Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz

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An Interview with Janice Lee
by Jeremy Hight

Jeremy Hight: What relationships do you see between your various interests, research projects, and forms of writing?

Janice Lee: I don't really distinguish between all my interests, and I have many. Science, neuroscience, the occult, the paranormal, ufology, biological anthropology, psychology, theology, philosophy, phenomenology, alchemy, etc. I like to stay away from aesthetic categories that act as constricting forces, and rather see all these disciplines and areas as overlapping wavelengths on a broader spectrum, or different perspectives on the same object of study, namely, life. So all of my reading and research informs my writing. My first two books especially were sort of obsessive research projects, and the writing reveals a sort of mind map of the connections I was making.

JH: What first drew you to creative writing? What were you doing before?

JL: Honestly, it's hard to imagine a moment before writing. I've been writing almost as long as I've been reading, and really can't imagine a moment when writing didn't serve some ample purpose in my life.

JH: Who and what are some of your influences?

JL: This is a constantly growing and infinitely changing list. At the moment, I'm enamored with the films of Béla Tarr, and really drawn to cinema and photography in general. I'm also influenced by various belief systems, mythologies, the ways people construct narratives and then hold onto them so tightly. And also, the apocalypse, the many ideas and perceptions of the apocalypse and how it operates as an image or as a process or as an anchor. Some more concrete influences. Julian Jaynes. Camus. Beckett. Laszlo Krasznahorkai. Victor Hugo. Kim Hyesoon. Anna Joy Springer. e.e. cummings. Kathy Acker. Kierkegaard.

an image from KEROTAKIS by Janice Lee

JH: What are you working on right now?

JL: I've currently been going through a strange period marked by a strange inability to write, a changing relationship with language, and intense emotional experiences. So much of the writing I've been doing has either been for Entropy, such as for my series "The Poetics of Spaces," or via collaboration. I'm working on a collaborative project with Jared Woodland in which we're looking critically at Satantango, both the film directed by Béla Tarr and the novel by Laszlo Krasznahorkai. We talk a bit about slowness in Satantango here and here. I'm also working with Michael du Plessis on a collection of ekphrastic poems that look at decapitation scenes in films. I've been writing some sestinas here and there, I'm a bit obsessed with the form at the moment. And finally there may or may not be a novel idea brewing. Something to do with empathy, God, Hitler, and rain.

JH: Do you see the other things you do—such as curating and design—as cross-pollinating your writing and art, or are they satellites, orbiting your other core interests and works?

JL: Yes definitely. Everything I do affects something else, even if it's very indirectly or just to take my focus off of something for awhile so my eyes can adjust. Probably just life is as the core of it all. The desire for growth, to constantly be learning. Writing. Then everything else is sort of an offshoot of that center.

an image from KEROTAKIS by Janice Lee

Jeremy Hight is a Staff Interviewer at Unlikely Stories: Episode IV. You can learn more about him at his bio page.

Janice LeeJanice Lee is the author of KEROTAKIS (Dog Horn Press, 2010), Daughter (Jaded Ibis, 2011), and Damnation (Penny-Ante Editions, 2013). She is Co-Editor of [out of nothing], Reviews Editor at HTMLGIANT, Editor of the new #RECURRENT Novel Series for Jaded Ibis Press, Executive Editor at Entropy, and Founder/CEO of POTG Design. She lives in Los Angeles where she teaches at CalArts and can be found online at JaniceL.com.

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