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Editor's blog

Fourteen Hills 18.2 Release Party Raffle Prizes

Wed, 05/09/2012 - 13:21

With our 18.2 Release Party fast approaching, Friday May 18th at  Wix Lounge SF, it is important for us to announce the gracious donators of our raffle.

Raffle tickets go on sale the night of the event and will be available for $2 each or $5 for three.


traderjoes.jpgTrader Joe's Grab Bag - $60 value

Bringing back the party lore of the grab bag. Take this menagerie of goodies home and see what surprises you pull out to ease the any-time munchies. Assorted candies, trail mixes, snacks, etc.



 

 


Hand Made Black Sheep Crochet Hat by Sarah Caroline Design - $45 valuesheephat_.jpg

Defend yourself against the San Francisco cool while letting others know that you're not a run of the mill sheep with this Animal Farm favorite. Sarah Caroline Design is out of Oakland's Smart Loft Studio.

 

 

 

 

 


ductape_roses.jpgSelection of Duct Tape Roses by Lindsey Jo - $35 value

Write an inspired love poem or an ode to a grocery list with this rose shaped writing utensil. A trio of handmade duct tape roses, which are also writing pens, packaged as a decorative bouquet. 

 

 

 

 


Yoga - 1 month - $99 valueyoga.gif

Stretch your horizons with a month of free yoga. One month free yoga at Funky Door.

 

 

 

 

 


arrested devel_.jpgArrested Development Paper Doll Set - $60 value

Play along with the television show with your own set of 2 dimensional characters.

 

 

 

 

 


thecaferoyal.jpgCafe Royale - $25 Value

Sip on some wine, play some pool, and eat a Rock Island Panini at this fine Post Street establishment.

800 Post Street
San Francisco, CA

 

 


The Brow Lounge- $30 valuebrowlounge.jpg

Once again, our supporter, The Brow Lounge, has donated a $30 gift certificate good for eye enhancements and facial hair removal in a friendly, clean environment with expert technicians. Walk-ins as well as appointments are possible. 

5916 College Ave
(between Chabot Road & Harwood Avenues several blocks north of Rockridge BART Station)

Oakland, CA 94618
(510) 428-9888


chiropactor_.jpgVitalogy Chiropractic Services - $185 value

A gift certificate for an evaluation and two treatments, a total value of $185.
Highly recommended as a gentle and thorough chiropractor.

Darran J. Hamm D.C.
Vitalogy Chiropractic
1050 Marina Village Pkwy.
Ste 104
                              Alameda, CA
                             (510) 207.5565


dieselbooks_.jpgDiesel Books - $20 value

Get that brain fuel and Diesel books. Stores in Oakland, Malibu and Brentwoood. The Oakland branch in the Rockridge neighborhood at 5433 College Ave
faithfully displays the latest issue of Fourteen Hills, and sponsors a number of readings by your favorite authors monthly.

Rockridge (510) 653-9965


rock_climb.jpgLearn to Climb at Touchstone Gyms- $60 value

Get high on climbing at Touchstone. Prize includes two "Intro to Climbing" packages, including the training class, rental gear, and day passes to stay and climb after the class.

MISSION CLIFFS
2295 Harrison Street
San Francisco, CA 94110
(415) 550-0515
 

 

 


Assorted Fresh and Easy Chocolates from G.Debbas Chocolatier - $25 valueWine-Collect-Side.jpg

Now all you need to do is light the fire and throw on some Wayne Newton to set the mood. Enjoy $25 of assorted Fresh and Easy Chocolates hand-crafted by G.Debbas Chocolatier. These gourmet chocolates are superior in flavor and quality and are created using all-natural ingredients with no preservatives and no compromises. A special blend of cacao beans is carefully formulated to achieve a smooth, rich flavor that can only be found in multi-award winning G.Debbas chocolates!

 

 

 


 

yesterday.jpgCafe Yesterday - Two $25 gift certificates

Drink the coffee of yesterday today! A locally owned cafe in Berkeley, they've been around for just about two years. Great coffee, fairly large breakfast and lunch menu (their sandwiches are really good), friendly staff, beer and wine too! Plus, they've usually got some sort of event going on once a week, their newest addition being a stand-up comedy night every Friday.

 

 


Mission Cheese - $35 valuewinecheese (2).jpg

$35 to Mission Cheese, located at 18th and Valencia and a mere two blocks from the 16th and Mission Bart station. Mission Cheese serves fabulous cheeses, of course, and also sandwiches, meats, wine, beer, and chocolate.

 

 


missionpie_.jpgMission Pie - One Pie $20 value

Indulge in an American classic with a pie and a cup o' Joe.
Gift certificate for one pie from Mission Pie at the corner of Mission and 25th. A cafe-bakery with sweet and savory pies made from wholesome foods. A fun, upbeat place to hang out.

2901 Mission Street,
San Francisco, CA 94110
(415) 282-1500


Pam Benjamin’s Voices and $20 Gift Certificate to Bird and Beckett

Feel lucky if you win this prize because you'll get to go to Bird and Beckett books without having to wonder whether they carry Pam Benjamin's Voices, since you'll already own a copy!

Bird and Beckett- $20 gift certifcate 

bidbeckett.jpg

653 Chenery Street,
San Francisco, CA 94131
(415) 586-3733

 

 

 

Pam Benjamin's Voices:

pamvoices.jpgIf Grant doesn't listen to the Voices, bad things happen to good people and bad people, and dogs and rodents and cafeteria trays. With the help of his mental roommate, who only speaks in musical quotes, and his Voices, Grant plans to escape "Horizon Dawn" to save his daughter from his ex-wife's new psycho boyfriend.

 

 

 


Uncle John’s Bathroom Reader Presents Flush Fiction - $16.95 valueflush_fiction.jpg
An anthology of literature that’s just the right size for those visits to the, uh, privatarium. Funny, smart, thought-provoking, but, most of all, short. Autographed by Fourteen Hills staff member and Uncle John’s contributor John Haggerty, making it simultaneously much rarer and much less valuable.

 

 

 


MaxineChernoff.jpgAutographed Books from Maxine Chernoff - $80 value

Four autographed books donated for a summer reading package by the iconic poet Maxine Chernoff.

 

 

 

 

 


 

Can't wait to see you all there!

 

Link to more 18.2 event information

Link to RSVP on Facebook

 

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Melinda Moustakis, 14.2, Awarded Mary MacKall Gwinn Hodder Fellowship

Mon, 05/07/2012 - 11:12

If you haven’t had the pleasure of reading Melinda's work, you can start with "All the Small Objects" published in issue 14.2 (Spring 2008).

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Most recently, the Lewis Center for the Arts at Princeton University awarded her the Mary MacKall Gwinn Hodder Fellowship for the 2012-13 academic year. Her debut collection, Bear Down Bear North: Alaska Stories, won the Flannery O' Connor Award in Short Fiction and the UC Davis Maurice Prize in Fiction. Her stories have appeared in Alaska Quarterly Review, Kenyon Review, New England Review, Conjunctions, Cimarron Review, American Short Fiction, and many others. She was also named one of the 2011 writers “5 Under 35” by the National Book Foundation.

Congratulations Melinda on all of your successes!

Staff and Editors
Fourteen Hills

Written by Ari Moskowitz
Assistant Fiction Editor

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Searching Out Beauty and its Opposite: Melanie Rae Thon Reads at the 4th Annual Gina Berriault Award Reading

Fri, 04/27/2012 - 14:58

Here at Fourteen Hills, we are accustomed to things changing: new staff members coming onboard, new writers being discovered, and each issue published becoming a different capsule of the semester that was spent preparing for it. But some things always stay the same, and I’d like to think our general aesthetic is one of those things. For years and years, one of our favorite quotes to consider has been the following passage from actor and director extraordinaire, Constantin Stanislavski:

 “…Do not shun the darker side of nature. Look for it in marshes, in the slime of the sea, amid plagues of insects, and remember that hidden behind these phenomena there is beauty, just as in loveliness there is unloveliness…Search out both beauty and its opposite, and define them, learn to know and to see them.”
MRT_.jpgWe love writing that is able to balance darkness with lightness, bleakness with hopefulness, and that is ultimately rich with contrast. Therefore, it’s no surprise we are incredibly excited to learn that Melanie Rae Thon will be reading at the 4th Annual Gina Berriault Award Reading on Wednesday, May2nd at 7:00 pm in the Poetry Center (Humanities Building, room 512). Thon is an author who perfectly embodies the Stanislavski quote in her writing. She is not afraid of depicting violent or hurt characters who stab, rape, murder and steal, but she balances out these gritty portrayals by imbuing her characters with the ability to make tender professions of love and to connect with others in beautiful, unexpected ways.
 
The author of four novels, including Voice of the River and Sweet Hearts, Melanie has been published in BestThon--In This Light.jpg American Short Stories (1995, 1996), Pushcart Prize Anthologies (2003, 2006, 2008), and O. Henry Prize Stories (2006), among many others. She is the winner of a Whiting Writer’s Award, two fellowships from the National Endowment for the Arts, a Writer’s Residency from the Lannan Foundation, and a fellowship from the Tanner Humanities Center. Melanie Rae Thon is also a dedicated professor in the Creative Writing and Environmental Humanities programs at the University of Utah, where she divides readings for her students between “science, spiritual texts, and literature.”
 
Barbara Hoffert of Library Journal aptly describes Thon as an author who “offers troubled characters in hard environments yet never abandons them to their fate.” The Chicago Tribune further commends the way she “threads compassion into all of her stories.” Melanie Rae Thon is renowned for her ability to reach into “the oceanic consciousness” of humans in all walks of life, giving us access to the interiors of people we would never see as main characters on network TV shows or in Hollywood films.
 
MRT_VoiceRiver.Her most recent novel, The Voice of the River, is a triumphant tapestry woven from multiple viewpoints. Each character, from a small homeless child to a baker from prison, is a “survivor,” one of a community of people who have loved and lost, and whose thoughts merge together to whirl around the sudden disappearance of a young boy and his dog.  In this novel and in all of her work, Melanie Rae Thon is not afraid to explore the bleaker side of existence. However, she is also not afraid to show us there is always love and hope, and the world itself will never stop being filled with a beauty so resplendent that it inspires near-spiritual contemplation.
 
We hope that you will join us in the Poetry Center on May 2nd to listen to Ms. Thon read, speak, and answer your questions. We couldn’t be more excited, and we hope you feel the same. Don’t forget to RSVP to the event here!
 

 

 

Stephanie Doeing

Fiction Editor

 

 

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A Quick Chat with Andrew at Adobe Bookshop

Fri, 04/20/2012 - 12:53
Walking into Adobe Bookshop last Monday morning, I was immediately struck by two distinct sounds: the soft lull of an old Billie Holiday record and the short snaps of a typewriter. This shop doesn’t feel like a store, it feels like home. Bookshelves canvas every vertical surface, showcasing their amazing amount of books. Overflowing stacks line the aisles. Big, comfy couches serve avid readers and sleepy wanderers alike. The names of famous authors painted on the walls lead book foragers to an art gallery in the back. And most appealingly, this place smells like books. That might seemandrew_.jpg too obvious to mention, but in a world dominated by the alienation of online shopping, I cannot express how refreshing it is to walk into an actual bookstore and breathe in the scent of old knowledge, to run my hands across yellowing pages, and browse Adobe’s stacks without the constraints of a search engine.
 
I had the pleasure of talking with Andrew, Adobe’s Manager. Between whistled renditions of the songs coming through the sound system, he was kind enough to share his thoughts on the independent bookstore 
community.
 
 

 
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Fourteen Hills:  First of all, how are you today?
 
Andrew:  I’m feeling upbeat. You’ve caught me at a good time.
 
14H:  There’s a unique aspect to your store in that you have a built-in art gallery. How did that come to be?
 
A:  A woman artist in the neighborhood asked me if she could build a gallery. This was over ten years ago, maybe fifteen? And I said yes. She got some money from an insurance incident and wanted to spend it on building a gallery where she could show her own art along with her favorite artists, so she spent a couple thousand dollars. It was small, tiny, and intimate. It became a popular place to show art. And it’s grown from there. Our reputation for showing art is really big. We do it all the time now. People want to show their work in our store. Some have been successful, and they have continued to support us. There’s sort of a cachet now about the place because it’s been around for twenty years and a lot has happened. And something could happen at any moment.
 
14H:  I’m wondering if you could speak on the nature of being an independent bookstore. Challenges? Advantages?
 
A:  The freedom is that we’re not subservient to anybody. The limitations are that we depend on secondhand books. And even though the markup is good, the sales are always very modest. Selling $3 and $6 books, it’s not easy to make a living.
 
14H:  Would you say that there is an overall theme to the books you carry here?stacks_0.jpg
 
A:  We’re strong on the arts. Poetry, philosophy, and art are what we like to sell most. However, we sell everything.
 
14H:  Where do you get most of your books?
 
A:  We go hunting for them in garage sales, auctions, thrift stores, library sales, etc. Oh, and when people die, we buy their books from their estates.
 
14H:  Well there’s a positive from a negative.
 
A:  Ha, yes there’s an upside. And some people donate of course.
 
14H:  Speaking of books, what are you reading right now? Anything you’d recommend?
 
A:  Oh god, I just read Ernest Hemingway’s A Moveable Feast, which is a memoir of his life in Paris as a young man in the ‘20s. It’s a great book. We sell copies of it all the time. I just happened to get a copy on Saturday, and read it the last couple of mornings. I like Flaubert’s Madame Bovary—that’s a great book. I like Willa Cather’s My Antonia; I’m very fond of that book. I read older books. Generally, people have to be dead before I read them.
 
14H:  Yeah that’s the rule of being an author, right? Famous when dead.
 
A:  Unfortunately.
 
14H:   How does Adobe Bookshop fit in the Mission?
 
A:   Well, we live off the community. We used to cater to a lot of artists, young people, poets, painters, and we still try to do that. The community is changing, and we try to meet the needs effectively. We provide inexpensive used books to as many people as possible.
 
14H:  Do you guys host any public events?
 
A:  Oh, yes. Please come by the store for more information or use this blog.
 
14H:   Why are author readings important?
 
A:  People need a venue for what they’re creating. A live venue. A human venue. And we’re more of an art space all the time, though we’re sympathetic to, like I said, actors, musicians, poets—hell, derelicts, bums, and bohemians. It’s just an easy place to start something.
 
14H:   Thank you so much for your time.
 
adobe_out__0.JPG
 
Adobe Bookshop is a proud carrier of Fourteen Hills. So head on over, meet Andrew, and buy a great book. Check out their blog for upcoming events.
 
Adobe Bookshop   
Hours: Mon-Sun 11 am - 12 am
3166 16th St.
(at Albion St.)
San Francisco, CA 94103
(415) 864-3936     
 
 
 
Interview by Chris Ames, Intern 

Photo credit to Elayna Yussen 

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From Form to Force: an Interview with Rae Gouirand, Contributor 17.2

Wed, 04/18/2012 - 11:16

Rae Gouirand’s first book, Open Winter, has garnered a remarkable amount of acclaim. The collection, one of whose poems, “Firewood,” is featured in Fourteen Hills 17.2., won the 2011Bellday Poetry Prize, and was a finalist for the National Poetry Series, the Four Way Books Levis Prize, the Fordham University Press Poets Out Loud Prize, and  many others. Currently, it is up for the Audre Lorde Award, a California Book Award, and the Montaigne Medal.

rae_g_1_.jpgIt is no wonder this superbly organized volume with four sections of fifteen poems each has earned such attention. Gouirand’s cool, keen eye takes us into the winter dimensions of our vision and emotion, as if looking through a crack in the board fence around our backyard: the nearness of snow, the distance of “lapis galaxies.” Right from the first poem, “By Infinity,” we examine what “pulls at the eye” and the paradox of existence, that “thread between presence and absence.” Throughout this generous volume, we continue to find permutations of other lines and dots, those points that “measure our particular instance” (“Low Stars”).
 
Recently, poetry editor Sandra Wassilie asked Rae Gouirand a few questions so that readers might experience the multidimensional nature of her work more fully:
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Fourteen Hills: Rae, your work demonstrates to me so well what I often profess: the poet and the scientist are very close in having a sense of wonder and the ability to observe the ordinary in extraordinary ways. Take the line “Lumen accumulation, curtain of blur” in the title poem “Open Winter,” which to me is as much a scientific statement as it is a poetic line.  Both presume knowledge about how things work. How do you cultivate such knowledge, and how do you recharge your sense of wonder?
 

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Rae Gouirand: There’s a difference between knowledge and wisdom, and between knowledge and insight. I make this distinction because I’m not sure I believe in knowledge anymore, though I definitely believe in wisdom and insight, and in questions. I think questions are about as close to knowledge as we can hope to get. I don’t think, however, that there’s much of a difference between the ordinary and the extraordinary. Things become extraordinary when we allow ourselves to assume an attentive relationship to experience, when we open to perception. We are all much more deeply perceptive than we know. All of us are wise underneath our contorted relationships to ourselves. I’m uncomfortable with the way we talk about inspiration in general in our culture—as though it’s something that comes to us, as though work aspiring to an inspirational state is responsible for getting through to us, and either does or doesn’t, based on how “inspiring” it is. The work is ours. Scientists understand that understanding is work, that inquiry is the way. So do creative practitioners. Songs are born in the singing.
 
I recharge my sense of wonder by letting my heart lead. Into creative work, into community and teaching, into love, into extraordinary messes, into solitude. I work on keeping my perceptive window wide open in a variety of ways: practicing yoga, communing with wide open California, reading.  I am supremely lucky to enjoy an extraordinary community of friends, writers, teachers, students, heroes, chosen family, & soulmates who remind me constantly of devotion.
 
14H: Your work shows a remarkable cohesiveness of style and focus from section to section. Would you comment on your process as you write and organize your work? For instance, are you one to write a piece and finish it fairly immediately or do you let your work age? Does one poem lead to another?
 
rae_g_3_.jpgRG: The poems in Open Winter were written over a period of about ten years and represent a fairly wide spectrum of concerns I have in verse—concerns about narrative and the narrative I, concerns about the poetic line and about what that tradition represents, concerns about space (literal/thematic, within the line, within the poem, within the human heart and mind), concerns about never and always (as in the title poem and the collection’s overarching concern with winter—an open winter is actually a winter with no snow, a season marked by a lack of signs). And of course the concern that seems to unite all poets—the limits of what is sayable. That one never dies.
 
Narrative poems tend to come one at a time. More formally exploratory ones (like the sixteen line poems in couplets, the ones that break with colons all over the place) tend to develop in small batches, in conversation with one another. My poems tend to know most of what they want to do within the first draft, and then reveal a little more in the second. I don’t draft endlessly; I don’t go back years later. I do sometimes take long breaks from writing, but I don’t ever take breaks from moving forward—lots of reading. Lots of exploring. Lots of imagining.
 
14H: Open Winter drips with paradoxes. You show what is visible while you allude to the invisible: “so many to fold / into folds of one” (“Plurals”).  The barrier of glass permits sight but limits the experience of what is seen in several poems such as “Paper Snow” and “Visual Interest.” What role do your paradoxes play with respect to feeling and emotion which often seem to be distant from the narrator?
 

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RG: Oh, man. The question of emotional distance. I have learned, teaching, that some readers want an almost infinite amount of room within others’ language projects to inscribe their own emotional dynamics, and that other readers, by contrast, read primarily to study how emotional life is inscribed by the author—and are frustrated when they perceive the emotional life of said author to be kept off the page. It’s our job as readers to know what our prejudices are, and to admit them.
 
We are, as bounded beings, much smaller and more compact and abbreviated than our actual  empathetic/spiritual/energetic/interpersonal experience, which explodes us over and over and over again, and sends us scurrying with the urge to occupy space that sometimes feels like it exists outside our actual selves. Writing is emotional: it is motion; it is a motion. What the author’s emotional life looks like on the page will always be as varied as the faces worn by the authors themselves. One job writers can assign themselves is the job of articulating feeling, but there are many more jobs available than that one. In verse in particular I find other assignments more interesting. My poems are born of profound struggles with language. They’re live, bound things; spirits in bodies. What I can say in the gesturing-to-myself vein here is that I generally want to write poems that are impossible. That’s not unemotional. Nor is it cerebral. It’s my relationship to language.
 
14H: “Address to Naos” seems quite abstract, but the “naos” of the title suggests to me it could be about the treatment of adoptees:  “…never count / within a room for form.” I then think back to “Foster” and the image “ashes of roses” takes on freight. What do you consider the role of writing in the abstract to be, and how do you make it function in your work?
 
RG: I love abstraction. I think it’s my native water. My friend Lucy yelled at me once over popsicles for being too abstract—we were talking about relationships and she was having a hard time understanding what I was saying, even though there was a ton of emotion in my voice. I think about that conversation all the time. Language goes abstract on me when I am reaching most utterly and completely for language’s tools, for its familiar functions. When, as in song, there is such an intensity of feeling attached to the locating of the words, and the laying of the lines, that the medium at hand itself changes. I think more about solid, liquid, vapor, gas, about how the forces of the earth itself direct what happens to molecules. Is there a difference between abstraction and obliqueness? Abstraction is not the opposite of concreteness. Abstract language, just like abstract imagery, articulates exactly. Its references just belong to a different plane.
 
“Address to Naos” is one of the poems I like most in the collection. I wrote it for one of my best friends when he first went on antiretrovirals—during that transition, he was in this incredibly dense place (density of feeling, of meta-feeling, of register, totally wacked-out dreams…). I think about switchbacks with really tight corners when I think about that time. I was doing some reading about cell science, and when I hit the term naos—which is the word for the space that exists between cells, the non-stuff that makes up most of existence—I knew I needed to offer something in a poem, to remind him about all the parts of us that aren’t nameable and that don’t get thrown by circumstance. In the end, that’s the majority of the space we call us.
 
14H: I read on your blog that you teach creative nonfiction. What draws you to this genre? Does it interact with your writing of poetry?
 
RG: I both teach and write creative nonfiction, though I’m approaching the point where I’m going to have to jettison that term specifically and move over to ‘essay’ once and for all. I don’t really feel the genre distinctions between poetry and fiction and nonfiction(s) etcetera anymore, and am particularly uncomfortable with the lines we draw between fiction and non-. I don’t need to get into that stuff here—John D’Agata has done a beautiful job of articulating everything I could possibly want to. But yes, essay is incredibly important to me. As is poetry. As is story. They’re forces, not forms. We just have certain traditions for the expressions of each—just like we have traditions for all expressions (gender, faith, family...), as well as breakthroughs.
 
rae_g_5_.jpgWhat draws me to essay is what draws me to love. Its potential to educate, to awaken and deepen inquiry, its capacity to challenge, the space it grants story and relationship and realization. Its power to help us remember our relationships to one another as participants in a human conversation, and its thank-god insistence (when the essaying is good) on engagement. I am thrilled to be alive and writing at a time when so many gifted writers from so many seemingly distinct traditions are discovering the essay and moving some of their work into its deeply investigative territory. Talk about territory and kinship. The entire last year of my life has been about prose, about taking up the work of finding a story form that can support my own narrative. I’m learning what it’s like to commit to poetics on an entirely new level. It’s the steepest reckoning I’ve ever undertaken. Forgive me if I sound abstract here, but it’s huge. Like working with everything.
 
Sandra Wassilie
Poetry Editor
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Melanie Rae Thon Winner of The Gina Berriault Award

Fri, 04/13/2012 - 15:18

We at Fourteen Hills couldn't be more excited about the upcoming Gina Berriault Award Ceremony, where this year'smelanie_rae_by_andi_olsen.jpg recipient Melanie Rae Thon will read from some of her latest work. Wednesday, May 2nd, 2012, at 7 p.m. in San Francisco State University's historic Poetry Center.

Thon's most recent release is the novel The Voice of the River (Fiction Collective 2, 2011). She is also the author of the novels, Sweet Hearts  (Washington Square Press, 1998), Meteors in August (Faber & Faber, 1992), and Iona Moon (Plume, 1995), as well as the short story collections In This Light: New and Selected Stories (Graywolf Press, 2011), First, Body (HOLT, HENRY * & CO , 1998)  and Girls in the Grass (Owl Books/Henry Holt , 1998).  

MRT_VoiceRiver.To get a taste of some of Thon’s writing insights, check out the following snippet from an interview with Aaron Cance at Fiction Writers Review:

"My own writing grows more spare, more elliptical all the time, closer, I hope, to the music of poetry. At seventeen weeks, the ears of the human fetus are open, ready to receive, exquisitely developed. We awaken in a waterworld, immersed in vibration and sound: the unceasing whoosh of blood through the uterine artery, our mother’s heart and breath, the surprising syncopation of our own miraculous heartbeat. We know the exaltation and pitch of voice: anger, fear, love, sorrow. Language to us is a polyphonic murmuration. We speak not only mind to mind, but body to body. Until each sentence sings, my work is unfinished. I read every line aloud—twenty, thirty, a hundred times—seeking not only sense, but tone and timbre and rhythm, hoping that through the fusion of meaning and music my words can touch anyone, fetus or mother."

Please RSVP through our Facebook Event page.

Be sure to check out the Fourteen Hills fall issue release of 19.1 for our exclusive interview with Ms. Thon!

Chance Kroll

Fiction Staff

 

 

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MRBA Judge Announcement

Tue, 04/10/2012 - 10:55

We at Fourteen Hills: The SFSU Review are proud to announce that Frederic Tuten, icon of American literature and well-known art critic, will be the Judge of the 2012 Michael Rubin Book Award in Fiction.

frederic-tuten-image_1.jpegBorn in 1936 in the Bronx, Mr. Tuten had a rough and tumble childhood, and by the age of 16 he had dropped out of High School to pursue a life as a painter in Paris. Returning to America, he received his undergraduate degree from City College of New York, studied art history at National Autonomous University of Mexico, got his Ph.D. in 19th century American literature from New York University, and spent 15 years as the head of the Graduate Program for Creative Writing at City College of New York.

The author of five books of fiction, numerous short stories, and many essays on art, writing, and film, his novels include The Adventures of Mao on the Long March (Citidal Press, 1971), Tallien: A Brief Romance (Black Classic Press, 1988), Tintin in the New World: A Romance (Black Classic Press, 1993), Van Gogh’s Bad Cafe (Black Classic Press, 1997), and The Green Hour (W. W. Norton & Company, 2002). His short fiction has appeared in Conjuctions, Fence, Fiction, Granta, The New Review of Literature, and Tri-Quarterly. He won a Guggenheim Fellowship for Creative Writing in 1973, and the Award for Distinguished Writing from the American Academy of Arts and Letters in 2001. His most recent work is a collection of interrelated short stories called Self Portraits: Fictions (2010).

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Mr. Tuten seems torn between art and literature, saying, “What is more beautiful, words or images? I don’t have an answer”. In an interview with the website Book Forum, he goes on to say, “Roy [Roy Lichtenstein cover artist of several of Mr. Tuten’s novels] once said to me, when an artist goes to make a painting, he or she already has in mind what a work of art should look like. And that, he said was the problem. It is the same problem for writers when they start a novel or a story. Hence, we produce the same novels and stories. Roy was a seeker, an original, and his work inspired me to approach my writing with questions.”

Here is a program of Frederic Tuten reading from Self Portraits: Fictions at The New York Public Library, followed by an interview.

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A Dog Eared Interview

Tue, 04/03/2012 - 15:37

For the last twenty years, Dog Eared Books has made its home among the bars, taquerias, thrift stores, and various quirky knick-knack shops on Valencia Street adding to the surrounding vibrant, cultural neighborhood.bog_out_.jpg

Just as the name suggests, Dog Eared Books carries a fantastically eclectic range of new and used books, literary journals and magazines. The overall feel that this store is able to pull off, cozy and warm even if it’s pouring rain outside, is something to marvel at. With their tall reaching shelves packed to the brim with stacks of books and pretty much all the literary journals and zines choices you could want, along with their friendly staff it’s easy to see why Dog Eared has such strong ties with their community: it’s a book lover’s heaven.

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After perusing the bin of free books sitting just outside their front door, I finally made my way into the store one Saturday afternoon. Upon entering I was struck by how wide their selection actually is. Not only did they have sections for books I’d never seen in other bookstores, such as Beat Lit, Noir, and Memoir (and rumor has it they’re considering a 19th century French Decadents section next), they even had a section specifically for Bay Area authors. And if that isn’t enough, the staff and managers at Dog Eared are awesome enough to even carry some books from unsolicited, newly emerging authors as well.

I had a chance to speak with Ryan, one of the managers, and was able to ask him a few questions about their store and his thoughts on how the independent bookstore interacts with their Bay Area community and the literary world in general.

 


14H: How does your bookstore represent your local neighborhood/community?
Ryan: A lot of youngsters go on dinner dates on Valencia Street and come here and browse afterwards, which gives them a chance to demonstrate to their prospective love interests that they are literate people, not dullards or barbarians.


14H:
Does Dog Eared have readings or lectures? Why do you believe that live readings and events are beneficial to your community?
Ryan:
Isn’t everyone sick of staring at computer screens all the time? Live human interactions trigger all sorts of different neural pathways than those triggered by the printed word.


14H:
In what ways do you specifically hope to facilitate an environment for emerging writers in the bay area?
Ryan:
We actually employ a lot of emerging writers, which facilitates their not starving to death since their advances are paltry at best. Plus we carry and promote a lot of local writers who otherwise would be overlooked by the general public in its manic quest for more phone apps.


14H:
What are some of the things you wanted to accomplish as a bookstore when you first opened your doors?
Ryan:
We wanted to foster romances between people and books.


14H:
What are some of the freedoms and limitations that come with remaining independent?
Ryan:
Indie bookstores are free to promote good books instead of those sanctioned by our literary overlords at the NY Times. The limitations are that it costs more to run an indie operation than a chain.


14H:
How do you think the independent bookstore as a whole is able to flourish given the economic recession?
Ryan:
At this point indie bookstores survive solely because of the goodwill and good taste of the reading public. Fortunately, both of those are abundant in these parts.


14H:
Do you have any advice for someone interested in starting their own independent bookstore?
Ryan:
Come up with a clever comeback for people who ask the perennial question: They still print actual book books?


14H:
Are there and specific books you are currently recommending to readers? What are you reading right now?
Ryan: We’re recommending a lot of local authors’ works: Damascus by Joshua Mohr, Instant City by Rebecca Solnit, and Why Aren’t You Smiling? by (SFSU Alum) Alvin Orloff. Right now I’m reading Love And Shame And Love by (Fourteen Hills contributor, 10.1) Peter Orner, which is fantastic. 


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Check out their website for more information about the upcoming events hosted in house, and how to be a part of their monthly book club. And next time you’ve got a hankering for some new reading material, make the trip down to Dog Eared books and see what you can find.

 Jacob Wyley, Fourteen Hills Intern

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Keeping Up with Gina Ochsner, Fiction Contributor 12.2

Thu, 03/29/2012 - 10:36

Gina Ochsner was already a star when we published her story "A Falling Porcupine" (12.2, Spring 2006), and her career has continued to flourish.

gina_o_.jpg Ochsner’s first collection of stories, People I Wanted to Be, won the Oregon Book Award in 2005, and in 2009 her second collection The Necessary Grace to Fall, was the recipient of the Flannery O’Connor Award for Short Fiction. Met with great acclaim, her first novel, The Russian Dreambook of Color and Flight (Portobello Books, London, 2010), and her short stories have been published in such journals as The New Yorker, Glimmer Train, and The Kenyon Review.
       
Now teaching at
Seattle Pacific Low Residency MFA Program, you can find even more information about Gina Ochsner’s other publications here.

 

Jacob Wyley

Fourteen Hills Intern

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Past Contributor Bob Hicok Issue 14.1

Tue, 03/27/2012 - 15:05

Since Fourteen Hills featured Bob Hicok’s poems “The gospel according to a weather vane,” “Trying to stay in shape,” and “Substance” (14.1, Fall 2007), his subsequent works have garnered continued success. Several of his poems have appeared in The New Yorker, bob-hicok.jpghis latest was in their March 19th, 2012 issue. The Best American Poetry Series has selected Bob’s work four times, most recently in 2008 and 2009. Winner of three Pushcart Prizes, a Guggenheim Fellowship, and two NEA Fellowships, his collection This Clumsy Living also snagged The 2008 Rebekah Johnson Bobbitt National Prize for Poetry.


 

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 His most recent book, Words for Empty and Words for Full, is available from the University of Pittsburgh Press.

Of his work, he says, “I write poems and stories. I have little faith or interest in my thoughts on writing. Those who do a thing are often too close to be perceptive commentators, particularly where love is involved. I love writing, maybe most of all because it doesn’t matter, because poems don’t lift bridges or make refrigerators shinier. The nakedness of the endeavor—just one person, sitting at a desk, trying 

to express something they feel in a way that will allow others into their mind—may be among the most human things we do. We are the mouths of the world, and through poetry we speak.”

Hicok is Associate Professor of Creative Writing at Virginia Tech.

 

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