The Authors and Artist Speak

If you haven’t realized by now, Four Ties Lit Review does not subscribe to the theory that the Author is dead. You just have to ask them; they’ll tell you, “I’m not dead (yet)” (Monty Python reference intended). So we asked our Artists and Authors what they thought about their pieces, and this year fourteen of them sent commentaries for what has become our “Artists and Authors Speak” feature, some responses were audio, some video, and some text with or without graphics. Some read from their contribution, others “spoke” about craft and technique and, still others elucidated on their inspirations. But whatever they said about their pieces was enlightening and inspiring. So we wanted to archive those contributions in a way that our readers could have easy access to them while the content for Issue VI Volume I is on display, This page will be a part of the online content for this issue as long as its featured on 4Ties, enjoy.

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Our Non-Fiction Author Ian Rogers provided us with an illuminating and instructive recording to accompany his wonderful narrative that captures the essence of both friendship and work “Painting’s Just My Day Job.”

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Pat St Pierre introduces her photograph “Yummy” and gives us just a few details about the photo we used for The Non-Fiction section page.

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Tim Haight gives us a glimpse into the cultural inspiration behind and his intentions in the poem “Pilgrim Feet.”

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Kathy O’Fallon tells us how a James Dicky piece and New York contributed to her poem “Shoe Shine.”

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Marissa Glover tells us a bit more about her short and humorous poem “Chair Envy.”

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Tristan Joseph Boisvert provides us some revelations about his solemn hybrid piece “peal.”

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Meagan Lucas tells us about how place helps her find inspiration and how her experiences on St Joseph’s Island in Ontario Canada help shape Lindsey’s danger-fraught journey in “Cola Colored Bubbles.”

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Konstantin Rega gives us his notes on his poem “A Painting of Hiroshima ’45”

“A Painting of Hiroshima ’45” is about the beauty of decay being reborn as a new identity or reinvigorated by that ever so determined idea, belonging to the human spirit, of hope. The imagery in the poem is quick, going in swift procession, giving the reader an idea of dropping through the page—symbolizing the H-Bomb that slipped down through the sky. “A Painting of Hiroshima ’45” also shows the narrator, an artist, a painter, describing what he sees, though not what he exactly is painting at the time of his narration, though ironically it is what he paints through his words, with the sharing of this poem, of his history. The world is discovered history is made by poets and painters recording what they see and hear, and this idea is shown by the final stanza about some other artist painting “the narrator’s” corpse. The point of my poem is to illustrate the power and necessity of artists and, also, the need to preserve the past.

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Poet John Stupp introduces and reads us his piece “Thunderbird.”

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Catherine Roberts Leach gives us her notes on how she created photographs like Worker 1 and Worker 3. We incorporated them with the title pages of the About the Authors and About the Editors pages.

In Pursuit of Anonymous Moments

“Most of the time I photograph outside in public. Sometimes I am inside, looking out. I hunt for the moments when my subjects are unaware of my presence, when I can see them, if not always their faces. My camera, therefore, can’t spoil the moment, or intrude into their thoughts. These people who I do not know, and who do not know me, are going about their business, inviting nothing, least of all me. Later, viewers of the photographs may imagine the faces of the subjects, and what inhabits their minds at that moment, or they may embrace the anonymity.

Since I never pose or do set-ups, I must rely on opportunity to give me one more chance to capture the anonymous moment.”

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Allison Cummings describes the layers of inspiration and a bit of the technique that brought about her poem “Route #6.”

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Chris Dungey included notes on his story “Brass.”

Hector Fritch [the main character of Brass] is probably what you’d call my alter ego; or even fictional doppelganger. In my writing career, which includes 60 published stories and another 15 hunting, I’ve probably come up with 4-5 tales drawn totally from my imagination; pulled out of my ass, if you will. The rest are all based on things that have happened to me or to friends and acquaintances. I merely twist the facts and names around a bit, exaggerate or minimize aspects of the actual events, and voila! Or, as Kelly Bundy would say: “Viola!” It’s the Beatles “Paperback Writer” school of fiction: “I change it ’round, ’til you like the style. I’ll be writing more in a week or two.”

As for Hector’s demeanor in “Brass,” two major themes should emerge. First, he would hate, ever, to have his soon-to-be ex-wife dislike him or worse, report ill of him to others. He insists on being a nice guy and cooperative participant in the litigation. He has everything to gain; the house, shared custody of the child, and perhaps even the occasional thrash in the sheets. They’ve always been good together in that way. More importantly, Hector has come to enjoy being laid-off. Reading, writing, Letterman late, sleeping in; leisurely days as lord of his modest manor. This condition should go on for as long as there are benefits to be exploited. If he has to do a bit of scrounging until GM calls him back, he will do it at his own pace and under his own direction. Washing dishes at Titus Family Restaurant will be a very last resort.

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Our invocation poem is “Go to Work Invocation in Tsalagi (Cherokee)” by Ginger Strivelli. Ginger notes that while she is not a native speaker she has studied the language extensively and uses the language in her poetry.  The poem is phonetically spelled so that the reader might hear the piece in the language that inspired it.

Tsalagi Gawonihisdi is spoken by the tribe that was originally known as the Aniyunwiya.  Cherokee is the name given to that tribe by the Creek Tribe. The Cherokee were victims of the infamous historical event known as the “Trail of Tears.” Ginger set the following graphic as an accompaniment piece for the poem.

Jenn Powers sent us the following recording about her photograph. Factory I is featured in our Art Gallery and will be a fitting back cover image for the ePub version of the magazine.

Link here

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Thank you to the Artist and Authors who supplied readings and or commentary for their work in Four Ties Lit Review Issue VI Volume I