Showing posts with label Angela Lopes. Show all posts
Showing posts with label Angela Lopes. Show all posts

Friday, January 19, 2018

The Capilano Review (Fall 2017): 3.33




Time knows what it does or it doesn’t,
is it truly a sequence that is continuing?
I might suck time from the ridge of your lips.
I think, the city negates me? Yes + No.
The mess I’ve made of things. I’m given
to the question mark, the ellipsis.
The future has already happened
and I understand nothing. A child
cries on the street and the mother
answers, “I don’t care.” Another
woman walking past in expensive
spandex says into her phone,
“whatever I have risked I stand
to earn.” I cannot hunt, I lock
the door when you go away
with my love and then with fern
in hand I signal recalcitrance. I am bogged.
A pustule of glial shine. It is possible
the rest has ended. (Liz Howard, “This Nocturne Went Summer / (a series of cosmic missives)”)

As you already know, I’m sure, one of the journals I consistently look forward to is Vancouver’s The Capilano Review [see my review of the previous issue here], currently edited by Catriona Strang. The current issue, as the short editor’s note suggests, pushes back against what often feels like a growing dark: “And yet, even as they articulate our horrors, the texts and artworks included here resist them, paradoxically finding fleeting moments of joy and delight in learning ‘to appreciate the raw beauty of our contingencies’ with Sria Chatterjee, or becoming ‘joysome from the thick damp leafage’ with Ted Byrne and Kim Minkus. So that perhaps this fall issue provides some transitory respite, and maybe refigures respite as resistance, or at least as mulch, at the same time as it takes a good hard look. ‘We’ve gathered the info,’ writes [Angela Jennifer] Lopes, ‘suck it up and believe.’” Existing as both a port in the storm and a focus on resistance, one could argue that The Capilano Review has been actively publishing and supporting this kind of work for years. In this current issue, the first thing that jumped out at me were the two short prose pieces by the aforementioned BookThug author Angela Jennifer Lopes:

at it again

So we’ve got this one. We’re planning a return to school to study physics or maybe linguistics. We knew these colonizers were just really insecure with no feeling of human. Because we know this we’re enraged. To support this moment of rage is a choice you get. For us it’s a part of it. But if you really know, the sojourn entire cannot be just peace getting a real job. It’s something we get, an attraction celestial where frothing at the conscious calves splinters. That we are ourselves the closest we are to nothing. The clandestineness of destiny is based upon a certain order earthly the report that there’s some blessing and some shunning. Some of our friends detoxify inner urgency with such sleek grace. Why do “let’s just sit on it”? And let’s bring that friend to mind. She’s the one who doesn’t care about opinions. She exudes virtues, primordial time.

I haven’t seen as much work from Liz Howard lately (I suspect I might be looking in the wrong places, possibly), so seeing her five-page “This Nocturne Went Summer” was a definite highlight. As she writes: “I dreamt supranatural and killed my memories with salt.” It was also good to see new work from Reg Johanson, Lise Downe, Colin Smith, Brian Dedora and Kevin Davies, all writers one doesn’t exactly see publishing in too many literary journals (this is one thing I’ve learned through my years of going through literary journals: when too many journals are simply publishing variations on the same, and even the same grouping of authors, any journal that includes work from authors we don’t see enough of gets my attention). Another highlight includes Sria Chatterjee, including her “THREE LETTERS,” the first of which reads:

  1. Letter on a dream

I woke up this morning having dreamt that four new elements have been added to the periodic table. They sank to the bottom of my mind like words or synthetic rocks, superheavy. I arranged and rearranged these particles of primary matter on my clear blue mind slate, and you. I am writing because you were in my dream, prodding it like it was water. It was water. Each element a different tonal cluster, plunk, ringing in my plunk like Listerine. You spoke nonstop of the molecular unconscious, its two poles: paranoia and schizophrenia, molar and molecular, the nonhuman sex, the problem of affinities, the dwarfism of desire, terror and law, Seaborgium in the evolution of the state Americum, capitalism and schizophrenia, old earths and new, I had my ears to the ground you were vomiting clay screaming for Darmstadtium. You were drawing furrows in my water. We were screaming over and above each other. ORGANIZE, EXECUTE, EAT LOCAL, & MAKE the police take the Hippocratic Oath. Abstain from doing harm. I hope you are doing OK. Do write. The sky here is unfixed with the atomic structure of milk.


Sunday, July 02, 2017

12 or 20 (second series) questions with Angela Lopes

Winnipeg-based Angela Lopes is a writer, and editor, and academic tutor of writing and philosophy. She divides her time between São Paulo, Brazil and Winnipeg, Manitoba, where she is an active member in the arts scene and recently worked with the Winnipeg Arts Council’s Creative Placemaking Challenge—an art installation project displayed in the alleys of the city’s West Exchange District. Lopes’s essays and poems have appeared in an array of publications. Bridge Retakes is her first novel.

1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?
The book hasn't changed my life too much just yet! But I'm elated i committed to it and finished it!

This work is more narrative than my previous work.

2 - How did you come to fiction first, as opposed to, say, poetry or non-fiction?
Actually, this project began as poetry!

Over 4 and a half years ago at the University of Manitoba I was tutoring students , and the book was born in poetic form in response to conversations with one of my dear friends who happened to be a professor there.

3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?
I am a slow writer. My work involves intense interdisciplinary research and life experiences.

First drafts are drastically different from final copies . Once I reach the precipice, however, it all comes in a more easier way.

4 - Where does a work of fiction usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?
I am a storyteller of short pieces.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?

Hmmmm I think they are a part of the process. Good question !

6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?
The work asks how does money confuse love, or how does love confuse money ?
 
7 – What do you see the current role of the writer being in larger culture? Does s/he even have one? What do you think the role of the writer should be?
The current role of a writer is to continue the ongoing dialogues on the streets and in the institutions . I saw a photo of a stunning woman protesting at a protest in São Paulo trying to give a police man a kiss. I like that. Showering so much love over machismo culture that it softens it. Or something like this.

To remake notions into non notions  .

8 - Do you find the process of working with an outside editor difficult or essential (or both)?
Both . I enjoy it.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?
Only listen to your intuition / God/ Universe .

10 - How easy has it been for you to move between genres (poetry to fiction to critical prose)? What do you see as the appeal?
I sometimes don't see the difference.

11 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?

I don't have a routine . My day commences domestic , familial .

12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?
Life. Movement . Love. Action.

13 - What fragrance reminds you of home?
Onions  and lavender

14 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?
Music , conversations , visceral occurrences

15 - What other writers or writings are important for your work, or simply your life outside of your work?
Alain Badiou's " In Praise of Love"

Carolyn Bergvall's "Fig"

Paulina Chiziane's "Niketche"

Pauline Reage's "Histoire d'O"

Kwasi Wiredu

Lisa Robertson

16 - What would you like to do that you haven't yet done?
Learn Arabic

17 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?

18 - What made you write, as opposed to doing something else?

Being shy yet spontaneous and adventurous

19 - What was the last great book you read? What was the last great film?

20 - What are you currently working on?


12 or 20 (second series) questions;