Meet Your New Managing Editors for 2020-2021

Sara Devoe (left) and Rebecca Williamson (right)

 

Meet your new Managing Editors of Gandy Dancer, Sara Devoe and Rebecca Williamson! They look forward to reading your submissions. Our deadline is October 8th!

Due to the COVID-19 pandemic, this is the first time the Editing and Production class (the class in which we create Gandy Dancer at SUNY Geneseo) will be all online. Although our means of production will be different, we’re sure we’ll still receive the same high quality of work we usually do. 

Here’s a short interview we conducted so you can learn more about us.

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Welcome to the virtual launch party for Gandy Dancer, 8.2!!!

At the end of most semesters, you can find us celebrating the launch of Gandy Dancer in the College Union at Geneseo. We have food and drink. Guests can hear contributors read their work in person, purchase the new issue or a Gandy Dancer T-shirt, coffee mug, or baseball hat. Sometimes we have live music or a raffle, but we always have fun.

This semester, we’re all spread out across the state, hunkered down at home, but we still want to celebrate the new issue, the hard work of putting it together—especially after we went to remote learning—the artists and writers from across SUNY who entrusted us with their work. You can view it below, on our YouTube channel, or with the current issue.

As always, you can purchase an issue here or view it online at gandydancer.org.

We hope you’ll enjoy the work you see and hear.

Many thanks to Allison Brown, Michele Feeley, Dr. Rob Doggett, and the Parry family. Thanks also to the contributors for sharing their work and to the creative writing and art instructors in whose classrooms this work was encouraged to bloom.

Enjoy!

All best,

The Gandy Dancer staff

 

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A Foot in Each Camp: What It’s Like to Work on Two Literary Journals at Once

Posted by Lara Mangino, CNF reader for 8.2
Along with being a creative nonfiction reader for Gandy Dancer, I also serve as the editor-in-chief for MiNT Magazine, another Geneseo literary journal, and getting to work on both simultaneously has given me a unique viewpoint. Coming to Gandy Dancer with a background in editing has allowed me to offer my perspective on a number of issues; for example, I recall a discussion in class on themed issues. Because MiNT utilizes themes—Roots, Ashes, and Tides have been our most recent—I prefer them and was able to elaborate on their advantages and disadvantages. I bought up how we often feel pressured to choose submissions that fit the theme, although we never require contributors to adhere to it. However, having themed issues also allows us to tell a kind of story with our magazine. In Ashes, we organized the pieces according to tone and told a story of life, death, and rebirth. Thus, my background in MiNT informed how I approached Gandy.

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Reads Like Fanfiction – My Least Favorite Criticism

Posted by Laura Gikas, Fiction Reader for 8.2

We’ve all heard it before; some of us have even been at the receiving end (I certainly have). It’s a devastating blow—the getting-socked-by-a-300-pound-body-builder equivalent of literary criticism, and frankly, its usage needs to stop. I’m not even saying this because of its major assault to my self-confidence. I’m saying this because it’s just not good criticism.

First, I’ll admit that I occasionally read fanfiction and just as occasionally will write it myself, and with my limited experience in the genre, I can confidently say that fanfiction is as diverse as the types of gummies in the world—some of them are pure art, some of them are just crap, and most of them are somewhere in between. Of course, we already know when the good ol’ “like fanfiction” destroyer comes out, it’s never meant to imply anything good. It’s safe to assume if anyone says your writing reads like fanfiction they aren’t calling it the Haribo Fizzy Colas of literature or pure art. Nah, maybe the generic Sugarless Gummy Bears of literature (although you’d better hope it’s not that bad).

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Our Land? The Cultural Appropriation of “American Dirt”

Posted by Troy Seefried, Fiction Editor for 8.2

If you’ve heard about American Dirt, then you’ve heard about the controversy surrounding the story. Jeanine Cummins is a white-identified author who tells the story of a Mexican woman who escapes Mexico and attempts to immigrate to the United States for the safety of her family. While an emotionally compelling book, many are arguing that she doesn’t have the cultural license to tell this story.

The conversation taking place in today’s literary world is based around the question: Can we write outside of ourselves? Considering the story itself, a first-person narrative of a Mexican woman fleeing her home country, some, including myself (a member of the Mexican-American community), will say that this is a story reserved for the LatinX or Mexican literary community. Not to say it can only be told for them, but it should be written by them. In my opinion, this is absolutely a story that should be shared with the masses. It’s especially important to learn about the lives of undocumented immigrants at this time . It’s important that we learn about them, hear from them, and then as a society strive to better the system and find a solution. But is Jeanine Cummins, a white-identified author allowed to tell this story?

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Inspiration from SUNY Geneseo Alumna, Erin Kae

Posted by Lyndsay Tudman, Poetry Editor for 8.2

In early March of 2020, SUNY Geneseo alumna Erin Kae visited to hold the school’s first literary forum of the semester. There, she read Grasp This Salt, her chapbook that explores the story of Susan Smith, the woman who drowned her two young sons in 1995. During the literary forum, Kae discussed her inspiration for the chapbook. The event happened when Kae was only a few years old, which has allowed her to take an unbiased approach as she learned more about Susan Smith, the horrific event, and the incessant news coverage which followed.

As a current Geneseo student, I found it really interesting to hear Kae speak not only about her experience in writing a chapbook, but also about her life as a Geneseo student. When Kae had visited my poetry workshop the morning before the literary forum, she talked to us students about how some of her published poems started in classes like ours. As a creative writing major at SUNY Geneseo, it was really inspiring to see a published author talk about the same classes we were in and the professors we study under who helped her get to where she is now.

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Writing Outside Your Genre

Posted by Jamie Henshaw, CNF Reader for 8.2

Fiction is my jam. There’s usually a story, character, or idea occupying the synapses of my brain like the roots of a blossoming flower. Or a sturdy tree. …and sometimes an errant weed, to be honest. While this might make it sound like I have ideas just pouring out of me – and that’s often true – a lot of it is rubbish.

To add another metaphor to this discussion, I’ve learned that you have to be good at gold panning to be a good writer. You have to sift through a lot of rock to find the little nuggets of gold. You have to remember that gold is just a valuable kind of rock. You have to understand that good writing takes time and effort; the best writing requires exponential levels of time and effort. In fact, Malcolm Gladwell, Canadian author and journalist, says in Outliers: The Story of Success that it takes 10,000 hours of deliberate practice to be an expert. Let’s see… that’s 416 days of really, really trying.

That’s not something I’ve achieved, personally.

Not even close.

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Good Can Come From Bad: A Review and Comparison of “The Goldfinch” Book and Film

Posted by Hemingway Lovullo, Fiction Reader for 8.2

After polarizing box office reviews, with critics and regular moviegoers alike ranking the movie everything from one to five stars, The Goldfinch film seems to require a certain kind of taste to enjoy it. And indeed, the book it was based on is not for the faint of heart either.As an avid reader and moviegoer, my expectations for this story were very high. So imagine my surprise when I found myself, for once, liking the movie better than the book! It’s true, I devoured the book, in love with the writing and the characters–from bitter, pessimistic Theodore Decker to his alcoholic Russian friend (and lover?) Boris Pavlikovsky. However, I was unfortunately blindsided by an ending that seemed to betray everything I had felt for the characters in the novel.

(Spoilers ahead!)

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Saving and Losing Work in the Digital Age

Posted by David Beyea, Fiction Reader for 8.2


Your hard drive is fried, your work is gone.

You’re unsure what happened. You had Netflix open while intermittently slapping away at your keyboard, slowly plugging away at your most recent assignment; suddenly, you’re met with that terrifying blue screen of death with a HTTP status code that is reminiscent of the black speech uttered by Sauron’s minions:

ERROR CODE 0xce00%00225

You panic. When was the last time you backed up your hard drive? When was the last time you even considered that that was an issue? Your life is busy enough as is; it isn’t fair. What gives your computer the right to just fail like this on you?

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The Art of the Experience: Considering Daniel Fleischman’s “Metropolis”

 

Posted by David Beyea, CNF Reader for 8.1

It seems odd to refer to a piece as being a clear love letter to the art of literary form. Isn’t that just a pompous way of saying that it is well-written? Perhaps not. In this issue of Gandy Dancer, Daniel Fleischman’s nonfiction short story “Metropolis” details the experiences of the author as he grew to accept life in New York City.

Certainly others have written of the city before, but there is a magnetism and finesse to Fleischman’s craft that elevates it from mere travelogue erotica. His pen is cast across the page with an unabashed exuberance; he frequently dips into descriptive prose and ruminates on not just the situations he finds himself in, but on the nature of civilization’s anthills. What does a city mean? It’s not really a question I ever considered, nor one that Fleischman explicitly answers. Unlike many authors describing a location, he does not attempt to solve the city, to have each element of it associated with some strong conclusion on the nature of life. Instead, he paints it. Continue reading

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