Showing posts with label fiction. Show all posts
Showing posts with label fiction. Show all posts

October 3, 2014

Weave Magazine at Conversations and Connections with Roxane Gay


We are pleased to announce that Weave Magazine's Managing Editor, Rachel Ann Brickner, and Fiction Editor, Sarah Shotland, will be at Barrelhouse's Conversations and Connections writing conference in Pittsburgh, PA on October 18, 2014. A little about the conference:
Conversations and Connections is a one-day writer's conference that brings together writers, editors, and publishers in a friendly, supportive environment. The conference is organized by Barrelhouse magazine, and has been held for the past 8 years in DC, and the past 2 in Philadelphia. All proceeds go to Barrelhouse and participating small presses and literary magazines.
The keynote speaker this year is New York Times bestselling author and former Weave Magazine contributor, Roxane Gay. Cost of admission is $70 and it includes a featured book, lit journal subscription, boxed wine social hour, and litmag speed dating session. 


Find out more at http://writersconnectconference.com. We hope to see you there!

December 9, 2013

Issue 10 Contributor List

*Artwork*

Kelsey Dean
Geoffrey Miller

*Fiction*

Joan Connor
Michael W. Cox
E.C. Kane
James Pouilliard

*Nonfiction*

Pamela Galbreath
Eunice E. Tiptree

*Poetry*

Marie Abate
Nancy Naomi Carlson
Melissa Cundieff-Pexa
Doug Paul Case
Claudia Cortese
Damien Cowger
James Dunlap
Maia Gil'Adi
Jessica Glover
Jason Gordon
Patrick Haas
Mary-Kaylor Hanger
Darla Himeles
Darrel Alejandro Holnes
Nate Liederbach
Paige Lockhart
Valerie Loveland
Nathan McClain
Michelle Menting
Matt Morton
Erick Piller
Amber Rambharose
Laura Ramos
Will Stockton
Michael Wasson

September 30, 2013

Issue 03 Redux: Cheap, Fast, Filling by Roxane Gay

When a piece of flash fiction has particular strength the reader is able to envision the main character almost as a portrait, where we can interpret the life of the protagonist in a complex manner, obviously quite the task to pull off in a thousand words or so. The below 950 words in Roxane Gay's "Cheap, Fast, Filling" from our Issue 03 release, guides the reader into such an experience. We're given a glimpse into the lives of those we rarely hear about, refugees surviving on the bare minimum, their only sustenance coming from empty calories so to speak, exemplified in Lucian, a man flawed by desperation.  

Roxane Gay has become one of our most important voices in literature. She has often been a vocal advocate for minorities in publishing. Besides her many renowned essays on the matter, she recently has spent time blogging for The Nation, illustrating how a broad range of voices participating in the literary conversation will only strengthen our community, which is of course a core value behind Weave's mission. At the time, we were proud and excited to include this wonderful story in our collection. In looking back, we're even more grateful to share this again.

Frank Jackson
Web Editor, Weave Magazine


Cheap, Fast, Filling by Roxane Gay

When Lucien arrives in the United States by way of a trip to Canada, an illegal border crossing, and hitching rides down to Miami, his cousin Christophe, who made his own way to Miami years earlier hands him a 50 dollar bill and tells Lucien to eat Hot Pockets until he gets a job because they are cheap, filling and taste good. Lucien sleeps on the floor in an apartment he shares with five other men like him, all of them pretending this is better than that which came before. There is a small kitchen with an electric stove that has two burners and a microwave that is rarely cleaned. Christophe also tells Lucien that Hot Pockets are easy to prepare. Because he doesn’t know how to cook, Lucien is grateful for his cousin’s advice.

Lucien is in the United States because he loves Miami Vice. He loves the shiny suits Tubbs and Crockett wear. He loves their swagger. He loves the idea of Miami as a perfect place where problems are always solved and there are beautiful women as far as a man can see. In secondaire, Lucien would daydream about Miami while the French nuns frowned and slapped his desk with their rulers. He has not yet seen that Miami but he knows it is there. It has to be there.

Lucien’s apartment is in Pembroke Pines—a world away from Little Haiti and everything that might be familiar in an unfamiliar place. Every morning, he wakes up at five, showers, gets dressed. He walks four miles to the Home Depot on Pines Boulevard where he waits for contractors to cruise through the parking lot looking for cheap, fast labor. He stands in the immigrant bazaar with the Mexicans and Guatemalans and Nicaraguans, sometimes a few Chinese. They stand tall, try to look strong, hope that a long white finger will curl in their direction. Three or four times a week, he is lucky. He grabs his tool belt, hauls himself into the truck bed and enjoys the humid morning air as he is driven to big white houses owned by big white people locked behind gates to keep things safe from people like him.

Once a week, Lucien buys a calling card for $25. It will allow him to talk for 28 minutes. He calls home where he talks to his mother, his uncle, his wife, his four children. He tells elaborate fables about his new life—how he’s found them a new home with a bedroom for each child, and air-conditioning so they can breathe cool dry air. There is a lawn with green grass and a swimming pool in the backyard by which his wife can lay in the sun. His children, two boys and two girls all under the age of ten, clamor for his attention. He strains to understand them through the static on the line. They tell him about school and their friends and the UN soldier who is renting a room in the house, how he’s teaching them Brazilian curse words. When there are only a few minutes left, his wife chases the children into the bedroom they all share. They are alone. There is no time for anything tender. She whispers that she needs Lucien to send more money, there’s no food, there’s no water. She wants to know when he will send for them. He lies. He tells her he’s doing all he can. He says soon.

On the weekends, Christophe picks Lucien up in the truck his boss lets him take home and they go to house parties in Little Haiti. They listen to konpa and drink rum and as all Haitians are wont to do, they philosophize about how to solve their country’s problems. “Haiti,” his father would always tell Lucien while he was growing up, “is a country with seven million dictators.” Sometimes, when it is very late at night, Lucien will find comfort in the arms of a woman who is not his wife. He will go home with her and in the darkness, as he cups her breasts with his hands, and listens to her breathing against him, as he presses his lips against her neck, and her shoulder, then licks the salt from her skin, he will imagine that she tastes like home.

Around the corner from Lucien’s apartment is a 7-11. Sometimes, when he can’t sleep, Lucien likes to go to there because it is cool and bright and white and clean and he can buy Hot Pockets. The man who works there late at night is also Haitian. He understands why Lucien likes to slowly walk up and down each aisle, carefully studying each row filled with perfectly packaged products. When the clerk first arrived in Miami, he did the same thing. Lucien thinks about the sweet things he would buy for his children if they were with him and how much it would please him to watch them eat a Twix bar or a Kit Kat. Each night, before he leaves 7-11, Lucien buys two Hot Pockets that he microwaves, and a Super Big Gulp. He walks home and sits on the curb in front of his building so he can be alone. He drinks slowly, so slowly that there’s no ice left in the cup when he’s done. He eats one of the Hot Pockets and the other one, he holds. He enjoys its warmth, thinks he’s holding the whole of the world in his hands.

Roxane Gay lives and writes in the Midwest.

This story originally appeared in Weave Magazine Issue 03, October 2009



September 12, 2013

Call for Book Reviews!

We’re opening submissions for book reviews!

As avid readers, we’re always on the hunt for a well-crafted book, be it overlooked or a new release. What should we read next? What book shouldn’t we have passed by on the shelf? And why? We’d love to know what you think about them! If you:
  • have an in-depth review of an unknown author or a new release that may not receive the attention it deserves
  • are a reviewer who’s looking for a new market
  • want to try reviewing a different genre than what you normally write
  • are knowledgeable and have fortes in specific genres
Then let us know! Please submit reviews to Weave by using our submissions manager. Emailed submissions will be ignored. If you are having trouble submitting, please contact Submittable support.

Please limit reviews to 500-800 words. We accept multiple submissions for chapbooks only for our Chapbook Roundup. Acceptable categories include all genres of fiction, poetry, chapbooks, and creative nonfiction. Please ensure that your selection follows Weave Magazine’s themes of diversity, community, and equality.

And, of course, if you’re an established reviewer and would like to join our reviews team, please contact our reviews editor, Nicole Bartley. Please include your name, contact information, a brief bio of yourself and your work, your estimated turnaround time for reading and writing reviews, 1-2 titles of work you’d like to review next, and a few samples.

We look forward to your submissions!

September 10, 2013

The Hectic Road to Compassion: A Review of Lorraine Lopez’s The Realm of Hungry Spirits by Nicole Bartley

cover credit: Hatchette Book Group
The Realm of Hungry Spirits by Lorraine Lopez
Grand Central Publishing (2011)

Review by Nicole Bartley

The Realm of Hungry Spirits by Lorraine Lopez is an overwhelming search for personal peace, for both characters and readers. Lopez drops readers into the main character’s varied and complex life, and readers will be compelled to learn how the drama unfolds and resolves—all in the span of two weeks. They may also reach for a bottle of wine just to tolerate the stress.

Marina Lucero is a middle-aged teacher who opens her home to friends and family members in need of shelter. Her unstable life becomes overrun with their troubles, such as her friend Carlotta who flees from an abusive husband, her nephew Kiko who is kicked out of his house, her little sister’s ex-fiancĂ© Reggie who is grieving from their recent breakup and living with Marina for the time being, and her well-meaning but dimwitted ex-boyfriend Rudy and his blackmailing friend. Everyone turns to Marina because she is intelligent, reliable, and giving. To relieve her chaotic life, she relies on teachings from the Dalai Lama and Gandhi—teachings that play heavily into the overall plot.

But Marina—despite her good intentions, responsibility, propensity to care too much, and lofty spiritual goals—is an unreliable narrator amongst many unreliable characters. Her emotions can flip at least three times in one page, and she is subject more to rage and pheromones than the rationality she attempts to wield. Her loneliness gets the better of her more often than not, and readers are left wondering how one so intelligent can lack emotional follow-through.

Luckily, Lopez is deft at making readers quickly sympathize with Marina’s plight. From the first chapter, readers are bombarded with Marina’s troubles in order to quickly understand her anger, annoyance, and exhaustion: Her nephew starts a rap band one morning and by the evening, he’s acquired a small dog to train for fights and claims it’s his calling; a neighbor’s sister asks Marina to help her pack belongings but is caught in the act of trying to rob a former married lover; Marina’s younger sister dates and seduces anyone who might seem financially well-off; and an ex-boyfriend’s best friend threatens spiritual curses if Marina doesn’t follow the friend’s instructions concerning his custody deposition. The tribulations quickly pile atop Marina, and it’s a wonder she manages to keep everything in line.

Through numerous extreme situations and their resolutions, Lopez shows that everyone should be accepted and forgiven, despite their flaws. This, in the end, is the main lesson of the book: to recognize similarities, not differences, in others and accept them. This Buddhist method of compassion has a Christian correspondence: “God grant me the serenity to accept what I cannot change, the courage to change the things I can, and the wisdom to know the difference.”

For example, when Marina’s harsh words about another man backfire, they open her eyes to one of the Dalai Lama’s true meanings behind his teachings. Lopez writes:
“I nod, my cheeks suffusing with heat. The Dalai Lama’s gentle face appears in my mind’s eye, his expression sharpening into disapproval, even disgust. Compassion, he writes, is built upon connections forged through recognizing similarities, not by fixating on differences and holding in contempt those who are different, as if they are lower than the self” (122-123).
Throughout the story, Marina seeks like minded people who are intelligent, responsible, and clean. Those who don’t fit these traits are usually met with consternation and impatience. It takes a small family to make her realize she’s been looking at compassion with the wrong perspective. She doesn’t often recognize the good in people around her until they shove it in her face. The passage above is a subtle turning point in the story—a eureka moment for her.

Although Marina’s internal world grounds the story, readers unfamiliar with Los Angeles may feel lost amidst the geographical references and the consistent use of Spanish in both narration and dialogue.  They may also wonder if life is really how she depicts it: poverty results in insanity and promiscuity, most men are too lazy to be responsible for anything, and most uneducated women are weak, selfish, and manipulative. It’s not a pretty rendering. Yet, most of the characters exhibit a moment of pure humanity, such as when an abusive husband reveals intense love and stand-offish teenagers show compulsions to please. If readers substitute their own neighborhoods for the one in Lopez’s novel, they might recognize themselves or the people around them. This returns readers to the aforementioned passage; there is always something that connects us to everyone else, and we must recognize that similarity and feed it in order to gain peace.

August 17, 2013

Issue 01 Redux: Making Weight by Jared Ward

When Weave opened for submissions for our first issue, we had no idea what kind of work the slush pile would yield. We knew whose writing we admired, and we solicited a good part of that first issue. We were trying to establish Weave’s aesthetic, which was something I believed we could define. So when we read Jared Ward’s flash fiction submission “Making Weight,” I was surprised by how it delighted me. A story about wrestling? I wasn't an athlete, nor was my former co-editor, but she and I both found ourselves giddy over this intensely focused glimpse into an unfamiliar world. I was able to enter this story, which, at its core reveals the unique bond between teammates and friends, and in there I found kinship with the characters.

I could not have predicted wanting to publish a story about wrestling, however, when we accepted Jared’s piece I started to become the editor I am today: one who is willing to see the common thread that ties together a well-crafted story or poem, no matter the world in which it takes place. The voice of Weave is the voice of many, and it's redefined with each issue. I believe the last line of “Making Weight” really encapsulates this broad aesthetic; ‘Anywhere there’s everything...” That’s Weave. Enjoy.

Laura E. Davis
founding editor, Weave Magazine

~

Making Weight by Jared Ward

     My draws hit the floor, taking a quarter pound with them. I stepped naked onto the beam scale, cold metal under my feet. Slid the big weight to the right, clicking it into the hundred notch, then flicked the smaller one to 18, 19, 20.
     Damn.
     One pound over. One hour til weigh-in.
     I stepped off as Eddie slipped out of his boxers.
     Under?
     Not yet.
     He laughed like a young Tone-Loc, a six a.m. laugh, his white teeth gleaming, always gleaming in his black cantaloupe head, teeth I’d ask him to show in the dark of the bus coming home from a meet in Derby or Wichita, Ark City or Winfield.
     Eddie, where are you? Smile so we can all see you.
     He’d sock my arm, flash me those pearlies, and turn up Too Short, Geto Boys, or whatever rap he had in his Walkman.
     Teammate. Friend.
     I layered two pairs of warm-ups over illegal plastic, the suit trapping heat so I’d sweat like a hydrant. Pulled on my Asics and laced them up tight, always tight.
     If you’re gonna die, die with your boots on, coach always said.
     Eddie, skin and bones, a shadow in the dim locker room light, stepped off.
     How much?
     I’m under.
     Bullshit.
     He grinned. Half.
     See you upstairs.
     I stopped at the fountain, letting the cold fill my mouth, swishing it twice before spitting it back. I’d taken three swallows for lunch eighteen hours before, not nearly enough to drive away dreams of pizza and milk and medium ribeyes.
     The thermostat was on the far side of the room. I cranked it to ninety, high as it went, and stood under the vent. Heat, when cutting fifteen pounds every week, is a wrestler’s best friend. The night before I ran three miles after practice, then drove to the health club and jumped in the sauna, pounding out push-ups and sit-ups on steamed wooden benches. The air got too hot to breathe and I crawled to the floor, pressed my face hard to the doorway crack, and sucked the cool air from outside.
     Fifteen pounds was almost too much.
Waiting for Eddie, I crouched in front of the mirrors on the wall, shot imaginary doubles and popped to my feet. Singles and arm drags and fireman’s carries.
     Ready?
     He was buttoning his headgear, the old school ones shaped like big headphones. I grabbed my new triangles whose front strap always fell over my eyes. Snapped it.
Let’s go.
     After some hand-checking, he caught an underhook, stepped deep with his right foot and snagged my left heel. Had to give him the takedown, twisting to save back points. Caught a wicked crossface on the bridge of my nose and he drove my face to the mat. I could feel the burn as the top layers of skin disappeared from the left side of my forehead.
I cussed him and drove my head back, fought to my knees, feet, then broke his grip to escape. Turned and faced him.
     He smiled.
     Lucky, I said, and we circled, probing for weakness.
     My legs felt too worn to be weary. It was Thursday morning, because meets were always on Thursday, and it’d been Sunday since my last meal of more than a Powerbar and a couple of kiwis, or a cup of plain noodles and a few leaves of lettuce. By Wednesday morning, it was just a sugarless grapefruit for breakfast, then nothing until after weigh-ins. I hated grapefruit, but they took the longest to eat.
     The running, though, hit me the hardest. Three miles before school, stair laps at lunchtime, two miles before practice, a mile at the start, and three miles after. Monday through Wednesday, usually Friday. Toss in practice with two pairs of sweats, sometimes the plastic, an extra two hundred push-ups and sit-ups at home, and by Thursday, fatigue was more of a concept than anything tangible.
     Eddie’s dark hands trying to tear me apart, that was tangible.
     Our heads came together, ear to ear, my right hand clenching his neck, his right curled around mine, and our lefts grabbing and pulling whatever they could. Locked in those tight circles, his breath was the loudest sound I could hear, smooth exhales surrounded by dull thuds of our warring bodies and the plastic clap of our headgear colliding.
     He tried again for the underhook. I caught it this time, pushed his arm inside and clamped a front headlock. I sprawled back, forcing him to the mat, and as I cranked his neck to the side a river of sweat poured out hidden plastic, onto his head.
     Shrieked like a girl. You wearing the Hefties?
     Gotta. No time.
     Bastard, he said, wiping himself. Come on.
     We went twenty more minutes, wrenching each other down to the ground, trying to squeeze out the air, inflict enough pain so the other would quit. Sometimes we’d careen out of bounds and lie side by side, lungs sucking the heat. One would get up, offer a hand, and head back to the center.
     I’d just escaped and turned towards him. He was hunched over, hands on his knees, looking at me.
     Under yet?
     I shrugged. We’ll see.
     On the stairs his arm slung over my shoulder. I won, he said, and I thought for a moment.
     Tied, I said, and he knew he was right.
     Pushed me into the wall and took off. I call first.
     I stripped by my locker while Eddie toweled off, weighed, and sighed in relief. Left my clothes in a puddle and stepped on.
     Under. Fifteen minutes to spare.
     Lying on the bench he asked, where we eating?
     Anywhere there’s everything, I said, closing my eyes.

~

Jared Ward has had work accepted by West Branch, Santa Clara Review, New Delta Review, and others. More importantly, he never missed weight... even if he sometimes wanted to.

This story originally appeared in Weave Magazine Issue 01, October 2008

July 9, 2013

Bittersweet Soup: A Review of Marsha Mehran's Pomegranate Soup by Nicole Bartley

cover credit: Random House, LLC.
Pomegranate Soup by Marsha Mehran is an intriguing narrative with a dash of wonder and one-too-many sprigs of enchantment. She gradually unfolds the co-dependent Aminpour sisters’ tale of evading mysterious pasts and a desperate attempt to establish a safe home in the small Irish town of Ballinacroagh. While there, Marjan, Bahar, and Layla rent a small cafe from an Italian landlady, Estelle, and introduce their secluded town to cultural cuisine. This results in both trusting friendships and despicable prejudices.

The Iranian, Irish, and Italian cultures are depicted only through language and food. Mehran created strong, distinct voices through realistic vernacular from Estelle and the Irish citizens. However the Aminpour sisters don’t present dialogue cadences. Instead, they use the same language structures as the narration: American. This could be an attempt to make the sisters as “normal” as possible for American readers and set them apart from other characters.

Mehran explores the sisters’ “otherness” further through their experiences with prejudice from the town gossip, close-minded society women, and the town bully. Although the sisters are never questioned about running a business without a man, the town (and author) focuses on their ethnicity. Among earlier instances of indirect prejudice, Bahar encounters hatred when she is angrily shunned by the butcher’s wife and men in a bar while trying to find Layla one evening.

“Something was very wrong here…. Something that went beyond the sad little curiosities of the old women in the butcher’s. Whatever she thought of that kind of small-mindedness, it was nothing compared to the bald hatred before her. It was an exclusion as foul as she had experienced in those scary early years in London, when the whole city was under alert of terrorist threats, and anyone who looked slightly foreign was watched with suspicion. Turning on her heels… Bahar pushed through the pub door, anxious to escape the dread that was rising in her chest. Just as the door slammed behind her, a sinister voice called out: ‘Go back to yer stinking camels!’ Raspy smokers’ laughs enveloped the rest of the smarting insult” (140).

The commonness of that insult connects with the characters, which mostly represent tropes. Bahar is fully developed and the overall story arc seems to center on her. Her abusive past resulted in mistrust of men, in addition to severe migraines triggered by fear and any conflict. She is constantly on edge, and her post-traumatic stress is enough to make readers want to hug her and hand her a bowl of abgusht and a cup of tea.

Because of this, readers will find common ground with Marjan. The narration follows her reliance on general kindness, food, and drinks as attempts to provide comfort. They also counteract her ineptitude of protecting and guiding her sisters. And, to ensure that they’re accepted in town, she uses her peculiar gift of making inspirational meals.

“Through her recipes, Marjan was able to encourage people toward accomplishments that they had previously thought impossible; one taste of her food and most would not only start dreaming but actually contemplate doing (78). … Evie and Fiona sat at one of the window-side tables now, each drinking her own bowl of red lentil soup as vague ruminations—prompted by Marjan’s magic—swam in their heads: Evie could see neon pink letters spelling out her name over the salon’s door, while Fiona imagined hers lighting up a theater marquee once again” (89).

But this relates to Mehran’s inability to remove excessive ingredients after her dish has been plated and served. Although Marjan’s cuisine provides a touch of magical realism, other poorly integrated fantastic elements cause hiccups. For example, Layla’s supernatural musk of cinnamon and rose is just enough for readers to suspend disbelief and enjoy the story. But Mehran unnecessarily explains the scent by killing the sisters’ mother in childbirth.

“Layla never knew her mother either, for she died shortly after pushing her out into the harsh world… The weary doctors in Tehran General Hospital had no explanation for the merciless bleeding and just shrugged with defeat when they told her father the news. They failed to mention that, as the last drops of blood seeped into the hospital’s sea green bedsheets, a tiny bud had popped out of his wife’s womb. When the flower seed fell into the pool of blood, it blossomed into the face of a full-grown rose. The fearful doctors kept this to themselves, partly to avoid a malpractice suit, and partly because the rosewater and cinnamon scent that accompanied the flower’s miraculous unfolding reminded them of a time when military guards did not hover behind every surgery room door” (29).

The background of the mother dying will gain readers’ sympathies, and it’s easy to believe that Layla’s natural musk is due to Marjan’s constant cooking with exotic spices. But a rosebud causing fatal hemorrhaging represents an elaborate need to appeal to readers, which tarnishes the story.

But Pomegranate Soup isn’t just a novel about family and finding a safe home; it is also, surprisingly, a cookbook. Each chapter is prefaced by recipes, and the rich descriptions of ingredients will make readers salivate. Overall, the novel provides enough intrigue and simplicity to keep readers turning pages without much thought. It will succeed when readers wonder if they, too, live in a provincial town that needs a bit of spice.

Review by Nicole Bartley

Pomegranate Soup by Marsha Mehran
Random House, 2005

November 16, 2012

Issue 08 Contributor List

*Poetry*

Kelly Andrews
Michael Boccardo
Kaitlin Bostick
Julia Bouwsma
Christine Butterworth-McDermott
Dolores Castro translated by Toshiya Kamei
Niamh Corcoran
Molly Curtis
Laura Donnelly
Brendan Egan
Heather J. Macpherson
Prairie L. Markussen
Casey McCord
Marigny Michel
Keith Montesano
Sara Lupita Olivares
Leah Sewell
John Oliver Simon
Adam Tavel

*Fiction*

Andrea O. Bullard
Carrie Callaghan
Sherrie Flick
Taylor Grieshober
Keith McCleary
Janice Pisello
Nick Sansone

*Nonfiction*


*Art*

Eleanor Leonne Bennett
Joseph Briggs
Jeff Foster
Suki Goodfellow
Carne Griffiths
Ken Knudsten