John Brown Spiers: An early paragraph in “Shadow Animals” describes your reaction to your father laying sand on a wild-game trail on your new property in northwest Montana. He does this to capture hoofprints and determine what sort of wildlife lives in the woods, but as he furrows the sand with a rake, . . .Read more
C. J. Bartunek: “The Circus Train” gives a feeling of a whole life distilled into this one elegantly spare essay. In it, you write, “This could be called a pre-posthumous memoir.” Would you tell me about how you came to write this piece and about what your vision of it was when you first conceived it? . . .Read more
Gale Marie Thompson (GMT): “Valentine Godé-Darel (1873–1915): Five Paintings by Ferdinand Hodler,” takes a different approach to chronology. Can you explain the creation of this poem, and its relationship to time?
Anya Silver (AS): I first saw Swiss painter Hodler’s depictions of his model and lover Valentine Godé-Darel when I was doing research on art and literature and medicine. . . .Read more
On the last evening in January 2013, I had the good fortune to stop by Coleman Barks’s home in Athens to interview him about his long poem “The VOICE inside WATER,” which appeared in the Winter 2012 issue of The Georgia Review and subsequently in his recently released collection, . . .Read more
I had the great pleasure of meeting Sir Salman Rushdie at the Four Seasons hotel in Houston on a bleak windy day in December 2010, under considerably more tranquil conditions than when he was last visiting Houston in September 2001 to promote his eerily prescient seventh novel, . . .Read more
The excerpts below are taken from an interview that first appeared in the literary magazine Ataraxia 4, edited by Phil Williams and Linda R. Williams, and based in Madison, Georgia, near where Benny was born and reared. When the interview was taped in June 1975, Benny Andrews had established himself as an artist of the first rank, . . .Read more
For most of her career Connie Imboden, our Summer 2010 featured artist, has aimed her camera at a single subject—the nude body in water—capturing the human figure in transmutations beautiful and grotesque. Poet Susan Ludvigson, long intrigued and inspired by Imboden’s images, wrote the introductory essay to our eight-page interior portfolio; . . .Read more