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Archive for December 2013

Kristina Marie Darling's collaboration with Max Avi Kaplan is featured at Connotation Press

 

Kristina Marie Darling - Fiction

DarlingKristinaMarieKristina Marie Darling is the author of fifteen books, which include Melancholia (An Essay) (Ravenna Press, 2012), Petrarchan (BlazeVOX Books, 2013), and a forthcoming hybrid genre collection called Fortress (Sundress Publications, 2014). Her awards include fellowships from Yaddo, the Helene Wurlitzer Foundation, and the Hawthornden Castle International Retreat for Writers, as well as grants from the Kittredge Fund and the Elizabeth George Foundation. She is currently working toward a Ph.D. in Poetics at S.U.N.Y.-Buffalo.

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Kristina Marie Darling interview with Meg Tuite



I love these micro-flash pieces that seem to be from another time period? I was guessing maybe the 50’s? 

Max Avi Kaplan PRESS IMAGE 1Thank you for your kind words about the flash fictions! You guessed right. My collaborator, Max Avi Kaplan, and I imagined the Polaroids and the accompanying stories as a character study, an in-depth look at the life a 1950s housewife named Adelle. We're both fascinated by 1950s material culture, but also the situation of women of the time period, who were so often surrounded by beauty, but trapped by their roles as wives, mothers, and homemakers. Many of the objects, clothes, and accessories depicted in the photographs are really from the 1950s. Max came to the collaboration with a background in costuming, and strives for great historical accuracy in his photographs. This influence certainly carries over into the flash fictions, which reflect a similar fascination with the complex histories, and the emotional weight, that we attach to objects. 


Were these ekphrastic pieces inspired by the photography or was it the other way around? 

Max Avi Kaplan PRESS IMAGE 2That's a great question. The flash fictions certainly began as ekphrastic pieces, which were inspired by a set of eight of Max's photographs. But he had not yet completed all the photographs. So I sent him poems in response to the initial set of images, then the collaboration became much more of a conversation. Just as I had responded to Max's work in my poems, he began responding to and incorporating the narrative I had constructed around his work. I think of our collaboration as a dialogue, which unfolds over the course of the book. 



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