The Interchange A Literary Journal: Vol. 1, No. 1, December 2012 In this Issue: Circles, a personal essay by Jane Contemplating Hemingwayâ€™s A Moveable Feast, an excerpt by Shanna Alley Dear Lady in the Red Coat, a poem by Christine e
Girl with the Pink Leopard Bag's new literary journal, The Interchange, is a monthly, fully online publication of selected works of fiction, nonfiction, and poetry. The aim is to provide a platform that will give women an opportunity to express themselves--their visions, hopes, triumphs, challenges, fears, dreams, and their infinite wisdom. The Interchange was named in reference to a railway interchange, a fitting metaphor to honor the impetus for my website. An interchange is a place where two or more railroads connect and can exchange traffic. Interchanges enable goods picked up on one railroad to be delivered on another without being reloaded. The Interchange provides a place where two or more women can connect and exchange ideas. The Interchange enables lessons learned by some to be shared with all.
Submission Guidelines In order to be published here, you don't have to have "perfect" writing or be "a writer." I do, however, need to establish standards for quality work. Submissions will be categorized in one of four tiers: 1) Accepted as is; 2) Accepted, conditional (needs revision); 3) Resubmit (meaning, resubmit the piece at a later date after reworking the piece); and 4) Thanks, but no thanks (it either just doesn't fit the overall theme here or it is similar to too many other submissions, etc.). I will consider original, previously unpublished nonfiction, fiction, and poetry for publication in The Interchange, Because the overarching theme of Girl with the Pink Leopard Bag is the empowerment of women, my preference is for pieces that honor women’s voices featuring topics such as education, transformation, new perspective, overcoming challenges, lessons learned, following your bliss, and the like. I favor personal writing, but I’m also looking for thoughtful, well-written essays, interviews, and poems on cultural and philosophical themes. I am a "one woman show," so I cannot assist with major revisions and editing. I will, however, offer advice for general changes for conditionally accepted works. Categories • Poetry: 50 lines or less per poem • Fiction: 2500 words or less • Nonfiction: 1600 words or less Selected manuscripts will be published once in online format, i.e., Girl with the Pink Leopard Bag will have onetime rights. All other rights revert to the author upon publication. Please do not submit previously published work. Authors do not receive compensation for published pieces, and works by the same author will be published no sooner than 8 weeks apart. Submissions should be typed, double-spaced, include a title, your name and email address and attached to an email as one of the following file types: .doc, .docx, .rtf, or .pdf. Email submissions to <email@example.com>. The Interchange will be published on approximately the 4th Saturday of each month beginning in December 2012. Thank you for your interest in publishing your work at Girl With the Pink Leopard Bag's The Interchange. With love, Christine
Circles A personal essay by Jane*
is full of circles. There’s the circle at the drive-thru at McDonald’s, which we
really shouldn’t visit so much, but find that we do to save time, not our bodies. And the circle of school year after school year in which I teach and forget the names of students but not their hearts and faces. An important circle for most everyone is the circle of paychecks. That circle is severely lacking for me. I remember a circle my grandmother used to ask me in a riddle. What’s round as an apple and thin as a knife? I never could figure it out, but the answer was the letter “O.” Speaking of my grandmother, the circle I’ve been learning about most over the past year is the circle of life. My grandmother died in 1984, and I miss her. But I have another “grandmother” whom I’ve adopted. Her name is Birte, and she’s from Denmark and she remembers when the Germans invaded Denmark in 1939 when she was just 19 years old. She has many stories to tell. The thing about the circle of life is that you start out cold and wet and then things get worse. Not really. I just heard that once and I liked it. Actually, things get much better because you learn to take care of yourself and work and make your way in this world. It may not be a famous way, but a way nonetheless. 3
What’s interesting about this circle is how well-rounded and well-formed it is. I mean, everything in your late life corresponds so well with your early life that you think it’s a cruel joke life has played on you. Like some demented game of hide and seek, only you can’t hide and you definitely don’t want anyone to find you. But really, how fast could you run with a walker or cane anyway? I was visiting Birte the other day and her neighbor who has had a severe stroke was eating pudding. Remember when you were two, how your mom fed you pudding, and it was so good? That’s because you were two. Eating pudding when you’re 80 isn’t quite the same because you want to eat steak, but sometimes your mouth won’t cooperate. When you were two, you ate pudding because you had no teeth; at 80, you might not have teeth either, but that still doesn’t make you want pudding. You still want steak simply because you’ve had it before, and you know it’s good. The scariest thing to me, though, is that when you’re a young teenager, like 11 or 12, you live in your parents’ house, and if you’re lucky, you have your own room. You live in that small room box for the first 18 years of your life, stuffing it full of your designer label clothes, school yearbooks, diaries, a ridiculous number of pairs of shoes, and decorating it in the most outrageous purple walls with hot pink curtains simply because Mom hates it. Don’t forget the beanbag chair of your favorite ball team and the useless Troll souvenirs from the state fair, not to mention all the pictures of your million friends and posters of your favorite heartthrobs that you paste on the wall. Then you grow up and move into your own house and graduate to many rooms that can reveal who you are. You fill them with furniture, clothes, bigger toys, a treadmill, and all that Barbie and Li’l Tikes stuff your little girl wanted, as well as the empty wine bottles that celebrate each anniversary. But at 86 you finally wear out and you need help just to get out of bed. You know what happens to all that furniture and those embroideries you made to hang on the wall? Your family either wants them and fights over them, or you give them away because you’re reduced to a one-bedroom apartment at the retirement village because they have 24-hour nurses who love you and try to take care of you. What goes into that one-bedroom apartment are the most important things you own. Maybe your nice automatic bed because you want to sleep comfortably, but do you think you get to keep your dresser or both night stands? *Jane’s real name withheld by request of the author.
Contemplating Hemingway’s A Moveable Feast A thesis excerpt by Shanna Alley
S ince its publication, Ernest Hemingway’s A Moveable Feast has generated a lot of critical conversation. A Moveable Feast was composed of twenty sketches written about his life in Paris, re-written from his notebooks of the years 1921-1926. Critic and translator Lewis Galantiere was one of Hemingway’s earliest Paris friends and describes A Moveable Feast as a “book of love, loathing and bitterness” (1). He also says that this is a book about the people Hemingway met and the choices he made among the many people he would have encountered during those five years he spent in Paris in the Twenties, such as F. Scott Fitzgerald, Gertrude Stein, and Ezra Pound. An exploration of the positive and negative 5
criticism about the book will show the type of man Hemingway was believed to be and the way the memoir was received after publication in 1964. The fact that the overall criticism was positive will prove that A Moveable Feast is not only infinitely superior to all Hemingway’s postwar books, but is considered to be his greatest work of nonfiction. … Who was the main influence and reason why Hemingway wrote A Moveable Feast? According to Galantiere, this book is seen as a “chant of love addressed to his first wife” (1). Hemingway dedicates the book to his first wife Hadley Richardson because he seems to feel guilty for the way he treated her during their marriage. Galantiere reports that Hemingway idealized his relations with Hadley in A Moveable Feast by showing his love for her “in his revelation of an adoring, undemanding nature, achieved through the extraordinary felicity and tenderness of the dialogue he lends Hadley—a true triumph of Hemingway’s art” (1). Jeffrey Meyers also describes A Moveable Feast as “Hemingway’s nostalgic memoir of his life in Paris during 1921-26—when he was in love with his wife and writing his most original work” (533). However, it was the discovery of two small trunks in November 1956 by Charles Ritz, the hotel’s chairman, in the basement of the Ritz Hotel in Paris that led him to write A Moveable Feast. Hemingway had left the trunks there in March 1928 when he had left for Key West. Inside the two trunks were clothes, newspaper clippings and old manuscripts. It was the discovery of those trunks that triggered his remembering about the past, which inspired him to write A Moveable Feast. … Hemingway had a particular way he wanted the book to be published and he wanted all of his accounts of everything in the book to reflect his writing style. Galantiere states that Hemingway arranged A Moveable Feast to “give unity,” which he does by pleading to his first wife Hadley, whom he had left 30 years earlier after having an affair with Pauline who became his second wife, but at the same time deliver “curses from the grave (as it turns out) the small handful of readers who will know at whom his finger points—‘the pilot fish’ who led him to ‘the rich’ and caused the corruption of his purity as artist and estrangement from his wife, and ‘another rich’ to whom he felt he owed a grim legacy” (26). Mudrick also agrees and writes that the book is in praise of Hadley and of what he lost when he “let her go, since losing her he gave up not only her love and his but his youth and his friends and Paris, everything that encouraged him to write the early stories and that he suppressed in order to emerge as the formidable and nerveless public figure” (Critical Heritage 508). Hemingway wants to apologize to Hadley for any “mis-representations or mistakes or for any errors. She is the heroine of the stories and I hope she understands. She deserves everything good in life including accurate reporting” (Restored Edition 232). Galantiere also believes that this book might appear as a fragmented book, but that it should be read as a novel and that it belongs amongst Hemingway’s better works. Galantiere says Hemingway’s “mere writing” in this book is vintage Hemingway (26). For critics and scholars, Hemingway’s legacy is considered to be more than a good “read.” His distinctive mark on American literature has provided “seemingly endless opportunities for critical exploration, investigation, and evisceration” (Larson 213). Hemingway’s final 6
chapter in A Moveable Feast is a perfect way to describe not only himself as a writer, but the overall meaning of the book. His final paragraph ends by saying “there is never any ending to Paris and the memory of each person who has lived in it differs from that of any other” (Hemingway 211). He and Hadley always returned to Paris, no matter who they were as individuals or how much the city had changed. Hemingway adds that Paris was “always worth it and you received return for whatever you brought to it. But this is how Paris was in the early days when we were very poor and very happy” (Hemingway 211). Works Cited: Galantiere, Lewis. “There is never any end to Paris.” New York Times (1923-Current file: BR1. ProQuest Historical Newspapers: The New York Times (1851-2008). May 10 1964. Hemingway, Ernest. Preface. A Moveable Feast. New York: Charles Scribner’s Sons, 1964. Print. Hemingway, Ernest. A Moveable Feast: The Restored Edition. New York: Scribner, 2009. Print. Larson, Kelli A. "Lies, Damned Lies, and Hemingway Criticism." A Historical Guide to ErnestHemingway. Ed. Linda Wagner-Martin. New York: Oxford UP, 2000. Print. Meyers, Jeffrey. Hemingway: A Biography. New York: Da Capo, 1999. Print. Mudrick, Marvin. “A Moveable Feast” Hemingway, the Critical Heritage. By Jeffrey Meyers. London: Routledge & Kegan Paul, 1982. Print.
A poem by Christine Dear Lady in the Red Coat Every morning we greet each other and the sunrise with reverent silence as our sandy paths cross east to west. I learned long ago that if you don't take care of yourself, you're not the best person for those you love. I have learned that I must be fully awake to experience every nuance of this awakening (the rebirth) to stir again my intellectual being, to regain (reawaken)
the intellectual me from years ago— the awakening truncated by death. I've learned that life is not a dress rehearsal, that this is it, this moment, this day is the real deal, so I better get it right. That's the wagon I'm riding on, and I've come a long way. There’s more journey ahead, and I embrace it. I’ll keep walking the beach at sunrise, and I’ll keep listening to birdsongs and to my own heart. What about you?
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