Tag Archives: Poetry

Nicole Reviews ImageOutWrite Magazine

ImageOutWrite

Posted by Nicole Pero, GD Creative Nonfiction Reader for 5.1

This fall I had the pleasure of visiting the annual Visual Studies Workshop Pub Fair and Litsplosion event in Rochester, NY.  I was immediately entranced by the work of Greg Climer, whose art is featured on the cover of ImageOutWrite’s most recent issue.  He uses different textile media, specifically quilts and knitted fabrics, to embody portraits and even to create animations.  The above image, titled “Portrait of Timo” after the subject, seems both serene and contemplative, both dreamy and tactile.  Similarly, the issues of ImageOutWrite, which I picked up contained pieces whose subject matter seemed both close to home and just out of reach.  ImageOutWrite publishes the works of LGBT+ writers, many of whom are established and lauded writers.  In short, ImageOutWrite collects the best LGBT+ writing all in one place. Continue reading

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Why Don’t People Submit?: The Fear of Rejection

Posted by Cassidy Brighton, GD Creative Nonfiction Reader for 5.1

After intense publicity, and posters tacked to every corkboard on campus, emails sent to every English department across every SUNY, and personal texts, emails, tweets and more to promote the journal, you’d think the submissions would be flowing into Gandy Dancer. This is the first semester that I’ve worked behind the scenes on the creation of Gandy Dancer, but it’s obviously not the first time I’ve heard of the journal. For years now, I’ve been seeing and hearing the promotions for Gandy Dancer, but why haven’t I ever found myself drawn to the Submittable page before? Now that I have a new relationship with the magazine, I wonder what stopped me from submitting my work in the past and if the same thing is stopping other writers. Continue reading

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Gandy Dancer and Beyond: the Debut of Dante Di Stefano

Posted by Erin Carlo, GD Public Relations Manager and Fiction Reader for 5.1Dante Di Stefano, Collection Debut

Gandy Dancers past and present are thrilled to announce the debut of one of our very talented contributors, Dante Di Stefano, in his collection of poetry, Love is a Stone Endlessly in Flight.  You can find a copy on Amazon here.  Dante graced the pages of Gandy Dancer  Issue 3.2 and Issue 4.1 with his poetry, and he has won awards such as the Thayer Fellowship in the Arts, the Allen Ginsberg Poetry Award, the Phyllis Smart-Young Prize in Poetry, and an Academy of American Poets College Prize.  Aside from Gandy Dancer, Dante’s work has appeared in ShenandoahThe Writer’s Chronicle, Obsidian: Literature in the African Diaspora, Brilliant Corners, and The Southern California Review.  He earned his Ph.D. in creative writing from the State University of New York at Binghamton and is now a high school English teacher in Endicott, New York.Dante Di Stefano, Collection Debut

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Guerrilla, an expensive French Macaroon, and others at the Fringe Festival

Posted by Diego Barcacel Pena, GD Poetry Reader for 5.1

Rochester Fringe Festival

A transformed poem at the Rochester Fringe Festival.

The ride to the Rochester Fringe Festival was stormy, filled with great impressions, and witness to bad puns. As we passed a yard sale, I said, “Wouldn’t it be funny if you went to a yard sale and asked them how much the yard was?” No one laughed. A fringe festival is a festival that celebrates and promotes art by displaying it to the public. There are so many things to see at a fringe festival that you might get overwhelmed. It lasts for about a week promoting the artistic side of Rochester.

When we arrived at the corner of Main and Gibbs where the Spiegel Garden was located, we were met with wet tents and even wetter tables and chairs. We, Guerrilla Geneseo, were at the Fringe Festival to showcase SUNY Geneseo student’s art. Our biggest selling point was Magnetic Poetry. The idea of Magnetic Poetry is that on five home-made blackboards we would display five different SUNY Geneseo poems and have the participants of the Fringe Festival rearrange them as they saw fit. Here’s a sampling of some of the best lines that emerged from Magnetic Poetry: Continue reading

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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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Senior Readings: An Exploration of Past and Future

Posted by Maya Bergamasco, Poetry reader for issue 4.2

Here in Geneseo, spring is not only a time to lounge on the campus green or celebrate the return of famed Geneseo sunsets. For English students, spring heralds the annual senior readings, where every graduating senior in the creative writing program reads their work for their peers, professors, and family. For me, this is a bittersweet time. As I listen to my peers share their poetry, fiction, and nonfiction, and hear their plans for the future, I am both excited and saddened. Excited that they will do such amazing things: become a teacher, earn an MFA in creative writing, or join the world of publishing. Yet, I am saddened that I will no longer laugh with them in class, or receive their feedback in workshop, or simply have the privilege to read rough drafts fresh from their thoughts. The seniors, too, seem to share this bittersweet feeling.

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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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A Brief Reflection

Posted by Kyle Frink, Poetry reader for issue 4.2

Now that the final publishing of Gandy Dancer 4.2 is coming to a close, I wanted to take the opportunity to find out a little about the published authors’ thoughts and feelings. I had the privilege of asking a couple questions to authors currently published in Gandy Dancer. Mainly concerned with how it felt to be published, I asked Sarah Steil ’17, and Sarah Simon ’17 (both from Geneseo) about their first reactions to being published and to reflect on their writing process. I found the responses differ a widely between each person. Sarah Steil said of being published, “I mean it’s really exciting, right? Like that means a group of people read something I wrote and thought it was meaningful in some way.” However, Sarah feels like now that her piece is out in the world, she doesn’t have another chance to fix or change it. “It’s exciting to see your name in print, but you never get feedback for it so I just hope someone reads it.” Knowing Sarah personally, it is quite plain to see how hard on herself she can be. While Sarah’s story, “Flickering,” is fiction, she prefers to write nonfiction. “I feel like writing nonfiction is more satisfying, because when I finish a piece it’s exciting because it’s done, but also satisfying because I’ve figured something out through writing it.” Sarah uses nonfiction to put the complex and ever-changing puzzle pieces of her life together in a way she can understand.

We had a very interesting piece of poetry come through our submissions list, one that at first caused wrinkled brows and took some time to discuss. This poetry submission included images as well as a sporadic change in format. Sarah Simon’s “Cingulum” was accepted into the latest edition, providing a unique perspective on depression. She says “‘Cingulum,’ the poem I submitted, is personal. It discusses and plays with the idea of clinical depression. The imagery and literal images (photos are part of it) expound on these ideas, which often halt me my in my tracks yet keep me going. If that poem was chosen, maybe it stopped someone for a little while too, and in a way that makes you realize that you must keep going.” Sarah Simon looks forward to the Gandy Dancer launch part on May 11th at 9:00 AM in the College Union Hunt Room. “I was so pumped to hear about getting published; I know the editors really consider submissions… I’m planning on reading my poem there. I hope to have a similar effect on the audience at the launch party, using my voice and material.”

We are delighted and very satisfied with the finished product and are looking forward to the launch party to debut the 4.2 edition!

 

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Gandy Dancer 4.2 Preview!!

Posted by Emily Peterson, Poetry reader for issue 4.2

Here's a sneak peek at our cover for issue 4.2! Artwork by Lei Pen Gan

Here’s a sneak peek at our cover for issue 4.2!
Artwork by Lei Pen Gan

As the cruel month of April comes to a close and the beginning of May is within sight, Gandy Dancer issue 4.2 is nearly ready for launch. With contributions from students across ten different SUNY schools, issue 4.2 delivers a wide range of poetry, fiction, creative nonfiction, and art that encapsulates SUNY’s literary skill. The Gandy Dancer staff has worked all semester long to curate a magazine that celebrates diverse voices and unique creative expression.

We are proud to publish six different works of fiction in this issue of Gandy Dancer including Sarah Hopkins’ haunting piece, “Frontierland,” which is a story set on a bleak and dusty oil well that captivates the reader with its strong sense of place. We are also pleased to publish Abigail Allen’s “Love is Lemons,” a quiet story that highlights the subtleties and frustrations of young love. Issue 4.2’s poetry selection offers poems from eighteen different authors. These poems range dramatically in theme, tone, and structure. Michal Zweig’s “Happy//Over” commands the reader’s attention with its shifting typeface, strikethroughs, and a spliced in quote from a US Supreme Court justice. Jay’s two poems, “Winning the Lottery, 1969” and “Cannon Fodder” employ an economy of language which is concise yet powerful. Christine Davis’ deeply personal essay “Onliness” explores the complexity of family dynamics and the role of only children. “What Are You Laughing At?” by Brendan Mahoney is a humorous work of nonfiction that delivers poignant commentary on modern day comedic discourse. The Gandy Dancer staff is proud to publish original artwork in a variety of mediums—peppering photography, painting, collage, and even sculpture throughout the magazine. Issue 4.2’s Featured Artist is Lei Peng Gan whose three paintings “Untitled No. 17,” “Muar: Jalan Meriam No.2,” and “Intersection No. 5” feature rich colors and distinct lines.

We hope you join us for the official release of Gandy Dancer issue 4.2 at the launch party on Wednesday, May 11 at 9:00 AM in the College Union Hunt Room.

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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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