Tag Archives: Geneseo

Introducing Gandy Dancer’s Section Heads for Issue 5.1

Posted by Marley DeRosia, GD Fiction Reader for 5.1

It’s that time of the year! The new Gandy Dancer staff is starting to pick up speed as our submission deadline draws to a close, along with the dying rays of summer heat (thank goodness!) As we all settle in with our warm mugs of coffee or cider, we’ll begin reading and assessing the quality and craft of the pieces submitted. For those of you considering submitting, we’ve extended our deadline to October 8th! To get us ready to read, I asked the section heads some hard-hitting questions. This year’s fiction editor is Sarah Steil, the poetry head is Robbie Held, and the creative nonfiction editor Alexis Sammler. Here’s what these clever individuals had to say about their goals for Gandy Dancer and their reading interests:

Marley DeRosia: Sarah, what do you hope to accomplish as the Fiction Section head for this edition’s issue?

Sarah Steil:  I hope to feature different voices/writers that offer stories so powerful I need to go take a walk after reading them. There are always some poems/stories that move me so greatly that I think how did they do that?, and then, how can I do that, too? I want every fiction story featured in Gandy Dancer to, metaphorically, punch the reader in the face.

MD: What made you want to be the fiction editor this semester? Have you had experience writing or publishing fiction in the past? Continue reading

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Gandy Dancer Proudly Presents… Your 5.1 Managing Editors

Posted by Erin Carlo, GD Public Relations Manager and Fiction Reader for 5.1

Gandy Dancer 5.1 managing editors, Evan Goldstein & Oliver Diaz

Gandy Dancer 5.1 managing editors, Evan Goldstein & Oliver Diaz

First and foremost, we would like to welcome our readers and contributors to the fifth anniversary edition of Gandy Dancer!  We are delighted to welcome an entirely new cast of submission readers who are eager to discover what it means to produce a journal as well as gain new perspectives on literary journalism.  The start of the new semester also brings a brand new dynamic duo who will take the stage as Gandy Dancers managing editors.

 

I had the opportunity to ask our newest managing editors, Evan Goldstein and Oliver Diaz, a few questions about themselves and their new roles as managing editors, and I am pleased to share their responses with you.

When did you first hear about Gandy Dancer?

Oliver: First semester sophomore year. My sister was a senior taking the Editing and Production workshop, in which Gandy Dancer is produced, and she introduced me to the journal, told me about the process, and that it might be a good idea to submit to it.

Evan: I first heard about Gandy during my freshman year, when I was in the intro to creative writing class. I was thinking of applying to the creative writing track, and I wanted to look at Gandy to see what kind of writing I should aim for. I think I looked at issue 2.1, the one with the photo of the guy in the forest as the cover. I remember I was impressed and scared by the poetry, and I wanted so badly to be able to express myself on that level. Continue reading

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Real World Geneseo and the Power of Student Performance

Posted by Kyle Frink, Poetry reader for issue 4.2

Mariposa Fernandez at the McVittie Union Ballroom during All- College Hour January 20th

Mariposa Fernandez at the McVittie Union Ballroom during All- College Hour January 20th

In mid-January of this year several students participated in the Real World Geneseo class taught by Professor Becky Glass, Executive Assistant to the President, and Mrs. Fatima Rodriguez, the Assistant Dean of Students, Multicultural Programs & Services. Even at a school where the majority of students are white, it’s important to note that there are people dedicated to providing resources and support for those who are marginalized and/or underrepresented. The four-day class focused on intersectionality, and the heart of it was a writing seminar lead by Mariposa Fernandez. Fernandez is a Puerto Rican author, poet, and performance artist born and raised in the Bronx. She is the author of Born Bronxeña: Poems on Identity, Love & Survival (2001), and has been featured on the HBO series Habla Ya! and in the HBO documentary Americanos: Latino Life in the United States. She lives in New York City. She, along with Dr. Broomfield, Assistant Professor of Dance Studies, prompted the students to divulge their inner most feelings and share intimate stories about their backgrounds. Some of these students weren’t writers, or familiar with creative nonfiction, and had not ever shared these stories before.

In mid-January of this year several students participated in the Real World Geneseo class taught by

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Jenny Soudachanh, Liz Boateng, Seung Yun Kim, Nana Boakye, Momo (Jawad) Tazari, and Skyler Susnick during the performance February 28th.

Professor Becky Glass, Executive Assistant to the President, and Mrs. Fatima Rodriguez, the Assistant Dean of Students, Multicultural Programs & Services. Even at a school where the majority of students are white, it’s important to note that there are people dedicated to providing resources and support for those who are marginalized and/or underrepresented. The four-day class focused on intersectionality, and the heart of it was a writing seminar lead by Mariposa Fernandez. Fernandez is a Puerto Rican author, poet, and performance artist born and raised in the Bronx. She is the author of Born Bronxeña: Poems on Identity, Love & Survival (2001), and has been featured on the HBO series Habla Ya! and in the HBO documentary Americanos: Latino Life in the United States. She lives in New York City. She, along with Dr. Broomfield, Assistant Professor of Dance Studies, prompted the students to divulge their inner most feelings and share intimate stories about their backgrounds. Some of these students weren’t writers, or familiar with creative nonfiction, and had not ever shared these stories before.

The script to the full New Vistas performance is archived in the Theatre department. Video recordings of the performance can be purchased for $25. I went and saw it twice. The powerful message Geneseo’s student artists have to share is more than meaningful; it’s their everyday reality. This performance says, “This is who we are. We are proud. We demand respect. We are the voices of this generation. We are the change.”

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What We’re Reading: the Innovative [PANK] Literary Magazine

Posted by Alexandra Ciarcia, fiction reader for issue 4.2

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Cover art for the December 2015 issue of [PANK]

Amidst the literary journal renaissance that we live in today, Gandy Dancer finds grounding in examining other literary journals. From The Common to TriQuarterly, we have studied a plethora of literary journals, but the one that influenced our selection process the most is [PANK]. [PANK] was a favorite of Gandy Dancer for its innovative pieces, ones that could never be described as run-of-the-mill.

[PANK] is an online and print literary magazine, with a mission statement that reads, “[PANK] fosters access to emerging and experimental poetry and prose, publishing the brightest and most promising writers for the most adventurous readers.” Their search for innovation is displayed in their selected pieces and their overall aesthetic. We were very impressed with their November & December 2015 online edition. As they state in their submission process, [PANK] asks writers to “send us something that screams.” If you take a look at such pieces as “We Sad Girls” by Lindsey Reese or “Lavatory” by Diane Williams in the November & December 2015 edition, you’ll see what I mean.

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Hip Hop Symposium 2016 and a Multimedia Glace at Hip Hop as Performance

Posted by Sean Delles, CNF reader for issue 4.2

“The revolution will not be televised… The revolution will be live”

-Gil Scott Heron

I don’t know about you all out there, but the art of performance has always struck me as being connected in some strange way to the literature we read. I think this correlation exists in my mind not because of something cut and dry that both the forms share (e.g. convention, narrative structure, whatever), but because of the eventual impact these forms have on one’s perception. I often find myself at the end of a great performance getting that same exact inward glow of profundity that one receives finishing a great book. Like suddenly the thin layer of snow plastered onto the side of your car window you couldn’t scrape off from earlier has flung off in-passage, and driving now you can see the glory of what’s in front of you in its entirety.

Perhaps it’s a stretch to compare the afterglow of a performance to driving visibility, but I can’t be the only one who has felt this feeling and marveled at it at some point or another. Here… try this if you think I’m exaggerating: Think to the last time you went to a performance- whether it was a play or a concert or music event- and recall that exact moment you stepped out of the venue. That’s when I’ve noticed the sensation is at its strongest. Feel the cool air of the evening brush against you (your lungs sigh in relief at the prospect of breathing in air that hasn’t already been breathed out by dozens of others); notice the muffled chatter of strangers around you (talking about what transpired inside no doubt); and scan the just-beginning-to-fill street in front of you. You’ll realize then that nothing really even looks like how it once did. That’s the feeling. However long you were in that building witnessing that particular performance, you became separated from yourself. Nothing (if the performance did what it was supposed to do) existed beyond the present moment of spectatorship, and in coming back down to reality your brain got tripped up in transition. Surroundings are new and profound and filled-to-the-brim with meaning, and what you soaked up indoors superimposes itself outdoors onto the very fabric of your personal being. I see this exact moment in time as the true power of performance, because without doing anything but buying a ticket, you alter your consciousness in significant ways.

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What We’re Reading: Deliberative Use of White Space and Form in Poetry

Posted by Caitlin O’Brien, Poetry Editor for issue 4.2

As the frenzied period of submissions review winds to a close, I find myself growing a little tired of white space. White space is almost invariably inescapable when putting together a literary magazine, and perhaps even more so when dealing with poetry, yet I’ve noticed a recurring aesthetic trend of white space in many of the submissions we read. From both a literary and an aesthetic standpoint, I can’t help but find this trend in poetry to oftentimes border on excessive. This is not coming from a staunch poetry elitist who refuses to read anything written after the 1800s—I love seeing poetry as a written art form interface with the visual, as well as with the spoken, and other modes of communication.

What gives me                           pause when I encounter a poem that makes ample use of white space is the intentionality behind its form. In the case of some submissions, the poets submitting to Gandy have made wonderful use of white space—we’ve received calligrams in clever shapes, as well as poems that can be read in multiple ways due to the way the words and stanzas are arranged. In the case of other submissions, though, the poetry team has often used the deliberative construction of the poem’s form as a strong measure of the poem’s overall purpose. Reading a poem aloud, the white space does not always inform the flow, so much as it makes the poem seem as though the poet was possessed of a hyperactive space bar. The most common aural effect of a form that relies on white space is a pause, yet these pauses do not create a rhythm that comes across as calculated. As one reader in the poetry section said, “if we have to guess whether or not the poet meant to do something, it’s not effective.” Similarly, the primary visual effect of non-traditional spacing is to set apart important words or allow the reader to focus in on a particular image or concept, rather than jamming the space bar an arbitrary number of times in order to make a poem look modern and minimalist.

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New Kids on the Block: Meet Your Managing Editors for 4.2!

Have no fear, your new managing editors are here! As the spring semester murmurs to life and the windy Geneseo weather welcomes us all back it’s time for your new managing editors, Courtney and Christy (C2), to sit down with some coffee and ask each other the questions that matter:

Let’s get this party started:

The Dream Team: Ready for Action!

The Dream Team: Ready for Action!

How did you first get involved with Gandy Dancer?

Courtney: One of my friends recommended the class to me, actually. I was looking at courses for junior year and wanted to know more about it. My friend was in the class at the time and told me about how it was a really hands-on class where you got to put together a literary magazine full of prose, poetry, and visual art from students all across the SUNY system. The publishing industry is so multifaceted and is something that has always intrigued me as well so I decided to give it a go. I’m so glad I did though because I fell in love with everything about Gandy Dancer (GD) and kept coming back to it. As an avid reader and writer, being involved in this class has exposed me to so many fascinating aspects of the literary world that I never knew about before GD.

Christy: In the middle of my junior year I was perusing the course list on KnightWeb in a sleep-deprived-registration-is-tomorrow-morning-frenzy when I happened upon this gem of a class. I, somewhat nervously mostly excitedly, decided to sign up and I’m so glad that I did because it ended up being an incredible experience. At the start of the class I knew virtually nothing about literary magazines, literary magazine culture, or how they functioned and survived. It was, not to quote Aladdin, a whole new world! Not only did it widen my horizons within the creative writing/literary universe but also getting to read through and edit submissions from other young writers really helped me to grow as a writer and as a poet. I’m so excited to be back! Continue reading

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FUSE Conference Allows Geneseo to Showcase Student Publications

Posted by Lea Karnath, Managing Editor for Issue 4.1

In early November, two representatives from Gandy Dancer, myself and Keara Hagerty, the founder of Guerilla Poetry, Evan Goldstein, and Katie Bockino, the editor of MiNT, all took a six-hour road trip. Our destination? Chester, Pennsylvania to participate in the Forum for Undergraduate Student Editors (FUSE) Conference held at Widener University. The two-day conference was filled with presentations about literary journals from institutions across the United States, both big and small, including Susquehanna University, Cabrini College, Virginia Commonwealth University, Mary Baldwin College, University of California, Los Angeles, and several more.

Evan, Keara, Lea, and Katie at FUSE

FUSE is a national organization that provides a network for undergraduate student editors and writers along with their faculty advisers. Their mission is “to foster visionary magazine work and to support undergraduates who are eager to pursue careers in writing, publishing, and editing.” Each year, FUSE hosts a national conference where undergraduates share their experiences with the world of editing.

This year’s conference theme, “Will You Look at That?: Aesthetics and the World of Undergraduate Publications,” allowed Keara and me to think more deeply about how we want to impact readers when they pick up a copy of our publication.

Our presentation entitled “Looks Matters/Looks Matter: Finding a Niche in a Robust Literary Community” explored the varying aesthetics each Geneseo publication offers. Evan discussed how the barebones aesthetic of Guerilla encourages discourse about controversial topics; works appear in unconventional places such as academic hallways and even bathroom stalls to catch the attention of a student or faculty member who may not typically pick up a standard literary publication. Next, Katie spoke about MiNT, referring to the publication as a “utilitarian booklet” of writing about multicultural experiences. Lastly, Keara and I discussed how Gandy Dancer strives to look professional with hopes of attracting both readers and writers while upholding our mission: “to forge connections between people and places” through literature and art. Our aesthetic, clean and simple, aims to honor the work we receive from SUNY students.

Although the three publications—Gandy Dancer, Guerilla, and MiNT—differ in content and mission statements, there is a sense of community and interconnectedness. Evan and Katie have been previously published in Gandy Dancer. Evan also currently holds a section editor position in poetry for Gandy Dancer and has been published in MiNT. We all share a passion for good writing.

Our presentation also discussed some of Gandy Dancer’s obstacles. While other undergraduate publications talked about receiving funds through their school’s English Departments (or even being paid as a student editor), we discussed the challenges that comes along with no funding. Even so, Gandy Dancer is still able to attract SUNY students to submit their work. This is not only impressive for an undergraduate publication, but also for a public school where our art department—along with that of other SUNY schools—has been cut from the curriculum. We want to serve students by providing an outlet to express their creativity whether it be in the form of art or the written word.

The conference’s presentations covered an array of topics such as selection processes, physical vs. online journals, and even featured a business plan about creating corporate sponsorships within the surrounding community. Speaking about Gandy Dancer and showcasing past journals made us feel proud and confident in saying: “Yes, literary journals are still relevant and an important means of expression, even today.”

For more information about FUSE, check out the FUSE National website: http://www.fuse-national.com/

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Taken in by the Music

Posted by Giovanni Madonna, Fiction Reader for Issue 4.1

Have you ever read a book and found, either at the end or the beginning, a page marked “Songs that got me through this book” or other similar titles? A surprising number of the books I’ve read recently seem to have a page dedicated to the playlist that the author used while writing, which got me curious. How exactly does music effect our brains? What is it about music that triggers inspiration and motivates us to write? Even now, while writing this post, I have my headphones in and am listening to an upbeat, catchy tune. For me, this kind of active music is what gets my fingers moving, but why is that? As it turns out, we’re still not entirely sure, but there have been some interesting discoveries as to how the brain changes while listening to music.

According to Medical Daily musicis unique because it appeals to our brains in a way that random background noise doesn’t, due to its repetitiveness and organization. The brain takes in this organized noise and is able to interpret it on a number of levels, stimulating the release of dopamine while also activating the parts of the brain responsible for memory and planning.

Fast Company builds on this by explaining that the brain is even capable of allowing people to identify the emotions of a song without actually feeling them themselves. An example of this would be listening to a sad song and recognizing it as sad, but still being able to be happy listening to it because it sounds good to you. It was even found that listening to music at a moderate volume stimulates the brain in a way that is ideal for creative ventures. The explanation for this is that music at a mid-level volume puts a slight strain on the brain, making it move from ordinary reasoning to more abstract problem solving. In other words, it forces the brain to consider what’s in front of it in a more creative way.featured image from CNN

So if you’re ever in a rut and are trying to find something to get the wheels turning, try popping in a pair of headphones and listening to some of your favorite songs on a moderate volume. While all music has an effect on our brains, it shouldn’t be surprising to find that songs we like have a much bigger impact than random pieces. Let your self be taken in by the music, don’t just passively listen to it, feel whatever emotions it brings to the surface. See what memories and ideas float by, and allow yourself to struggle till your brain can take all that input and find a solution.

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Interview with Author, Teacher and Geneseo English Alum, Tracy Strauss

Posted by Erin Carlo, Creative Nonfiction Reader for Issue 4.1

High school and college students are plagued with thoughts and concerns about the future. Speaking with someone who has experience in a field of interest can help alleviate the stress we experience as we face the unknown.  

Thinking of my future invoked anxious feelings that began to tug at my normally lighthearted, happy presence. I started to feel uneasy, easily distracted, and irritated because I didn’t know what my “next step” would be.

I found myself on the Geneseo English department webpage, looking at requirements for my major, when I stumbled upon the profile of Tracy Strauss, a graduate of SUNY Geneseo and former English major.  She sounded so nice, so happy, so successful!  I wanted to know more about her, and how she got to this point. I reached out to Ms. Strauss and asked her if she would be willing to speak with me.

Tracy Strauss has been successful since graduating from Geneseo in 1996.  She has been published in The Huffington PostSalonThe RumpusxoJanePoets & Writers MagazineWriter’s Digest Magazine, WBUR’s CognoscentiThe Feminist WireThe DodoThe Southampton ReviewSolstice Literary MagazineBeyond the Margins, and more.  Ms. Strauss is currently a liberal arts and writing instructor at the New England Conservatory of Music Writing Center in Boston, Massachusetts. Continue reading

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