Category Archives: Cool Stuff
Hello viewers! Since we’re nearing the holidays (a temporary asylum from the plague of day jobs), I thought it was high time to have another post. Today you’re in for a nasty good treat, since Yorick Magazine interviewed Jayme Karales, a young and horrorshow author and host of Shootin’ it with Jayme and Kenney. I proverbially sat down with him to discuss the existential benefits of writing as well as his debut novel, Disorderly.
1. Tell me about yourself. Jayme Karales is a writer from Boston with a podcast and a cool ass beard. I want to know more!
First off, thank you for recognizing the awesomeness of my facial hair. You’re the first interviewer to do that and I think my beard is very underappreciated. Second, in addition to being a writer and podcaster from Boston, I’m also a cat hoarder, a Tumblr addict, and a passionate hater of all things Wes Anderson.
2. How did you find writing? Or did it find you? Writers always have that story that narrates the triumphs and tribulations of discovering the Golden Fleece of what they want to do for the rest of their lives. What was your quest?
I’ve always been interested in storytelling. If I weren’t a storyteller, I’d probably be a pathological liar. I can remember being 4 years old, sitting in front of one of those old, 30 lb. home-movie camcorders and just rattling off random stories—or telling my mom to write things down on a piece of paper while I drew the crudest fucking Power Ranger drawings you can imagine. So I’ve been interested in writing—in my own way—from the jump.
3. How would you approach a dystopian future that eliminated written forms of communication?
That actually doesn’t sound too bad. I figure I’ll probably square myself away in a cabin in the woods somewhere by the time I’m 50, so I’ll welcome it.
Now, about your stuff:
4. Why did you write Disorderly?
I came across a prompt for a short story anthology that essentially said, ‘write a zombie story that features a protagonist suffering from cancer.’ When I actually got into it, I couldn’t cut it down to 10,000 words so I just kept going and wound up writing my first novel, Disorderly.
When I did get into writing it, the goal became: break the reader’s expectations and deliver something that will push their boundaries. Based off of the reviews, I think I did that.
5. The setting in your work is always heavily emphasized and very real to you. Massachusetts and its communities especially play a part in “Youth” and Disorderly. What drives you to include these locations?
Convenience and character. I know Massachusetts better than I know any other state and I feel like there’s a certain flavor here that you can’t find in, say, Oregon. Go to the right part of Boston and you’ll find a well-dressed Harvard grad standing 10 ft. away from some Dorchester townie calling his buddy a “cawksuckuh.” There is a variety of over-the-top, clashing personalities here and in an unconventional way that’s part of its charm.
6. I absolutely love “SNES” from David Bowie is Dead, your collection of poetry/prosetry/multimedetry. How is fiction different for you than shorter, more lyrical works?
Fiction takes a lot more effort and a lot more care than poetry or prose. Poems are random blurbs that pop into my head. Fiction is a culmination of ideas that I can no longer keep bound to my brain.
7. Are you aware of anticipated obituaries? I typed up “David Bowie is Dead” in glorious Google and found this.
I was not. Now I have something new to aim for.
“Jayme K. is the author of the novel Disorderly, as well as numerous short stories, essays, and poems. His work has been published by UnHollywood, Before Sunrise Press, Underground Books, Miracle E-zine, Nostrovia! Poetry, Slasher Studios, Your Daily Subvert, Moon Project, and Flash Fiction 365. He lives in Boston.”
by Sam Levenberg, Staff Writer
Sadly, my knowledge about literary magazines is very limited. While I have a few that I can definitely say I enjoy more than others, whether or not they are credited as being “good” almost always eludes me. So, I did a little Google search about the top ranked magazines and found this little article on www.everywritersresource.com, titled “Top 50 Literary Magazines.” Pretty convenient, no?
Anywho, I tell you a little about the top five magazines they listed. (A little side note: I excluded the number 2 ranked mag because it is a college publication, and I want to tell you about the commercial ones instead)
- The New Yorker – This is the most well-known literary magazine out there. I mean, if you haven’t heard of The New Yorker, you have to have been living in a cave since the 1920s. From its trademark comics (the caption on the one posted is “Makes you proud to be an American, doesn’t it?”) to the articles on everything from art to politics, to its in-depth literary reviews, I don’t think I need to say much more about this one.
- The Atlantic – As with The New Yorker, this is one magazine that is very well established. While it lacks as many defining characteristics as The New Yorker, The Atlantic makes up for it by having a highly diverse article base that makes it transcend being a simple literary magazine, and has made it a valuable critical source.
- Harper’s Magazine – Coming directly from their website’s “About” section: “Harper’s Magazine, the oldest general-interest monthly in America, explores the issues that drive our national conversation, through long-form narrative journalism and essays, and such celebrated features as the iconic Harper’s Index. With its emphasis on fine writing and original thought Harper’s provides readers with a unique perspective on politics, society, the environment, and culture.” I wish I could say it better, but I can’t. Take a look-see through their website and archives, and you’ll understand why.
- Tin House – Compared to the other magazines on this list, Tin House is a baby, barely a toddler. Having been founded in 1999 it is just over a decade old, but has proven that even though it is small, it is formidable. If you are looking for good art coupled with interesting articles about the state of the world, take a look at some of the older magazines. If you are looking for good art plain and simple pick up a copy of Tin House.
- The Paris Review – Despite being ranked sixth on the list provided by Every Writer’s Resource, it should be noted that The Paris Review is the only mag on this list which is from overseas. The other four are all based out of somewhere on the continental United States. That in and of itself should be enough to show how good of a magazine it is. But it’s when you take a look inside an edition of The Paris Review that you truly understand how significant this is. From its wide range of poetry, to its beautifully written literary reviews, to its presentation of only the best established and up-and-coming writers in the business, The Paris Review doesn’t need to prove that it is one of the best—it simply is.
So that’s everything. If you have some spare time, you should pick up a copy of any of these magazines. Not only will it (hopefully) brighten up your day, but it will most likely expand your mind.
With more affection than I may seem to be showing,
P.S. – If you want to take a look at the full list of “Top 50 Literary Magazines” here is the link: http://www.everywritersresource.com/topliterarymagazines.html
by Sam Levenberg, Staff Writer
Hello hello hello!
About two weeks ago I was in the barbershop waiting for my turn when I decided to take a look at the magazine rack. Lo and behold, the first thing I picked up was a copy of Highlights, which I used to read a lot when I was younger but haven’t looked at in years. As I flipped through the pages and laughed at all the cheesy jokes, I started to wonder if there were other children’s magazines like Highlights, and if there were any way to submit some of my more “youngish” work to them. So, I did my research and found a few that I thought to be not only promising, but interesting to boot.
Cobblestone and Calliope: These two magazines are both designed for kids between ages of 9 and 14, and are also both (primarily) non-fiction magazines. They each focus on something that has to do with history, but each on a different aspect of history. Cobblestone focuses on American History, and Calliope on World History and Cultures. The interesting thing about both of these magazines, though, is that they not only accept non-fiction pieces, but if someone submits a historical fiction piece, and if it is within the word limit, there is a chance the magazine will publish it as well. So it looks like my only shot of getting into either of these is to bulk up on my history.
Ladybug, Spider, Cricket, and Cicada are all what would probably be known as traditional literary magazines because they focus on stories and art catered towards specific age groups. Oh, I forgot to mention this before, but the magazines (in the order listed) each focus on a different age group – 3 to 6 for Ladybug, 6-9 for Spider, 9-14 for Cricket and 14 and older for Cicada. This means that these magazines are quite literally for kids of any age, which is by and far one of the coolest audience angles I have seen in regards to literary magazines. Also, I have few stories written that are kind of “youngish,” so maybe I’ll send them on over.
Crow Toes Quarterly was one that I heard about quite a bit, but my initial search provided nothing but sweet, sweet air. But, after a little more intense digging I hit paydirt! Focusing on dark humor for kids—which is kind of weird to think about, I know—Crow Toes Quarterly had published stories that fit into the horror and thriller categories (as well as other such kinds of stories). While this might not seem that appealing, I sat down and read an issue and have to say it was quite entertaining. I also sadly found out that it is no longer in publication. Yet, I thought it still necessary to give credence to because what the magazine did was absolutely brilliant. I raise my glass to you, Crow Toes Quarterly, and hope you come back soon!
So, those are the ones I found absolutely intriguing. Also, because I was interested in possibly trying to submit some of my more…“youngish”…works to these magazines, I found the submission guidelines for them (see them HERE! http://www.cricketmag.com/submissions).
So, if you also have some works that you think these magazines might like, shoot ‘em their way, and tell them I sent you. It probably won’t help you very much (most likely not at all), but do it anyways.
Loving all of you always,
by Steve Burns, Guest Writer
WARNING: This post is risqué and groovy.
Suddenly her bra’s off and the boobs are out. Maybe some fella’s schlong dangles momentarily on-screen. Either way, it’s happened and both parties who are watching this raunchy scene don’t know how to react. Typically, postures shift or someone clears their throat. You’ve been there when wobbly-bits enter the room, and you’ve endured the post-sex cool-down. These are three minutes and forty-five seconds you’d care not to watch (publicly) again. This is film, however.
When a poet uses the words dick, pussy, cunt, or cock at a reading before an already intently listening audience — something else happens. Ears perk up; smiles crack. My experiences at readings have shown me that poets use these suggestive terms to call attention to something larger than the words themselves. I first heard Ian Davisson read his work at Milano’s Pizzeria as part of CA Conrad’s Milano’s Reading Series. Davisson read his poem, “May 4th, 2012,” which says, “ask the right questions/you’ll be my friend forever/it’s a secret/boner in everyone’s/cup of coffee.” Combined with Davisson’s blunt, quivering delivery, folks around me immediately nodded, smirked, or sent consenting murmurs towards the front of the room where he read. I thought: “Ian uses the word boner in a really interesting way.” Sexualized terms can be abrasive, hauntingly absurd, and, at times, quite charming — Davisson’s work revealed this to me.
“May 4th, 2012” comes from a manuscript titled Summa Cum (appropriate, no?) and, in its entirety, is a ruthlessly lonesome, gnawing piece that flows from one shattered line to the next. A broken sexuality and paranoid isolation is the poem’s driving force; the phallus is at its core. Davisson begins his poem in hiding: “there’s a part of sleep/where you forget/it’s wonderful.” Sleep seems to be Davisson’s only solace. Unfortunately Davisson “won’t sleep tonight” because “I is for ian or/I is for issues.” “Ian” and “issues” are practically interchangeable, equally (painfully) alive. “[S]omeone,” says Davisson, “sleeps/inside me/leaves before I wake up.” It’s this someone who’s “a ghost/on [his] back.”
Davisson’s agony is most evident, however, in his sexually charged lines. On a restless night Davisson writes, “held my dick so tight/must have busted/something/lonely/out.” Here “dick” is being abused, exclaiming loneliness; this is not pleasurable. Davisson’s not sure what’s been released; he’s only certain it feels like isolation. Even “lonely” and “out” sit singularly on the page, unaccompanied in the line. “I’m paralyzed,” says Davisson. The issues Davisson faces have likely been assuaged by “Dr. Verdi” in the past, but in “May 4th, 2012” Davisson “can’t make it this week.” It’s safe to assume that Dr. Verdi is a counselor or therapist—“ask the right questions”—yet Davisson’s difficulties are not so confidential. “[I]t’s a secret/boner in everyone’s/cup of coffee,” writes Davisson. A boner, usually a private phenomenon, is poking obtrusively through everyone’s everyday beverage; it’s not a secret because it’s prodding everyone outright. “I love her,” says Davisson, “I’m sorry/there’s no reason for it/but I do/tell my relatives/I’m ok.” These fragmented lines, which illustrate Davisson’s attempts to calm concerned relatives, struggle to remain cohesive on the page. The “boner” renders assurances useless.
Davisson concludes that he “love[s]/knowing the stuff/that eats [him] alive.” After all, were it not for that stuff, we might not have this wonderfully compelling poem.
Check out more of Ian Davisson’s work here.
Steve Burns works and writes for Philly-based APIARY Magazine. He’s currently enrolled in Rutgers-Camden’s MFA program. His poems are weird. Also, he’s pretty tall.
By Sam Levenberg, Staff Writer
Hello again out there!
First of all, thanks to everyone who submitted to the Summer 2013 issue of Yorick! Alex and Lauren sent responses to all who submitted, so check your emails if you sent in work. Expect the full issue to be produced by mid-August. Contributors’ copies will be sent out in the coming months.
So in the past I’ve talked about my favorite literary magazines and the pleasure I find in my own and others’ poetry. What ties magazine love and poetry love together, though, is that both exist because people write poetry (including, I hope, some of you!). So, anticipating that someday I’ll read in some literary magazine a cornucopia of good poetry that brings me delight—some such that will be written by you, members of the blogosphere—I have three suggestions on going about submitting and possibly having your poetry accepted.
1) Know what kind of poetry you write. I think this is the most important part of submitting your poetry, because every magazine is looking for something different. If you write humorous, nonsensical poems and submit them to a magazine that’s looking for deep, emotionally heart-wrenching poems, you’re going to get rejected. So know what kind of poetry you write, and then try to find magazines that publish those kinds of poems. It’ll greatly enhance your chances of getting them published.
2) If what you’re looking at is a smaller, less well known magazine—like 32 Poems, vox poetica, or Circus Book—then your best bet is to go online and find out when their deadlines are and then directly email the editor. Many times these editors don’t get a whole truckload of submissions, at least compared to bigger magazines like Paris Review, so hearing from someone who is looking to get their poetry out and about is a joy for them. I’ve had two or three email conversations with editors of small magazines, and one thing they always mention is that they love hearing from new poets and reading their poems; they never know what to expect and are often amazed by what they read. So, in short, take initiative and don’t be scared to email an editor.
3) Compared to smaller literary magazines, hulking magazines like the Paris Review and The New Yorker receive thousands of submissions by their respective deadlines. So, emailing an editor of a magazine like that is impractical because it’s unlikely they’ll get back to you. However, there are online databases for writers that can greatly help you in your submissions to these magazines. One of the most well known is called Duotrope, which not only lists a large number of magazines both big and small, but also provides statistics on how likely it is that anything you submit will be accepted and how long it can take for different magazines to respond to your submission. For up-and-coming writers, as well as those who are more experienced, websites like Duotrope can be a great help for finding the magazine that’s right for you. In sum, utilize online resources to their fullest extent.
That’s all I have for now. Hopefully what I’ve give is useful to those of you who are looking to expand your poetry throughout the wide, wide world.
So long, and thanks for all the fish,
Dear Storywriters, Storyhearers, and Pythonians,
The Summer 2013 reading session is over. To those who submitted, wonderful work so far. We’re still evaluating your pieces and will come to a decision. To those who didn’t submit, shame, forsakenness, misdeed upon your household! Or your wifi. Whichever affects you more.
You can always submit to our fine little literary magazine at email@example.com. If you missed the deadline for the Summer 2013 issue, why not submit for the Fall 2013 issue?
Do it. This is a warranted challenge. So is the following:
As we run from attack dogs and march in tune, we realize that submitting work is a tough process. It’s equitable to raising children and sending them off into the world to get jobs—except your children can get rejected and you have to revise them to make them perfect.
Sounds pretty dystopian to me.
But it’s what writers do. All storytellers need to strive to find their medium. We don’t all have the honor of telling our tales to a tribe by the fireside in the desert. We don’t all have enthusiastic grandchildren who honor us with their ears. What we do have is the Internet.
The first magazine I successfully submitted to, Postcard Shorts, is a sweet affair with remote flash fictions that take your mind away for a few minutes, roughly. It’s an enjoyable publication and a reminder of why we write. Escape. A chance to travel to a new world, one not too far away but not so subtly in an inaccessible dimension.
That’s a lie. We submit to become famous. You want to be in an echelon where strangers will glorify your work and your friends will say, “Wow, I grew up with that chick, and now she’s a famous novelist/ short story writer/ poet? I really suck.” However, you can always relieve non-writer friends by reminding them that your pay affords the pens and paper you write with.
So escape and fame. What else? Here’s a thought: we’re all writing to concoct the same dream with different pieces, chemicals, people. A complete story, with a beginning, middle, and end (unless you’re one of those absurdist-surrealist compatriots, and to you I say write on). Detective solves a mystery. Lovers solve the mystery of love. Gloomy poets solve the mystery of isolation with more isolation. It’s completeness we seek; passengers on the same boat, towards the same lonely island, we take up different cabins believing we’re original.
Can you submit before the vicious dog reaches the fence in three seconds?
Yes. Absolutely yes.
Remember that even though our songs sound different, they follow the same tune. Go buy yourself some caviar, you peasant. You’ve earned it.
By Sam Levenberg, Staff Writer
So, I walked into my kitchen earlier and saw, sitting in a little bowl on the counter, the first summer tomatoes from my dad’s garden. As I sat down to enjoy a few lightly salted tomato slices (you should try it—it’s surprisingly delicious), I remembered some of the other small things that make summer simply delightful: eating dinner on the porch, lounging by the pool, playing summer nighttime games like capture the flag or manhunt, and, most especially, taking the time to sit down and read a good book.
Being an English major, I am required to read a lot of books, some of which are enjoyable, some of which are not. Often the books I read for school are not the ones I would pick up in my spare time. Ever since I was a little kid, I have enjoyed reading good adventure stories because they are always amazingly fun to read and can usually be finished in a day or two. As I have gotten older, the stories shifted from young adult to mature fiction, but my love for adventure stories has not diminished. So without further ado, here are some of the books, authors, and stories I have been reading this summer.
Fables: This is not technically a series of book-books, but a series of graphic novels. The story lines they contain are so intricate and wonderfully original that I have literally spent hours reading and re-reading the series. In short, magical creatures called Fables, kicked out of their own world, end up in moving into ours. The series is about their struggles to live among humans, or “Mundies” as they call us, while still keeping their own lives in check. If you’re interested in a new spin on storybook characters such as Snow White, Prince Charming, The Big Bad Wolf, Cinderella, Jack (from “Jack and the Beanstalk” fame) and others, then this is a must read.
Amberville: This one is definitely interesting. Set in a world exactly like ours, except populated by anthropomorphic stuffed animals, Amberville is a gritty, dark mystery novel that does not disappoint. While the mystery itself was not all that spectacular, the characters in the story are what sold it for me. If you’re interested in reading something wayyy out of the ordinary, then this is definitely for you.
Percy Jackson: When I say Percy Jackson, I mean the whole series, not just the first book (read the book, DON’T see the movie—the book is way better), because it features a genre and a story arc that are personally right up my alley. Having had to read canonical literature for most of the last eight months has been grueling, so picking up this series and reading it cover to cover in two weeks was a nice break. As well, being a fan of mythology, I was pleased to see how Rick Riordan incorporated almost every Greek myth and story into his books in various ways. These are nice and easy reads, but they’re still fun and engaging all the while.
Roald Dahl: This man is my favorite writer by far. Many of you have probably read Charlie and the Chocolate Factory and Matilda as well as a number of his other children’s stories. Yet, what I love most about his writing is his short stories. While mostly dark and humorous, all of them are simply amazing to read. Consequently, his stories cover a lot of the darker topics his more popular fiction does not, and yes, there are quite a few—murder, art, sex and humanity’s insanity are some of the more common ones, but this topic list has an extensive range. If you get a chance, I strongly suggest you pick up a copy of The Best of Roald Dahl. My personal three favorites are “Lamb to the Slaughter,” “Skin,” and “Pig,” but if you do read his stories, let me know which ones you liked. I can talk about his works for hours upon hours upon hours.
That’s it for now. I wish you all a happy day, and happy night, and a happy everything. Feel free to contact me with any of your good summer reads, as I am running out of books to read and could use some mighty suggestions.
With summer restlessness,
helenvalentina.com: Support: How oft I find when I am wearied most
And weakened by the stresses of the day
Tis then I’m… http://wp.me/s33v3A-support
eunoiareview.wordpress.com: singularity: days hopped up
and nights subdued;
it is up and down and
up and down and
merrily, merrily… http://wp.me/p14SZX-2kK
Interview by Alex Grover, Editor-in-Chief
Transcribed by Sam Levenberg, Staff Writer
Months ago, I trapped a young photographer into a long conversation that he probably didn’t want to have. He had the misfortune of having his work accepted in the Spring 2013 issue of Yorick, so I knew that his artistic insight would be beneficial to our dear community. When I successfully cornered him, he gave me the “dark eyes,” the look of frustration when you can’t get out of dodge and you subtly admit defeat. Here is an abridged interview with Nick Kita, possible double agent, definite swagger.
Alex: Where has photography taken you in life?
Nick: Socially, it’s pretty cool what being a photographer does at a college. Just this weekend I was able to go and photograph Profstock and being at, being at the front of the stage everyone is dying for your attention. Everyone wants to go home and see themselves and it’s pretty cool. You know I never, I never really wanted to bend for people to become their friends, so it hasn’t made me exuberantly popular, if that’s the right word. It hasn’t made me the coolest kid on campus, but it definitely helped me be at the front of some social experiences and that’s pretty cool. Business wise—it’s pretty funny, because I never intended to take it toward a business aspect. I always liked photography, I’d always thought it was a cool thing to do, but I guess I’ve been blessed with somewhat of a raw talent because everybody, not everyone, let me rephrase…
Nick: …enough people talk to me and go, “Wow, you’re a really great photographer!” and I say, “Thank you.” I appreciate that, but you are the biggest critique of your own work. So, people have been pushing me toward it, to take it towards a business standpoint, and for me as a nineteen-year-old just turned twenty-year-old kid, I was comfortable making $9.50 at my Smoothie King and selling all those retail products. But when you can work six hours and make $500 easy, and that’s the lowest you’ll make, it’s kind of hard not to say, “Wow! I really love doing this! Why not make money doing it?” So business is coming second for me, but it’s going to be a priority and it’s going to keep me afloat whether or not it takes me deeper in the future with photography and that’s where most of my income will come from, or if it’s just a hobby that can help me buy cool stuff.
Alex: (laughs) Yeah. Well, you talk about this raw talent—what do you think that means? And what, how do you see yourself refining that raw talent?
Nick: I think it’s more raw talent for me in the way I’m trying to define it. I have an innate ability to see the beauty in the mundane. So, when I see something that normally someone would look at and say “Wow, that’s not that beautiful, that’s not cool,” I can see myself in a different light, in a different aspect, from a different perspective and make it beautiful. I can…with all my social experiences and how my first passion people, my second passion is experiences and my third passion is success. So, I’ve grown to know how people act and what usually comes next in a series of event, series of conversations and I can, I can predict when that perfect shot’s going to happen. But again, that can just come from practice with photography.
Alex: Yeah, so it’s almost this weird, precognitive, artistic…
Nick: …disposition that I have.
Alex: It comes through in your work no matter what. And just to jump around, it definitely shows in your piece, “i play even though i know my sound falls on deaf ears.” It’s just very, it’s just very moving because everyone around him is static and there he is at the center. Tell me about that piece.
Nick: Yeah, just to go back to what I said before, finding the beauty in the mundane. What I wanted to emphasize the most in that piece is how this old man, one of our elders if you will, is sitting there, he’s most likely retired, I don’t know his name, I didn’t ask his name, I probably should’ve reflecting on this, but everybody in this world, we always move so fast. Here we are on a vacation, a vacation location, a getaway, and everyone is running past this beautiful artistic expression, they don’t notice him. People who are sitting behind him are on their cellphones, they’re looking in other directions, they’re talking to their partners and stuff like that, no one really stood and stopped to embrace the moment that he was providing for us. So I saw that, and saw that he was a very talented man, and I wanted to capture the picture. Though he is not named in the photo, I don’t know his name, I heard he plays there for, he’s played there for years and if I ever went back again I would most definitely ask for his name, maybe do a story on him, photojournalism, that’s something that interests me. That was a very cool, very cool guy. It was more or less to emphasize how quickly we move and how we overlook some of the coolest things. They’re right in front of our face and we walk right past never giving them a chance to blossom and bloom and become this great thing.
Alex: Your other piece was very interesting too. It’s almost, it’s almost kind of eerie, it was “Our Time Has Come.”
Nick: Yeah, yeah. What I was really trying to portray there was this existentialist type of artwork where, what I was going for was the very spiritual—I’m just totally kidding. It was a foggy day.
Nick: It was a foggy day and I told my RA, Ojas Patel at the time, I said, “Yeah Ojas, yeah come on, I love fog.” I really wanted to do this low-key photo shoot and so we walked over to the back of Edgewood Park Apartments, and there’s this light shining down, and I said, “Go ahead, jump, make it look like you’re levitating.” And it took about twenty shots just to get that one shot. I mean, as funny as, as much meaning as can be put into one photo, a totally…pointless, floorless meaning can be given. I mean there’s just, there’s just no meaning, no meaning for that photo, it was just a spur of the moment thing and I was like, “This looks cool, let me take it.” But the title again, as I went and reflected on it, it could mean so much to so many people. He’s in the shape of a cross, Christians could interpret it that way, and they could think, “Oh, it’s Jesus rising up.” Say I took that photo and I, I didn’t reveal it until Easter, you know, it’s, there are so many ideas that can be derived from something, and it’s all really what you see in art, and it’s what makes art and music and these creative expressions that you, that humans can create, that the human population can create, that’s what makes it so interesting to me. Now, my interpretation, I just, I simply know the facts. How I want it to be interpreted? There simply is no wrong answer. Take what you need from it.
We talked for roughly two hours, and in that barrage of ideas and ideals in April’s chill, I felt this cool connection to this fellow whose job was his passion, whose passion was an organ much like his heart. This next part was the last bit we suffered through, but I might just have enjoyed it the most.
Nick: Photography is part of me now, and it’s not like I can separate business from my normal life. I can’t separate work from my normal life because I love what I do. I try and be as humble as possible, because, I have no, I don’t have anything to back up me being the best. I just have my creative art expression, I just have my portfolio, and some people like it, some people love it, some people hate it.
Alex: Do you ever think that you’ll be the best?
Nick: To some people, yeah, absolutely, I’ll be the best to some people. I’ll be the worst to some people. It’s all, it’s all (sighs) it all depends on which spectrum you look at it from. Maybe I’m the best to my father, maybe I’m the worst to my mother. Who knows. Δ
Submit your artwork and photography to firstname.lastname@example.org.
Deadline is August 1st.