November News

It’s been a crazy and wonderful Fall, and I’m ready for the cold quiet that comes with winter. It’s always been my favorite season to write. I have projects planned and stories to finish. Time to get back to business!

HWA ShowcaseOverall, October was a fun month. I received my author copy of the HWA Poetry Showcase Vol. V, edited by Stephanie Wytovich. My story “Blood Works” appears in this wonderful collection featuring some of my favorite poets currently working in the speculative realm. There are some truly lovely works in this powerful and haunting journal. Among my favorites are “The Joy of Seeing” by Christina Sng, “The Temptation of the Moon to Shadow” by C. R. Langille, and the featured poem “Amalgamation” by Sara Tantlinger. The Horror Writers Association has showcased dark poetry for the last five years. It’s been such a lovely experience, I hope I’ll be able to submit again next year.

Also in October, I received my author copy of Birthing Monsters: Frankenstein’s Cabinet of Curiosities and Cruelties, a stunning grimoire collected by Firbolg Publishing. Opening this package was one of the most wonderful experiences I’ve had as an author. Not only was my story marked in the hardcover edition by a goose quill, but the box was brimming with treasures galore–all of which were unique and marvelous in their own way. The book itself is meant to be explored as an adventure; in fact, it doesn’t even have a table of contents. My essay, “Mapping the Collective Body of Frankenstein’s Bride,” can be found about halfway through and is bookended by an eerie piece of short fiction by Bruce Boston and a selection of strange images ranging from a black-and-white still from the movie Bride of Frankenstein to an excerpt from a criticism of the original publication of Frankenstein; or, The Modern Prometheus (The London Literary Gazette; November 19, 1831). The line-up of authors, poets, scholars, composers, playwrights, and artists featured in this quirky compendium includes Michael Bailey, Adam Bolivar, Jason V. Brock, Cecile Grimm Cabeen, Robert Payne Cabeen, Scott Edelman, Brian Evenson, Eric J. Guignard, Anne Jackson, Thierry Jandrock, Erik T. Johnson, S. T. Joshi, Lisa Morton. Gene O’Neill, E. F. Schraeder, Darrell Schweitzer, Doktor Alex Scully, B. E. Scully, Mary Shelley, Marge Simon, and Darren Speegle. The result is a stitched narrative that celebrates one of the most influential novels ever penned. It’s an experiment unlike anything I’ve ever experienced, and I hope I will have the opportunity to work with Firbolg Publishing again.

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August News

Hath No Fury coverMy birthday is right around the corner (August 31), which makes all the good news I’ve received lately even more enjoyable. On August 23, Hath No Fury was released into the world. This gorgeous anthology hold special meaning for me as it contains my “Jack and the Beanstalk”/”Rappaccini’s Daughter” mash-up “A Seed Planted,” which was one of the first manuscripts I workshopped with Liz Hand during my time at Stonecoast. I received the acceptance letter while I was in Puerto Vallarta celebrating the fact that I’d survived the first year of my bicycle accident in June 2016. It seems a lifetime ago now, but it was worth the wait. It’s a gorgeous books and an incredible line-up.

In other news, my poem “Blood Work” will be included in the HWA Poetry Showcase Vol. V, edited by Stephanie Wytovich. I worked on this particular piece with Cate Marvin, an extraordinary poet who took the time to really help shape the way I approach poetry. In the past, I had a fascination with Anne Sexton’s Transformations–a collection I still admire–but, I am not Anne Sexton, and with Cate’s help, I’ve been able to find my own path.  I still have a fascination with fairy tales and myth, but my poems have started to evolve into pieces with more concrete connections. It’s an interesting journey, and one I hope to continue.

During my time at Stonecoast working with Cate, I also wrote an academic paper on the brides of Frankenstein’s monster. Body horror tends to crop up in my creative work, so this felt like a natural transition. I ended up presenting that paper at the International Conference on the Fantastic in the Arts in March, and I ended up with some interest in an essay adaptation on my research. I recently had the opportunity to view the final draft of  Birthing Monsters: Frankenstein’s Cabinet of Curiosities and Cruelties, which will include my piece “Mapping the Collective Body of Frankenstein’s Brides.” Firbolg Publishing will be hosting a book signing on October 28 at Dark Delicacies (3512 W. Magnolia Blvd, Burbank, CA). Unfortunately, I won’t be able to attend because of a prior commitment at Sirens; however, you can be sure I’ll be watching the festivities remotely. It looks like it will be an incredible event.

gorgon-emergenceMy last bit of news was just announced today–I have a story coming out in the stunning Pantheon Magazine anthology Gorgon: Stories of Emergence“Burning Bright” is the result of an experiment in literary style. I started with a flash piece written about an abused girl hidden in the skin of a circus tiger, which was originally inspired by Angela Carter’s short story “The Tiger’s Bride,” collected in The Bloody Chamber. When I decided to expand it in order to take a look at the cycle of abuse, I settled on the opening reference to Frank R. Stockton’s short story “The Lady or the Tiger?”, which was originally published in magazine The Century in 1882. The story has come to represent an unsolvable problem, which I feel reflects the emotional state of victims trapped in relationships ruled by domestic violence.

I also borrowed the spelling of “tyger” from the William Blake poem “The Tyger” to indicate the shift from beast to woman, and the fierceness of the human soul once it is freed from the conventions that bind it. Other references include instructions on how to sew a lining, a circus calliope driven by a steam-driven carousel, the children’s counting rhyme “Eeny Meeny,” depictions of children’s string games, and hints of resurrection through the connection symbolized by the red thread of fate. This piece is meant as an acknowledgment of the fact that many victims return to their abusers, often several times. That final act of separation is a brave one and it often comes at a high cost. “Burning Bright” is a reminder that there is hope. The uncanny connection between a victim and an abuser can be severed. Freedom can be attained.