Tag Archives: Nicholas Laughlin

Reading Room and Gallery 30

The Reading Room and Gallery is a space where I share things I come across that I think you might like too  – some are things of beauty, some just bowl me over with their brilliance, some are things I think we could all learn from, some are artistes I want to support by spreading the word, and some just because. Share by excerpting and linking, so to read the full story or see all the images, or other content, you will need to go to the source. No copyright infringement is intended. Let’s continue to support the arts and the artistes by rippling the water together. For earlier installments of the Reading Room and Gallery, use the search feature to the right. This is the 30th one which means there are 29 earlier ones (can’t link them all). Remember to keep checking back, this list will grow as I make new finds until it outgrows this page and I move on to the next one.JCH

POETRY

“The tiny footprints you made on the home we shared, I could never erase them, and you had me wrapped around your finger while his fingers were wrapped around my neck.” – Catalayah by Wendy Hara

***

“How many tied cotton bags of crystallized sugar were you and your father’s other bastards given to suckle? So you could, years later, find yourself” – Poems by Jacqueline Bishop

THE BUSINESS

“You need an agent because you’ll be so eager to publish that you’ll pay them” – Tayari Jones

BLOG

‘More forgiveness and understanding.  I talk quite unexpectedly to Ronald Bickram.  (There’s no such thing as an innocent introduction.)  He was an entrant in the non-fiction category for the Bocas Prize.  He admits his work needed more vigorous editing.  “I went back and found a mistake on every page!”  We have a frank talk about the need for work to be in the best place possible before being released to the world, and for judges and entrants to have conversations similar to ours.  “For writers like me to know what to do—how to make the work better,” he says.  We shake on this, and he tells me he has a relative in Black Rock, St Michael, not far from where my mother grew up in Barbados.  She has a Chinese restaurant with local flare, Wing Kwong.  “Tell Rene you met me!”’ – NGC Bocas Lit Fest 2018—Day by Day by Robert Edison Sandiford

CREATIVES ON CREATING

‘Lovers Rock is also about what she goes through in the industry: “I walk into a room and I’ve had my own label for the past five to seven years and the energy is still like, ‘Who do you think you are?'” she says. “I finally was like, ‘No, no, no, you’re not gonna keep disrespecting me.’ The response to the question, ‘Who do I think I am?’ is always, ‘I know who I am, a queen. Who do you think you are?'” – British soul-pop singer Estelle talking to NPR about her new West Indian inspired lovers rock album.

FICTION

“In the autumn of Maria’s eighteenth year, the year that her beloved father—amateur coin collector, retired autoworker, lapsed Catholic—died silently of liver cancer three weeks after his diagnosis…” – Mary When You Follow Her by Carmen Maria Machado, Illustrations by Sergio García Sánchez

***

“People assume all kinds of things about you when you’re silent. That you’re stupid. That you’re smart. That you can’t hear. That you can’t communicate. That it’s a religious thing. That it’s an attention-seeking thing. Over the years, Ghillie heard them all. The religious thing was closest to the mark, although truth be told, his motives were far from holy. He made a vow to speak only when he had something worth saying, but he persisted with it because of how crazy it made people. Social workers, teachers, policemen, doorsteppers, they couldn’t bear his silence. Sympathy turned to rage in a surprisingly short space of time, particularly if he didn’t meet their eyes. It gave him a perverse sense of pleasure, saying nothing as they wheedled and cajoled, pleaded and threatened.” – Lynda Clark’s ‘Ghillie’s Mum’

***

“Laura had passed her entire life in a world of dreams. She dreamed of being beautiful, but was decidedly plain. She dreamed of living in a big house, but lived in a shack. She dreamed of having a large family, but had only her elderly parents.” – an Excerpt from Chechen Writer Zalpa Bersanova’s Novella ‘The Price of Happiness’

NON-FICTION

“The Great Emu War officially commenced in October 1932 with just three members of the Royal Australian Artillery — Major GPW Meredith, Sergeant S McMurray and Gunner J O’Hallora — heading into the Wheatbelt with two Lewis guns and 10,000 rounds of ammunition. Game on.” – The Great Emu War: When Australia’s Wildlife Fought Back by Tom Smith

***

‘We would make up games to entertain ourselves. There were always so many kids, babies, and toddlers around that you had to kind of invent an activity that would be good for all ages. I excelled at this (probably my need to entertain, or just my inherent geekiness). There was the game “questions in a hat,” where we’d rip up small pieces of paper and write anonymous, naughty questions for each of us to pull out of a hat and answer (I’ve since turned it into a drinking game with my friends). We made up dances to show off in the club. We’d play characters and perform skits for one another. We were all the entertainment we had and it was glorious.’ – Issa Rae

***

“Cap’n Tim Meaher, he tookee thirty-two of us. Cap’n Burns Meaher he tookee ten couples. Some dey sell up de river. Cap’n Bill Foster he tookee de eight couples and Cap’n Jim Meaher he gittee de rest. We very sorry to be parted from one ’nother. We seventy days cross de water from de Affica soil, and now dey part us from one ’nother. Derefore we cry. Our grief so heavy look lak we cain stand it. I think maybe I die in my sleep when I dream about my mama.” – Zora Neale Hurston ‘Barracoon’ excerpt

***

“I was reluctant to ask him where he was going, what he was doing these days.  Part of me was always reluctant to ask this of my friends from primary school, absurdly afraid to embarrass them.  At 14, I had been awarded a partial bursary to a private boarding school in the city, which got its prestige from selling itself as an international school, thus attracting children of ministers, ambassadors and the wealthiest in the country.  My single mother was a primary school teacher, with a permanent government job, so in primary school I had been considered fairly well-off.  As a boarder, I was one of the school’s poorest students, often called to the principal’s office because my mother had missed paying her share of my tuition.  The fact that I attended this school, taking French and Drama lessons, around students who spoke English all the time and talked back to their teachers, meant that the trajectory of my life had taken a sharp turn from my primary school friends.  Whenever I saw them, I worked hard to reassure them that I had not changed, that I was still the same person who had gathered with them over the soft sorghum porridge we ate at break time.” – Good Manners by Gothataone Moeng

INTERVIEW

“I think it’s important for us to be honest; to say, yeah, we’ve overcome but also talk about the ugly side of it. Because I’ve found in my experience sometimes you wonder if it’s you alone going through this. If, you know, why isn’t it coming as easy as this particular person. And you’re not hearing the ugly part of it: the I can’t feed myself part of it, the I don’t know where the school fee is coming part of it, the my God I wonder if I can be like one of those women that, you know, sell their bodies to make a dollar part of it, the ugly part of it, the whole you know what I need some new underwear but I’m going to wear the old tear up ones because school fee need to be paid ugly part of it. I just think it would be better if people shared that because we overcome it and it helps us to feel less alone.” – Zahra Airall in Candid Conversation with Alicia Ward

***

“I’m also aware that of the 400 or so writers featured on the BBC’s ‘Caribbean Voices’ programme over 15 years, only 71 were women and that’s only 1/5th of the voices featured. It was  bit of a ‘boys club’, as Alison Donnell says in her essay ‘Heard but Not Seen’ [in The Caribbean Short Story Evans, L., McWatt, M. and Smith, E. (eds.) (Peepal Tree Press, Leeds, 2011), 29-43]. Many of the female Caribbean writers of that time have evaporated into thin air. There are over 200 private collections of papers in the West Indiana Collection at UWI in Trinidad. I was the first West Indian woman to add my papers, four years ago, in 2014. I was shocked to find this out.” – Monique Roffey

***

“I’ve been immersed in 19th century newspapers and memoirs, mostly from Trinidad. They are fascinating and, because of the blatant blind spots and racism, disturbing.” – Rosamund King

***

“SE (Summer Edward): Seven Stories, the UK’s National Centre for Children’s Books, recently acquired the archives of UK-based award-winning Guyanese children’s authors, John Agard and Grace Nichols. I find it unsettling that institutions in the UK are more concerned about preserving Caribbean children’s literature as cultural heritage than we here in the English-speaking Caribbean are. What do you see as some of the advantages of creating our own repositories to collect archival material related to the Caribbean children’s literature?

JRL (John Robert Lee): The advantages are that we are better placed to understand the roots and sources of our literature, to identify the authentic stories and storytellers, to make connections between the stories, our histories and our community lives, and to see how the older stories can provide a continuity into the present and future, and even generate new stories that have an authentic foundation in the traditional experiences and values of the past. Our own repositories provide national archives of what we recognise as important records of our literature and history.” – Read the full interview in Anansesem

***

“PS: When did you decide to pursue your art and writing full time?

Danielle: There was one very clear moment in 2011 when I just could not ignore the pull toward a creative life anymore. It felt like drowning very slowly, little by little each day. I had no idea how I would make it work financially, but I had to leap anyway and have faith. Before this I was an English teacher, and although I loved, and still love, working with children, my heart was pulling me toward something else. Not one day goes by where I am not thankful for the chance to live and work in my purpose.” – Danielle Boodoo Fortune interview

***

“When I actively started thinking about what I wanted to publish, Una Marson’s Pocomania was on the list. I had been coming across the name of that play as a quintessential Jamaican work since I was doing my BA. I then learned that it was housed in the National Library of Jamaica (NLJ)  and I thought, that needs to change. If that play was so important, why don’t more contemporary people have access to it? One of the key things to know is that without the printing press, we would probably have forgotten Shakespeare by now. We need to give more of our playwrights similar access. Publishing the works of our playwrights is a part of how we acknowledge, celebrate and keep good work from disappearing into the ether. I, therefore, made my first proposal to publish the works more than a few years ago and the timing wasn’t right. But finally, last year it came to be, and the more I learned about Una Marson, the happier I was that we had managed to publish this.” – Tanya Batson-Savage

***

“Many of the older writers are still important: Walcott, Brathwaite, Naipaul, Harris, Rhys, Lamming, Hearne among others. Lorna Goodison, Mervyn Morris, Earl Lovelace, Ian McDonald, the late Victor Questel, Dionne Brand and those who follow that first ‘Golden Age’ generation. Many new voices have arrived, many of whose works are rewarded by big prizes: Kwame Dawes, Claudia Rankine, Marlon James, Vahni Capildeo, Kei Miller, Vladimir Lucien, Tiphanie Yanique, Ishion Hutchinson, Shivanee Ramlochan, Ann-Margaret Lim, Richard Georges, Jennifer Rahim among others. These and their many other colleagues are important. Time will tell, of course, how truly important and significant they are. Then there are many Caribbean writers who have grown up in the diaspora: Caryl Phillips, Zadie Smith, Andrea Levy and others. Peepal Tree Press, Carcanet and Papillotte Press are doing a great job in publishing the works of the older and newer writers. And we have not even touched writers from the other language areas of the Caribbean.”    – St. Lucian poet and archivist John Robert Lee interview with Caribbean Literary Heritage

***

“In Ghana, I had worked in theater and for Ghana Television. In Barbados, I wanted to carry on theater directing. Since the theater companies were self-segregated, I (being white and nervous about intruding across evident racial lines) went to the one known for white or near-white members and a lot of European plays. They asked me if I had a play to suggest. Death and the King’s Horseman was an ambitious project to do outside Nigeria, requiring a lot of solid grounding in Soyinka’s cultural contexts. It was also ambitious as to the casting, in Barbados. It is a powerful story about English colonial intrusion on an ancient culture, told, as Soyinka carefully explains in his introduction to the play, from within Yoruba social space, focused on the strengths and weaknesses of the title character. He and his society are the core of the play, and so most of the main parts require actors of African descent. To find those actors, I needed to upset the self-segregation common in Barbados theater at the time, and I approached a group of black actors and writers. Earl Warner, later very well known as a major theatrical figure in the region, agreed to play the main role, Elesin. The white actors for the colonial parts came from the company producing the play. The production involved about fifty people, a fairly large budget, and a lot of work.” – Elaine Savory interviewed by Kelly Baker Josephs

***

“Our societies are not just diverse but complex, convoluted, so the poetry has to stretch itself formally to cope.” – Pamela Mordecai interviewed by Kelly Baker Josephs

***

“What I find myself most drawn to and excited by (both in my own reading and in programming the festival) are voices and perspectives which are not what anyone would expect. I think that many of us, even here at home in the region –  we should know better – we sometimes have very narrow ideas of what the Caribbean is, or should be. What is a Caribbean subject or voice, or topic or question or anxiety, and I’m not keen on that. I think we are far more various than we give ourselves credit for.” – Nicholas Laughlin interview for Caribbean Literary Heritage

***

“It took coming here to see that my voice was a voice that needed to be heard.” – Brenda Lee Browne, Real Talk with Janice Sutherland at Phenomenal Woman  And read more Antiguan and Barbudan artists discussing their art and more here on the site.

***

“The irony of the Internet, which was supposed to rob us of our attention span and be the death of journalism, is that it has actually promoted a new passion for longform nonfiction. It’s also given us more opportunities to find and discover poets, who are a big part of the movement towards essays as well, since they are doing work that is increasingly hybrid. In general, the best thing I can say about social media and the Internet is that it has allowed a lot of people to bypass the gatekeepers, such that I don’t know if there’s a real gate any more.” – Alexander Chee

As with all content on wadadlipen.wordpress.com, except otherwise noted, this is written by Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight, Oh Gad!, Lost! A Caribbean Sea Adventure, Musical Youth and With Grace). All Rights Reserved. If you enjoyed it, check out my page on Amazon, WordPress, and/or Facebook, and help spread the word about Wadadli Pen and my books. You can also subscribe to the site to keep up with future updates. Thanks.

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Filed under A & B Lit News Plus, A & B WRITINGS, Caribbean Plus Lit News, Links We Love, Literary Gallery, The Business

Reading Room and Gallery XVl

This page is for sharing links to things of interest around the internet. It’ll be sporadically updated; so, come back from time to time. For the previous reading rooms (1, 11, 111, 1v, v, v1 , v11, v111, 1x, x, x1, x11, x111, x1v, xv), click the links or use the search feature to the right, to the right.

VISUALS

No this is not just an excuse to post the Formation video. This is, as all links in this section, a how they made it post. And this is the it that they made – so much to unpack with the visuals (video directed by Melinda Matsoukas with footage from 2014 documentary That B.E.A.T. directed by Abteen Bagheri) and as I said on my facebook, I’m kind of digging politicalBey.

***

“What are you going to do with this kind of thing?” – initial response to Dorothea Lange’s street photography during America’s Great Depression (sidenote: for more art on the Great Depression you can’t go wrong with the film The Grapes of Wrath and the book it’s based on)

POETRY

“Poems for me often come in a flash—and then there is the intense crafting that begins in getting at the poem that is hidden within that first draft.” – Jacqueline Bishop

***

‘To add to the insult, my father reminded me that “Tonto” means dumb-dumb in Spanish. Perhaps I became a writer the very night I became an Indian dressed as a fake Indian named Dumb-Dumb.’ – Natalie Diaz on Hand-me-down Halloween

BIOGRAPHIES

‘”He wrote back to me saying ‘Michael Anthony, promise me you will never write another poem. But the short story has promise,'” recalls Anthony in remarkably good humour.’ Read more on this Trinidadian author.

BLOGGED

“The ballet that inspired the maswork is about the inevitability of death (the title gives that away, right?). It’s a classic Minshall move to have taken this exemplary work of European ‘high’ culture and translated it via two traditional Carnival characters, the moko jumbie and the Dame Lorraine. And through a minimalist but rigorously considered form, a deceptively simple performance by the masquerader, a touch of self-awareness and self-parody (it’s a burly dude in drag, after all), to have made something that his audience can plainly delight in, while feeling the little emotional quiver of recognition that this is an artist’s elegy for his art.” – Nicholas Laughlin in a social media discussion quoted on Annie Paul’s blog re Peter Minshall’s controversial 2016 King costume The Dying Swan – Ras Najinski in Drag as Anna Pavlova in The Dying Swan

***

“It really does take me back to childhood; hearing (but not listening to) the weather report at the end of the 7pm evening news, sitting at the dining table with my brother eating supper of bread and… (bread and peanut butter or sardines or potted meat or corned beef or fried bologna or cheese or guava jelly or maybe just butter.. but always bread) and drinking ovaltine from my Minnie Mouse mug. The bread would be wood-bread (forever the BEST bread ever to be made!) and the ovaltine would be hot, sweetened with sugar (or condensed milk if there wasn’t any sugar) and creamy with milk. The adults would usually be talking about any and everything – politics, the number of times the “current lock off” that day (power outages were very common then), the happenings at school or work; they never seemed much interested in the weather report except when a hurricane was about to hit, then they weren’t interested in anything but the weather report.” – reminiscences… at SimplyNatural blog.

***

“It appears that the local writer needs to begin to consider publishing her work in regional and international presses. Such an endeavor, though daunting, will begin to establish the readership necessary to establish regional relevance as an author and then hopefully territorial significance in the landscape of our local literature. Poets need to start publishing their poetry in established online and print journals, novelists need to start publishing short stories, and so on. The obvious benefit to the individual is that arduous process of creation and revision sharpens her skills and hones her craft, meaning that when the next great Virgin Islands novel is published it can be a text that stands up to and against the contemporary novels of the region.” – Richard Georges, BVI

***

“Everything you hear me saying on this record is at least the fourth or fifth draft. I would write a verse and then rewrite it and rewrite it. I don’t sit down and write a song, and then slam down the phone like, ‘We got another one!’ and pop some champagne. It’s like if someone’s writing a novel: You write a series of drafts.” – Black Thought of the Roots as quoted in this posting about the greatest hip hop band of all time.

***

NON FICTION

‘“Naipaul instructed Theroux in writing. He rejected anything false or showy or mannered; he insisted on clarity and simplicity and hard work. “The truth is messy,” he told Theroux. “It is not pretty. Writing must reflect that. Art must tell the truth.” He decided that a writer’s duty is to be wholly honest to himself, without compromise, and to tell the truth as he sees it, never mind the consequences.’ – Jeremy Taylor writing on V. S. Naipaul

***

“My face is a mama’s face to my daughter. She holds my face and says Mommy, you’re pretty. My husband has only known me with this face. My co-workers have only known me with this face. I have many friends who know me only with this face. It is a good face. Next year will be half a life with this particular face.” – Latoya Jordan

***

“With this heightened sensitivity to the Caribbean space and spirit, the ethos of Plantation, Kamau exists as a kind of sage, but in a society that still has not been able to consistently decide what to do with him, he can be more accurately likened to a figure in Roman law and society, known as the homo sacer, a status that may fall upon oath breakers as well as persons who threatened the hegemony in that society.” – Vladimir Lucien writing on Kamau Braithwaite

***

Okay, so this isn’t riveting prose; but it is riveting research into youth career selection among a select group of students in Antigua and Barbuda, and revealing in what it says about the disconnect between available subjects and career goals and national agenda. Give it a read.

***

‘We run into an old lady.
“Children, tell me, can I drink milk from my cow?”
We look down at the ground, we have our orders—collect data, but don’t interact with the local population.
Finally the driver speaks up. “Grandma, how old are you?”
“Oh, more than eighty. Maybe more than that, my documents got burned during the war.”
“Then drink all you want.”
I understood, not right away, but after a few years, that we all took part in that crime, in that conspiracy.’ – Voices from Chernobyl by Svetlana Alexievich #riveting

WRITERS ON PUBLISHING

“Compelling reasons to carry your book include you (1) being a local author; (2) having strong publicity backing your book; or (3) proving that you will bring in the readers/buyers. If you don’t have any of these three things, you’re a tough sell.” Brooke Warner writing on why your book isn’t being carried in bookstores  

***

“By industry standards, I suppose I am a failed author. Since I started writing for young readers in 2000, only three of my thirty stories have been published traditionally. I turned to self-publishing as my only recourse, and now face the contempt of those who see self-publishing as a mere exercise in vanity.” – Zetta Elliott on Black Authors and Self-Publishing

WRITERS ON WRITING CREATIVES ON CREATING

“My friend James Patterson is a big believer in the importance of a great outline. These days, in fact, the outline may be the main thing he actually writes, while he turns over the actual writing to his stable of co-authors. This is how he manages to turn out three or four novels a year, and still fit in a few holes of golf most days. Still, James Patterson believes in hard work. Seven days a week, in his case—though Mr. Patterson doesn’t call writing work, because he loves it so much. This is a man with an unmistakable passion for what he does.” – Joyce Maynard after taking James Patterson’s masterclass. Two comments: 1, I always wondered how people churned out three to four novels a year. Mystery solved. 2, I won’t sign off on drafting outlines and leaving the actual writing to co-authors but I do like the belief in “hard work” and the “unmistakable passion”.

***

“Once I am done with a draft of a chapter, I am the only person who can read it. Pages are full of half sentences, doodles, arrows pointing here and there. Then, I complete sentences; I fix the grammar, and make the images understandable. Then that chapter is ready for an editor.” – How I Write My Graphic Novels: A Breakdown from Ozge Samanci

***

“To be honest, when I started with the pthalo blue background, I intended to let the wispy bits of the feathers fade into the blue … but then I mixed up a nice buttery colour and I just got carried away cutting away the negative shapes around the wreath shape.
That left me with a blue wreath floating on a light background. So then I got the idea to add a pattern, to help integrate the different elements of the image  … and I started with circles. How about a wreath floating, on a stoney riverbed?” – Donna Grandin as she creates.

***

“The other thing I would say is if you feel safe in the area that you’re working in you’re not working in the right area…go a little bit out of your depth…” – David Bowie

***

“Then one day I realized something. I realized that in the midst of all of the colourful leaves, there was the occasional stem covered in tiny white flowers, like little starbursts. I had seen the stems with the buds before, but for some reason I never noticed the flowers.” – Donna Grandin

***

“If your handsome, muscular, confident hero strides assertively and briskly into the dusty, spare, lamplit room, you’ve got a problem with excessive description—specifically, with the overuse of adjectives and adverbs.”  – Joseph Bates writing in Writer’s Digest the Five Cardinal Sins of Description

***

“A concert pianist practices twenty or thirty hours for every hour she’s on stage. That’s after she’s completed years of lessons and practice to master her craft well enough to be on stage in the first place. A champion athlete trains long and hard to prepare herself for an event that may last seconds. Everyone expects this of them, the athlete and pianist expect it of themselves. No one expects to succeed – or get paid – for their first effort. Except writers. Writing is a craft and a skill that requires constant work, constant practice to maintain. I took the book back down off the shelf.” – KeVin K (Kevin Killiany) blogging at NovelSpaces

INTERVIEWS

“Being laid off, having to live off the bare essentials didn’t detour him, as a matter of fact he didn’t mind at all. It was almost as if he was liberated and being forced into his calling. Attending writing workshops, classes, using his experiences, he has built characters that are so much like him and his experiences and characters that are nothing like him at all. He’s taken his readers from small country towns to international locations that would be any traveler’s dream. Speaking not just as an author but also as a fan I have seen his books grow and evolve; novels that aren’t just about sex or drama but novels that are meant to tell stories. To this day he still goes to writing classes and gets excited about taking notes and learning new things.” – re fAntiguan Eric Jerome Dickey

***

“Let’s take ‘Where Did Our Love Go’ by The Supremes. This is a hypothetical example, but, to me, the most important part of that song is the tenor sax part in the background. So while everyone will sing the lead — ‘Baby, baby where did our love go’ — I’ll start singing … the saxophone part that’s buried in the mix somewhere. I have no idea why [it is] that the small nuances of a song are more attractive to me than the actual song. [But] this definitely explains why I have zero pop sensibility.” – ?uestlove of The Roots on NPR. Listen to the full interview.

***

“Soul II Soul was a collective and formerly a sound system. This is how we started. Making music together came about during our days as a sound system. Most traditional sound systems make their own music, which is what led to the genesis of the whole Soul II Soul forming. You can really relate back to songs like “Jazzie’s Groove” and “Fairplay” to get a full understanding of what we were trying to do musically. What I tried to do on the first album was to explain what Soul II Soul was all about. Technically, Soul II Soul is a sound system rather than a band per se, which is why we have a rotating lineup of different singers. This goes back to the origins of the old sound systems as well, because in a sound system, you would also have many different MCs or DJs. All of these things combined to form Soul II Soul.” – Jazzie B., British artiste with Antiguan roots reflects on Soul II Soul’s breakthrough album.

***

“It starts while I’m in the final editing phases of a novel—that’s when I begin thinking about what I’d like to work on next. I consider what would be fun and what excites me. Once I have a clear sense of where I want to go, I write a quick first draft, kind of vomit-style. This doesn’t take more than a couple months, and it’s usually a short manuscript, not more than 60,000 words. I let that draft sit for a while, then go through and hack out bits I hate and fancy up the bits I like. Once I’ve done this a few times and feel I’ve hit a wall, I send the manuscript to a couple readers. I incorporate their feedback and make more revisions and then hire a freelance editor. Right now I am working with Diane Glazman for my next novel, Spore Girl. Then I begin shopping the manuscript around. I went with a small press for Destroying Angel, and I hope to sign with an agent and release Spore Girl with a larger publisher.” – Missy Wilkinson on doubt, writing, and which book she’d like to live in.

***

“Talent is the tiniest part of a writer’s makeup. What counts is perseverance, good friends (writers and non-writers), a tough skin to ignore what others think about you–which is none of your business anyway–and a little bit of luck, which will help you on those days when you are down and thinking, ‘Why on earth am I doing this to myself?'” – JAmerican writer Geoffrey Philp on his writing journey and tools.

***

“…there’s no money in it…” – Linisa George, Antiguan and Barbudan writer, arts and social activist, and former Wadadli Pen judge, on her various arts projects. Listen to the full interview.

As with all content on wadadlipen.wordpress.com, except otherwise noted, this is written by Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight, Musical Youth, Fish Outta Water, and Oh Gad!). All Rights Reserved. If you enjoyed it, check out my page on Amazon, WordPress, and/or Facebook, and help spread the word about Wadadli Pen and my books. You can also subscribe to the site to keep up with future updates. Thanks.

Leave a comment

Filed under A & B Lit News Plus, A & B WRITINGS, Caribbean Plus Lit News, Links We Love, Literary Gallery, The Business