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Q&A with Alexandra Naughton

Alexandra Naughton is a San Francisco Bay Area author, originally from Philadelphia. Her debut book of poetry, I Will Always Be Your Whore: Love Songs for Billy Corgan was recently published by Punk Hostage Press. She runs the popular website Tarista Explains It All, as well as the Be About It zine, reading series, and now an e-book publisher. We sent her some questions following her recent Bay Area launch events in San Francisco and Oakland.

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Q: Congratulations on your book launch. What inspired you to write I Will Always be Your Whore?

AN: Winter, insecurity, living with someone and longing for something else, and solitude.

 

Q: Are you happy with the way the book came together? Is there anything you would do differently now?

AN:I still can’t believe I made this. Some of the poems are embarrassing for me to read now, but I think that sometimes happens to me when I’m working on new material, the older stuff is just like, “wow I used to really worry about this.”

 

Q: How do you know when you’re done writing a poem?

AN: When the urge to vomit passes.

 

Q: Does Billy Corgan know about your book? If not, why not?

AN: I contacted the venue he owns in Chicago, Madame Zuzu’s Tea House, about possibly doing a reading there. They were not into it, but they wished me the best of luck in my future endeavors.

 

Q: Can you explain about syncing the poems with songs from Smashing Pumpkins? Were these the songs that inspired the poems, the songs you listened to while writing them, or are we intended to yell or whisper your lines over the music? If the latter, should readers expect a Wizard of Oz/Dark Side of the Moon convergence?

AN: I was listening to a lot of Smashing Pumpkins while writing the book. I listened to live performance and studio albums almost constantly, whenever I was in front of my computer, writing and editing, and whenever I had the chance to listen to my ipod, on the train with a pen in hand and a notebook in my lap. The songs inspired the poems and served as company for me while I was writing them. I was alone a lot, and writing the poems made me feel lonelier, so playing the Dublin live performance of “Blank Page” on repeat was really comforting to me. Those swooning guitars.

I haven’t tried the Pink Floyd/Oz experiment yet, but I’ve been meaning to. I really would like to do a live performance with the songs playing in the background. Maybe one of my more musically talented friends will accompany me.

 

Q: How does one remain vulnerable and take risks in such a cynical world? Or should one even bother?

AN: The world fucking sucks and we probably shouldn’t bother to do anything because it feels like there literally is no point, but that would be an extremely futile experience and I’d rather expose my wounds to something acidic and feel something even if that something is awful rather than laying around in my bedroom and wondering what could be. I’m a masochist. I embarrass myself constantly and show people stuff that I should probably just keep to myself but I can’t stop. I think it’s innate.

 

Q: What is Punk Hostage Press?

AN: Punk Hostage Press is a nonprofit independent publisher where “all rights belong to the artist” and “the publisher/editor is a vessel for the work to be disseminated.” There is an emphasis on publishing the work of writers involved in social and environmental justice, and Punk Hostage donates books to women’s shelters, jails, prisons, homeless shelters, and treatment programs, in an effort to give back to those survivors. All rights of the work belong to the artist, as they should. I appreciate Punk Hostage’s attitude and aesthetic, coming from the do-it-yourself zine tradition myself. When PHP first approached me, it was to congratulate me on my zine. Iris and Razor, editors and rulers of PHP, were thrilled that young people was still making paper zines.

 

Q: What is Be About It?

AN:Be About It is my little literary zine that I put out twice a year. I solicit work from writers and artists whom I admire, and receive open submissions from folks who have heard of the zine over the web and around the Bay. I stared Be About It zine in 2010 when I was unemployed and had nothing else to do, and starting my own magazine was something I had always wanted to do, so I took the opportunity and just started, not really having any idea of how to operate a publication. It’s been trial and error all the way along, but it’s been fun. The next issue is themed “rich” and will be coming out soon.

 

Q: Can you talk about your own press?

Be About It Press (http://beaboutitpress.tumblr.com/) is something I just started. Having a zine wasn’t enough, apparently, and I have all these friends who have ideas for e-books or e-books in the works that they don’t know how to distribute, so I decided I’d start my own press and try to put out a number of e-books and physical chapbooks every year. We’ve put out a few e-books so far this year, Bernard Parson’s ‘to be shown the truth,’ a coloring poetry book I put together called ‘Everything I Love is Dead,’ and Megan Lent and Joe Carrow have e-books due out in a few weeks.

 

Q: What does Alt Lit mean to you?

AN: Alt lit, as far as I care, is writing published on the internet. There is a small community online that designates itself as “alt lit,” but there are communities of writers all over the internet. I don’t think about it too much, but I try to use the resources available in the communities to introduce people to my work and to become familiar with other writers.

 

Q: Do you have any advice for other writers?

AN: Write. Don’t put everything you do online, just the stuff that really makes you say ‘wow.’ Edit. Proofread. Edit again. Delete a bunch of shit. Does it sound good when you say it out loud? Don’t be afraid, but don’t be pompous either. Be nice. Don’t be too much of an opportunist or social climber. People can smell opportunists from several yards away and won’t want to fuck with you, unless you already have hella hot connections. I guess if you already have hella hot connections, don’t worry about your writing too much, but try not to piss people off. This is your life now.

 

Q: What are you working on now?

AN: I’m working on a compilation of poems and short stories called ‘Sad Storys.” That’s the working title. I might change it.

You can purchase Alexandra’s book, I Will Always Be Your Whore: Love Songs for Billy Corgan here.

Alexandra Naughton performing from her debut collection of Poetry. (Photo courtesy of Joe Carrow)

Alexandra Naughton performing from her debut collection of Poetry. (Photo courtesy of Joe Carrow)

An Interview with Zarina Zabrisky

by Jeff Von Ward

author Zarina Zabrisky

author Zarina Zabrisky

Zarina Zabrisky started to publish her work in 2011. Since then her work appeared in literary magazines and anthologies in the US, UK, Canada and Nepal and three of her short stories are nominated for Pushcart Prize. (Nominations by Eleven Eleven Journal of Literature and Art, Red Fez Literary Magazine and Epic Rites Press Publishing.) Amy Hempel has picked her short story for distinction as Finalist in The Normal School’s Normal Prize in Fiction, 2012. Her debut collection of short stories, IRON, was recently published by Epic Rites Press. She has been touring and reading all over the western United States in support of it. I recently caught up with Zarina to ask about her amazing book.

 

What inspired you to write IRON?

IRON is a tribute. Each of the four stories is inspired by the people I loved and lost and my whole lost generation, the generation that came of age during the collapse of the Soviet Union.

 

Is there a uniquely Russian sensibility to literature and, if so, do you feel like you’re writing in or against this tradition?

Like many Russians I do have a passionate love affair with books. I arrived in America with a cat and a couple of suitcases, one of them filled with my family’s books. I could not leave them behind. It’s fairly common. Do I follow the tradition? I think we all internalize parts of our culture, only to rebel against it later. What results might be our true unique selves.

 

What does the title refer to, beyond the specific item that Vera uses in the title story?

The Iron Curtain. Iron lady. Iron maiden. Iron symbolizes power. Iron women are strong women. But pure iron is soft! Steel is hard, not iron. What is the real power? Is there power in softness?

 

I loved the nicknames of the characters in “Weeping Poppies”: Pilot, Philosopher, Legs. Do you consider yourself an allegorical writer?

The underworld’s nicknames are always poetic.

Also, it recently occurred to me that Europeans grow up with allegory all around. The statue you walk by on the way to school is not just a woman with a shell in her hand, it symbolizes the sea, the port, the motherland and the victory in some long forgotten battle. The hand with a stick represents the supreme power and the dynasty of monarchs long gone. You grow up learning this language of secret signs. If you happen to be a writer you most likely will use it at some point, one way or another.

 

Is it Philosopher’s sensitivity that leads to his downfall?

All philosophers are doomed, junkies or not. You know the legend about Nietzsche’s last mental breakdown, when he saw a horse being flogged and covered the animal with his body to stop its torture? Sensitivity is a gift but it comes at an enormous price.

 

Is “The Hungry Duck” based on a real location?

Yes. I lived close to there. The Hungry Duck was an infamous Moscow bar of the 1990s. It was called the Den of Sin. The Duck’s “Ladies Night” was exceptionally popular, bringing almost one thousand women in a single night. Women danced on the bars and stripped. It was fun, but also dangerous—the bar tops were slippery and narrow. The Duck was owned by a Canadian businessman and Georgian mafia—like pretty much everything else those days. Everything belonged to expats and mafia.

 

You write really strong female protagonists. Do you consider yourself a political writer? Is the book, in part, about the political made personal? I’m thinking, in particular, of the title story. It feels like there are both geopolitical and gender issues at play, but ultimately it is a kind of hair-raising escape.

I feel that in life everything is mixed, politics, personal and gender issues. A young woman losing her fiancé because he is killed at war—is it political or personal? A family leaving their home to become refugees? The women in my stories are survivors, not politicians. But by making their choices they make history.

 

Is Marina too naïve or just a romantic? Is there any problem with that? How does one balance “street savvy” or cynicism with being open to new experiences?

Marina is a dreamer. Blinded by her dream, she refuses to see reality. Young people tend to think they are invincible and immortal. Songs of Innocence and Experience. I think the question is: How does one learn life lessons and stay optimistic?

 

One of my favorite minor characters was Sergey, the ne’er-do-well brother and hanger-on who perpetuates the family curse in “The Hungry Duck.” I feel like we’ve all known people like him. Have familial bonds for people become more or less important in Russia since the arrival of capitalism?

Depends on the family, really. I left Russia a long time ago, and it is hard for me to tell. I like Sergey, too. Impossible to live with, hard to leave. Also, the Russian intelligentsia stereotype: bookish, bright, super-sensitive, yet hopeless.

 

“The Cross of David” was the only story in this collection set in America. Do you share David’s cynicism about religion? When it comes to magical thinking, are Russians and Americans both guilty of the same excesses?

My position is very similar to the protagonist’s view. I am a bitter atheist. I’m not cynical about religion or faith. It is lonely here and people want to feel protected and loved. I respect that. I’m cynical about those who use religion to control, brainwash or profit off others in need.

Religion in Russia is a whole different animal. In the last hundred years Russia went from burning churches and banning crosses to mandatory religious education in schools. I think Americans are way more subdued.

 

Can you talk about your treatment of violence? For example, in the stories “Weeping Poppies” “The Hungry Duck” and “Iron”? Is it harder to write about violence than to see it in a Tarantino movie? How do you know what to imply and where to linger?

Sadly, I’ve seen a lot of violence in life. It is not exciting. I don’t like writing about rape, fist fights or shootings. I don’t like writing about death either. But… as Siddur, a Jewish prayer book, says, “It is darkness which makes us aware of the stars.”

I write from moving pictures in my head. It is like a movie so I don’t really decide about the scene. I can choose details to cut or to leave when I’m editing. I prefer a minimalist style.

 

Do you have any advice for other writers?

I don’t feel like I’m in a place to give advice. I think it would be: Write, read and never listen to anyone telling you that you can’t write.

 

What are you working on now?

I am working on a novel and two short story collections.  My novel, “Light Catchers” is a story of three artists pursuing perfection in art and finding deadly passion instead. One short story collection explores love and death in the extreme conditions of a remote Kazakh oilfield. The other one is based on my travelling in Europe and Africa.

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purchase Zarina Zabrisky’s IRON

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Zarina Zabrisky started to write at six in Russia. She escaped the aftermath of a collapsing communist empire and wrote traveling around the world as a street artist, translator, and a kickboxing instructor. Her work appeared in literary magazines and anthologies in the US, UK, Canada and Nepal. Zabrisky now lives in San Francisco. IRON is her debut short story collection.

An Interview with Paul D Blumer, author of Death or Quarter

by Jeff Von Ward

Author Paul D Blumer

 


 

Twenty-three hours worth of eternity, reliving each piece of a lifetime; thinking in strings of thought, helplessly conjuring the ghosts of the past. Then escorted down the hall in silence for a solitary shower. Which is the only thing that goes by fast…

 

 

From the void of solitary confinement comes Paulie Gaeta’s harrowing story of crime and glory; from his Boston roots with an Italian crime family to his climb up the underworld pedestal as a bare-knuckle champion.

With dozens of illegal prize fights under his belt, Paulie loses a gamble with fate, and earns a 24-year sentence for narco-trafficking. In prison he finds himself surrounded by potential enemies and impossible choices, losing touch with the outside world which cast him out. Faced with insurmountable odds, Paulie must fight his way to the top again and again as he battles images of his past. And through it all, a recurring choice: death or quarter.

Death or Quarter is a dark saga of triumph and suffering, rooted deep in the mind of a philosophical killer, and underscored by shocking brutality and surprising sensitivity.

 

I sat down with Paul recently to talk about his debut novel.

What inspired you to write Death or Quarter?
I don’t know that I was inspired so much as a world opened before me and I couldn’t help but hitch my skirt and dive right in. I came in contact with this guy who said he had been a bare-knuckle fighter. We talked about doing a book, and he told me some stories from his life. Some crazy shit he spun, which is woven into the novel. And then he had some legal troubles—something, he said, about Whitey Bulger—and then I haven’t heard from him since.

The book, through one guy’s knuckle-scarred experience, is about what it means to be a conscious human, alone and flailing in this chaotic and capricious world. My characters tend to be thinkers—and whether bare-knuckle champion or high-class hooker, they are very much self aware. This is a direction I think humanity is (and has always been) (and maybe should be more) headed in; it’s a question only of how to represent it.

What does the title refer to?
The title sort of brings the piece together. It’s the rug from Big Lebowski. It’s what life’s about. Connections. A Unified Theory justification. A set of indelible choices: cease to exist, or suffer a deadly blow to pride and our aggressive competitive instincts. Who ever wants to surrender? The character, Paulie Gaeta, lives on the edge of death at all times. His life (and ours, by extension) boils down to the universe’s responses to choices. The old action/reaction thing, on whichever scale you choose to measure by.

What was the hardest part of writing your book?
The hardest part of writing is always the actual Sit Down And Write part. We are very good at distracting ourselves, at finding innumerable other activities that need to get done before we can write a word. Moments of focus were few and far between, until I passed the 100-page mark, and it flew pretty fast from there. Then, the hardest part becomes figuring out which connective tissue I needed between certain scenes.

Why did you decide to self-publish?
We’re at the edge of something here, a breakthrough decided by folks who live the philosophy The only things necessary in this business are writers and readers. And that was said by a middleman millionaire. I don’t like the idea of rotting in a slush pile. I prefer the Valhalla hell of direct marketing; of side-stepping the rank-and-file and scraping by on my own bootstraps. Where every measure of success is one I’ve had my fingers in. In many years, I may look back and bemoan the worst decision in my life. Or I may look back and congratulate myself. There’s only one way to find out…

Do you have any advice for other writers?
There’s really no way for one writer to advise another. We can share techniques, tools, knowledge. But when it comes down to it, writing is about as individual an experience as you can get. You’re alone; no one really understands, but you’re trying anyway, you’re reaching out to embrace unfathomable concepts, and you have to express them in a series of dots, lines, and curves arranged in well-established, alphabetized patterns. My only advice is Listen. Listen to the universe, to your muse, to the humanity all around. Your perception is all there really is.

What are you working on now?
At some strange point in my MFA career, I decided I wanted to turn in a bit of constrained writing as my thesis. Why not do something outrageous, to really earn that title of Master? But then it turned into “the first English book with no verbs.” About a revolution and a trio of young rebels. The more people I told about it, the more committed I was. The only problem is, it has been difficult enough to build the obstacle, let alone climb over it. That’s what I’m working on now.

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Paul D Blumer is the author of the new novel Death or Quarter, and an MFA candidate at California College of the Arts. He invites you to visit his website, Paulblumer.com.


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