Trivia about Volume 4, Issue 2

5 artists submitted 5 comics, 2 creative nonfiction writers submitted 2 creative nonfiction pieces, 30 writers submitted 33 pieces of fiction, and 34 poets submitted 136 poems.

Volume 4, Issue 2 will be available soon.

Christopher Woods–Interview

Describe your creative space. Do you work at home, in public spaces, etc.?

Taking photographs takes me to many places for inspiration. Inspiration can be an instant thing as I come across images literally everywhere. Later, sometimes much later, I look at the photography bounty. Well, it’s not always bounty. As with writing, not everything is ready for prime time. At my desk, I often make changes in an image. Cropping is quite common. And given the vast array of editing tools available, I often make even radical changes to an original image. For example, a color image might actually be better if presented as BxW. Editing is an endless project, but at some point one must move on, to the next image, that is.

How long have you been making art? When did you start making art?

I began taking photographs nine years ago. I had always been a writer. I always enjoyed looking at photographs. Any visual art, really. But I always felt that, as a writer, I didn’t need an additional creative vice. Then my life took a turn when I was diagnosed with cancer and I began that journey. My wife, an equestrian photographer, gave me one of her old cameras. So, while in chemotherapy, I began taking pictures. That is how it began for me. We all have a reason for our creative impulses, and this was mine. I have never stopped taking pictures. They vary from pastoral to portraits to abstracts. “The Fire That Night,” which will appear in the Magnolia Review (Issue 7), is from the latter category. I also make picture poems, with text superimposed on an image. I like picture poems as they bring together my love for both images and words.

Who is your intended, or ideal, audience? Who do you make art for?

Hopefully for anyone who might appreciate it.

What other things do you do besides art? Do you dance or play golf, etc.?

I teach creative writing and have for many years. I find it inspiring to watch writers find their voices. I am also involved in pet therapy with my Great Pyrenees dog. We visit many places and people. This experience gives me valuable perspective on my own life.

What is your favorite part of the creative process?

Perhaps the initial concept, though this is not always the case. I know one thing for certain. When an idea comes, be sure to make a note of it or it might be gone. Many ideas come to us, and sometimes we must pick and choose. The criteria? What pleases us. What challenges us.

What is your advice to aspiring artists?

Press on. Don’t be afraid to fail. Be truthful to yourself. No matter the creative form of expression, these things matter most.

Check out Christopher’s art in Volume 4, Issue 1.

Roger Camp–Interview

I think most artists would agree that the world is your creative space. Most of what takes place creatively happens in an artist’s head and can occur anywhere at any time: walking in the street, day dreaming, attending a concert, having a conversation. The list is endless. If you are speaking about a work space, in the past that would have been a darkroom. Currently it is at home in my office which has a floor to ceiling window and looks out upon a garden.

In the past I used film, including black and white, color negative and color positive film. My longest experience was with Kodachrome 25 film (no longer made) and making color prints called Cibachromes (aka Ilfochromes). I now use a digital camera and make digital prints using Adobe Photoshop.

I don’t have a fixed routine except to work daily.

I’ve been making art for over fifty years. I date my first serious photograph from age ten when I climbed up into a fir tree in order to take Yosemite Falls from a different perspective. When I was sixteen I taught myself how to print in a make-shift darkroom I set up in my father’s woodshop. There is something magical about seeing an image come up in the developing tray that never gets old.

I have never consciously thought about an audience. I believe that would have a devastating effect on an artist’s work and it is what separates commercial artists from fine artists. You make art for yourself. I have hundreds if not thousands of photographs which have never been seen that mean as much to me as those I’ve shared, exhibited or published.

Inspiration comes from being alive but only if you are paying attention. It could be a love affair that ends badly. Or a terrific novel you are reading. An overheard remark in a cafe. A dramatic stage setting by a gifted set designer. If you are “blocked” you wait, just like a farmer allows her/his land to be fallow before sowing.

I spend a great deal of my time traveling, reading, gardening, writing poetry and as much time as I can in conversation with people who are more knowledgeable than myself in a variety of subjects.

Seeing the photograph in my head the millisecond before pressing the shutter.

Spend as much time as possible in your own company. Expose yourself as much as possible to nature without the trappings of media. Visit as many museums as possible and examine the art that has gone before you, not your contemporaries.

Check out Roger’s work in Volume 3, Issue 2.

Volume 4, Issue 1

Phoenix Rising 12 X 12 Clayboard jpeg

Volume 4 Issue 1 is available here as a PDF: The Magnolia Review Volume 4 Issue 1.

Contributors: Charles Joseph Albert, Meredith Bailey, Susan P. Blevins, Doug Bolling, Adam Levon Brown, Sally Bunch, Antonia Clark, Mara Cohen, Ann Colcord, Tony Concannon, Sandy Coomer, Barbara Daniels, Maureen Daniels, Chris Dungey, Robert Ford, Cynthia Gallaher, D.G. Geis, Jessica Gigot, Ben Groner III, Mary Hanrahan, K.B. Holzman, Jamie Houghton, Mark Hudson, Steven Jakobi, Brian K. Kerley, Lauren Klocinski, Laurie Kolp, Paul Lamb, Sean J. Mahoney, Bridget Malley, Todd Mercer, Anthony J. Mohr, Wilda Morris, Leah Mueller, Don Noel, Toti O’Brien, Richard King Perkins II, Scarlett Peterson, Greg Rappleye, Ruben Rodriguez, John Rodzvilla, Valerie Ruberto, David Anthony Sam, Hilary Sideris, Roger Sippl, Steve Slavin, Spencer Smith, and Christopher Woods

Reviews: Magic for Unlucky Girls by A.A. Balaskovits, Twenty-One by D. Victoria BonAnno, Wet Radio and other poems by Goirick Brahmachari, Two Towns Over by Darren C. Demaree, The Gentle Art of Swedish Death Cleaning by Margareta Magnusson, and Chant of a Million Women by Shirani Rajapakse.

Winner of The Magnolia Review Ink Award: to be announced

Christopher Woods

Christopher Woods is a writer, teacher, and photographer, who lives in Chappell Hill, Texas. He has published a novel, The Dream Patch, a prose collection, Under a Riverbed Sky, and a book of stage monologues for actors, Heart Speak. His work has appeared in The Southern Review, New England Review, New Orleans Review, Columbia, and Glimmer Train, among others. His photographs can be seen in his gallery: http://christopherwoods.zenfolio.com/.

The Fire That Night, Volume 4, Issue 1
Interview

Theme for Issue 8!

We are currently reading submissions for our eighth issue! The theme for the eighth issue is: comics, be it drawn in sequential images or just plain funny. See the Submit tab for details on how to submit. We accept photography, art, comics, creative nonfiction, fiction, flash fiction, experimental work, and poetry.

Leah Givens

Leah Givens has provided photographs for the covers of The Colored Lens, Existere and Penduline Press, among other literary magazines. Her photography has been exhibited in Georgia, Missouri, and New Mexico. Her education is primarily in medicine; she received her M.D. from Washington University in St. Louis and has worked in medical research.

Cartwheel, Like the Sun, Viewpoint, and Letdown, Volume 3, Issue 2