Category Archives: Interviews

The Universe Doesn’t Know You Exist : An Interview with Meghan O’Neil Pennie of Super Unison, ex-Punch

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Super Unison, photo by Matthew Kadi

There’s this tree growing behind my apartment that took me five years to really notice. It’s huge. Twenty feet taller than our three-story building, with dense leaves, a squirrel’s nest, and a rotating cast of birds. I don’t understand why I took it for granted for so long. Maybe I needed to live in New York City for a few years before I realized how special it was to have an epic, dynamic, vital being growing in your backyard. Anyway, Meghan O’Neil Pennie, the lead singer and bassist of Super Unison, and former lead singer of PUNCH, is like that for me too. Meghan was the big sister of the drummer in my high school punk band. She was always lurking when we practiced in his parent’s living room. In college she was my best friend’s roommate, so we would often cook dinner together and hang. She felt like a family member who had always been around and always would be. So when she started singing for PUNCH, I hardly noticed. I feel stupid about that now. Her vocals on  the five(!) PUNCH records released by 625, Deathwish, Discos Huelgas, are so fucking ferocious and unrelenting it hurts my throat and heart to listen. Meghan also has this incredibly powerful stage presence. I’m watching old  YOUTUBE videos and found one of her performing at a festival in the Czech Republic and she’s leaping about stage with one broken foot while people stagedive around her. Meghan derived the title of PUNCH’s last record, “They Don’t Have to Believe” from the Kathleen Hanna documentary, The Punk Singer, in which Hanna says “she doesn’t expect everyone to understand or believe in feminism or her personal battle with illness, but they should have to stay out of her way.” Meghan’s work in her new band, Super Unison, continues in this lineage. Her vocals are upfront and unapologetic, slightly more melodic than before, a little less thrash and a little more riot grrrl. Here, Meghan and I talk about her new band, her lyrics, and how she became the musician she is today. Continue reading

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Chronology Doesn’t Always Feel Good: An Interview with Eileen Myles

Photo by: Annabel Graham

Photo by: Annabel Graham

On November 10, 2013, I interviewed Eileen Myles over the phone. Our discussion was focused on her two-books-published-as-one, Snowflake and different streets. Now that Eileen has recently released two books on the same date—it seemed fitting to finally release this interview into the world. Here is Part 1 of 2 of my interview with Eileen Myles.

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Cathy de la Cruz: These questions are all about Snowflake and different streets.

Eileen Myles: I love this new twist in our relationship.

CD: I know… it’s so weird, but it’s kind of hilarious. In my mind, you are this book right now and you’re not my friend, Eileen. I mean that in the best way possible.

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Past the Unreliable :: An Interview with Selah Saterstrom

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Slab (small title continued: “On That Hallelujah Day When Tiger & Preacher Meet”) is one of those novels that hits you fast and hard, that you finish in one sitting, gulping down like an ice-cold glass of water, yet fail to be able to fully recall or explain the experience even moments after it ends. What’s for sure is this: the story of Slab centers around Tiger, a woman named for the color of her hair, a dancer, a dreamer, a girl fully rooted in the post-Katrina South, who may or may not be narrating the entirety of her story to Miss Barbara Walters. It’s little use trying to quickly describe Slab or its character Tiger, who is, after all, only as complex and fascinating as the author of the beast, Selah Saterstrom. In our brief interview, Saterstrom explores religion and its possible “anti-heroes,” Southern roots (and holds), even the heroisms of Nancy Drew. If you enjoy even a piece of this interview, go, fast, and pick up Saterstrom’s Slab (and all her other works).

Kati Heng: The setting of Mississippi seems to hold such a prominence in the story of Slab. Could this story have taken place anywhere else? What would it have looked like elsewhere?

Selah Saterstorm: The de-categorizing hand of the disaster doesn’t mind manners or borders. In this sense, the story could have taken place anywhere. Capitalism and politics, however, are sickly-bloated with border-fetish. In this sense, the disaster that was FEMA very much locates the story in Mississippi and Louisiana.

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Character Comes First: An Interview with Anna North

author Anna North

author Anna North

There’s no way to talk about author Anna North’s latest novel, The Life and Death of Sophie Stark, without centering the conversation around its title character. Told throughout the viewpoints of the people in Sophie’s life (who often become the main characters in the films the young director Sophie creates), the woman’s life is revealed piece by piece, from insight into her bullied childhood as witnessed by her brother, to early success as a filmmaker as seen by her lover Allison, to frustrations and struggles with relationships as disclosed to us by her husband. An awkward yet elegant and oddly alluring woman, Sophie’s relationship with art, and her much heavier flawed relationships with those around her, make for a melancholic tale of the search for perfection and the costs it may take to get there. Continue reading

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A Poet’s Shop: An Interview with Cat Tyc

Cat Tyc

Cat Tyc is an artist, writer and filmmaker based in Brooklyn, NY. Her videos have screened all over the world. She is a published poet and fiction writer and is currently a Writing and Activism MFA candidate at Pratt Institute. Lately, she has been organizing clothing swaps as part of a project called CONSUME(S) ME that explores ethical consumption through fashion. Tyc’s latest swap is happening tonight in NYC (see details at the end of this post), and it seems to combine all of her artistic practices. Last weekend, I had the chance to ask Cat about the interdisciplinary work she has been doing and why it is taking the form of a shop.

Cathy de la Cruz: I notice the press release for this week’s event describes you as an artist and writer. Do you see the two as separate? How does this event aim to connect them?

Cat Tyc: Do I see the role of being an artist and writer separate? Sometimes. But not all the time. I am identifying as a writer first mostly these days because that is my primary creative act in this moment in time. The last few years I have been focusing on filmmaking but after a while I found myself wanting to differentiate from the conversations I found myself in. If I called myself a filmmaker, the conversation would always devolve towards film festivals, camera models, distribution models, financing…. All of that felt really disconnected from some of the things I feel most passionate about in filmmaking and making art in general which are story, character development, and directing. After being frustrated in this way one too many times, I remembered that all of those aspects I loved stemmed from writing and I realized it might be a lot easier to get back to my favorite parts of filmmaking if I just stopped and said, ‘Hey, I’m a writer.’ I think creative identity, like most identifying quantities, is for the individual and the individual alone to decide. It also feels important to mention too that in honing my focus back on writing…it helped me reconnect to the literary, or to be more specific, radical poetics, which are at the foundation of my education and have been my primary creative community for most of my life. Several of the participants in the POET TRANSMIT are people I have known for several years, including Steve Dalachinsky and Yuko Otomo who I have known since I was a teenager and often call my ‘poet parents’. I am also really interested in modality and how image and language transform across platforms. I am thinking a lot about the story and the narrative impetus and what that means in this current moment as a contemporary story teller. This interest in renegotiating notions of form are where the ‘artist’ sensibilities come in to play. Both sensibilities move towards the clothing swaps as a way to present my research practice. The swaps have evolved to be more performative, which wasn’t my original intention but now I am learning to embrace that aspect. By re-enacting this ‘retail’ space, we are pushing that further than any other time I have put on a swap. But at the end of the day, this is primarily a presentation of the sustainability, clothing, and consumption investigation I have been doing for a poetic project for several years. Some iterations of these writings for the project will be at the core of the swap, acting as the ‘soundtrack’ of the space, replacing the role of how music drives the consumptive moment in real retail space. Performing them will be the ‘currency’ for participation.

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Density and Chocolate: An Interview with Laurie Foos

Laurie Foos’ latest novel, The Blue Girl (Coffee House Press), is a story centered around secrets, most notably, that of the Blue Girl herself. A mysterious child living near the waters of a small lake town, the Blue Girl—whose skin is truly a cerulean shade for reasons unknown to both readers and the novel’s other characters—is a fascination for the teens of the town and a confidant for their mothers. Told from the perspective of several of these mothers and daughters, the stories of the Blue Girl and the women themselves, of all their secrets and tragedies, are slowly revealed throughout the semi-magical narrative.

I got the chance to ask Foos more about this Blue Girl, the power of secrets, and the fears she has about her own daughter entering her teenage years:

Author Laurie Foos

Author Laurie Foos

Kati Heng: Probably the question everyone asks yet you don’t want to answer—do you have a reason in your mind for what caused the Blue Girl to turn blue?  Continue reading

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Grassroots & Glitter: An Interview with Tinkypuss’s Prosper Hedges

Tinkypuss has become a little flag I notice around Athens, Georgia: when I see someone wearing theirs I give a silent nod of acknowledgement. I see you, feminists! Founded this year by local jill-of-all-trades Prosper Hedges, Tinkypuss is “a for-profit feminist fashion house partnering with nonprofit women’s organizations.” This past spring, for the launch of the line, Hedges partnered Tinkypuss with the Georgia Reproductive Justice Access Network, a grassroots organization that “promotes and support reproductive justice in the Southeastern United States,” doing everything from helping women get to their closest clinic (sometimes 12 hours away) to assisting with the costs of abortion.

For this summer’s new line, “Transparency,” Tinkypuss has partnered with Atlanta’s Feminist Women’s Health Center and their Trans Health Initiative. I interviewed Prosper about Tinkypuss, its accompanying zine, fashion, activism, feminism in the South and more.

Hedges in Summer '15 Tinkypuss (Photo by Avery's Lightwork Photography)

Hedges in Summer ’15 Tinkypuss (Photo by Avery’s Lightwork Photography)

Gina Abelkop: How did Tinkypuss get its start? Did you know from the beginning that you wanted to partner with feminist non-profits? What were your first partners, and how/why did you choose them?

Prosper Hedges: It started as an attempt to reconcile the gendered marketing that infiltrated my childhood with feminism. Continue reading

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Not Just Words on a To-Do List : An Interview with Cyn Vargas

The stories in On the Way, the new collection from Chicago author Cyn Vargas, come from a place of pain. Broken marriages, broken homes, lost mothers and distant fathers swirl in and out of the stories, told through a variety of narrators (though most often, those narrators are girls between the ages of nine and thirteen). Throughout the pain and failed relationships, Vargas creates a picture of something deeper than love: a loyalty, a responsibility, and a connection that outlasts the fun times.

I talked to Vargas about the stigmas of writing fiction close to your own story, the draw of a pre-teen perspective, and how often, love isn’t everything.

Author Cyn Vargas

Author Cyn Vargas

Kati Heng: I’m curious about your connection to Guatemala. You mention it in a number of stories, set some there. Have you been? Do you have family there?

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FUNNY FEMINISM #6: Tenured Track Comedian – An Interview with Liz Glazer

A monthly column, Funny Feminism features conversations with feminist-identifying artists who use humor in their creative work.

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Last year, when I moved to New York, a mutual friend of Liz Glazer and I told us that we had to meet. This mutual friend said that Liz was a lawyer and law professor who was about to walk away from a tenured position to focus full-time on standup comedy. The first time I met Liz several months ago, she invited me to check out a weekly night she was co-hosting with her good friend and comedic partner, Rhett Sever. Their night, Say Everything, stood out from traditional standup shows because audience members are actually encouraged to speak up and interrupt the comedian on stage with questions. These questions can throw off a comic with prepared material and these performances become intimate one-of-a-kind detours that often lead to either catharsis or collision. Whatever the outcome, it’s clear that Liz and Rhett are doing something really special and important, as some of the conversations I’ve had with strangers at Say Everything are not ones I’d likely have at any other comedy night and I thank them for that. Needless to say, I jumped at the chance to talk to Liz about her own creative practice immediately after she dragged me to my first and only SoulCycle class. After class, I was drenched in sweat, while Liz, the SoulCycle regular, was glowing. That Liz got me to bust my ass to techno music on a Sunday morning is proof of the sort of energetic draw she has. It’s no wonder she gets people to spill their guts on stage every week. Below are excerpts from our drenched discussion.

Photo by: Elizabeth Rogers

Photo by: Elizabeth Rogers

Cathy de la Cruz: Can you talk about your journey into comedy? I’m curious about how you went from being a lawyer and a law professor to a comedian.

Liz Glazer: In 2009, I moved to Chicago for the semester because I needed to move away from New York. I was being very self-destructive here. I was in a relationship that wasn’t working. I was doing drugs more than I wanted to be doing drugs. I felt like I maybe could have gone on, but I remember when I got the phone call from Loyola University Chicago, I was like, ‘I’m ready. Just take me somewhere.’ I was really depressed. I went to Chicago for that semester and I started doing improv because I needed to do something unrelated to my job. I took an improv class at IO, which was formerly called Improv Olympic, and became very affected by it. I thought I was terrible at it, but I was just really afraid and I noticed that I was really afraid. Improv forced me into this zone of discomfort, of being vulnerable and being myself and not caring what people were thinking of me when they looked at me, and I had not ever really been exposed to that.

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You Must Follow Your Own Trajectory: An Interview with Lucy K. Shaw

The-Motion-by-Lucy-K-Shaw

Despite all the ‘it’s not what you write, it’s how you write it’ clichés flying around, sometimes I still have a teenage belief that I need to be living some kind of physical extreme to be a good writer. I should be doing more drugs, having dramatic love affairs, traveling to the ends of the world, and generally making every day such an aggressive pursuit of experiences that I am always close to death. Then I read Lucy K. Shaw’s writing and feel very silly. She can make a story about a simple trip to the park or museum completely compelling to read. In her debut book The Motion (421 Atlanta), it is moments of solitude, disappointing social interactions, or simply living as a woman with fierce artistic ambition, that truly makes a—to borrow a phrase of Shaw’s—sensational lifestyle.

The book ends with a list called “Incomplete List of People I Would Want to Blurb My Chapbook.” The people range from the very famous (Beyoncé, Fiona Apple), to the dead (Louise Bourgeois, Amy Winehouse), to great writers who actually did end up blurbing The Motion (Chloe Caldwell, Wendy C. Ortiz). In lieu of a traditional interview, I thought it would be fun to ask Lucy questions about the people on that list, essentially having her blurb the people she wanted to blurb her book. The list is almost completely all women, so we get to be two feminist creatives talking about (as well as exchanging links/images/quotes of) other female artists, which is pretty much one of my favorite things to do. It happened through a shared Google doc. Continue reading

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