, I would be thrilled to plug it. If any artists would like to join me on a podcast I am always looking for guests. I can be reached on Instagram at quillkeepersfoundry and stephanielambpoetry. I can also be reached by email at stephanielambpoetry gmail. I can be found on Instagram and Facebook stephanielambpoetry quillkeepersfoundry quillkeeperspress.
You can keep up with my monthly horoscope column at www. The wise words of Bob Dylan come to mind: The only thing I knew how to do was keep on keeping on. The world is in flux right now, and so am I. Hannah Arendt is an interlocuter for me, she is someone that I think with. Her writing style is unrepentantly ironic and clear-sighted, which is comforting in this chaotic political moment where reason has become irrational and reality has been forsaken for conspiracy theories and lies.
What drew you to the work of philosopher Hannah Arendt? I fell in love with the work of Hannah Arendt when I was in college. I just finished a short introductory biography to the life and work of Hannah Arendt which will be out this summer. In recent years loneliness has largely become the purview of public health experts and I want to reintroduce loneliness to the humanities. When does the book come out and how can we get our hands on it?
Thank you! My little biography of Hannah Arendt is out June 10th. You can buy at your favorite book store. My fiction and essays have been published in Makeout Creek and other venues, but mostly I write letters to my friends and siphon energy into swimming with the Kingsport Viperfish. Working on the design of the journal and chapbook with James Graham and other staff combines all my favorite things: reading, arting, and mailing.
I started working on staff at The Tusculum Review in the spring of Working for The Tusculum Review has provided me with a unique experience I am certain I would not have gotten anywhere else. I am constantly surrounded by fellow peers and professors that I learn from every time I am in their presence.
I enjoy reading, writing, listening to music, and learning about why the world works the way it works. What sparked the creation of the Tusculum Review? The journal was begun by Prof. Mary Boyes in through the generous endowment of Tusculum alum Dr.
Samuel E. At our small university, we focus on DIY collaborative projects as a way of preparing students for their creative lives and the professional world. The journal is the ultimate group project and outreach to the wider literary community. The work we publish adds valuable, immersive art to the endeavor of literature to represent and contemplate the human experience from a variety of perspectives.
Our 16th volume begins with a poem by one of my favorite poets, Nicholas Samaras, and continues with a discomfiting and agile work of fiction by Michael Jasper in which a freshly adolescent girl contemplates her own startling ugliness and the ways boys and men now look at her without being able to see her.
Our issue is nonfiction focused, and these essays are muscular: Nonfiction Prize winner Jamie L. The Tusculum Review is unusual for a journal of its quality in that our staffers are undergraduates and our editors are teaching faculty. Our students do far more than complete secretarial tasks and read submissions: they meet twice monthly with editors and help chart the course of the journal and the issue.
Major magazines undertake redesigns once a decade, usually with a full team of designers—James made it happen in three months.
This year, we designed, printed, and assembled an accordion book of the Nonfiction Prize winning essay. Our Fiction Prize judge is Dr. Our prize judges are always this impressive.
We feature visual artists in fresh ways. For this issue, we solicited the work of printmaker Sage Perrot for our. We are trying new things. Our staff members graduate with a sense of vocation and the realities of the literary and publication landscape: many go on to graduate school, others to literary greatness. The Tusculum Review seeks well-crafted writing that takes risks.
We publish work in and between all genres: poetry, fiction, essays, and plays--we appreciate work in experimental and traditional modes. We accept prose submissions of less than 6, words 24 double-spaced pages and poetry submissions under 10 pages.
We publish scripts in the minute format 10 pages. On our website: ttr. Wedged between those milestones, are a devastating tornado, the divorce of my parents, working in Alaska, marriage, the birth of my daughter, her subsequent two open heart surgeries and ultimately a heart transplant at the age of 19, travel, some significant grants, funding, museum purchases, and a productive career as an artist with plenty of muses.
How did life carve you into the artist you are today? I attended college mostly to escape, thinking about psychology and architecture. My junior year I took a painting class, and I knew.
Far more rewarding than cleaning and waxing a mustang 3 days a week, and a means for leaving milestones behind for creating a meaningful life. How are you staying sane in the Time of Corona? But time and again, I find keeping busy, working, to be the answer. It is never better than when I find myself lost in the studio surrounded by good music and painting.
It can be found on my website. On another note, my best friends know that I have a serious, boot fetish, during the COVID period, my collection has risen to 28 pairs.
The vast majority purchased pre-owned on eBay. What are your thoughts on the amount of natural and technical training needed to hone artistic skill? This is a tricky one. Creativity is the magic that happens when craft and conceptual purpose are fused. The best or most profound ideas fail to speak without the conviction of the mastery of the medium, just as the simple mastery of the medium does not make it art.
I will tell you however, after 30 years of teaching art, I have seen so many students with skills that are beyond impressive, that in the end, fail to find the drive or need to create.
Show me the kid that has the drive and a clear work ethic, remains open minded and teachable, and I will show you the one most likely to excel and succeed. What does a common creative day in your life look like? A day in my studio. Good, interesting, passionate music, alone, painting, with my studio dog on the couch. How do you use social media to your advantage? Mostly Facebook, not too much personal stuff, mostly art related reports.
I have an Instagram account but am not good at the tagging etc. We also believe that a well paid writer will sacrifice everything to provide quality. Your paper will always be completely plagiarism free. We will never resell your papers to anyone and you will buy an essay that has never been presented in another university. We value your education and will commit ourselves to ensure that you score an A every time. We select each of our writers based on a strict set of qualifications to ensure that only the most qualified writer works for you.
Practices such as plagiarism are completely prohibited and are completely rate in the organization. Only the most qualified writers are selected to work with us. All our writers are located in the US, Britain, and Australia.
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