NEOMFA to Host Shara McCallum

The Northeast Ohio Master in Fine Arts program will host a workshop with poet Shara McCallum Wednesday, October 29th through Friday, October 31st from 10am to 1pm at the KSU campus. The workshop will take place in the Reading Room of the May Prentice House (126 Lincoln Street).  The workshop is open to current NEOMFA students.

A salon session with McCallum will take place on October 30th at 3pm at the Prentice House.

In addition, a reading will take place Wednesday, October 29th, at 7:30pm in KSU Student Center Room 306 ABC. The reading is free and open to the public.

From Jamaica, Shara McCallum is the author of The Face of Water: New and Selected Poems, This Strange Land, finalist for the OCM Bocas Prize for Caribbean Literature, Song of Thieves, and The Water Between Us, winner of the Agnes Lynch Starrett Prize for Poetry. Recognition for her poetry includes a Witter Bynner Fellowship from the Library of Congress, a National Endowment for the Arts Poetry Fellowship, and other awards. Her work has been published in the US, UK, Caribbean, Latin America, and Israel and been translated into Spanish, French, and Romanian. She directs the Stadler Center for Poetry and teaches at Bucknell University.

NEOMFA to Host Lynda Barry and Dan Chaon

The Northeast Ohio Master in Fine Arts program will host a workshop with artist and writer Lynda Barry and writer Dan Chaon. The workshops will be held on Thursday October 23rd and Friday October 24th from 10am to 2pm in MC 103 on the CSU campus. This workshop is open to NEOMFA students working in any genre and focuses on strategies for generating ideas and discovering scene through exploration of images. All writing will be in-class.

In addition, a reading will take place Thursday October 23rd, 7:30 pm in PH 104. It is free and open to the public.

Dan Chaon is the acclaimed author of Among the Missing, which was a finalist for the National Book Award, and You Remind Me of Me, which was named one of the best books of the year by The Washington PostChicago Tribune, San Francisco Chronicle, The Christian Science Monitor, and Entertainment Weekly, among other publications. Chaon’s fiction has appeared in many journals and anthologies, including The Best American Short Stories, Pushcart Prize, and The O. Henry Prize Stories. He has been a finalist for the National Magazine Award in Fiction, and he was the recipient of the 2006 Academy Award in Literature from the American Academy of Arts and Letters. Chaon lives in Cleveland, Ohio, and teaches at Oberlin College, where he is the Pauline M. Delaney Professor of Creative Writing.

Lynda Barry has worked as a painter, cartoonist, writer, illustrator, playwright, editor, commentator and teacher and found they are very much alike. She is the inimitable creator behind the seminal comic strip that was syndicated across North America in alternative weeklies for two decades, Ernie Pook’s Comeek featuring the incomparable Marlys and Freddy, as well as the books One! Hundred! Demons!, The! Greatest! of! Marlys!, Cruddy: An Illustrated Novel, Naked Ladies! Naked Ladies! Naked Ladies!, The Good Times are Killing Me which was adapted as an off-Broadway play and won the Washington State Governor’s Award. Her bestselling and acclaimed creative writing-how to-graphic novel for Drawn & Quarterly, What It Is, won the Eisner Award for Best Reality Based Graphic Novel and R.R. Donnelly Award for highest literary achievement by a Wisconsin author. D+Q plans to publish a multivolume collection of Ernie Pook’s Comeek, Barry’s next prose novel, and the follow up and creative drawing companion to What It Is, November 2010′s Picture This: The Near-Sighted Monkey Book.

NEOMFA to Host Jamaal May

This event has been postponed until the Spring.

The Northeast Ohio Master in Fine Arts program will host a three day workshop by poet Jamaal May from Monday, September 15th through Wednesday, September 17th.

The workshops take place 10am to 1pm daily in Student Union Meeting Room 323 on the University of Akron campus. Lunch is provided for all participants.

A salon session takes place Tuesday, September 16th, 6 pm in Student Union Room 335.

An evening reading takes place Wednesday, September 17th, 7 pm, in Student Union Room 312.

Currently enrolled NEOMFA students should submit a three-page writing sample of poetry along with a 250-word statement on why the workshop would be useful for the student’s current goals. Preference will be given to those concentrating in poetry. Applications must be emailed as a single attachment (.doc, .pdf, or .rtf) to Professor Mary Biddinger (marybid@uakron.edu) no later than Friday September 5th for consideration. This is a non-credit workshop limited to twelve students. All attendees must also be able to attend the Wednesday evening reading and are encouraged to attend the Tuesday salon session.

Jamaal May is a poet, editor, and educator from Detroit, MI where he taught poetry in public schools and worked as a freelance audio engineer and touring performer. He is the author of Hum (Alice James Books, Nov 2013), winner of the Beatrice Hawley Award, and two poetry chapbooks (The God Engine and The Whetting of Teeth). His poems have been published widely in journals such as POETRY, Ploughshares, The Believer, Kenyon Review, Gulf Coast, and New England Review. Honors include the 2011-13 Stadler Fellowship from The Stadler Center for Poetry at Bucknell University, the 2013 Indiana Review Poetry Prize, and scholarships and fellowships from Bread Loaf Writers Conference, Cave Canem and Callaloo. In addition to being a finalist at several national and international poetry slams, he is a three-time Rustbelt Regional Slam champion and has been a member of six national poetry slam teams, including five from Detroit and one NYC LouderARTS team. A graduate of Warren Wilson’s MFA program for writers, Jamaal has served as Associate Editor of West Branch and is currently the series editor, graphic designer and filmmaker for the Organic Weapon Arts Chapbook and Video Series. He teaches in the Vermont College of Fine Arts MFA program.

NEOMFA New Student Orientation

Fall 2014 Orientation

Saturday August 23rd 10 a.m. – 2 p. m.

Parker Hannifin Hall 104, CSU

9:30: Continental breakfast and socializing for students & faculty

10:15: Welcome and opening remarks

10:30: New student information (All current students and alumni welcome)

• Introductions

• Handbooks

• Frequently asked questions

11:30: Informative session for all students

• Program updates

• Presentations: Juniper, NEOMFA Playwrights Festival, Guest Artists, Big Big Mess, Brews and Prose

AWP Conference in Minneapolis, April 8 – 11

• Other upcoming events

12:00-12:45: Lunch

12:45 – 1:30: Break-Out sessions by genre

1:30 – 2pm: Q & A with faculty and students

Adjournment

Parking – As this is a Saturday there may be free parking available along Prospect Avenue, E 22nd St and Chester Ave. (if you don’t mind a short walk). Parking is also available in the Trinity Commons lot (entrance off Prospect Ave, $5, pay for token in Trinity lobby) and in the CSU Prospect Garage (usually more expensive than Trinity lot).

NEOMFA to Host Guest Artist Simon Armitage

Poet, playwright, and novelist Simon Armitage will be read at Last Exit Books in Kent, Ohio on Wednesday, April 9th at 7pm. The event is free and open to the public.

Read three poems from Seeing Stars, shortlisted for the TS Eliot Prize in 2010.

Join the event.

NEOMFA at AWP 2014

AWP Bookfair Table Locations:

AWP Offsites and Readings:

AWP Panels featuring NEOMFA Faculty:

NEOMFA to Host Guest Artist Chuck Klosterman

New York Times bestselling author Chuck Klosterman will visit the University of Akron in an event hosted by the NEOMFA.

A salon session will be held on Thursday February 20th in Quaker Square Ballroom B at 5:20 pm.

On Friday, Feb. 21, five NEOMFA students will have the opportunity for a one-on-one, 20-minute manuscript consultation with the guest artist. The selection process will be juried by faculty.

A reading will take place on Friday February 21st in the Quaker Square Ballroom at 7 pm. The event is free and open to the public. Copies of Klosterman’s books will be available for purchase, and he will be available for signing after the event.

Bio: Chuck Klosterman is the New York Times bestselling author of six books of nonfiction (including Sex, Drugs, and Cocoa Puffs and I Wear the Black Hat) and two novels (Downtown Owl and The Visible Man). His debut book, Fargo Rock City, was a winner of the ASCAP-Deems Taylor Award. He has written for GQ, Esquire, Spin, The Washington Post, The Guardian, The Believer, andThe A.V. Club. He currently covers sports and popular culture for ESPN and serves as “The Ethicist” for the New York Times Magazine.

*Homepage photo credit: Kris Drake

 

Chris Barzak – Faculty Close-Up

NEOMFA faculty member Chris Barzak is the author of four books: One for Sorrow (Bantam Books, 2007), The Love We Share Without Knowing (Bantam Books, 2008), Birds and Birthdays (Aqueduct Press, 2012), and Before and Afterlives (Lethe Press, 2013).

Jamie Marks is Dead, the film based on One for Sorrow,  made its debut at the Sundance Film Festival this year. Directed by Carter Smith, the film has been described as a “spooky rendition of teenage passion and shame,” and has garnered positive reviews from many major media outlets.

Jamie Marks is Dead – Exclusive Clip

NEOMFA student Matt Lattanzi recently spoke with Barzak about his experience with the film’s production.

Listen to this Interview

Recently your first novel, One for Sorrow, was made into a film entitled Jamie Marks is Dead. I think we can both agree that it’s a very exciting thing for a writer to have his or her work turned into a film. Can you talk a little bit of how that came about? Did the director [Carter Smith] approach you for the rights or was the film optioned previously?

Sure. It was about eight months after One for Sorrow was published that I heard from my agent that Carter Smith was interested in optioning the rights to One for Sorrow to be made into a film, which he did several weeks later. And after that, the options were renewed a couple of times so that he could retain the rights to be the person to make this movie…if he chose to…or became solvent…or was able to bring together all the human and capital resources he would need to do so. It was around the time that it would have come up for a third option renewal that he had pulled everything together, including haven written the script and pulling together a cast and having backers arranged for it that he bought the rights, which is a different thing than options and everything moved really quickly after that. What had been three or four years that went into getting the foundations laid for the movie to be made, it became a process where the movie was put together and filmed within a period of four or five months after the rights were purchased, so everything moved really quickly after that.

Did you have any input at all about what was going to go on the screen? Did he ever ask you questions about how things were going to work in the script?

Yeah, well even over the few years where he was renewing the option of the film, he would periodically call me, email me, and he shared some ideas he had as he was writing the adaptation and he wanted to know what I thought occasionally about changes he might be making…or motivations for certain characters that he was trying to make come alive on the screen and didn’t necessarily have the internal…capacity that a novel does to delve into a character’s thoughts in the same way. He still wanted to convey motivations on the surface of a film, so that was pretty much the extent of our conversation together. Ultimately the script is his, but even up to the last few moments before filming, he had sent me questions about various aspects of the film and the script, was still asking what I thought about certain things, and brainstorming ideas for how to execute certain actions in the film.

So, it must have been a surreal experience seeing your characters come to life on the screen. And I’d like to hear about that. How was it different than having your characters limited to only the page? Did it change the image of your own characters?

Well, it hasn’t changed the image of my own characters for me. I still see those characters in my mind…and that really won’t be changed by the film. Although [laughs], I do understand that it probably will for people, particularly for people who see the film for the first time and possibly read the book afterward, they’ll see those actors most likely, which is an experience I think a lot of people have when they see a film based on the book and then go read the book. But, I’m okay with that [laughs]. But…it was definitely strange to see it when I visited the set last March and…was waiting to be let into the trailer…mobile home set where they were filming from the narrator’s house…family home. After being let in, I was given a headset and brought to a monitor and then they immediately started filming again. And there were there were these two teenage boys who were acting out a scene that I’d written in the book and it was pretty much a scene that was word for word the dialogue I had written. It was definitely surreal. It was mind-blowing. Especially because even though those actors won’t replace the characters in my own imagination, I think that they were really good choices and that’s why I really don’t mind that might be some people’s image of the characters as they go from the movie to the book. They really captured the essence of those characters…so I’m really happy and flattered by the cast that has been put together.

It probably helps that you feel like Carter was probably really happy to do this and he was really excited about the project, so you might be more trusting to give him this world too.

Yeah, I completely trusted him with it. He got the book and wanted very badly to retain the essence of it regardless of what any…whatever kinds of changes would have to be worked on it by the necessity of taking a novel and making it into a film. You know, you really can’t take everything word for word and literally translate it from a novel to the film script.  There’s just not enough pages in a film script. They’re usually around 120 pages and a novel is 320…or at least this one was. It leaves a lot out, but mostly the internal kinds of stuff.

Which is common with movie versus book…

Right.

Changing gears a little bit, early in 2013 your first technical collection of short stories Before and Afterlives was released. How much work is involved in creating a collection for you? Was there a revision process at all? And what was it like revisiting your earlier work?

Well, there wasn’t really a revision process in terms of going back and revising stories that I’d already published. They were all stories that I’d worked on and revised heavily time and time again, up until they had their first publications. I really don’t try to publish stories that I have any…questions about or possible doubts. So, I didn’t go back to any individual stories and revise them for publication…in the collection format. The hardest part was trying to find a grouping of stories that communicated amongst each other as a kind of network of stories that shared themes, or character types, or even plot types and had things that were in common so that they create a kind of…effervescent dynamic when placed together. And that was…somewhat difficult for me because I’d spent probably around close to twelve years writing all the stories in that collection and it’s a large collection…it’s seventeen stories, so I had probably another seventeen to twenty stories that I did not collect in that and that are sitting in files for other collections. You know, sort of whenever I have a new story published I try to see if it fits into one of those other potential future collections or not. I sort of categorize it that way. That’s not something I’d been doing in the past, so it was huge to look at about thirty six stories I’d published in the past twelve years and select out of those the appropriate ones, and then after that to find an arrangement, in terms of order, for how to order them in the book to be a pleasing reading experience. Well…some readers just read around in a collection of stories so it doesn’t really matter for that type of reader what order things come in. There are also a number of readers that are trained to read from first page to last even if it is a collection and for those readers in mind, you’ve got to think about which stories are perhaps too similar to each other so that you’re not serving them the same course over and over again…I think about it a lot if I were having people over for dinner for like a three or four course meal, you don’t want to give them a sorbet and another sorbet. You know [laughs] you need to break things up so they have different experiences as they’re reading through a book.

So is it mainly about diversity within that certain theme or the material you’re working with or is there another way to keep momentum going as you go along?

Sometimes it’s diversity in theme, sometimes it’s diversity in character types because I think many writers are attracted to certain character types and after you’ve written a certain amount, you start to see what those types are so you don’t want to have them over and over either. And then sometimes it’s a matter of length. I have stories that range from three pages in length to as long as forty or fifty pages, and so in terms of ordering I sometimes consider length too. I don’t want to have a large story and then another long story after it too often. I want the readers to…move through different lengths of short stories too, so a lot of that is trying to find the right placement.

Can you talk about what’s next on the horizon for you?

Well, I just sold my third novel. It’s call Wonders of the Invisible World and it will be published by Knopf in…fall of  2015 and I’m now at work on my fourth novel. I’m about halfway done with it…at least the first draft of it and right now I’m calling that A Manual for the Most Effective Usage of Fallen Stars. I’m also trying to pull together a new collection. I need to write a few more stories to make me feel like it’s complete and that is a collection of short stories that are all retellings of and adaptations of classic genre literature. Things like H.G. Well’s The Invisible Man, and Stevenson’s The Curious Case of Dr. Jekyll and Mr. Hyde, The Wizard of Oz…And I am tentatively going to call that Monstrous Alterations.

Just as kind of a follow up question, the press release from Knopf calls this your “debut YA” novel. I found that comment odd seeing as how One for Sorrow felt very much like a young adult story. And I just wondered how that categorization comes about…that one is young adult and one isn’t. Were you surprised about the categorization of One for Sorrow? And did you make any conscious changes in style for Wonders of the Invisible World to ensure you would get the YA release?

Right. That’s a good question. I’ll sort of go through it in an order that makes sense for me. One for Sorrow came out as an adult novel, despite having features of a young adult novel. It has a sixteen-year-old narrator and it’s a coming of age story, and technically those are the only qualities that define young adult novels, today at least…the modern young adult novel. Regardless, as my agent had been taking One for Sorrow around through publishing houses back in the 2005-06 area, a lot of the young adult publishers at that time felt it was perhaps too adult and had a lot of use of adult language. There was some sex scenes in it that they weren’t sure…if it would keep the book out of high school classrooms, which is sometimes a consideration. On top of that, they didn’t know how to categorize it in terms of genre. They didn’t know if it was a realist story or a supernatural story or a fantasy story. Eventually the editor who acquired One for Sorrow said it was all of those things, which makes a lot of sense and I thought she was pretty bright [laughs]. All of those audiences would be the audience for that book. It was published adult because it was an adult publisher who acquired it, but I do think it could have been released as a young adult novel too and especially now. I think about eight or nine years after it was first acquired by Bantam Books, a lot of young adult publishers find adult language in young adult books relevant now and even depictions of sex that aren’t necessarily negative [laughs]. So, when it came to writing Wonders of the Invisible World, which is going to be released as my debut young adult novel…no I didn’t really change the way I wrote anything. It was pretty much the same process that I used for writing any of my books…any of the differences in process had to do with figuring out the book’s structure, but not the book’s age category. And other than that I would say that…it was simply sold as a young adult novel and has a lot of similar features to One for Sorrow and it fits in that category now in a way that perhaps One for Sorrow didn’t at the time that it was sold.

So it was mainly a matter of time and place, rather than content?

Yeah and how the culture of young adult publishing has changed in a very short period of time.

Fascinating to hear. The final question I have is: now that you have some major publications under your belt and a film based on your novel, do you notice a change in the way publishers deal with you, particularly with maybe “Wonders of the Invisible World” or your upcoming novel? Do you find that more publishers approaching you or showing interest in the stuff you’re doing? And what’s that like?

Well, it depends on the different types of publishers. When it comes to novel-publishers, publishers of full-length books, they don’t generally approach. They wait for writers and their agents to approach them with a book or a proposal for a book. Very rarely they might occasionally approach people, but it’s generally celebrities they are approaching and ask them if they can hire a ghost writer and publish their biography or something like that…so no, I’m not necessarily getting approached by book-length publishers. Although when this newest book, Wonders of the Invisible World, was circulated, it did get a lot of attention from editors that it was submitted to, so it had more interest perhaps. I’m not sure what’s changed [laughs], but I hope that it’s mainly because the book is really strong and interesting because I worked for years on it. But when you come to things like magazine editors and anthology editors, those people do actively seek out writers because they are putting together issues of magazines. They are putting together anthologies and they act like DJs in a way, so they are looking for the new tunes they want to spin and they like certain writers the way some DJs like certain musicians. I do get approached by them—although I have been for some time now—where they request for me to write a story for an anthology or encourage me to submit to their magazine.

So, it’s a matter of… an editor really likes what you’ve done before and would like this kind of stuff in his or her magazine. Ok. Well…that’s pretty much all the questions I have right now. Thank you very much!

Thank you!

Matthew Lattanzi is a current student in the Northeast Ohio MFA Program. His short stories have appeared in the online print magazines The Jenny and Swamp Tea and Biscuits. His story “Dreaming in Flesh” was featured on the Daily Fiction website and selected as a notable story for the 2011 storySouth Million Writer’s Award.

NEOMFA Playwrights Festival

The NEOMFA Playwrights Festival launches in February at Convergence Continuum in Cleveland’s Tremont neighborhood.

This year’s festival features full productions of thesis plays by playwrights Claire Robinson May and Michael Laurenty and short works by Keith Marcum and Monica Morgan.

February 6, 7 & 8 at 8pm

River Sky (Soapocalypse Now) by Claire Robinson May

Delta 32 by Keith Marcum

February 13, 14 & 15 at 8pm

Warlords of Walderhaven by Michael Laurenty

Murphy’s Law Department by Monica Morgan

NEOMFA to Host Guest Artist Heather Christle

Poet Heather Christle will be conducting workshops with students January 29th through January 31st from 10 am to 1 pm in the Kent State University Student Center Room 302. Lunch will be provided.

A reading will take place on Wednesday January 29th at 7:30 pm in KSU Student Center Room 317.

A salon session will be held on January 31st in KSU Student Center Room 319 from 2-4 pm.

Bio: Heather Christle is the author of What Is Amazing (Wesleyan University Press, 2012), The Difficult Farm (Octopus Books, 2009), and The Trees The Trees (Octopus Books, 2011), which won the 2012 Believer Poetry Award. Her poems have appeared in publications including Boston ReviewGulf CoastThe New Yorker, and The Best American Poetry. She has taught poetry at Antioch College, Sarah Lawrence College, the University of Massachusetts Amherst and Emory University, where she was the 2009-2011 Poetry Writing Fellow. She is the Web Editor for jubilat and frequently a writer in residence at the Juniper Summer Writing Institute. A native of Wolfeboro, New Hampshire, she lives in Yellow Springs, Ohio.