Now that we're back from the AWP (Association of Writers & Writing Programs) Convention I realize how exhausting the four days in Minneapolis really were! Michael and I learned so much and got to meet so many wonderful folks, we're still sifting through the cards, flyers, books, and notes to make the most of our newfound knowledge and contacts.
By the way, George stayed home to support his wife, a principal in our city's symphony orchestra, while she went through hell week as the symphony board continues its program of replacing long term principals with younger, greener, and no doubt much, much, cheaper players since, as one of them was heard to mutter "We aren't a world class city so we don't need a world class symphony." But that's another story for another book, right?
A few highlights from AWP:
We handed out many free copies of the book, with the press release and a business card tucked inside. The unanimous response to the physical book's cover and feel was "Wow!" So thanks again to Joan Kocak for her photo and to Ben Long for his cover design. We're now looking at more of Joan's photo's to use for our second title, Warp, A Speculative Trio. By the way, we did hand sell a couple copies and that felt wonderful.
One of the copies we handed out was to a cab driver named Jamal who took us to the airport from our condo in the Northeast Arts District. Jamal is from Somalia and has lived in the US for I think 25 years or so. He told us he raises his kids to read--they go to the library weekly--and they have no TV or video games at their house. He went on to praise our country's fabulous, free education system through high school and how he impresses on his kids the value of hard work to take advantage of that opportunity to learn and improve their lives. Oh, how we forget, don't we? While it's far from perfect, our education system with its wide availability to all, should receive more of our attention, our respect, and our funding. But that too is another story. Thanks, Jamal.
We also took part in a panel discussion (there were more than 500 different sessions, readings, and panel discussions, with over 13,000 people at the convention!) titled "Ekphrasis Goes Prose." Perfect, we thought! The panel was led by four Phd's, all women, and included not two, but three different pronunciations of the word. One pronounced it ek FRASS is, another pronounced it ek FRAY sis, and the third, with no other hint of an English accent, called it EK fras is!!! Wow, not only is the word elusive of definition, it's even impossible to reach consensus on what to call the damn thing.
So, the panelists dug into the esoteric aspects of ekphrasis (feel free to chose your own rendering of the word in your mind's ear) but, much to our surprise, they spoke only of the concept as it relates to written reflection of visual art. The common approach has for centuries been the ekphrastic poem, a poem about a painting, typically, although more recently photos could also be explicated and praised in verse. Even more astounding, one of the panelists noted that the goal of ekphrasis in prose was to "interrupt" the narrative and to represent the artwork in descriptive prose. Interrupt!!!!????
Hmmmm. Maybe someone should publish a collection of ekphrastic stories that expands those narrow views? When the panelists asked if anyone had a question, I suggested that we had decided to explode the traditional approach to the concept not only by "going prose" but also by knocking the doors off the confinement to the visual arts. After all, the actual definition of the word addresses, in its broadest sense, one art reflecting or referring to another. I noted that our collection included one story in the more traditional reference to a famous painting and two stories that moved beyond that to the world of music. I don't recall hearing any audible gasps at this, but I have to say Michael and I had been surprised that the panel had so limited its approach. At any rate, I went on to say that our in our stories, the referenced art is not only IN the story but also IS the story in the sense that the stories all, in their own way, reflect and explicate the form, shape, and STORY of the song/painting/aria.
The leader of the panel was quite gracious and, rather than scolding me for hijacking the discussion and pimping our new book, she asked where the book was available, to which I responded, "On Amazon and right here in my briefcase." Of course we gave her a copy of the book after the discussion.
We also connected with small run printers, distributors, and other small presses with variations on a collaborative approach to the business.
Most enjoyable, though, was making so many new writerly acquaintances and getting to reconnect with many of my old Spalding U grad school friends! Good to see everyone and thanks, especially, to Cate McGowan for her blurb for Muse.
Now, close this blog and go by Cate's marvelous new collection True Places Never Are.
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