tag:blogger.com,1999:blog-8421544098979075662024-03-28T00:09:21.568+01:00S t e l a. A novel S t e l a is a novel of uncanny suspense about loss and the forms it takes to carry life farther.
Published by Ninebark Press
http://www.ninebarkpress.org/.
Launched at the Association of Writers and Writing Programs (AWP), Minneapolis, Minnesota, April 2015.A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-842154409897907566.post-2865045904250670592024-02-26T18:18:00.035+01:002024-02-26T19:43:32.005+01:00<ol style="text-align: left;"></ol><p style="margin-left: 40px; text-align: justify;"><span style="font-size: small;"><i>Conversation with Anca Cristofovici</i>, a film by Antonio D'Alfonso (2022)</span><span style="font-size: x-small;"><br />Antonio D'Alfonso had asked me to contribute to his <i>Conversation with Writers Series</i>. A poet, filmmaker and publisher, Antonio is a trilingual writer and someone who combines writing with visual work, so that his questions revolved around issues such as: <span> </span>how I feel about writing in more than one language; how language identifies you; the writing process and my visual work; my relationship with the past; my new novel <i>The Golden Eyelash</i> and MittelEuropa writers; my living several countries & cultures.<span> </span>The film — poorly shot on my Ipad and with an accent exacerbated by the stress of using the device while speaking — explores these questions in the city of Nice, where I lived during the pandemic lockdowns and where cultures and languages intertwine and layers of the past pop up at every turn.</span><span style="font-size: small;"> </span></p><p style="margin-left: 40px; text-align: justify;"><span style="font-size: small;"><a href="https://www.youtube.com/watch?v=kLEoc3kJ16M" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-family: "Times New Roman"; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">https://www.youtube.com/watch?v=kLEoc3kJ16M</a><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; display: inline; float: none; font-family: "Times New Roman"; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><span class="Apple-converted-space"> </span></span><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; display: inline; float: none; font-family: "Times New Roman"; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><span class="Apple-converted-space"><br /></span></span></span></p>A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-116814127637223132024-02-26T17:47:00.039+01:002024-02-26T19:48:02.603+01:00<div style="text-align: left;"> <span style="font-family: georgia; font-size: x-small;">Recorded readings from <i>Stela</i>:</span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: xx-small;"><span>• </span>Berry College, Georgia, Department of English,Rhetoric & Writing Series,October 29,2015<a href="https://www.youtube.com/watch?v=dVoJXRSSp-I" style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">https://www.youtube.com/watch?v=dVoJXRSSp-I</a><span style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-converted-space"> </span></span></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: xx-small;"><span style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-converted-space">•Everygreen State College Productions,Art<span> Lectures Series:</span>Michael Mejia&Anca Cristofovici,May16,2018</span></span></span><span style="font-family: georgia; font-size: xx-small;"><a href="https://www.youtube.com/watch?v=XlqXszLaGKM" style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">https://www.youtube.com/watch?v=XlqXszLaGKM</a><span style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-converted-space"> </span></span><span><span style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-converted-space"> </span></span></span><span> </span><span><span> </span><span> </span></span></span></div><div style="text-align: left;"><br /></div>A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-20609690992910172202021-03-31T18:51:00.061+02:002021-07-06T21:37:56.205+02:00THE ANCA CRISTOFOVICI INTERVIEW. QUARTERLY CONVERSATION<h3 style="text-align: left;"><span style="font-weight: normal;"><span style="font-family: 'TimesNewRomanPSMT'; font-size: x-small;">Interview by Ellen Hinsey — Published on September 12, 2016</span><span style="font-size: x-small;"> Published in Issue 45<span style="font-family: 'TimesNewRomanPS'; font-style: italic;"> </span></span><span style="font-family: 'TimesNewRomanPS'; font-size: xx-small; font-style: italic;"> </span></span></h3><h3 style="text-align: left;"><span style="font-weight: normal;"><span style="font-family: 'TimesNewRomanPS'; font-size: xx-small; font-style: italic;">photo by Sophie Kandaouroff, Rowohlt Foundation <br /></span></span></h3><div class="page" title="Page 1"><div class="section" style="background-color: white;"><div style="text-align: justify;"><div class="column"><span><a name='more'></a></span><p><span style="font-family: 'TimesNewRomanPSMT'; font-size: x-small;">Author Anca Cristofovici is hard to typecast, and if there is any easy path for a writer living
between cultures, it isn’t the one she has chosen. Born in Romania, where she published at an
early age, she defected in 1985 and has since lived in France and, temporarily, in the United
States. While pursuing an academic career, Cristofovici has continued to write fiction and
reconstruct herself as a writer in two non-native languages. A reflection of her multicultural</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: x-small;"> experience, her publications in Europe and in the United States include essays, fiction, poetry, and
translations, written in English, French, and Romanian. She has also contributed to exhibition
catalogues and international artists’ projects. Cristofovici has been invited to read at venues in the
Unites States and Europe. Among her honors are fellowships from the British Academy, the
Rockefeller Foundation, and the Terra Foundation for American Art.
</span></p></div></div><span style="font-size: x-small;">
</span></div></div><div class="page" style="text-align: justify;" title="Page 2"><div class="section" style="background-color: white;"><div class="layoutArea"><div class="column"><p><span style="font-family: 'TimesNewRomanPSMT'; font-size: x-small;">A professor of American literature and art at the University of Caen, France, where she directs the
Center for Anglophone Cultural Memory, Cristofovici is the author of several books and
contributions to collective volumes and anthologies. Her latest novel, </span><span style="font-family: 'TimesNewRomanPS'; font-size: x-small; font-style: italic;">Stela</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: x-small;">, published by cross-
culturally committed Ninebark Press in 2015, was launched at the AWP Conference in
Minneapolis. It explores the relationship between power, art, and the survival of the self in
totalitarian systems, described by her publisher as: “Thoughtful, inventive, and beautifully lyric,”
it “masterfully challenges the obfuscations of state terror and its long rolls of the disappeared with
the liberating and illuminating transformations of dreams and art.”
</span></p><span style="font-size: x-small;">
</span><p><span style="font-family: 'TimesNewRomanPSMT'; font-size: x-small;">This interview was conducted Berlin-Paris by e-mail</span></p><span><!--more--></span><!--more--><p></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">Ellen Hinsey: One aspect of the political upheavals and traumas of the 20th century is that
one cannot take one’s native language for granted. How has living in different cultures and
writing in three languages affected your perspective as a writer?
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">Anca Cristofovici: Brutal circumstances affect anyone’s perspective. In radical forms of
relocation, one becomes </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">no one</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">. With some luck, that can turn into a fantastic formative
experience, should one be ready to embrace it.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">Both my native environment, Romania, where I started as a writer in the mid-seventies, and then
the places I lived in following my defection in 1985—England (briefly), France, and, the United
States (where I studied and worked for some years)—involved finding a space in which to
function as a writer, against all odds. Probably, had those things not happened, I would have
become another kind of writer. But they did happen: whether it was the relocations, the psychic
and physiologic reactions they engendered, or the material conditions that provided (or didn’t)
time and space for writing. I’ve never experienced much anxiety of the blank page. I’m five
books behind. When I’ve finished one, I don’t have to worry about what’s next!
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">I published quite early in Romania—short fiction, poetry and plays (I remember the title of one of
these long-lost plays: “Columbus, Does America Exist?”!). Early on, too, I realized I wasn’t
equipped to work against censorship or other political hindrances creatively, so I preferred not to.
Living with only an intermittent public writer persona for a long time has been, I must say, rather
beneficial to the creative process, despite bouts of exasperation for being cast in the wrong life
and seeking to “outcast” myself. At times this complex trajectory is responsible for my feeling
that I need to justify myself as a writer. But I have come to terms with being a clandestine traveler
on a night train on some enigmatic venture, which is mine all the same.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">In terms of cultural attachment, I’m close to the </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">Mitteleuropa </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">cosmopolitan tradition and think of
myself as a European writer. Yet, as American cultural history has been my passion and
profession for many decades now, I also feel somehow “transatlantic,” with an interest in how
cultures coalesce in both traditions. My new novel, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">The Long Way to Vienna</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">, explores that
paradox. Anyway, as long as I can write, it’s alright, even if, strangely enough, a writer who is
independent of national affiliations (or any other affiliations, for that matter) doesn’t fare easily in
these global times.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: Let’s speak about your novel </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic; font-weight: 700;">Stela</span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">. The narrative is told from a “free space” (two
artists’ residencies, in the north and south of Europe), but, as we just evoked, the past it
refers to is visibly that of a repressive system, which in the book is called “the perimeter of
fear”—
</span></p>
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<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: Well, the novel starts with the story of the loss of a mother and her teenaged daughter’s
attempts to come to terms with it. She has missed the funeral, which amplifies the confusion
accompanying any process of mourning. In addition, this happens in a context of dubious
disappearances and a politics of fear conceived as an instrument of control. Because of this
particular context, Cora distrusts what she had been told: that her mother died in a car accident.
Her growth into adulthood is inseparable from this enigma she must solve; in this she is partly
helped by Luca, a painter and neighbor, with whom she will later cross paths outside the
“perimeter of fear.” The narrative blurs distinctions between fact and fantasy, focusing on the
narrator’s perceptions. And although there are no explicit references to place, for both the initial
setting and for Cora’s and Luca’s subsequent peregrinations, a number of details suggest what
part of Europe they are in.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">A degree of abstraction from any specific setting seemed necessary in order go to the crux of the
matter and grasp patterns, see which parts of totalitarian structures are contextual and which are
inherent to human nature. “Systematic and chaotic” emerged as a significant pairing around
which the novel revolves. It designates the paradoxical coupling of inflexible rules with random
and ludicrous practices. In the course of writing, it appeared to me that this fundamental
contradiction in terms—an exorbitant one, at that, with regard to human and cultural loss—is
responsible for the difficulty in understanding (and accounting for) how communism works. The
questions that occupy the characters’ minds evolve into other, more oblique ones: what is the
legacy of so much moral and spiritual destruction? How do one’s broken memories intersect with
those of others to make sense of what happened? Where can one go with one’s life from there?
And </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">how</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">?
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">The difficulty of such a subject is to find the right tone without verging on victimization or
sentimentalism. The book took a long time to write, time to find a perspective not overtly
political, folkloric or anecdotic, which are the common ways of looking at Eastern Europe, a
geographical and political categorization for an area which is, in fact, at the intersection of very
different cultures, religions, and languages.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: Let’s talk a bit more in depth about the background for the novel. You have spoken
about your use of documentary materials in preparation for the book—
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: In the late 1990s, when I started writing the novel, testimonies published in Romania after
1989 came to my attention, as well as oral histories and compelling documentary films on the
deportation of Romanian populations to Siberia and to camps within Romania in the Baragan
area, or on detention in what is thought to have been one of the toughest Eastern Bloc prison
systems. That material, with no circulation in an international context, slowly made its way into
the novel along with documents from other East European countries, but not only. Once the
applause following the fall of the Iron Curtain passed, it seemed necessary to connect those
events to current concerns about the dangers threatening democracies everywhere. Few critiques
of what has become of societies previously behind the Wall are based on serious analyses of
communism’s inner mechanisms and its impact on the most intimate relations of family, language
and memory.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">Yet, using such material involves an overwhelming responsibility, because you don’t want to
(mis)appropriate people’s lives. My deep-rooted aversion to realism prompted me to de-
familiarize those experiences and to attempt to find a conceptual framework that would
counterbalance the documentary component. Initially, the fact that the narrator is a dancer and
Luca, a visual artist, came from persistent images carrying narrative potential. It turned out that
the forms of art they practice reverse the pair “systematic and chaotic”: from random events
emerge creative patterns of human experience (what Luca calls “provisional arrangements”)
instead of restrictive frames. Readers familiar with Merce Cunningham’s technique will find that
much of Cora’s bodywork and relation to dance is based on this method, which derives, primarily,
</span></p>
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<div class="page" style="text-align: justify;" title="Page 4"><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">from how he looks at all forms of life (I am also reminded here of Merce’s drawings of animals).
</span>
<div class="section" style="background-color: white;"><div class="layoutArea"><div class="column"><p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: Your novel’s characters are rather elusive: “stick figures” is a recurrent image in the
book. Their pasts and presents are revealed in many evocative details, but this is done
subtly and in “pieces.” While the reader is invited into their inner meditations, we do not
have a coherent picture of their lives—
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: Yes, people who return from captivity are rather sketchy, aren’t they? Physically, I mean. We
have seen pictures of them, yet not many from those in Eastern labor camps, psychiatric
hospitals, or just of people whose energy has been drained by everyday life’s complicated
gestures. They are spectral, to the others, to themselves. In French, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">les revenants </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">is a term that is
used for ghosts, but also for those returning from camps.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">However, bringing those characters into visibility beyond the stereotypes of Eastern Europe that
circulate in Western visual culture seemed crucial, and I tried to place them on an orbit that goes
from darkness to gradations of light (and lightness). Truly, I see the characters of the novel more
as forms and substances, misty figures as in, say, some of Bill Viola’s video pieces, “The Veiling”
or “Three Women,” works that sustained the energy of the book as I was writing it.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">Minimal detail for maximal effect, at least that was my intent. I recently heard about a “writer’s
tip” that I unknowingly used in the most literal way: “Every character should want something,
even if it’s only a glass of water.” Just after Luca has passed the border with the intention to
defect, his first words are: “Ein Glas Wasser, bitte.” At times a drink of water counts a lot. To
highlight such details places them into another dimension: magnified, they turn into a vital
necessity.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: Stylistically, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic; font-weight: 700;">Stela </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">is a complex work. On the surface it might appear experimental—
but to see it as such would, I think, be misleading. You have often evoked the “surreal”
aspects of Romanian totalitarianism, which have nothing to do with literary “techniques”—
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: Actually, I’ve spoken about “surreal” aspects with specific reference to perceptions of
everyday life in the 1980s. I wouldn’t, however, use that term as a general reference to
totalitarianism, in Romania or elsewhere, since its faces are so diverse.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">In everything I’ve read, the experiences of people in life-threatening situations struck me as
experiments in staying alive. The narrative form of the novel, then, is only an adaptation to the
characters’ shattered life course, the imaginative and emotional solutions they come up with. All
of them somehow break the unnatural order stifling their lives, crack the system: Stela, in losing
her life, Cora and Luca, in transforming theirs, and, in the process, Stela’s. The fragmentary
nature of the narrative doesn’t preclude a sense of continuity and suspense if the reader embraces
the narrator’s hesitations and accepts the fact that finding out the truth in the given circumstances
is, simply, impossible. Was the accident provoked? Was Stela abducted? Did she defect? That
spectrum of possibilities concerning Stela’s disappearance allowed me to condense the material
we just referred to.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: At the same time the book is rich in poetic images—
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: Among the fictional frameworks that hold both documentary fact and fantasies, my choice
went naturally for stylization and poetic perspective. It seemed to me that such heavy-duty
historical and psychological material might be more effectively channeled into a more evocative
(even if allusive) narrative.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">In the media, the changes in the world over the past twenty-five years have appeared mostly in
scripts of high-pitched rhetoric of suffering and violence. The emotional patterns of the Cold War
were subdued, violence imploded, words mimed rather than voiced, gestures amplified, much like
</span></p>
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<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">in a silent movie. Such patterns create a serial effect, even as the narrative and the images that
carry it tend to break them into verbal form, so that selves who were meant to become uniform
elements in an unending series surge into significant shapes.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: Let’s return to the question of works that inspired you while you were writing the novel
—
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: Certain works gave me a base: those of Claude Simon, in particular, or Joseph Brodsky, for
their firm nonalignment, their rigor, and for their fine irony tinged with tenderness, or the work of
Elizabeth Bishop—a master in the art of traveling light. Much like the documentary material,
echoes of these writers have made their way into the novel, wittingly or not, along with other
reminiscences. Here and there, I incorporated short excerpts. I hesitated to provide a list of these
appropriations, since they seemed to be poetically more effective under cover, so to say. Still, I
found a way to weave into the book’s fabric an allusion to the source of fragments I used
deliberately. Documentary or artistic material </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">is </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">part of experience, of another kind, already
formalized: what we have read and seen and heard is part of who we are, isn’t it? And so is it part
of the characters’ verbal texture.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: Who are the other writers you feel close to?
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: Oh! That list is long! Above all, I’m interested in how an artist puts an obstacle to good use
(also, in how one can fail to). I relate to writers who are quite different in form and sensibility—
and different from my own approach to writing. I also have strong affinities to the visual arts
because of the enhanced perceptions they solicit, which open up extraordinary spaces in the mind:
artists such as Thierry Küntzel, Geneviève Cadieux, or Stan Douglas, who deserve to be better
known and whose work I have touched upon in my book </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">Touching Surfaces</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">. For what it means to
them to be writers, I feel close to Dawn Raffel or Christine Schutt. Diane Williams once told me
to give myself permission, as a writer. It’s about the best advice I’ve ever had: whenever I try a
dangerous trapeze move, her words are my safety net.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">Further back in time, I spent some years on John Hawkes’ fiction, writing a dissertation, then
completing a small book (</span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">The Child and the Cannibal</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">). His work came to my attention when I
was young; I fumbled in the dark at every page, but couldn’t resist the beauty of the flashes I
found there, and it occurred to my innocent self that, if I somehow managed to make my way into
that tunnel, I’d see the light some day! In 1962, Flannery O’Connor wrote a wonderful blurb for
</span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">The Lime Twig</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">: “You suffer it like a dream. It seems to be something that’s happening to you. . . .
This . . . I might have been dreaming myself.” Looking closely into such a work, living with its
sound imprint for so long requires a lot of discipline to distance oneself from it. Writing on
photography provided an alternative that involved observing rhythmic patterns other than verbal
ones and liberated space for my own cadences. And when I forget all I’ve learned from Hawkes,
I’ll always remember “coherence of vision.” He was an extraordinary teacher who knew how to
bring to light each young writer’s own gifts. I sometimes wonder what would have happened if,
instead of writing my dissertation, I had gone to Brown. But, at the time, that was a technical
impossibility. However, I met him and his wife, Sophie, in Paris and in Providence, Rhode Island.
We corresponded and did an interview on his mythic horse, Whistlejacket, and his thoughts on
the creative process, which was published in Italy. Two weeks after he passed away, there was an
envelope in my mailbox with two letters from him. Few people would send that kind of message!
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: Did you ever tell him that you wrote fiction?
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: No! Anyway, writing was bracketed at the time. But a nice compliment for </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">Stela </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">came from
a writer who studied with him: “Jack would have loved it!” Who can tell? Maybe the horse!
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: As we’ve just evoked, the visual arts play an important role in your novel. They appear
in a number of forms: dance, film, video art, painting. What is their significance to a subject
</span></p>
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<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">that is deeply steeped in a history of physical, moral, cultural destruction? What is the
meaning of dance, in particular?
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: Art has been a natural and vital presence in my life. I have known artists struggling to keep
at bay the pressure of power on their art. Some lost their lives because they dared to speak out.
Others remained hostages to silence. Some of those who escaped have been muted in other ways
in their new precarious lives beyond the Wall. I am also interested in individual stories of survival
precisely concerning how they resonate with creativity—one needs perseverance, luck, and
imagination to carry on under dire circumstances.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">Stela </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">revolves around two artists’ destinies and loss turning into a creative force. Art making is
central to the plot. The reels (rolls of surveillance film shot by the secret police) are used by Luca
as found-footage for a video portrait of Stela. Dance combines rigor with grace; the ephemeral
quality of movement bears intimately on loss. Narratively, dance draws events into patterns rather
than arranging them in a linear fashion. It focuses on the body as a site of psychic work. Frank
Bidart wrote a long poem, “The War of Vaslav Nijinski,” where, as madness was seizing him,
Nijinski tried to choreograph a dance about the Great War “which gives us//pattern, process//with
the flesh//still stuck to it.” And there are those stories of dancers from Eastern Europe escaping to
the West.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">Dance lifts weight from the subject of the book. In the end, lightness prevails. Stela’s luminous
figure, recreated by Cora’s and Luca’s reminiscences and their art, counterbalances the legacy of
darkness (and that of three generations of women facing it).
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">“Surviving is no virtue. It is an act of love.”
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">The working title of the novel was </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">Kidnapping—</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">one of Cora’s hypotheses regarding her mother’s
disappearance and an allusion to Milan Kundera’s essay “A Kidnapped West.” Towards the end,
however, the main character’s name turned out to be a better option: Stela, with that one “l”
missing, as it’s spelled in some languages. That particular spelling of the name also evokes the
common noun, with its cluster of associations: commemorative inscription; tablet on which the
first epics were written; and, of course, the Latin for ‘star’ (as in ‘celestial body,’ and ‘fate’).
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: We began this interview talking about language and displacement. Why did you choose
to write your novel in English, and not in French or Romanian?
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: That is a long story and part of the subject of a volume of essays on which I am currently
working. The short version is that if I want to know the temperature in Bucharest, I get it from
CNN or the BBC. For French television, the map of Europe stops in Vienna. There are other
reasons—cultural rather than meteorological—but they are too complex to go into here.
Linguistically, French is too close to Romanian; in terms of fiction, my affinities are with the
more flexible, formally imaginative American tradition—such an eye-opener in my formative
years.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">I started reading in English as a teenager, then studied English at the Faculty of Philology at the
University of Bucharest with some people who managed to save us from brainwashing and lent
us books (many of them the only copy in the country, feverishly passed from hand to hand). I owe
a lot to their devotion and recall, in particular, my first contact with Wallace Stevens’ poems. The
professor typed them in sets of five (the typewriter would fit up to four carbon sheets). Since
there were more than that of us in the class, he typed them again. Whenever I read or teach “The
Man with A Blue Guitar,” I can’t dissociate the poem from the blurred indigo letter type of the
carbon copy.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">To the writer a language of adoption provides perspective. That choice originates in cultural
inclinations which entail a number of risks. But what an extraordinary experience—a privilege at
</span></p>
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<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">that—and one that involves a heightened sense of responsibility. My concern has been to choose
the language that best suited what I seek to do as a writer. Writing in English is perhaps only an
extension of my earlier attempts to discover my own relationship to language away from cultural
and political determinations, in a </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">lingua franca—</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">which English basically </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">is </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">today, as Latin was at
a certain time—or what Joyce longed for: “a language above languages.”
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">And then, I always feel at home in an uncanny way as soon as I set foot on American soil, which
has to do with language, space, people. On my recent reading tour, for example, I was surprised
to meet categories of readers that I hadn’t imagined would take an interest in such an
unconventional novel. I am grateful for their generosity and that of my publishers who put their
trust in my work.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">For the writer crisscrossing cultures, there is also the question of what kind of community you
belong to in terms of the circulation of your work. All my books were published by independent
presses (literary or academic) and I’m happy to be part of that counter-current in book culture.
Belin, a scholarly publishing house that brought out my essays on Hawkes, has had a discrete but
persistent presence in France since 1770. May it be the same for independent publishers who
courageously promote innovative writing and book forms these days! Recently, I’ve co-edited a
volume on artists’ books, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">The Art of Collaboration</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">, brought out by Cuneiform Press, with
wonderful American and European contributions which speak to that effect.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: In terms of your writing process, how do you feel about writing fiction versus non-
fiction?
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: Well, in both cases it’s writing—and lots of work! Only how one understands them
sometimes differs, but, at heart, there’s no separation between my sensibility as a writer of fiction
or essays. In both I engage with experiences of varied natures (geographic, cultural, of artistic
media), look at how cultures cross, idioms transform, and how, eventually, their reverberations
enhance life.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">To me, non-fiction, the probing into the metaphoric potential of theoretical or conceptual notions
included, has to be creative. It’s a perspective on life. D. W. Winnicott evokes this in his essay,
“How to Live Creatively.” Conversely, fiction too involves research. Few readers imagine how
many pages it’s necessary to read just to make sure you’ve got the workings of a machine, a
dress-cut or who knows what other detail right. And if it isn’t right, you can be sure that the bug
in your novelistic device will give you sleepless nights. Non-fiction, too, can prevent you from
sleeping. From photography I’ve learned the importance of precision and that there’s no such
thing as a photograph in isolation. That’s not far from how, for me, images inform a novel and
add up into a story. Even as I find working with “negative capability” compelling, a number of
details have to be exact or the picture won’t develop. In the end, fiction writing is much like
camera work: a matter of technique and how you look at people, objects, environments.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">Questions raised in my essays resonate with my concerns on how the imagination functions. It
has happened that a point in an essay will strike me years later as close to some detail in my
fiction, or even specific phrasing will unconsciously migrate from one form to another.
Dictionary entries or exhibition catalogues require extensive research and a capacity to synthesize
and grasp the smaller and the larger picture, which also relate to how I process material for
fiction.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">EH: Let’s conclude with a final question regarding language—are you contemplating
translating your novel, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic; font-weight: 700;">Stela</span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">, into French, or, for that matter, into Romanian?
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">AC: Absolutely not! I am a pretty faithful translator of other writers’ work, but I’d make my
novel into another book entirely because of how I relate to each language—and I couldn’t have
written the novel, as it is, other than in English.
</span></p>
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<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">That said, I am translating a book of short fiction that I wrote in French about ten years ago. It has
turned out to be an interesting process: how the English version makes me reconsider the original,
triggering, at times, new turns in French. For some arcane reason, I am attached to these
vignettes, which I never sent out for publication; I am currently collaborating with the American
artist Marsha McDonald to bring them out in a bilingual artist’s book. Marsha created the
photographic composition for my novel’s cover and provided a wonderful video piece for the
book’s trailer. Working with her is like having someone who sees what’s in- between the lines and
turns those blanks into visual language.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">The exposure of words to art forms, what passes from one medium into another fascinates me. I
contributed to international collaborative art projects in which small fragments of the novel
appeared in new configurations, associated with visual material I have chosen or created.
Transferring them from the literary to the art context added new dimensions to the story. I am
preparing an installment for this year’s edition of the Venice Vending Machine, a conceptual live-
art installation curated by Marina Moreno, on the theme: “The Sea Has No Boundaries: Stories of
Travelers and Dreamers.” And so, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-style: italic;">Stela </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">will travel further.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;"></span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;"><br /></span></p>
</div>
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<p><span style="font-family: 'TimesNewRomanPS'; font-size: 24pt; font-weight: 700;">Published in Issue 45<br />
Read More on this Subject:
</span></p>
</div>
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<p><span color="rgb(20.000000%, 20.000000%, 20.000000%)" style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">The Clarice Lispector
Roundtable<br />
</span><span color="rgb(20.000000%, 20.000000%, 20.000000%)" style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Barbara Epler: The whole
Lispector re-launching began
innocently enough: our plan
had been to b...
</span></p>
</div>
<div class="column">
<p><span color="rgb(20.000000%, 20.000000%, 20.000000%)" style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Outside Literature: The
Lars Iyer Interview<br />
</span><span color="rgb(20.000000%, 20.000000%, 20.000000%)" style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">What happens when no-one
mans the border—when the
sanctity of literature becomes a
matter...
</span></p>
</div>
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<p><span color="rgb(20.000000%, 20.000000%, 20.000000%)" style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">A Conversation with Angela
Woodward<br />
</span><span color="rgb(20.000000%, 20.000000%, 20.000000%)" style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">This book started out so
complicated. I didn’t know
what it was, or why it
couldn’t...
</span></p>
</div>
</div>
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<p><span style="font-family: 'TimesNewRomanPS'; font-size: 24pt; font-weight: 700;">More from The Quarterly Conversation:
</span></p>
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<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">1. The Daniel Saldaña París Interview </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 13pt;">One of my premises, when I started writing the novel, was to see
how far could I get with an extremely passive and unambitious character. In a way, it's Bartleby's premise too,
and Melville's character was one of my principal references for the first part of Among Strange Victims. I...
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<p style="text-align: justify;"><span style="font-family: 'TimesNewRomanPS'; font-size: 16pt; font-weight: 700;">Read more articles by Ellen Hinsey
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<p style="text-align: justify;"><span style="font-family: 'TimesNewRomanPSMT'; font-size: 16pt;">The Anca Cristofovici Interview
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<p> </p><p><br /></p>A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-49714061372726479722018-06-11T12:19:00.002+02:002018-06-11T12:28:32.406+02:00<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #990000;"><b>STELA in the Pacific North West, May 2018</b></span><br />
<br />
While a visiting scholar at the Simpson Center for the Humanities at the University of Washington in Seattle, Cristofovici read from her novel for the Art Lecture Series at Evergreen College in Olympia and at the Hugo House in Seattle. <br />
<span style="font-size: xx-small;"><a href="http://blogs.evergreen.edu/artistlectureseries/">http://blogs.evergreen.edu/artistlectureseries/</a></span><br />
<span style="font-size: xx-small;"><a href="https://hugohouse.org/event/innovations-contemporary-novel/">https://hugohouse.org/event/innovations-contemporary-novel/</a><br /><a href="https://simpsoncenter.org/news/2018/05/welcome-visiting-scholar-anca-cristofovici">https://simpsoncenter.org/news/2018/05/welcome-visiting-scholar-anca-cristofovici</a></span><br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-iFDXV8RR9hg/Wx5NuQ-Qo8I/AAAAAAAAAQQ/uMr3YN3FlWErlvXoIfAvL8KcJ3Eo01tcgCLcBGAs/s1600/Cristo%2Bat%2BHugo%2BHouse.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="809" height="200" src="https://2.bp.blogspot.com/-iFDXV8RR9hg/Wx5NuQ-Qo8I/AAAAAAAAAQQ/uMr3YN3FlWErlvXoIfAvL8KcJ3Eo01tcgCLcBGAs/s200/Cristo%2Bat%2BHugo%2BHouse.jpeg" width="100" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anca Cristofovici at the Hugo House in Seattle</td></tr>
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A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-10367498751303242962018-06-11T12:01:00.003+02:002023-04-06T00:35:36.433+02:00<span style="color: #cc0000;"><span style="color: #cc0000;"><span style="color: #990000;"><span style="color: #7f6000;"><b>European School of Political and Social Sciences, Lille Europe, March 16, 2018</b></span></span></span></span><br />
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Cristofovici's novel, <i>Stela</i>, was featured in the European literature course of ESPOL for 1st and 3rd year students. The students presented Cristofovici's work and discussed aspects of the novel. They exchanged with the author about European history and literature, about where we are in terms of Eastern and Western Europe today, and about the relationship between "the political" and "the poetic".</div><div style="text-align: justify;"><br />
In her lecture, "Le mur invisible: l'écrivain europééen après 1989," (The Invisible Wall: Where European Writers Stand After 1989) Cristofovici discussed the situation of international (or supra-national) writers over the past thirty years. The work of writers who are independent of national identifications and languages still remains little known, if not totally ignored, in spite of globalization being the issue of the day. Considering a wide range of writers who have written in more than one language and lived in more than one country, would — Cristofovici argues — contribute to a more complete picture of European literature and of world literature, for that matter.</div>
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<tr><td style="text-align: center;"></td><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-T4n4w9qmTh8/Wx4-XPV7P2I/AAAAAAAAAP8/iQESrjJwJ7Ie43gJb6XMpx6u5bXpE6BnQCEwYBhgL/s1600/IMG_1027.JPG" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" data-original-height="846" data-original-width="1600" height="105" src="https://2.bp.blogspot.com/-T4n4w9qmTh8/Wx4-XPV7P2I/AAAAAAAAAP8/iQESrjJwJ7Ie43gJb6XMpx6u5bXpE6BnQCEwYBhgL/s200/IMG_1027.JPG" title="Studens of the ESPOL Lille discussing Cristofovici's work" width="200" /></a><a href="https://2.bp.blogspot.com/-m1HwHpM_hn4/Wx4-Yc8iMnI/AAAAAAAAAQI/KDIYsIRoj10nGzMMgjlhcz9W_L93XifWwCEwYBhgL/s1600/IMG_1031.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="974" data-original-width="1600" height="121" src="https://2.bp.blogspot.com/-m1HwHpM_hn4/Wx4-Yc8iMnI/AAAAAAAAAQI/KDIYsIRoj10nGzMMgjlhcz9W_L93XifWwCEwYBhgL/s200/IMG_1031.JPG" width="200" /></a><a href="https://2.bp.blogspot.com/-9e-_igIkq_w/Wx4-gB-elAI/AAAAAAAAAQI/YUXFpQboMDk1KUp5VkwJziFq-2GA0X7LQCEwYBhgL/s1600/IMG_1045.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="747" data-original-width="1600" height="93" src="https://2.bp.blogspot.com/-9e-_igIkq_w/Wx4-gB-elAI/AAAAAAAAAQI/YUXFpQboMDk1KUp5VkwJziFq-2GA0X7LQCEwYBhgL/s200/IMG_1045.JPG" width="200" /></a><img border="0" data-original-height="825" data-original-width="1600" height="103" src="https://2.bp.blogspot.com/-XoQDUK04T-c/Wx4-TIpCtBI/AAAAAAAAAQE/ZlqhfN2RuDAp277xLSmDB0yYC30GeH6oACEwYBhgL/s200/IMG_1033.JPG" style="margin-left: auto; margin-right: auto;" width="200" /></td></tr>
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<li>Students at the ESPOL Lille persent Cristofovici's work and discuss her novel </li>
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<a href="https://2.bp.blogspot.com/-m1HwHpM_hn4/Wx4-Yc8iMnI/AAAAAAAAAQI/KDIYsIRoj10nGzMMgjlhcz9W_L93XifWwCEwYBhgL/s1600/IMG_1031.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><br />
<a href="https://2.bp.blogspot.com/-XoQDUK04T-c/Wx4-TIpCtBI/AAAAAAAAAQE/ZlqhfN2RuDAp277xLSmDB0yYC30GeH6oACEwYBhgL/s1600/IMG_1033.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"> </a>A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-68650358565178664712017-05-02T22:56:00.002+02:002017-05-02T22:56:40.613+02:00<b><span style="color: #990000; font-size: x-small;">New York, April 2017</span></b><br />
<span style="color: #990000;"><span style="font-size: x-small;"><b>Fashion Institute of Technology, English and Communication Program</b></span></span><br />
<span style="color: #990000; font-size: x-small;"><span style="color: black;">"Traveling Through Language" : about languages and other transformations: poetry into fiction, fiction into art projects.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">With David Lawton, editor of Great Weather for Media</span></td><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">, David Lawton</span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<a href="https://4.bp.blogspot.com/-BDpQkkki-H8/WQjyDaAwlKI/AAAAAAAAAOE/iRISWVNWj0Q7UsuMlWYLViSXtBST6OuWACLcB/s1600/7.%2BAudience.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="https://4.bp.blogspot.com/-BDpQkkki-H8/WQjyDaAwlKI/AAAAAAAAAOE/iRISWVNWj0Q7UsuMlWYLViSXtBST6OuWACLcB/s200/7.%2BAudience.png" width="200" /></a></div>
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<span style="font-size: xx-small;">Nice audience</span></div>
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<span style="font-size: xx-small;">Photos: Nikki Wheeler </span></div>
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<span style="font-size: xx-small;"> </span></div>
<span style="color: #990000; font-size: x-small;"><span style="color: black;"></span></span><b><span style="color: #990000; font-size: x-small;"> </span></b>A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-85383394495765689882017-02-03T22:32:00.003+01:002017-05-02T22:42:58.448+02:00<b><span style="color: #990000;">AWP Washington D.C. 2017</span></b><br />
<span style="color: #990000; font-size: xx-small;"><span style="color: black;">A signing session for <i>Stela</i> is scheduled </span></span><span style="font-size: xx-small;">on Thursday February 9th, 1:30-2:30 pm. at the Bookfair: Ninebark press, 750 T. </span><br />
<a name='more'></a><br />
<span style="font-size: xx-small;"> Cristofovici will also sign and discuss <i>The Art of Collaboration. Artists, Poets, Books.</i></span><br />
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<a href="https://3.bp.blogspot.com/-cBKQLeR4Lck/WQjtazYj-CI/AAAAAAAAANY/U_6ZWfVaqewB_JsdSrI9EMvCAknAfxF7wCLcB/s1600/IMG_0052.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://3.bp.blogspot.com/-cBKQLeR4Lck/WQjtazYj-CI/AAAAAAAAANY/U_6ZWfVaqewB_JsdSrI9EMvCAknAfxF7wCLcB/s200/IMG_0052.JPG" width="200" /></a></div>
<span style="font-size: xx-small;"><i> With Ninebark author, poet Amy Pence</i></span>A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-74281855087592744632016-11-15T22:48:00.003+01:002017-05-02T22:44:14.398+02:00<div style="color: #7f6000; font-family: Verdana,sans-serif;">
<span style="font-size: small;"><b>Reviews</b></span></div>
<div style="background-color: white; color: #990000;">
<div style="font-family: Times,"Times New Roman",serif;">
<b><span style="font-size: x-small;"><a href="https://tarpaulinsky.com/2016/11/anca-cristofovici-stela-review/">Anca Cristofovici's STELA reviewed by Matt Kirkpatrick for Tarpaulin Sky Press</a></span></b></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">November 2016</span><b><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"> </span></span></b></div>
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<div style="background-color: white; color: purple;">
<div style="color: black;">
<span style="font-size: xx-small;">"The strength of <i>Stela</i> is in its multivalence.</span> <span style="font-size: xx-small;">[...] Each moment of the novel is like a splintered dream of lives interrupted, rendered in electric prose. [...]"</span></div>
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<div style="color: #351c75;">
<div style="font-family: Times,"Times New Roman",serif;">
<b><span style="background-color: white; font-size: x-small;"><a href="http://artistsofutah.org/15Bytes/index.php/ninebark-and-the-micro-press-movement/">Ninebark and the Micro-Press Movement by David G Pace for 15 Bites. Utah's Art Magazine.</a></span></b></div>
<div style="color: black;">
<span style="background-color: white; font-size: x-small;"><span style="font-size: xx-small;">October 2015</span> </span><a href="http://artistsofutah.org/15Bytes/index.php/ninebark-and-the-micro-press-movement/"><span style="background-color: white; font-size: x-small;"></span></a><span style="background-color: white; font-size: x-small;"><a href="http://artistsofutah.org/15Bytes/index.php/ninebark-and-the-micro-press-movement/"> </a></span></div>
<span style="background-color: white; font-size: x-small;"><span style="color: black; font-size: xx-small;">"Readers are allowed to enter the work, and work themselves at interpretation through feeling and thought to a level that you won't find available in your typical pot-boiler."</span><span style="color: black;"> </span></span></div>
A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-25835194116937357222016-05-27T20:34:00.005+02:002017-02-03T22:40:12.399+01:00<div style="background-color: white; text-align: justify;">
<b><span style="background-color: white; color: #783f04; font-family: "arial" , "helvetica" , sans-serif; font-size: small;">READING-France</span><span style="color: #783f04; font-family: "arial" , "helvetica" , sans-serif;"> </span></b></div>
<div style="background-color: white; font-family: Arial,Helvetica,sans-serif; text-align: justify;">
Anca Cristofovici will read from her novel, <i>Stela</i>, on<br />
<span style="background-color: white;"><b>Thursday, June 16th, 7:30 p.m.</b>at <b style="color: black;">BERKELEY BOOKS of Paris</b></span></div>
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<span style="font-size: xx-small;"><span style="color: #7f6000;"><span style="color: black;">She will be introduced by author Anne Marsella<a href="http://annemarsella.com/"> http://annemarsella.com</a></span></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Photo: Nadia A. Alexici </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Photo: Ray Renolds</span></td></tr>
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<span style="font-size: xx-small;"><span style="font-size: x-small;">Nadia A. Alexici</span>,
a woman of many talents, is my oldest friend! We lived on the same
street in Bucharest, strada Cluj, and met, by chance, many, many years
later in Paris. That street and the houses we grew up in no longer
exist, but our friendship keeps them alive.</span><br />
<span style="font-size: xx-small;"><br /><span style="font-size: x-small;">Ray Renolds <span style="font-size: xx-small;">is a</span></span>
British Paris-based photographer whose portraits (Geoff Dyer, Harold
Baker, Harry Diamond, Koto Bolofo) are held at the National Portrait
Gallery in London. In Paris, his work was shown at Mind's Eye, Adrian
Bondy's photography gallery of exception: <a href="http://adrian%20bondy%20mind%27s%20eye/">adrian bondy mind's eye</a></span><br />
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A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-10274087936862443142016-01-29T03:19:00.003+01:002016-10-02T21:40:29.663+02:00<span style="font-size: small;"><b style="color: #783f04;">Association of Writers and Writing Programs Conference - Los Angeles</b></span><br />
<div style="text-align: justify;">
<span style="font-size: xx-small;">I will be happy to meet with readers and friends at the <b><span style="color: #4c1130;">Ninebark Press</span></b> book table. A signing session will also be scheduled at the <b><span style="color: #4c1130;">Cuneiform Press</span></b> book table for a volume I have co-edited: </span><span style="font-size: xx-small;"><i>The Art of Collaboration: Artists, Poets, Books</i></span><span style="font-size: xx-small;">, published in August 2015.</span></div>
<div style="color: #783f04; text-align: justify;">
<span style="font-size: xx-small;"><b><a href="http://cuneiformpress.com/?product=the-art-of-collaboration-poets-artists-books" style="color: #783f04;">http://cuneiformpress.com/?product=the-art-of-collaboration-poets-artists-books</a></b> </span></div>
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A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-8321414777033375162015-11-16T20:11:00.001+01:002017-02-03T22:39:43.125+01:00<style> <!--
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<span style="font-size: xx-small;"><b><span style="font-size: small;">READINGS United States</span></b></span></div>
<span style="font-size: xx-small;">Cristofovici's reading tour in the US includes:</span><br />
<span style="font-size: xx-small;"> • <b>Thursday, October 22, 2015, 7:00 pm</b>., Utah Book Festival, <b>The King's English Bookstore</b>, Salt Lake City, Utah</span><br />
<span style="font-size: xx-small;">http://www.utahhumanities.org/index.php/component/com_bookfestival /Itemid,288/id,266/view,event/</span><br />
<span style="font-size: xx-small;"> • <b>Thursday, October 29, 2015, 7:30 p.m.</b>, <b>Berry College</b>, McAllister Auditorium, Mount Berry, Georgia</span><br />
<span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><b> READING TOUR IMPRESSIONS, October 2015</b><b style="color: #783f04;"> PRESS </b></span><br />
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<b><span style="font-family: "verdana"; font-size: 10.0pt;"><a href="http://artistsofutah.org/15Bytes/index.php/ninebark-and-the-micro-press-movement/"><span style="color: #2951a6; font-family: "arial";">http://artistsofutah.org/15Bytes/index.php/ninebark-and-the-micro-press-movement/</span></a></span></b><span lang="EN-US" style="font-family: "arial"; font-size: 10pt;"><b> </b></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"> <span style="font-size: xx-small;">For more than a year I have exchanged with my publishers – Sandra Meek, Michael Mejia, and Mindy Wilson </span>– by mail only, yet when we met it felt like we
had known each other for a long time. Publishing with Ninebark press gave me
the chance to place my book in the hands of publishers whose philosophy I share,
and I am happy that through that collaboration I have met three wonderful human
beings.</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"> In Salt Lake City as well as in
Rome, Georgia and at Berry College I have met with a variety of readers, with high
school students, undergraduate and graduate students, faculty and community
members, some of them generous supporters of Ninebark press. Their questions
were stimulating, showing an interest that I did not expect from such a wide
category of readers, and a concern for both the creative process and the
historical aspects of the novel which are so gratifying for the writer. </span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"> Having spent my youth in a context
where the threat on the cultural act often equaled life threat, I am generally
optimistic as far as the life of books goes within the boundaries of a
democracy. My recent encounters with my American readers only confirmed that
belief. </span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>That
trust and the landscapes of Salt Lake and Berry are now working their way into
my new novel.</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>N.B.
At Berry, it was a pleasure to visit the Moon Gallery with tintypes by Robert Turney. And, if you ever happen to be in Utah, don’t miss the King’s English Bookstore. It
looks like a small welcoming house from the outside, and, when you get in, it
opens like a chamber of echoes: a room and another, and yet another. It
was uncanny to lock eyes with Joseph Brodsky and learn that the photograph was a trace of his reading there. An excerpt from <i>Stela</i> I had chosen to read that night included an appropriation from his <i>Watermark</i>!</span><br />
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<tr><td class="tr-caption" style="text-align: center;">With Michael Mejia</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">With Sandra Meek, Berry College</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Berry College, Rome, Georgia</td></tr>
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A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-41134219500682524052015-09-23T22:10:00.000+02:002016-10-02T21:54:43.308+02:00<div style="color: #7f6000;">
<b>ART EVENTS</b></div>
Fragments of <i>Stela</i> in association to artwork by Marsha McDonald and Daniel Cristofovici, as well as the book trailer have been included in the 3rd edition of The Venice Vending Machine, an installation featuring international artists, curated by Marina Moreno, Serra dei Giardini, Venezia, September 22-October 4, 2015.<br />
<b><span style="color: #4c1130;">Exibition Catalogue</span></b><br />
<b><span style="color: #4c1130;"> </span><a href="http://www.venicevendingmachine3.com/">http://www.venicevendingmachine3.com/ </a></b>A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-23340230622415873712015-03-20T16:46:00.003+01:002016-10-02T22:07:04.934+02:00<br />
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: small;"><b>Book trailer</b></span></div>
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<b><a href="http://www.youtube.com/watch?v=5PC0w_cNQds">"Stela" by Anca Cristofovici - Trailer</a></b></div>
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<b><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;"><a class="P66RVY-F-i" href="https://www.blogger.com/blogger.g?blogID=842154409897907566#editor/target=post;postID=4439547707273723657;onPublishedMenu=posts;onClosedMenu=posts;postNum=0;src=postname" style="border-width: 0px; display: inline-block; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px 10px 0px 0px; max-width: 100%; overflow: hidden; padding: 0px; text-decoration: none; text-overflow: ellipsis; vertical-align: baseline; white-space: nowrap; width: auto;">http://www.youtube.com/watch?v=5PC0w_cNQds</a></span></b></div>
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: x-small;">With original film beads by Marsha McDonald. Produced by Tyler Marino.<b><br /><span style="font-size: small;"><span style="color: #7f6000;">Cover art</span> </span></b>: <span style="font-size: xx-small;">Marsha McDonald, "Lampmoons", photographic collage, 2013.</span> </span></div>
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: 15px; line-height: 18px;">Marsha
McDonald is an accomplished multi-media artist whose photographic
composition wonderfully captures the image and thought patterns of the
novel.</span></div>
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A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-69739854577969827982015-02-27T19:38:00.000+01:002019-02-23T18:42:45.130+01:00<div style="text-align: justify;">
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<span class="Apple-style-span" style="background-color: white; font-family: "verdana" , sans-serif; font-size: large;"><b><span style="color: #7f6000;">About the author</span></b></span><br />
<span class="Apple-style-span" style="background-color: white; font-family: "verdana" , sans-serif;"><b>Anca Cristofovici </b>is a trilingual European writer, born in Romania and currently living in France, where she is a professor of American literature and art. She has also studied and taught in the United States. </span></div>
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<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">Representative of her multicultural experience, her publication background includes </span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">essays, translations, </span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">fiction, and poetry, published in English, French, and Romanian, in Europe and the United States. She is the author of <i>John Hawkes. L'enfant & le cannibale</i> (Paris: Belin, 1997), a book of essays on photography, <i>Touching Surfaces</i> (N.Y./Amsterdam, Rodopi, 2009), and co-editor of <i>The Art of Collaboration. Artists, Poets, Books </i>(Victoria, TX: Cuneiform, 2015). Her poetry translations include Ana Blandiana, <i>The Hour of Sand </i>(London: Anvil, 1989;1990, currently with Carcanet.)</span></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><br /></span><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">Cristofovici's fiction in English has appeared in American literary journals and online internatinal artists' platforms, and s<span id="goog_1373879533"></span><span id="goog_1373879534"></span><a href="https://www.blogger.com/"></a></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">he has been invited to read at venues in the Unites States and Europe, including Woodland Pattern Book Center, Milwaukee; </span></span><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">the English Cambridge Seminar and Poetry International at Royal Festival Hall, London; </span></span><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">and WICE, Paris.</span></span><br />
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<span class="Apple-style-span" style="background-color: white;"><span style="font-family: "verdana" , sans-serif;">Among her honors are grants from the Rockefeller Foundation, the Terra Foundation for American Art, Université Paris-Sorbonne, and The British Academy, and writers' residencies at Villa Mont Noir, France and at The Rowohlt Foundation, Château de Lavigny, Switzerland.</span></span></div>
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A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0tag:blogger.com,1999:blog-842154409897907566.post-42511081615362037072015-02-06T21:05:00.000+01:002019-03-14T23:56:10.896+01:00<div style="text-align: justify;">
<span class="Apple-style-span" style="background-color: white; font-family: "verdana" , sans-serif; font-size: large;"><b><span style="color: #7f6000;">About the novel</span></b></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span style="font-size: large;"> </span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">A <span style="font-family: "verdana" , sans-serif;">woman has been de<span style="font-family: "verdana" , sans-serif;">c<span style="font-family: "verdana" , sans-serif;">lare<span style="font-family: "verdana" , sans-serif;">d</span> dead<span style="font-family: "verdana" , sans-serif;"> following a car acc<span style="font-family: "verdana" , sans-serif;">ident</span>. In a climate of doubt, her teenage daughter suspects other possibilities. As she <span style="font-family: "verdana" , sans-serif;">persists in <span style="font-family: "verdana" , sans-serif;">untangling </span></span></span></span></span></span></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">a web of whispers and r<span style="font-family: "verdana" , sans-serif;">umors </span></span></span></span></span></span></span></span>about her mo<span style="font-family: "verdana" , sans-serif;">ther's myster</span>ious disappearance<span style="font-family: "verdana" , sans-serif;">,</span><span style="font-family: "verdana" , sans-serif;"> <span style="font-family: "verdana" , sans-serif;">Cora<span style="font-family: "verdana" , sans-serif;"> — </span>a <span style="font-family: "verdana" , sans-serif;">young creative dancer<span style="font-family: "verdana" , sans-serif;"> —</span></span> makes her way out from<span style="font-family: "verdana" , sans-serif;"> <span style="font-family: "verdana" , sans-serif;">the perimeter of fear and <span style="font-family: "verdana" , sans-serif;">step by step takes <span style="font-family: "verdana" , sans-serif;">off layers of trauma.<span style="font-family: "verdana" , sans-serif;"> </span></span></span></span></span></span></span></span></span></span></span></span></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"> </span></span></span> </span><br />
<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">Unsparingly precise about life under oppressive circumstances, the novel explores</span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"> </span>the strategies of survival in a world of vanishing presences.<span style="font-family: "verdana" , sans-serif;"> </span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">I</span>ntensly poetic<span style="font-family: "verdana" , sans-serif;"> </span></span></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">with a startling touch of humor<span style="font-family: "verdana" , sans-serif;">, it <span style="font-family: "verdana" , sans-serif;">mitigates <span style="font-family: "verdana" , sans-serif;">loss</span> <span style="font-family: "verdana" , sans-serif;">t<span style="font-family: "verdana" , sans-serif;">hrough the transformative powers of ar<span style="font-family: "verdana" , sans-serif;">t: found f<span style="font-family: "verdana" , sans-serif;">ootage, <span style="font-family: "verdana" , sans-serif;">a video piece re<span style="font-family: "verdana" , sans-serif;">m<span style="font-family: "verdana" , sans-serif;">ins<span style="font-family: "verdana" , sans-serif;">cent of Bill Viola<span style="font-family: "verdana" , sans-serif;">, <span style="font-family: "verdana" , sans-serif;">bo<span style="font-family: "verdana" , sans-serif;">dy work</span></span><span style="font-family: "verdana" , sans-serif;"> evocative of Merce Cunnigh<span style="font-family: "verdana" , sans-serif;">am's <span style="font-family: "verdana" , sans-serif;">quest</span> of f<span style="font-family: "verdana" , sans-serif;">orm into chaos.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><i>Stela </i>is a novel of uncanny suspense about loss and the forms it takes to carry life farther. </span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">The novel</span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"> is forthcoming from Ninebark Press in April 2015 and will be launched at AWP in Minneapolis.</span><br />
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="font-family: "verdana";"><a href="http://www.ninebarkpress.org/">http://www.ninebarkpress.org/</a></span></span></div>
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<br />A n c a C r i s t o f o v i c ihttp://www.blogger.com/profile/09806823793818158299noreply@blogger.com0