Monthly Archives: April 2016

by | April 29, 2016 · 10:41 am

Gandy Dancer 4.2 Preview!!

Posted by Emily Peterson, Poetry reader for issue 4.2

Here's a sneak peek at our cover for issue 4.2! Artwork by Lei Pen Gan

Here’s a sneak peek at our cover for issue 4.2!
Artwork by Lei Pen Gan

As the cruel month of April comes to a close and the beginning of May is within sight, Gandy Dancer issue 4.2 is nearly ready for launch. With contributions from students across ten different SUNY schools, issue 4.2 delivers a wide range of poetry, fiction, creative nonfiction, and art that encapsulates SUNY’s literary skill. The Gandy Dancer staff has worked all semester long to curate a magazine that celebrates diverse voices and unique creative expression.

We are proud to publish six different works of fiction in this issue of Gandy Dancer including Sarah Hopkins’ haunting piece, “Frontierland,” which is a story set on a bleak and dusty oil well that captivates the reader with its strong sense of place. We are also pleased to publish Abigail Allen’s “Love is Lemons,” a quiet story that highlights the subtleties and frustrations of young love. Issue 4.2’s poetry selection offers poems from eighteen different authors. These poems range dramatically in theme, tone, and structure. Michal Zweig’s “Happy//Over” commands the reader’s attention with its shifting typeface, strikethroughs, and a spliced in quote from a US Supreme Court justice. Jay’s two poems, “Winning the Lottery, 1969” and “Cannon Fodder” employ an economy of language which is concise yet powerful. Christine Davis’ deeply personal essay “Onliness” explores the complexity of family dynamics and the role of only children. “What Are You Laughing At?” by Brendan Mahoney is a humorous work of nonfiction that delivers poignant commentary on modern day comedic discourse. The Gandy Dancer staff is proud to publish original artwork in a variety of mediums—peppering photography, painting, collage, and even sculpture throughout the magazine. Issue 4.2’s Featured Artist is Lei Peng Gan whose three paintings “Untitled No. 17,” “Muar: Jalan Meriam No.2,” and “Intersection No. 5” feature rich colors and distinct lines.

We hope you join us for the official release of Gandy Dancer issue 4.2 at the launch party on Wednesday, May 11 at 9:00 AM in the College Union Hunt Room.

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by | April 27, 2016 · 10:55 am

What Makes a Good Writer?

Posted by Megan Tomaszewski, CNF reader for issue 4.2

myemotions_troyWho is a writer? According to Dictionary.com, a writer is “a person engaged in writing books, articles, stories etc., especially as an occupation or profession.” Merriam Webster Dictionary notes that a writer is “someone who has written something.” But are there any definitions out there for what makes a writer a good writer?

Working at Gandy Dancer this semester as a creative nonfiction reader has prompted me to reflect on the answer to this question a lot, especially when reading through submissions to accept or reject. While discussing submissions with my peers, I was captivated by the way our group would sometimes unanimously “no” a piece, whereas, other times, we would debate pros and cons back and forth. Sometimes, we’d all like or dislike a piece for similar reasons, sometimes for completely different ones.

It was a fascinating, engaging, and messy process unlike anything else that I’ve been a part of—a group of individuals with their own subjective tastes and backgrounds collectively deeming literary pieces as worthy of publishing is no easy feat.

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by | April 22, 2016 · 10:32 am

A Staff Member’s Perspective on their Experience in Creating SUNY Geneseo’s Original Literary Magazine, Gandy Dancer

Posted by Connor Hillman, Fiction Reader for issue 4.2

library_infiniteAs an English major, I’ve been wondering when I would get to make practical use of the skills I’ve been learning. Sure enough, along came ENGL426: The Editing and Production workshop, the class in which we create the college’s biannual literary journal, Gandy Dancer. Our title comes from the slang term used for railroad workers of the 18th century. Like those workers, the journal reflects the diligence of the artists, poets, and writers who refine their work to create something that allows others passage.

I was excited to learn that we would be reading and selecting the work we wanted to include in Gandy Dancer. Finally, I can read through literature for the sole purpose of discovering and discussing what makes it appealing or not. There are no lengthy research papers, though that doesn’t mean we don’t have to work hard. In fact, it’s a different kind of work altogether. In Gandy Dancer we work as a cohesive and interdependent staff. Not doing your “homework” here means letting everyone down. No one wants to be the one who shows up unable to provide any input about the submissions. I’m normally pretty quiet in class, but here I am required to vocalize my opinions frequently, which is a good thing. After submissions have been selected, we begin copyediting and then digitally constructing the layout of the journal in InDesign. Having worked with InDesign for my High School’s yearbook, I felt confident in this stage of development. The interdependence of our staff is now more prevalent as each of us work on individual pages of the journal that will eventually come together. To students contemplating taking this class, I urge you to do so. Working on Gandy Dancer gives an experience that is closer to actual job. You have to work and communicate effectively with others, maintain a goal oriented schedule with deadlines, and in the end your name is on the masthead. All in all, I’m grateful to be a part of this staff and to be able to participate in a project oriented class. It’s rewarding to dedicate yourself to something that is legitimate, published, and has your name on it.

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by | April 16, 2016 · 1:44 pm

Hip Hop Symposium 2016 and a Multimedia Glace at Hip Hop as Performance

Posted by Sean Delles, CNF reader for issue 4.2

“The revolution will not be televised… The revolution will be live”

-Gil Scott Heron

I don’t know about you all out there, but the art of performance has always struck me as being connected in some strange way to the literature we read. I think this correlation exists in my mind not because of something cut and dry that both the forms share (e.g. convention, narrative structure, whatever), but because of the eventual impact these forms have on one’s perception. I often find myself at the end of a great performance getting that same exact inward glow of profundity that one receives finishing a great book. Like suddenly the thin layer of snow plastered onto the side of your car window you couldn’t scrape off from earlier has flung off in-passage, and driving now you can see the glory of what’s in front of you in its entirety.

Perhaps it’s a stretch to compare the afterglow of a performance to driving visibility, but I can’t be the only one who has felt this feeling and marveled at it at some point or another. Here… try this if you think I’m exaggerating: Think to the last time you went to a performance- whether it was a play or a concert or music event- and recall that exact moment you stepped out of the venue. That’s when I’ve noticed the sensation is at its strongest. Feel the cool air of the evening brush against you (your lungs sigh in relief at the prospect of breathing in air that hasn’t already been breathed out by dozens of others); notice the muffled chatter of strangers around you (talking about what transpired inside no doubt); and scan the just-beginning-to-fill street in front of you. You’ll realize then that nothing really even looks like how it once did. That’s the feeling. However long you were in that building witnessing that particular performance, you became separated from yourself. Nothing (if the performance did what it was supposed to do) existed beyond the present moment of spectatorship, and in coming back down to reality your brain got tripped up in transition. Surroundings are new and profound and filled-to-the-brim with meaning, and what you soaked up indoors superimposes itself outdoors onto the very fabric of your personal being. I see this exact moment in time as the true power of performance, because without doing anything but buying a ticket, you alter your consciousness in significant ways.

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by | April 12, 2016 · 1:18 pm

The Joy and Trials of Sonja Livingston’s Queen of the Fall

Posted by Carrie Seche, CNF reader for issue 4.2

Sonja Livingston, author of Queen of the Fall

Sonja Livingston, author of Queen of the Fall

SUNY Geneseo had the pleasure of receiving Sonja Livingston on Monday, March 7, for a reading from her book of essays, Queen of the Fall. Livingston read “Mock Orange,” an essay she had never read to an audience before. While on campus, she also conducted a workshop and spoke with students in regards to their own writing. Livingston splits her time between Rochester and Tennessee as an assistant professor in the University of Memphis’ MFA program. Queen of the Fall is her second book.

Livingston’s book is so intriguing because she wrote each essay about a woman in her life that has personally inspired her, or has played a large role in her life, from Susan B. Anthony, to her writing professor Judith Kitchen, to the Land O’ Lakes butter woman. The essay she read, “Mock Orange,” targets the issue of fertility, focusing on her young niece’s teenage pregnancy and her own personal infertility. Livingston’s essay is brave, forcing the reader to reconsider our judgements, and biases specifically regarding teenage pregnancy.

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Livingston’s Queen of the Fall, published by Nebraska Press

By discussing her young niece’s pregnancy, and discussing the power that poverty had on her family history, she made a powerful point in her essay. It was even more interesting how Livingston then used her niece’s pregnancy as a point to branch off and discuss her own disappointments regarding her inability to have children. This was particularly interesting because she discussed how she helped raise her niece with her sister, so while her niece’s failure to rise above poverty was not surprising, it was still a jarring disappointment.

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by | April 11, 2016 · 2:00 pm

Interview with 4.1 Featured Artist Thomas John Magnus

Posted by Hunter McClimmans, CNF Reader for issue 4.2

"Untitled" by Thomas John Magnus, issue 4.1

“Untitled” by Thomas John Magnus, issue 4.1

After perusing Gandy Dancer 4.1, I was captivated by the work of the featured artist. These photos were thought provoking and, especially for “Untitled” featuring the GE sign, nostalgic. They made me want to get to know the photographer, Thomas John Magnus, a bit more. So I looked to his biography: a Geneseo junior, double major in biology and geography. However, the part reading “He got into photography at the end of this summer,” caught my eye. This summer. These are the first photos from a brand new photographer?! I was surprised and impressed all at once, and I needed to know more. So I asked, and this is what I received:

1. Gandy Dancer: How did you get started with photography?

    Thomas John Magnus: I guess I got started when I took an art history course as a sophomore here at Geneseo. After that, I investigated a bit into modern art history on my own and then did some reading about color theory, the rule of thirds, and watched a bunch of interviews with photographers whose work I really liked. The first time I really wanted to photograph something was when I looked down a slide at Highland Park.

2. GD: What about the slide caught your eye?

    TJM: At the time, I had no idea why it caught my eye. Looking back, I have three reasons. First, it is an interesting frame: although a slide obviously has dimension, these dimensions are entirely flattened within the photo and I probably found this effect strange back then. Second, the image is very reminiscent of the Pepsi logo, which probably had some nostalgic or sentimental value to me. For me, the person taking the photo, to have nostalgic feelings for an image of a children’s slide for reasons other than it being the usual object of children is also quite peculiar. Third, I really didn’t have any idea what could make a good picture back then aside from a cheap, slick visual trick and making my viewer confused for a second, and I knew the slide would accomplish those.

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by | April 3, 2016 · 12:00 pm

What We’re Reading: Deliberative Use of White Space and Form in Poetry

Posted by Caitlin O’Brien, Poetry Editor for issue 4.2

As the frenzied period of submissions review winds to a close, I find myself growing a little tired of white space. White space is almost invariably inescapable when putting together a literary magazine, and perhaps even more so when dealing with poetry, yet I’ve noticed a recurring aesthetic trend of white space in many of the submissions we read. From both a literary and an aesthetic standpoint, I can’t help but find this trend in poetry to oftentimes border on excessive. This is not coming from a staunch poetry elitist who refuses to read anything written after the 1800s—I love seeing poetry as a written art form interface with the visual, as well as with the spoken, and other modes of communication.

What gives me                           pause when I encounter a poem that makes ample use of white space is the intentionality behind its form. In the case of some submissions, the poets submitting to Gandy have made wonderful use of white space—we’ve received calligrams in clever shapes, as well as poems that can be read in multiple ways due to the way the words and stanzas are arranged. In the case of other submissions, though, the poetry team has often used the deliberative construction of the poem’s form as a strong measure of the poem’s overall purpose. Reading a poem aloud, the white space does not always inform the flow, so much as it makes the poem seem as though the poet was possessed of a hyperactive space bar. The most common aural effect of a form that relies on white space is a pause, yet these pauses do not create a rhythm that comes across as calculated. As one reader in the poetry section said, “if we have to guess whether or not the poet meant to do something, it’s not effective.” Similarly, the primary visual effect of non-traditional spacing is to set apart important words or allow the reader to focus in on a particular image or concept, rather than jamming the space bar an arbitrary number of times in order to make a poem look modern and minimalist.

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