A Muted Blue Star Muses: Is(sue) 7 of AvantAppal(achia) is live!

Monday, June 17, 2019

Is(sue) 7 of AvantAppal(achia) is live!

Dear Kinfolk,

First and foremost, thank you all for being as patient as Job while we tackled those annoying technical difficulties that delayed this is(sue). Y’all are fantastic!

I’m sure you’ll find the wait to be worth it! Is(sue) 7 features work from 7 different countries – Greece, Spain, India, Ireland, Norway, Luxembourg, the United States – and 7 different states – Minnesota, West Virginia, Virginia, Kentucky, Pennsylvania, Michigan, and New Jersey. It also contains 3 languages. Yeah, we’re pretty proud of it – and you! – for accomplishing that!

You will notice two things different about this is(sue). One, the Appal(Trad) section is empty. That is because we are getting high-quality experimental work (just what we want!) and we felt none of the submissions reflected the Traditional Appalachian Poetry genre, which is a really nice problem to have as far as we are concerned. Second, this is the debut of the Avant(Serial) section! Just how the serial section works is explained both in this is(sue) and in the updated guidelines. Yes, you read that correctly. The guidelines have been tweaked, so be sure to check those out.

A reminder: the site was recently redesigned to ensure it was readable across all devices (and little tweaks will continue). For now, that mostly means that to see bylines for the Avant(Art) section you must click on the individual images.

Another reminder: the editorial team at AvantAppal(achia) are volunteers, but there are still expenses to keep the whole wonderfully weird show running, so please go to Donat(ions) and choose between the options of $1, $5, and $10 via the Paypal link. Thank every one of you for keeping the ezine online! This is your creative space, as ed(itors) we merely polish it. It is our privilege to share your work with the world!

Don’t forget to check the Arch(ive) to see which pieces were chosen to represent Is(sue) 6. Also, the submission period for Is(sue) 8 is now officially open and the deadline is November 30, 2019. We can’t wait to see you then! But of course, we will be touching base occasionally in the meantime.

https://www.avantappalachia.com/

Sincerely,

Sabne Raznik

Poetry/Art Ed(itor)

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"Fingers" Broadside

A unique broadside designed and printed on January 4, 2014 for the Kentucky Association of Sexual Assault Programs (KASAP)'s The Rising Center's "No More" traveling art exhibit to raise awareness to end sexual and domestic violence. The art exhibit will travel throughout the state of Kentucky in 2015, after which the broadside will be auctioned off at the Rising Center's discretion. The broadside features the much-praised poem "Fingers" from the collection "Following Hope" (Xlibris, 2007). There is only one (1) "Fingers" Broadside in existence.

Rabbit Hole

"I want the reader to imagine a dream, a dream of the sort that is not quite a nightmare where the dreamer wakes in terror but rather a dream where the dreamer is led on from curiosity to curiosity, image to image, and, confused perhaps but no less surprised by the images, wakes with a head scratch and begins the day, thinking about the world as a much stranger place than when the reader laid down to sleep ... [In the poems where the language is more] extreme . . . the deconstruction of language . . . [mirrors] the shattered state of language today and the impossibility to understand discourse of any kind anymore. It is as if language itself is designed to disguise meaning rather than convey it.” - George Fillingham

Renaissance: Visual Art 2005 - 2019

“Renaissance” is an emotional collection of work. Sabne Raznik’s pieces present the human experience in a thought-provoking and abstract way through body shapes and delicate hues. A mix of digital and traditional media, Raznik’s work is compelling in a way that makes the viewer’s eyes want to linger - taking all the details in. The traditional drawings of the “Salome Series” capture movement and exotic femininity with only the use of line and simple shading, while mixed media pieces like “Beautiful Tatters” find beauty in the mundane or unusual, like a scrap of paper soaked in wine. Raznik’s digital paintings feel like one is looking at a human emotion depicted in soft fields of color. Raznik is well known for her written word, but is proving herself to be quite the visual storyteller as well. This body of work is an excellent addition to any collection.-- Erin Alise ConleyMixed Media Artist, Host of "Weird Appalachia" Podcast

Renaissance: Positivity Cards for an Uplifting Day

"Dreaming of Bono" (VoiceLux, 2022)

A little girl, a young lady, and a mature woman walk into a bar and order a pint of Guinness. Only the mature woman leaves. Why? Because "hope has wings" and only the mature woman has the experience enough to manipulate "the sadness in our will : the courage of noble righteous doomed, who defy and defy ... because we must, if only for those who lack the strength to fight". Because, as I told you, "she's lived more than you'll ever read". The collection is a taste of mental growth in action, weaving dreams, reality and over the top stardom into a father figure only to outgrow him in the most superlative way. A carry in your pocket lifting of burdens to peruse over and over again. Why? Because "hope" is making a ruckus to get your attention! -- Marica, Artist

Fingers/Dedos Bilingual Selected Poems (English/Spanish)

Sabne Raznik’s latest collection of poetry Fingers, Selected Poems / Dedos, Poemas Seleccionados contains four powerfully emotive poems (“The Bearded Prophet,” “Poetry,” “Through Our Skin,” and “Fingers”). The English original of each poem is followed by an illustration and then by a Spanish translation by María Del Castillo Sucerquia. It concludes with a photo of the author followed by a one-paragraph biography in English and then its Spanish translation. The four poems are extremely different thematically and make use of different poetic languages. The common denominator between them is an underlying existential anxiety resulting from the inability of human beings collectively to understand each other and set aside greed and self-interest, and individually, in the case of the poet, to find consummation in love, and to discover the language in words and images to capture and communicate the essence of her experience. The poet notes in “Bearded Prophet,” she finds herself in “the era of pain -stampeding pain,” one which paradoxically leads her to identify with the “dumb hillbilly,” the bearded prophet who wears a sign that says “The End of the World Is Near.” Impending doom is suggested by images of the destruction of the environment, the open gashes of Appalachian strip mines, trees stripped bear of life to a height of eight feet by herbicide, and the violent midwestern storms intensified by climate change. “Poetry,” the most abstract of the four poems, prescribes in the form of a series of commands (“arm yourself, “leave the figure,” “Virgin love grow bold” which do not lead to consummation; they prove impotent. “Through the Skin” evokes the locus of creativity, where books, and papers, paint and turpentine are present on a table along with cup and saucer, the place where the written word and the painted image are crafted. The poem leaves the reader with a sense of a purpose shared by the “us” of the poem: “to sketch an idea to live by.” The last poem “Fingers” evokes images of a painful, repeated sexual encounter described as a violation, “like cactus thorns raking down my shapeless lines,” but the violation seems not to result from the violent impulse of the other, rather from the inability of the speaking subject to make good on the promise to the self with the words “Never again, never again.” The four poems are satisfying both as individual compositions and as panels of a multi-media whole. – Yndiana Montes Fogelquist and Jim Fogelquist, Appalachian Latinidad Fingers/Dedos is a powerful chapbook with 4 elaborate poems in English, with the same poems being translated into Spanish. The poetry captures strong images and emotions: "You sat cross-legged in the grass/And the earth framed your face." I was pulled into these poems and transformed into a cocoon waiting to be released into something with such fingers that would "Feel the bone crack,/Grind against my teeth/As I scream [...]" and become new in the aftermath. – John Compton, the castration of a minor god and how we liberated what secrets we modified

Monday, June 17, 2019

Is(sue) 7 of AvantAppal(achia) is live!

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