Interviews

April 11, 2015

This is What It Feels Like To Be Alive – Interviewing Claire Kilroy

By Nikki Barnhart in Interviews, LRR

My first question for author Claire Kilroy is, “what has changed since your last visit to UConn?” This is her second time visiting – the first being six years ago in 2009. Her response: “I’ve had a child.”

 

Right now, Kilroy is primarily a mother. Before our interview, she spoke on the phone to her two year old son before his bedtime, offering words of comfort. One of the most striking things about her is the loveliness of her voice – bold and strong when reading out loud from her work, and soft and soothing in conversation. She’s a thoughtful speaker; she takes time to formulate her responses into incredibly eloquent responses. In-person interviews are difficult, but she seems at ease.

 

“It’s been the most eventful six years of my life,” she tells me. “Motherhood is a huge change. When I last came here, I was single and childless. It shows you how quickly life can change. Part of me wants to find that person who I was in 2009, part of me is happy as a mother.”

 

I ask her about her roots – out of college, she worked as an assistant editor for the BBC drama “Ballykissangel.” I ask what writing for the screen taught her about writing for the page.

 

“I taught me a huge amount,” she says. “It taught me about the plasticity of narrative and the discipline of plot.” She still draws from this training today.

 

We talk about the larger question of Irish literature. Writers like Wilde and Beckett and of course Joyce are celebrities of the canon, but I ask Kilroy about some Irish authors many people may not be familiar with.

 

John Banville is her favorite, she says. (In an answer to the Q&A session after her reading, she told the audience to “read him now before he wins the Nobel.”)

 

“I’m teaching him now,” she says. “You fear that that things you read as a younger person may…turn to shit,” she says, “but they just get better. Your capacity for greatness grows.”

 

She also mentions Anne Enright (“sharp as a knife”) and some younger writers, such as Paul Murray (“brilliant, funny, sad”) and Kevin Barry (“you’ll read him in the New Yorker.”

 

I ask what sets Irish literature apart from the rest of the world. How do the Irish maintain a unique and distinct identity through their work?

 

“There’s a sort of chaotic nature to Irish life that more ordered and disciplined nations may not have,” says Kilroy. “Our fiction tackles that chaos and wildness. It’s very human and reassuring, and unsettling, somehow. It’s reassuring to see all of man – and not make you feel like you have to be well-behaved. It teaches you to embrace human nature. It’s fearless, messy, there’s no expectation.”

 

I ask her how she contributes to this tradition and she says simply, “I’m just responding to being alive. This is what it feels like.”

 

In her reading, Kilroy spoke of her characters as if they were real people – with a deep understanding of their flaws, but an incredible fondness. I ask her if she considers her work to be character driven and she thinks about it for a moment, and then responds with a strong yes.

 

“I look for feeling and mood and emotion and use a plot to carry them, “ she says.

 

“What I love in a book is when I read it and say, “I felt that. I understand that. Oh yeah. I know what you meant. And I prefer subtle things.”

 

At her reading, there was some talk about the question “is the novel dead?” I ask her and she responds with a resounding and firm no.

 

“We’re storytellers,” she says, and I can tell she means all of us as a human race.

 

“The more I write, the more interesting language is. Sentences are endlessly exhilarating. If you apply your imagination to them, if you sit down and write stuff out, other stuff comes out and that’s exhilarating to me. It can take a long time for a great sentence, but it’s worth it. You’ve validated yourself rather than coast along.

It feels like being fully alive.

 

“Life gets in the way, but if you set something on paper, it’s artifact that to your time on Earth.”

 

 

The most wonderful thing about Claire Kilroy is her fierce passion and vivacity for both life and literature, separate entities that she connects effortlessly.

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April 9, 2015

Artist Spotlight: Mika Caldera

By Theresa Kurzawa in Feature Story, Interviews, LRR, Uncategorized

Mika Caldera is an art student at the University of Connecticut who’s piece “Empathy” has previously been featured on the Long River Review Blog. I’m here to go a bit more in depth about the artist, her artwork, and her future projects. I sat down with Mika at the art building to discuss her work with the plan of not having a plan. I figured spontaneity, asking questions from the heart and blurting out whatever nonsense comes to mind first, would reflect a new light on her work.

IMG_2354 (edit) IMG_9581

(Mika Caldera’s “Empathy”)

I walked into her studio at the art building to find her diligently working on a new project. I had spent a while studying her project “Empathy”, examining the words and images and trying to put myself in her mind. Mika is sitting there, cutting up thick paper into 4×4 squares. Each square has the words “I am” written on them in various fonts. Blurting out the first thing that comes to my head, I ask: “Why words?” Mika shrugs her shoulders, not looking up or pausing in her work, and admits: “I have no clue.” She goes on to explain that she likes the way that words can communicate and define feelings. As a writer, this obsession with words makes sense to me.

IMG_2374 (edit)

(Mika at work)

I go on to ask her a question that I, as a wordsmith, cannot quite wrap my head around: “Why did you choose these images to accompany these words? They’re all very current event-type images.”

Mika says, “I was trying to make sure I got pictures from every aspect of life, different cultures, societies, and social classes. I wanted to cover as much of a worldly audience as possible.” What Mika is trying to say with her “Empathy” piece is that emotions are global, universal. They do not belong solely to the poor or the rich, the white or the black, the first world or the third world. Emotions, words, and language belong to everybody. She is fascinated by the way words can be used to explain these intense feelings of anguish, empathy, terror, and so on.

I mention: “That’s very poetic of you.” When I say that, she seems surprised and replied: “No one has ever described that about my work before.” Modest, poetic, and intelligent, Mika’s work is something that she does because she needs to communicate something. She doesn’t do it for fame, or glory, and I can tell that much by the way she responds to my compliment. She creates art because she has something to say and she wants to make sure everybody hears it.

Mika goes on to say that: “I’m fascinated by the way [writers] are able to take words and create something.”

I laugh a little and respond with: “Well, words are just words until you make something out of it.”

Mika becomes very excited here and says: “Oh that’s actually beautiful, I like that. Can you write that down on my table of nonsense?” I look down and on the desk there is what appears to be brown packaging paper but it is covered with various drawings and quotes and other little tidbits.

IMG_2372

(A sample of Mika’s Desk)

Fascinated, I ask her about the drawings on her desk. She goes: “People come in and sit down as lot so I put down this paper and let them scribble on it. Then I collect it. I have three of them already.” I asked her what she planned on doing with it and was met with a shrug and “I don’t know yet” as an answer.

As we chat about classes and other casual topics, I can’t help but watch her as she slides her blade across the graphing outline to cut pieces of paper into equal squares. She continuously pastes on the words “I am” onto these squares, almost as if doing it were second nature to her. Cut, paste, cut, paste, cut paste. Finally, I get up the nerve to ask her: “What are you working on right now?”

She goes on to explain to me that this project is one of her prospective Senior Project ideas. She claims that, at a loss for a senior art project, she is “purging ideas” from her mind in hopes something great will come out. “I’m going to make these cards and mass produce about 100 or 200 of them,” she explains, “I’m going to make these little boxes and put them in categories. One of them is going to be culture, one is going to be emotion, one is identity, and then I’m going to go to a public space and hopefully someone will fill them out for me.”

She goes on: “Not everyone is the same, so some people may be drawn to one font as opposed to another.”

IMG_2373

(Mika’s Current Project)

This prompts the question: “So what do you think about people?”

Mika replies: “I don’t get people. They’re the biggest mystery to me. I don’t get how there are people who are generous and kind and will bend over backwards to help you. Then there are people who kill, and destroy and commit genocide and I’m like ‘what in the world?! How is this possible!?’. Like, how can these people be the same species? They have the same organs, you know, the same everything, but how can they be so different?”

The conversation steers towards us both preferring animals to people, and we come to the conclusion that I would be a cat if I had to be an animal.

I ask her about future projects she has in mind and she holds up several little handwoven books.

IMG_2377  IMG_2378

(Mika’s Future Project)

She tells me that these books are something she wants to pass around to a bunch of people and have them write in them whatever they want, similar to her table of nonsense but more mobile. Then she will collect the books and see that has been written inside. She doesn’t know what she plans on doing after they are collected but, knowing her, I’m sure it’s going to be beautiful.

We finish off with one last question: “What do you think about the future?”

Mika replies: “I guess I’m like, I guess I’m a pessimist. You can’t help but notice the bad things. But, you know, I don’t know what’s going to happen.”

We leave off ambiguously, with an uncertain future, but Mika’s work relies on people, both the good and the bad. I’m sure no matter what the future will bring, but I know Mika will be able to turn it into great art.

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March 25, 2015

An Interview with Krisela Karaja

By Lauren Silverio in Interviews, LRR

Photo credit: Arben Bici Photography

Photo credit: Arben Bici Photography

Krisela Karaja, the Editor-in-Chief of the 2014 Long River Review, is currently a Fulbright Student Research Fellow in Albania, where she is studying the concepts of memory and nationalism as seen in contemporary poetry during the 25-year post-communist, democratic transition. Though Krisela is focusing on five established Albanian poets for her formal research, she is simultaneously trying to encourage literature, poetry, and the arts in Albania in the following ways (in her own words):

  1. By promoting and contributing to discussions with a Poetry Club, which meets at the National Library on a weekly basis.
  2. By proposing that the Albanian literature department at the University of Tirana create a student-run online literary journal, so that tomorrow’s “established” poets can emerge organically—both for Albanian readers and for researchers interested in Albanian literature. The magazine is still being developed. That said, no website currently exists, but the Albanian literature department hopes to place it somewhere on the Faculty of History and Philology’s website (http://www.fhf.edu.al/). Regarding a blog: the students are hoping to establish the journal this year. No blog will be established, but they are open to the idea of adding on a blog in future years, after getting things rolling. The tentative name for this journal is Amëz, which is a wordplay on an Albanian term that means “mother/source/fount of inspiration” while also meaning a “fragrance” (i.e. a breath of fresh air, a new fragrance in literature). Ideally, this journal will become a university-wide collaboration in later years.
  3. By establishing a student poetry recitation program in the English Department at the University of Tirana. Modelled after the Poetry Out Loud program in the U.S., this program, called Po-e-Zë, [zë meaning “voice” in Albanian, and “po e zë” meaning “I am starting something (new)” in Albanian], is meant to spread to the entire English Department and, ideally, become a university-wide competition in later years.
  4. By establishing my own online blog and emerging literary/art journal, ANTI/\OJOS (www.antiojos.com). The aim of ANTI/\OJOS is to generate dialogue about my intellectual cravings. Given that my current intellectual cravings focus on Albanian literature, Issue #1 of ANTI/\OJOS aims to place Albanian writers/artists in Albania as well as in the Diaspora in dialogue with international, non-Albanian writers/artists. Albania experienced a xenophobic form of communism for approximately 46 years, from 1944 until the early 1990s. That said, the country was literally closed off from the rest of the world (and the rest of the world was closed off from it) for nearly half a century. Literature and the arts have therefore developed in a peculiar form of isolation; it is time to juxtapose Albanian works against international pieces, so as to see the similarities and so as to note the striking differences. This will encourage the continued assimilation of Albanian literature and arts into the international artistic scene. Though in its humble beginnings, ANTI/\OJOS hopes to help with this. Both Albanian and non-Albanian submissions are currently being accepted. More information can be found online at www.antiojos.com/submissions (submissions highly encouraged).

antiojos insta twitter facebook cover


After corresponding with Krisela briefly at the beginning of the semester, I knew that I wanted LRR to provide a platform for her to discuss her exciting literary plans for Albania. In the following brief interview, Krisela discusses the current state of the student-run journal she hopes to bring to life, her own blog, and the future of collaboration between LRR and the Albanian journal.

The views expressed in the following interview are entirely those of the interviewee and do not represent the views of the Fulbright Program, the U.S. Department of State, or any of its partner organizations.

University of Tirana

University of Tirana

LS: Could you describe your interest in creating a literary journal at the University of Tirana?

KK: As mentioned above, I have encouraged the development of a student-run literary journal at the University of Tirana because I believe that one such online magazine would allow fresh, quality voices in the literary scene to emerge organically on a yearly basis. That is, instead of having an outside researcher like myself come in and, in a sense, “pick” new contemporary literary voices to showcase, a journal like this will allow Albanian students of literature, themselves, to determine and showcase what they consider quality literature, representative of their time and generation. Should this journal be successful, I hope to study it later on, so as to see if any notable similarities exist between the various authors published there, and so as to use it as a source which might aid me and others in better articulating the current / future state of Albanian literature (i.e. are there specific literary movements taking form?; does most of the notable emerging literature center on a particular theme?; etc.).

I wanted to establish this magazine because there is a lack of literary magazines in Albania, and I consider this unfortunate as literary magazines serve the purpose of allowing authors’ works to dialogue with each other, while simultaneously propelling new talent into the spotlight, for potential publishing/writing contracts & etc. This is especially necessary in Albania, as many publishing houses publish “friends” or people with whom the publishers have long-standing relationships, instead of necessarily seeking to publish “quality.”

Literary magazines have existed in Albania (Aleph, Mehr Licht, Poeteka) but most have usually published for several years and then have capitulated due to lack of funds. The only other literary magazine that currently exists in Albania, to the extent of my knowledge at least, is called Pa Fokus (“Without Focus”; www.pafokus.com). Since 2013, Pa Fokus has been published online on a monthly basis, 10-11 times a year. It generates dialogue about important cultural issues in Albania; each monthly issue focuses on a different theme (e.g. education, “the other,” etc.). Its staff is entirely volunteer-based and its contents are free and open to the public. I was not aware of Pa Fokus’s existence when I suggested the establishment of the literary magazine at the University of Tirana. However, even after learning of Pa Fokus, I am certain that both magazines are necessary as they serve different roles in the Albanian literary/artistic scene. Pa Fokus seeks to publish young, emerging writers, columnists, and artists, though it admits to not being 100% “selective” in terms of the literature it publishes. While Pa Fokus’s editors do seek quality material, they do not necessarily critique writings, nor do they necessarily work with writers in order to edit/tweak their creative work prior to publishing them. Pa Fokus therefore serves as a forum of voices. Ideally, I am imagining that the University of Tirana’s magazine, Amëz, may serve as a forum as well, but a more refined forum, carefully curated by the university’s own students of literature, and purposefully showcasing what the students deem to be the “best of the best.” Thus, the two magazines coexist in harmony, as they serve the art world in different ways—Pa Fokus by allowing artists to experiment and come to the forefront on a regular, monthly basis and Amëz by carefully selecting what it considers “the best” for annual showcase.

I have also encouraged the development of this journal because I strongly believe that giving students a hands-on task like this—allowing them to be the judges of what is considered quality literature amongst the submissions of their peers—will help them grow as literary critics, as leaders, as team-players, and as future editors/publishers. I can say this with confidence because my three years on the Long River Review staff—first as a member of the Poetry Panel and Translations Editor, second as the Main Genre Editor for the Poetry Panel and the Foreign Literatures Editor, and third as Editor-in-Chief)—helped me do just that. I essentially wanted the students to have an experience similar to mine with LRR; I learned a lot about myself, about student writing, and about contemporary literature through the LRR. I figure that perhaps these students can learn more about their own literary landscape in a similar fashion.

LS: How is your progress going?

KK: The Literature Department Head at the University of Tirana was kind enough to offer her full support with this idea. In fact, she was able to introduce the concept of the magazine to the first-year students of “Shkrim Kritik” (“Critical Writing”/ “Literary Criticism”). The 40-odd students of this class were notified in December that they would be establishing an online literary journal, as part of a class project. They were individually told to research literary journals in general (be they US journals or otherwise). Each student then individually presented a project proposal for the ideal form of this journal: e.g. its theme, its title, its ideal contents, its categories for submission, its frequency of publication, etc. After presenting and handing in their projects in early-to-mid-January, a handful of students were selected as the main editors of the journal. These students would lead their fellow classmates in gathering materials throughout January and early February, while consulting two professors and myself for guidance. The students handed in a draft of the magazine, along with the preliminary submissions / choices for publication, in early February. Students were required to justify, in writing, their decision for choosing the pieces that they did; this was part of their grade. The Department Head is reviewing these materials to assure that effort has been put forth and to ensure that quality choices have been made. This semester, the student-editors will continue soliciting materials from student-writers enrolled in a creative writing course. At the moment, the new semester is just starting, so we are waiting for things to get rolling before moving forward. However, much of the heavy lifting has been done.

LS: What challenges have you faced in the process of bringing this journal to life?

KK: The journal has yet to emerge. However, the most challenging aspect of the process so far for me was serving as the main “advisor” to the Poetry and Translations panels. Time flows differently in Albania, and classes are structured differently. Students, though well-intentioned, would sometimes break appointments with me, without realizing that this was affecting the structure of my day, and without being fully cognizant that I was offering to help them with any questions regarding poetry and translations on a volunteer-basis. I would become frustrated when things didn’t go as “they should” (according to me). For instance, even if all of my panelists showed up, then perhaps the room we had planned to use was taken. My first meeting with them was conducted—I kid you not—on the sidewalk of a busy intersection near the National Library, as the American Corner (a room of the library) had been unexpectedly “booked” at the last minute by others. However, all cultural miscommunications aside, helping out was an honor and taught me the importance of flexibility and adaptability.

LS: You have mentioned that one of the goals of such a journal project is to inform the LRR editors of the challenges that people in less-developed countries face with regards to the dissemination of young voices in the arts. 

What are some of the challenges that you have noticed in Albania?

KK: Well, everything essentially comes down to economics, and then spreads out from there. Albanians are often living paycheck to paycheck, and their income is barely enough to pay their bills. That said, when the economy suffers, people have to focus on practicality first and foremost. This means that the arts—which are often mistakenly considered “impractical” are put on the backburner in most cases. While the US government and US universities are fortunate enough, economically speaking, to provide funding for projects such as literary journals, these funds are rarer here, and far more difficult to come by, as the competition is fierce. The LRR, for instance, is fortunate enough to have a yearly budget to “play” with in order to print its issues and continue functioning, while also maintaining online costs for the website/blog. I suggested an online magazine so that the university can keep operational costs at a minimum for this journal, and so as to avoid cost-based capitulation (as other Albanian literary journals in print have experienced). However, economics are still an issue. The University of Tirana is still developing as an institution; its classrooms do not offer Wi-Fi, projectors need to be sought out well in advance for use in the classroom, and there is generally a kind of chaos that pervades the daily shuffle-and-bustle here. There is no centralization; every department organizes itself and its classes individually; there is no central online listing of courses offered and their locations. A lack of such resources and information on hand, and a lack of centralization across faculties at the university means that something simple—like scheduling a meeting time with students outside of class, or showing students how to research literary journals—becomes harder to implement, sometimes to the point of frustration. As a US student, I have learned to appreciate the abundance offered by our education system; I am thinking that this year’s LRR editors might feel the same. I am also thinking that the LRR can, if possible, provide outreach to this emerging journal in Albania, in an effort to establish mutually beneficial ties between both universities.

LS: How does the literary/arts culture differ from that in the US?

KK: In Tirana, the capital of Albania, literature and the arts are promoted. (In the regional cities and villages, literature and the arts are not nearly as popular). Of course as I mentioned, formal, university-based funding for extracurricular activities (non-existent in the public university, as far I am aware) or extra projects is difficult to come by. However, Tirana’s notable “coffee culture” and abundance of bar-cafes lends itself to individually organized artistic events in specific places around the city. Most of the artsy crowd hangs out in one of four places: Tirana Ekspres (an alternative space for events, frequented by the student crowd), E Jona (a café in the trendy Bllok area, which hosts live music and established authors regularly), Tulla (a new place, which attracts young and old artists alike), and Hemingway (a bar owned by one of the editors of the former Poeteka literary magazine, where somewhat older artists/writers/journalists often go to kick back a few beers). Though less formally-backed with funding and by institutions, the arts nevertheless flourish here because the people—particularly the younger generations—are eager to include themselves in an international artistic dialogue.

LS: You are interested in initiating collaboration between the Long River Review and a literary magazine at your university in Albania.  Has the Embassy been receptive to the idea of collaboration between an Albanian literary magazine and LRR? What is your vision for this type of collaboration? What would it entail?

KK: Ok I am going to answer all of these questions together, in the following response:

Yes, I am interested in establishing ties between the University of Connecticut and the University of Tirana. More specifically, I am interested in establishing ties—informal at first, but ideally formal and institutional—between the Long River Review and Amëz (the University of Tirana’s emerging journal). These ties would at the very least include dialogue between the editors of each respective journal every year. For instance—LRR editors could Skype-in and answer questions that Amëz editors might have about the lit-mag editing process in the US. Similarly the Amëz staff could answer any questions that LRR might have regarding running a literary magazine on a low budget, regarding establishing a magazine in a country whose own literary canon is still “emerging,” etc. Additionally, I am thinking that LRR can publish English translations of select pieces from Amëz, and Amëz can publish Albanian translations of select pieces from LRR on a yearly basis (should both magazines be interested in doing this, of course).

In an ideal world. LRR editors would apply for UConn funding –perhaps a younger member this year could apply for a SURF (Summer Undergraduate Research Fund) or IDEA grant for next year?—in order to come to Albania and lead the Amëz student editors in setting goals and bettering the magazine on an annual basis. In an ideal world, perhaps Amëz editors could find funding from the local US Embassy (though this is just an idea) so as to sponsor an exchange between select LRR and Amëz editors. Such an exchange (perhaps between the translations editors of both journals) would encourage both editorial boards to work together in order to create a “special transnational issue” of both magazines. These ideas have come about with discussions with the Albanian Literature Department Head. I believe that they are very achievable in coming years. The main task at the moment is simply to establish a dialogue between both groups and to get Amëz up and running.

I have realized that my work in Albania will not conclude at the end of my Fulbright stay. I hope to come back to Albania, my country of birth, periodically and aid in developing further programs in the humanities and creative arts at the university level. These are long terms goals for which I am currently laying the foundation.

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March 21, 2015

Artist in the Spotlight: Erika Back

By sofiafilan in Feature Story, Interviews, LRR

This week I’d like to put artist, Erika Back in the Long River Review spotlight. Erika is a senior Design major here at UConn, currently working on her senior project. I had the privilege of seeing her work a few weeks ago when the editors of the Long River Review met with art students from the senior year Design Course.

While studying art at UConn, Erika has taken a particular interest in conceptual art. She values an artist’s ability to create his or her own artistic interpretation of an abstract idea, and this fascination has influenced Erika’s senior project. Erika links conceptual art forms to education reform, and her artwork reflects the idea that there is no “one-size-fits-all” approach to education. She believes that our current education system denies students the opportunity to discover their innate gifts and perspectives on the world. Instead, students are taught one answer to problems and forget how to look for new solutions. Erika’s project finds a way to re-introduce creative and lateral thinking, and a real passion for learning.

Erika is originally from Toronto, Ontario in Canada, but has spent most of her life in North Haven, CT. She has gone through several types of education systems, both traditional and non-traditional. When Erika was enrolled in a non-traditional education program, she was given the opportunity to explore and research topics of her own choice. Erika studied at an art school in London last winter, and noticed that the way projects were presented in the classroom was similar to her non-traditional elementary school education. She started to think that if she had not switched to the traditional education system, she would have been much further in her own education. Non-traditional education systems allowed Erika to pursue her own interests, instead of being told what subjects to learn. Her senior project focuses on the experiences she has had in the classroom, and the need for students to play and explore in order to discover their full academic potential. The experiences Erika has had in multiple education systems, and her own interest in how people learn and think, has inspired her senior project.

Check out some work from her senior project!

IMG_4378IMG_4373 IMG_4379 IMG_4370

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