Tag Archives: Peter Minshall

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.

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“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

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‘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

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“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.

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“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

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“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.

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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

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“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

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“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

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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.

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‘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  

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“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”.

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“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

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“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.

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“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

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“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

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“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

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“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

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“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.

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“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.

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“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.

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“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.

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“…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.

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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 Xlll

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, use the search feature to the right, to the right.

NON FICTION

“‘I didn’t know blacks were Catholic!’ she stammered.” – Toi Derricotte

INTERVIEW

with Mary Robinette Kowal:
“It’s okay that you don’t understand it, she wasn’t speaking to you” – Read More. Trivia: I’m mentioned in this interview for my involvement in this project (i.e. the book she’s discussing Of Noble Family). Listen to the interview to find out how.

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with Erna Brodber:
“Well, I write because I am too shy or too lazy to do something else—go around and preach, for instance. If I could do other things, I don’t suppose I would write.” Read more.

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with Quincy Jones:
“You want to see kids getting into music instead of shooting each other.” Read more.

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with Angela Davis and Toni Morrison:
“This is a bit of an aside, but it relates to what you just said about creating firm boundaries with people. Once, I saw you reading at Columbia University, and a woman stood up and said, ‘Toni Morrison, I would love to read you this poem I wrote,’ and you said, ‘No.'” – Read more.

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with Isabel Allende:
“I don’t have a plan when I start writing. On January 8th, my starting date, I turn on the computer and open a vein. Books are written with blood, tears, laughter and kisses. Usually I have a vague idea of a time and a place where the story may happen and that’s pretty much it. In the daily exercise of writing the characters come out of the wallpaper; at first they are vague shadows but soon they become real people. My job is to be flexible, not to impose on them my own ideas, allow them to act and tell me their stories, like actors in a play. I never know when or how the book will end and often I can’t even describe it until I print it and read the whole manuscript on paper. Only then I know what the story is about.” Read more.

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with author Edwidge Dandicat:
“I think mostly in English and in Creole. There’s a constant flow of translation going on in my head. I hear the characters in whatever language they’re speaking—mostly Creole and sometimes also French—and I’m like the scribe in the corner taking notes.” Read more.

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with author Stephen King:
Lahey: Great writing often resides in the sweet spot between grammatical mastery and the careful bending of rules. How do you know when students are ready to start bending? When should a teacher put away his red pen and let those modifiers dangle?

King: I think you have to make sure they know what they’re doing with those danglers, those fragmentary and run-on sentences, those sudden digressions. If you can get a satisfactory answer to “Why did you write it this way?” they’re fine. And—come on, Teach—you know when it’s on purpose, don’t you? Fess up to your Uncle Stevie!

Read more.

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with Mud Season editor Rebecca Starks:
“What I’ve learned is that it’s no good rationalizing, as a writer: the poem, the story, the essay—they have to work. Readers feel the flat lines, they puzzle over plot or characters that feel under-motivated, they are really looking for something in some way transformative. Once you realize that real people are reading what you’ve written—taking it very seriously, debating it, wanting to root for it—you realize that what you send out has to be able to stand up to that. You don’t abandon the work—you go back and finish it.” Read more.

POETRY

“But I am woman

conditioned

to nurse

my scream

like a mute child” – Madness Disguises Sanity by Opal Palmer Adisa

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Billie Holiday’s Strange Fruit is still haunting, still iconic. I used it recently in a workshop, looking at the symbolism, imagery and other literary devices employed by the writer of the song, Abel Meeropol.

“Southern trees bear a strange fruit,
Blood on the leaves and blood at the root,
Black body swinging in the Southern breeze,
Strange fruit hanging from the poplar trees.

Pastoral scene of the gallant South,
The bulging eyes and the twisted mouth,
Scent of magnolia sweet and fresh,
And the sudden smell of burning flesh!

Here is a fruit for the crows to pluck,
For the rain to gather, for the wind to suck,
For the sun to rot, for a tree to drop,
Here is a strange and bitter crop.”

I recently came across this NPR report about the writer of the song, and this page about the evolution of the song. Both are work checking out. And if you don’t know the song, you absolutely have to give it a listen:

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“It is our light not our darkness that most frightens us.

We ask ourselves, who am I to be brilliant, gorgeous,
talented and fabulous?” – Marianne Williamson

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Ernestine Johnson, not your average black girl…

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It’s White House Def Poetry featuring Esperanza Spalding. It counts.

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“…but you know my food in de wild
going be fasting and prayer, my Mums.
I sure you don’t want my Papa up so…”

and him turn him eye up to de sky,
“to vex wid me right as I start out?”
“Why you can’t pray here, son?

I will keep food and drink far from you.
I will honour your fast. Is a thing I do for
Joseph plenty times when him was still wid us.” Read More of Pamela Mordecai’s Jesus Takes Leave of Mary and Goes in to the Desert from De Book of Mary a Performance Poem by Pamela Mordecai

BLOG

“I couldn’t go anywhere without thinking about the brutalities of the past and wondering what happened here, in this particular spot where I am standing now.” – Australians Halcyon McLeod and Willoh S. Weiland re their residency at Fresh Milk in Barbados.

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“I took the  mission to heart because I had to find out for myself what is possible, what can be done, when The Work is more important than feeding The Suits. Some got it, totally. Many others poked fun at our efforts.” – Joanne Gail Johnson speaks of answering her soul’s question

FICTION

“Can this be death?” Prince Andrei wondered, with an utterly new, wistful feeling, looking at the grass, at the wormwood and at the thread of smoke coiling from the rotating top. “I can’t die, I don’t want to die, I love life, I love this grass and earth and air . . .” – The Death of Prince Andrei Excerpted from War and Peace by Leo Tolstoy, translated by Constance Garnett

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“At Barnard, then-Marlene Boyer had been a theater major. Jess had seen her perform in several college productions: The Wife of Bath from ‘The Canterbury Tales’, a brown Hester Prynne in a modernist version of ‘The Scarlet Letter’. But now Marlene had the stage to herself. And she wanted Jess there to witness it and to tell the world about it.” – Quality Control: a short story by Edwidge Dandicat

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“The morning of June 27th was clear and sunny, with the fresh warmth of a full-summer day; the flowers were blossoming profusely and the grass was richly green. The people of the village began to gather in the square, between the post office and the bank, around ten o’clock; in some towns there were so many people that the lottery took two days and had to be started on June 2th. but in this village, where there were only about three hundred people, the whole lottery took less than two hours, so it could begin at ten o’clock in the morning and still be through in time to allow the villagers to get home for noon dinner.” – so begins The Lottery by Shirley Jackson; read the full story here.

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Beautiful and powerful and heart maddeningly sad …Light by Lesley Nneka Arimah

WRITERS ON READING

“Tell your story. Don’t try and tell the stories that other people can tell. Because [as a] starting writer, you always start out with other people’s voices — you’ve been reading other people for years… But, as quickly as you can, start telling the stories that only you can tell — because there will always be better writers than you, there will always be smarter writers than you … but you are the only you.” – Neil Gaiman

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“The prison industry needs to plan its future growth – how many cells are they going to need? How many prisoners are there going to be, 15 years from now? And they found they could predict it very easily, using a pretty simple algorithm, based on asking what percentage of 10 and 11-year-olds couldn’t read. And certainly couldn’t read for pleasure. It’s not one to one: you can’t say that a literate society has no criminality. But there are very real correlations.” – Neil Gaiman

WRITERS ON PUBLISHING

“It’s a reality check for many authors just how much editorial work may be needed before their manuscript is publish-ready. And editorial work is largely undervalued. Most authors expect to pay good money for design. Less so for editorial work.  Many authors think that because they’re a good writer, they’re a good editor. Not so. I’ve had writers tell me they don’t think they need an edit because they’ve taught writing. Believing you can be the editor of your own work is presumptuous at best. It’s important to remember that you don’t have distance from your own work when you’ve been toiling away at your project for months or years. Few people have the discernment required to execute a final draft of a manuscript that only needs a proofread.” – Brooke Warner

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I like Kenyon’s Why We Chose It series in which they explain, well, why they chose a particular story for publication. It can be instructive to writers. And as I write this I’m reminded of what we try to do with Wadadli Pen, this labour-intensive system of having the judges provide edit notes, returning the short listed pieces to the writers with these notes so that they can consider ways of improving their submission before re-submitting for the final round of evaluation. I’m reminded that not every person submitting appreciates how rare that is; with most contest and/or journal submissions either you’re in or you’re out (rejected! rejected! rejected!) and they don’t have time to hold your hand. So it’s always a little baffling to me when the short listed writers don’t take up the opportunity to at least consider the edits. It’s not obligatory and failure to take up the edits won’t result in penalization but as a budding writer why wouldn’t you take the benefit of the wisdom of those with a bit more experience wrangling words? I remember in particular this poem from a few years ago that was a favourite of the judges but parts of it were messy; the writer though opted not to revisit it and another strong piece made stronger by the writer taking the opportunity to review the editors’/judges’ suggestions edged it out. At least in my mind that’s how it played out; maybe it wasn’t that close. But I do remember the piece being strong and I do remember the writer blowing off the idea of revisiting the piece (just seeming disinterested); and I do know that though the writer didn’t go home empty-handed, another writer’s name made it on to the Challenge plaque that year. Anyway, the Why We Chose It series reminds me of those kinds of opportunities, missed. The explanation in the post linked here made me not only think of Wadadli Pen but of my own submission experiences and of being on the other side of this when editing Tongues of the Ocean. In the latter role, there was a part of me that wanted to give every story submitted a shot and so for the more promising ones I tried to work with the writer, offering edit suggestions…some of which were considered, some of which were completely ignored (not ignored as in, yes, I’ve looked at it, I disagree with you and I think it works as is; but ignored as in editing what’s that, huh, I can’t be bothered). In the end, I’m happy with how the issue turned out but I think I gave myself more work than I needed to (I should’ve just let go of the ones that were non-responsive or the ones that needed too much work to be publishable). But I really wanted to SHOWCASE the NOW Antiguan and Barbudan literary arts scene. We are here-ah we yah became my mantra but sometimes it felt like I was the only one who gave two bleeps about that. The process gave me a better appreciation, even after my years managing Wadadli Pen, of how a story can come just that close and still not make it across the finish line. Kenyon Review is one of those publications I’ve submitted to but failed to get into. But I’ll keep tinkering and *knock on wood* someday get across that finish line. Until then, I keep paying serious attention to posts like David Lyn’s Why We Chose It – The Seige at Whale Cay by Megan Mayhew Bergman.

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“Sooner or later, despite your best efforts, your book will go out of print. Either the publisher will notify you, or royalty statements will indicate that the book isn’t being sold any more. If you’ve protected yourself by including the contract clauses I suggested, you’re in good shape.

Not sure what your contracts say? Go to your files and check all contracts for your existing books. There’s a good chance your con­tracts contain these clauses. If you don’t have a clause reverting the rights of your out-of-print book to you, the going will be tougher, but not impossible.” – Robert W. Bly on What To Do When Your Book Goes Out of Print

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“My two cents is this: Be aware of the sea change we are in right now. Don’t assume anything. Do your homework and ask questions. If you get a traditional deal with no advance, I’d advise you to look elsewhere, or at least negotiate for much higher royalties. Save for publicity, no matter what path you choose. And if you have a publisher—whether it’s traditional or hybrid, be the squeaky wheel, though not to the point of becoming so annoying you start to alienate the team that’s working for you. You’re competing for attention at every turn on this journey, so don’t be afraid to make yourself noticed. To ask questions. To think creatively—and big. Work with your team to think outside the box about creative publicity and platform opportunities. Copy what’s been done well. Try to have some fun while you’re at it. Don’t ever ever give up on your publishing dream.” – Brooke Warner

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“Most important of all, I’m writing most days. I now understand viscerally (I took a while to really get this) that since the only variable I can control is the writing, I should make that my unrelenting focus. I get the occasional editing job, which I also enjoy. And from September, if all goes as planned, I’ll be teaching again–part time, of course. Writing must come first, whatever the hell is happening on the publishing front.” – More from Liane Spicer on her publishing journey.

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“send it out there and risk the rejection” – Maeve Binchy

VISUAL ART

Arianna by Antigua-born filmmaker Shashi Balooja:

Shashi

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Noel Norton photography Washer Woman

“(Peter) Minshall in his stunning and definitely spectacular King and Queen costumes employ(s) kinetic constructions, animated by the wearer and sometimes by modern technological devices such as the electric compressor in the King costume Man-Crab (1983). compressor pumped blood over a canopy of white silk. Minshall’s band, in this Morality Play, with Man-Crab as an allegory for the destructive power of modern life…and the Queen – Washerwoman who was the embodiment of purity and harmony. Washerwoman was killed, a surprising  victory of Evil over Good. It is a stunning piece of visual collective art.” – Tim Hector in the Art of Carnival and the Carnival of Art, originally published in his Fan the Flame column, recently reproduced in The Antigua and Barbuda Review of Books Volume 8 Number 1 Fall 2015. Images taken (borrowed) respectively from the online photogallery of Noel Norton and a Caribbean Beat article on the man himself.

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In this short film, a 13-year-old girl and her grandfather, hiding out in a wooded cabin after a plague, meet the challenge of their lives when her birthday trip to a trading post goes horribly awry. Starring Frankie Faison (The Silence of the Lambs, “The Wire,” “Banshee”) and introducing Saoirse Scott (“One Life to Live”). It’s directed by Luchina Fisher and is based on a short story written and adapted for the screen by Tananarive Due and Stephen Barnes – you may remember them from the first Antigua and Barbuda International Literary Festival in 2006.


WRITERS ON WRITING

“Rap is a poetic form, in fact one of the more strict and stringent poetic forms according to rhyme and meter”  – Roger Bonair-Agard

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“In The Silence of the Lambs, Hannibal torments Clarice with memories of lambs being slaughtered on the farm where she lived as a child.” – Amanda Patterson on Torturing your characters

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“I am always far more impressed by writers who are able to craft complicated plots, for example, since this is an aspect of writing I find difficult.” – Writing Dialogue by Rowena MacDonald

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“A few years ago, at a venue in Manhattan, I read the title story from my collection — when I only hoped it would be a collection.   There was a nice little audience — other writers, friends, friends of other writers….my mother.   It went well, there was lively response and positive feedback afterward.  But most of all, the next day my mother sent me an email that said she was “proud” of me.  My West Indian mother, a woman of a certain age.  She’s encouraged me and supported me throughout my life, but she is not one to boast or to throw around words like “proud”.  That’s a level of permission, no Permission, that is invaluable.” – Anton Nimblett, author of Sections of an Orange

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“On writing, my advice is the same to all. If you want to be a writer, write.” – Anne Rice. Tips from my favourite author of vampire lore plus Madeleine L’Engle, Anne Lamott, Stephen King, Joss Whedon, E. B. White, Doris Lessing, Maya Angelou, Ray Bradbury, John Green and much more. Read them all here.

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“The truth is, in real life I’d treated this man poorly. The couch had been my sister-in-law’s doing — she’d been moving a bunch of stuff out of the apartment we shared, and she had the movers drop the couch at the car-repair garage where this guy worked. (It was actually pleather, the first lie.) I didn’t even know she’d done it until he called to thank me. He said nobody had ever done anything like this for him, given him a couch. He said it was like coming home to a room full of rose petals.It got me thinking: What if I had given him that couch? What if I’d been a person turned generous by pain, rather than stingy? So I wrote a story — created a kind of fictional terrarium — in which that possible version of myself might thrive. I tell this story to suggest that writing doesn’t correspond to lived experience just by reflecting or deploying it. The relation can take other forms: inversion, distortion, opposition; not merely wish fulfillment but hypothetical catastrophe. Fiction offers a set of parallel destinies.” – Leslie Jamison on Is It Okay to Mine Real Relationships for Literary Material? in the New York Times

As with all content (words, images, other) 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,  Fish Outta Water, Oh Gad!, and Musical Youth). All Rights Reserved. If you enjoyed it, check out my page on Amazon, WordPress, and/or Facebook, and help spread the word about WadadliPen and my books. You can also subscribe to and/or follow the site to keep up with future updates. Thanks. And remember while linking and sharing the links, referencing and excerpting, with credit, are okay, lifting whole content (articles,  images, other) from the site without asking is not cool. And using any creative work without crediting the creator will open you up to legal action. Respect copyright.

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