April ends with a couple of interesting developments.
First, I have finally gotten an answer to the question, "National Poetry Month is here again, so where's my cut?" That answer came on April 20, when Portland writer and lit blogger Dave Jarecki selected for that day's poem my very own "Questions on Recruitment". This answer was punctuated by learning that my book-length manuscript The Killing Tree was a finalist for the New Criterion Poetry Prize, which was awarded to Ashley Anna McHugh.
Second, I am getting more and more of a Velveteen Rabbit feeling of being real as a playwright. I have sent in my final round of major revisions on my play "Dig," which is now listed on the "Coming Soon" page of London's Old Red Lion Theatre. Actors have been cast, lighting and design decisions are underway, and rehearsals begin on May 17. I won't be able to absorb the full magnitude of events, though, until my wife Paula Van Lare and I go to London during the week of June 21 and actually see a couple of performances for ourselves. I can't expect the audience to shout "Author! Author!" following the performance, but if it happens I won't be stopping anyone.
Wednesday, April 28, 2010
Monday, April 12, 2010
New Poem in the Los Angeles Review
I have returned from the jamboree and madness of this year's conference of the Association of Writers and Writing Programs (AWP) in Denver with new contributor's copies of several journals.
One of these is the Spring 2010 issue of the Los Angeles Review, published by Red Hen Press.
After years of revisions, including those based on very helpful suggestions from colleagues at the Anam Cara Writer's and Artist's Retreat during a 2008 visit, I was finally able to get this poem into a publishable form. And a form that met with the approval of a prestigious journal.
I am delighted and grateful to be found in the same issue as authors including (but not limited to) Rick Bass, Tess Gallagher, Barry Lopez, Alison Luterman and Barry Lopez.
My thanks go out to Editor Kate Gale and to Poetry Editor Laurie Junkins for taking an interest in my work.
One of these is the Spring 2010 issue of the Los Angeles Review, published by Red Hen Press.
After years of revisions, including those based on very helpful suggestions from colleagues at the Anam Cara Writer's and Artist's Retreat during a 2008 visit, I was finally able to get this poem into a publishable form. And a form that met with the approval of a prestigious journal.
I am delighted and grateful to be found in the same issue as authors including (but not limited to) Rick Bass, Tess Gallagher, Barry Lopez, Alison Luterman and Barry Lopez.
My thanks go out to Editor Kate Gale and to Poetry Editor Laurie Junkins for taking an interest in my work.
Wednesday, March 24, 2010
New Essay in Boulevard
I am delighted and still a bit amazed to say that the current and 25th anniversary issue of the now-legendary journal Boulevard includes my essay "Mere Esthetics," which argues for beauty as a matter of necessity rather than luxury and discusses what happens when we disregard that need.
This issue also includes far, far better-known contributors such as Albert Goldbarth, Billy Collins, David Kirby, Carl Phillips, David Lehman, Alice Hoffman, Stephen Dixon, Floyd Skloot,
Madison Smartt Bell and Marvin Bell.
I wish to take this opportunity to thank editor Richard Burgin and his colleagues for their interest in my work and for including me among such distinguished company.
This issue also includes far, far better-known contributors such as Albert Goldbarth, Billy Collins, David Kirby, Carl Phillips, David Lehman, Alice Hoffman, Stephen Dixon, Floyd Skloot,
Madison Smartt Bell and Marvin Bell.
I wish to take this opportunity to thank editor Richard Burgin and his colleagues for their interest in my work and for including me among such distinguished company.
Friday, March 5, 2010
Dig: The Fundraiser
We are getting closer and closer to putting on a show.
On Thursday, March 4, CurvingRoad (a registered nonprofit in both the United States and the United Kingdom) held its fundraiser for the theatrical event entitled "The Next Curve: Two One-Act Plays" which will run from Tuesday, June 8 until Saturday, June 25 at The Old Red Lion Theatre in London (that London, yes). My play "Dig" and I will have the privilege of sharing the bill with Scottish playwright Michael Hart's "No More, Salvator."
According to CurvingRoad co-director Sue Guiney, the well-attended fundraiser was "fantastic," with drinks and nibbles. There were new supporters and, in her words, "People stayed late and there was a theatrical buzz."
And funds were indeed raised, as the reception brought in about £3,000. So far, so good.
But as Sue explains here, there is a long way to go. The total expenses of the production are estimated at some £20,000, which in U.S. dollars is, well, a lot.
With this in mind, I would urge the financially able to make a tax-deductible donation to CurvingRoad here by way of PayPal or credit card. To quote Sue again, "You’d be amazed at how those $25 gifts add up."
I would be willing to be amazed.
If I haven't yet persuaded you, I will leave you with my message of gratitude to those in attendance at the 1901 Arts Club, which was read on my behalf by playwright and actor Leo Richardson:
I want to begin by saying that I truly and deeply regret not being able to join you this evening. My reasons are in part purely selfish. As this event is taking place, I am at my day job in Washington, DC, editing texts of uncertain quality and interest. I also trust that your food, drink and entertainment will be far superior to anything that I experience in the course of a day’s work.
More importantly, I regret not being to thank you in person for your support. Altruism, especially in the form of generosity to a stranger, represents one of the happier mysteries of existence, and those of us who are beneficiaries of such generosity can virtually never expect or demand it, let alone feel entitled to it. This is particularly true in the arts, where so many individuals, projects and programs ask for support. I am therefore amazed as well as grateful that you are willing to offer your support and join us in this adventure, with all its risks as well as its rewards.
Working with the directors and affiliates of CurvingRoad, I hope to honor your gifts of time and resources by doing everything in my power to ensure that the development of my play “Dig” culminates in a high-quality production that will contribute to a memorable evening of theater. I should also note that my experience with CurvingRoad has given me the confidence to revisit other projects that I have left aside for far too long.
At this point I do not wish to take much more of your time. You have already been generous in a variety of ways. I hope you are having a lovely time, and with luck I will meet some of you in June at the Old Red Lion.
Again, thank you.
On Thursday, March 4, CurvingRoad (a registered nonprofit in both the United States and the United Kingdom) held its fundraiser for the theatrical event entitled "The Next Curve: Two One-Act Plays" which will run from Tuesday, June 8 until Saturday, June 25 at The Old Red Lion Theatre in London (that London, yes). My play "Dig" and I will have the privilege of sharing the bill with Scottish playwright Michael Hart's "No More, Salvator."
According to CurvingRoad co-director Sue Guiney, the well-attended fundraiser was "fantastic," with drinks and nibbles. There were new supporters and, in her words, "People stayed late and there was a theatrical buzz."
And funds were indeed raised, as the reception brought in about £3,000. So far, so good.
But as Sue explains here, there is a long way to go. The total expenses of the production are estimated at some £20,000, which in U.S. dollars is, well, a lot.
With this in mind, I would urge the financially able to make a tax-deductible donation to CurvingRoad here by way of PayPal or credit card. To quote Sue again, "You’d be amazed at how those $25 gifts add up."
I would be willing to be amazed.
If I haven't yet persuaded you, I will leave you with my message of gratitude to those in attendance at the 1901 Arts Club, which was read on my behalf by playwright and actor Leo Richardson:
I want to begin by saying that I truly and deeply regret not being able to join you this evening. My reasons are in part purely selfish. As this event is taking place, I am at my day job in Washington, DC, editing texts of uncertain quality and interest. I also trust that your food, drink and entertainment will be far superior to anything that I experience in the course of a day’s work.
More importantly, I regret not being to thank you in person for your support. Altruism, especially in the form of generosity to a stranger, represents one of the happier mysteries of existence, and those of us who are beneficiaries of such generosity can virtually never expect or demand it, let alone feel entitled to it. This is particularly true in the arts, where so many individuals, projects and programs ask for support. I am therefore amazed as well as grateful that you are willing to offer your support and join us in this adventure, with all its risks as well as its rewards.
Working with the directors and affiliates of CurvingRoad, I hope to honor your gifts of time and resources by doing everything in my power to ensure that the development of my play “Dig” culminates in a high-quality production that will contribute to a memorable evening of theater. I should also note that my experience with CurvingRoad has given me the confidence to revisit other projects that I have left aside for far too long.
At this point I do not wish to take much more of your time. You have already been generous in a variety of ways. I hope you are having a lovely time, and with luck I will meet some of you in June at the Old Red Lion.
Again, thank you.
Tuesday, February 16, 2010
"Dig" Has Found a Home
The truth can now be told.
As noted here, "Dig" will be presented as half of a CurvingRoad program entitled "The Next Curve: Two One-Act Plays" from June 8 to June 23 at The Old Red Lion Theatre in London, which is well known and highly regarded as both a performance venue and a place to raise a pint. In fact, productions at The Old Red Lion Theatre are reviewed in publications such as Time Out London and The Guardian.
As noted in the post immediately below, there will be a fundraiser for the event on Thursday, March 4 from 6:30 to 8:30 p.m. at the 1901 Arts Club. Scottish playwright Michael Hart and I will be preparing statements to read at the fundraiser.
If you don't happen to find yourself in London on that point (or even if you do and can't attend), you can also make a tax-deductible donation through the very convenient PayPal button found on this page. Any amount is welcome in these trying times.
Fundraising is something at which I don't have a great deal of experience, but CurvingRoad co-director Sue Guiney tells me that this is something done by everyone in theater who is any kind of player, and now I apparently am one.
I'm always the last to know.
As noted here, "Dig" will be presented as half of a CurvingRoad program entitled "The Next Curve: Two One-Act Plays" from June 8 to June 23 at The Old Red Lion Theatre in London, which is well known and highly regarded as both a performance venue and a place to raise a pint. In fact, productions at The Old Red Lion Theatre are reviewed in publications such as Time Out London and The Guardian.
As noted in the post immediately below, there will be a fundraiser for the event on Thursday, March 4 from 6:30 to 8:30 p.m. at the 1901 Arts Club. Scottish playwright Michael Hart and I will be preparing statements to read at the fundraiser.
If you don't happen to find yourself in London on that point (or even if you do and can't attend), you can also make a tax-deductible donation through the very convenient PayPal button found on this page. Any amount is welcome in these trying times.
Fundraising is something at which I don't have a great deal of experience, but CurvingRoad co-director Sue Guiney tells me that this is something done by everyone in theater who is any kind of player, and now I apparently am one.
I'm always the last to know.
Monday, February 1, 2010
Dig: Workshop and Fundraiser
The development of my one-act play "Dig" continues. I have completed one round of revisions that have clearly improved the script. It's always a treat when people ask you to add rather than take away.
On Thursday, February 10 CurvingRoad director Ellie Joseph will put the new version through its paces at a workshop reading to see what further changes are needed. Bit by bit the play will reach its final form. Since I have never taken a class in dramatic writing, I am getting a valuable education in how theater is done.
In case you find yourself in or near London shortly, I should also note that CurvingRoad will have a fundraiser for "Dig" and "No More, Salvator" by Scottish playwright Michael Hart on Thursday, March 4 from 6:30 to 8:30 p.m. at the 1901 Arts Club, located at 7 Exton Street, London SE1 8UE. Directions, including Tube and bus route information, can be found here.
I don't anticipate being able to make the event myself, but I may prepare a statement or place a trans-Atlantic call during the event.
The reality is setting in.
On Thursday, February 10 CurvingRoad director Ellie Joseph will put the new version through its paces at a workshop reading to see what further changes are needed. Bit by bit the play will reach its final form. Since I have never taken a class in dramatic writing, I am getting a valuable education in how theater is done.
In case you find yourself in or near London shortly, I should also note that CurvingRoad will have a fundraiser for "Dig" and "No More, Salvator" by Scottish playwright Michael Hart on Thursday, March 4 from 6:30 to 8:30 p.m. at the 1901 Arts Club, located at 7 Exton Street, London SE1 8UE. Directions, including Tube and bus route information, can be found here.
I don't anticipate being able to make the event myself, but I may prepare a statement or place a trans-Atlantic call during the event.
The reality is setting in.
Friday, January 15, 2010
Interview at Spanglish Baby
The world of publishing and publicity has begun to stir from its holiday slumber, and I am in my own way involved
Roxana Soto, co-founder and co-editor of the blog Spanglish Baby, interviews me here and reviews The Best Mariachi in the World/El Mejor Mariachi del Mundo. I am delighted to be a small part of this vibrant and increasingly well-known site.
Two things might help persuade you to read the article. First, one copy of the bilingual edition will be given away to one commenter or other reader who expresses interest by 12 midnight Eastern Standard Time on January 17. Second, as promised long ago in the first post of this blog, I finally get around to explaining how a guy named Smith ends up writing about mariachis. I come by the topic honestly, in my own way.
Roxana Soto, co-founder and co-editor of the blog Spanglish Baby, interviews me here and reviews The Best Mariachi in the World/El Mejor Mariachi del Mundo. I am delighted to be a small part of this vibrant and increasingly well-known site.
Two things might help persuade you to read the article. First, one copy of the bilingual edition will be given away to one commenter or other reader who expresses interest by 12 midnight Eastern Standard Time on January 17. Second, as promised long ago in the first post of this blog, I finally get around to explaining how a guy named Smith ends up writing about mariachis. I come by the topic honestly, in my own way.
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