Cameron MacKenzie: Historical Fiction and Mythic Revolution

"The book tries to understand revolution, but what drives the novel is a filtering of revolutionary actions through the context of myth and the role played by storytelling in the creation of those myths. I became fascinated by the myriad depictions of Villa in the historical record, how he was and remains a remarkably contested figure, and how the outlines of that figure have been determined by stories that seem to channel the desires of a culture and a society through a singular man. Pancho Villa is a mythic character, and I try in the book to convey the manner by which that boy became that myth. "

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Paul Vega: The Writing, The Editing, and The Chaos Between

"I wouldn’t say being an editor has had a huge effect on my writing, at least stylistically. It does make you a more empathetic reader because you understand how incredibly hard and ludicrous this whole racket is. Plus, for me, It’s always fun to keep a finger on the pulse of the community. To feel like you’re a part of things no matter what’s going on in your writer life. To see what’s out there, what’s happening on the frontlines. And there’s no better feeling than finding a well-crafted, complete story in your queue written by someone you’ve never heard of."

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Going Fierce: A Podcast Interview with Hillary Adler

"I think usually I am writing in the immediacy trying to process the fragments of my life, trying to process what goes on around me. I am wary of saying that I go to the page for therapy because I don't find writing to be in any way therapeutic, but it does help me understand my place or position in the place I find myself in."

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Life & Language with Linda M. Fischer

“Sometimes I can make the ending more forceful by stressing internal rhyme, but it really depends on the content of the poem. There is no magic formula, and it can take hours of head-banging. Afterwards, if I’m pleased with the result, I go through a period of elation. But it doesn’t last—the letdown is not knowing where the next poem is coming from.” 

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A.D. Nauman & the Mansion of Surprise

“I enjoyed pouring my feelings and thoughts directly into 'you,' erasing the line between reader and author. But perhaps the truer reason why I wrote the story in second person is so I wouldn’t have to write it in first. By convention, this would be a first-person narrative, and originally that’s what it was; but then it read like a personal narrative, oozing narcissism. I, I, I. There’s enough narcissism in the world without me adding to it.” 

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