Meet the team: Kieran Rundle

 

 Hello, Miracle readers!

 Welcome to the second of our Miracle Team features. Today we will be meeting Poetry Editor Kieran Rundle.

Interview
Questions by Elizabeth Gibson

EG: Could you briefly introduce yourself?
KR: Hi! I’m Kieran Rundle and I’m a high school student from Virginia. 

I work on our high school’s Literary Art Magazine’s staff and also have begun to run my own magazine, Sincerely Magazine.

EG: What sort of writing do you do?
KR: I mainly write dark poetry and short fiction stories.

EG: What does writing mean to you?
KR: Writing means everything to me, it is how I breathe and I think. It is the connection between my thoughts and my reality and everything in between. Writing has become a second nature in my every day life and process. It has such power to sway readers into emotions, thoughts, ideas, and produce even more.

EG: How did you get into writing?
KR: I’ve been writing since before I could hold a pencil. It’s just always been a part of who I am.

EG: Who or what inspires you?
KR: Everything around me inspires me, the people, settings, conversations, the world is full of inspiration if we only know how to look for it.

EG: What are your current projects?
KR: I’m currently working on a one-act script for a new play competition in October with the Virginia Theater Association.

EG: What are your plans for the future?
KR: I plan on continuing my magazine work through high school and college, studying either writing or science.

EG: What advice do you have for writers?
KR: Keep writing and editing, the more you work and practice both of those skills the better your writing and editing skills will become. Don’t skip through the editing process either, that’s the biggest part of writing.

EG: What do you look for in submissions?

KR: As a poetry editor I usually look for a unique central theme or idea that is carried through the entire poem, along with nice rhythm or flow that is consistent with the word usage.

A sample of Kieran's work

The Girl on the Rock The sun slunk back across the bleeding sky. It cast a rusty shine over rocks piled high. The formation was suspended above the trees in the wood. The girl sat on the tippy top as high up as she could. Her happy laughter sang across the cinnamon light as she watched the autumn day turn into a chilly blue night. Back in the fading forest she heard her family call, but she turned up her cheeks and embraced the bright fall. Out over the tall rocks the woods rustled, untamed. Crimson, sunburst, pomegranate the colors grew like flames. They spread out of the greens with starbursts of hues. The girl breathed it all in and then out she blew. Then with a final look she turned to go back, to climb down the rock to where her family sat. She heard them call out again and made to reply but the only noise she made was a delicate sigh. She had a little more to go before reaching the land. Her hand held rock but her foot slipped on sand. Her scream shrilled out shattering hope’s light. Her foot dangled uselessly and her hand held her from plight. The girl screeched again as her fingers began to slip. She tried to scrabble upward but could not get a grip. In what seemed an infinity her palm began to slide. It could no longer hold the rock, the moon released the tide. She wafted down backwards, her eyes wide on the sky. The clouds seemed to stare and whisper goodbye. The girl heard her family running to the rock. But she could not speak, nor could she stop. The forest, like a vulture, closed in around her head. She fell to earth like a moonbeam, but hit the ground, dead.

Creative workshop: Combining poem and image by Elizabeth Gibson

 Hello, Miracle readers!

 My name is Elizabeth and I am Blog Editor and also Fiction Editor at Miracle Magazine. I also create what I call "poem-photos", a combination of a poem and an image, which I post on my own blog and on my Facebook page.

 I really enjoy pairing poems with photographs and vice-versa. Mainly the photographs are taken by me, though recently I have been collaborating with a friend; he has sent me some photos and I have set poems to them. (I use the word setting deliberately, because for me there are definite parallels between setting a poem to a photo and setting words to music.)

 To me, the pairing of poem and image makes perfect sense. Both photos and poems are ways of capturing one moment as well as possible, so that people who weren't there can know what it was like. If a poem and a photograph were written about the same moment, the image is even stronger. 

 However, I find it more interesting to match a poem with a photo that does not represent the same moment, but a different one. This challenges the viewer to find their own links between the poem and the image, and you can make connections you never imagined you could.

 Here is a photo-poem of mine where the poem was written about the photo. I looked at this ladybird on his leaf, fresh from his cocoon, and just wrote.

 Here is an example of the other type of poem-photo I do: one where the photo and poem were created separately and then combined: 

 The photograph was taken in Manchester one evening when the sky was really beautiful. The poem had been written in Wales several months previously. But when the time came to find a photo for the poem, this one called out to me. Why? The why is the beauty of it. I can't tell you exactly. But my subconscious immediately connected the two. 

 I prefer to feel connections rather than explicitly state them, but for the sake of explanation here are some I found: the poem has an "end of the world" kind of feel, as does the photo. Both feature birds. I wrote the poem at dusk, and the image clearly depicts the sunset. For me both poem and photo have a feeling of calm and reflection.

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 So, I have hopefully shown why I love this particular art form. I am now going to give a brief masterclass in setting poems to photos and vice versa.

 Firstly, don't worry if you do not see yourself as a photographer or as a poet. Either you could work in collaboration, or you could give it a go yourself - and I am sure you will succeed. I believe anyone can be a photographer, and anyone can be a poet. It doesn't matter if you don't have a good camera; it is the feeling behind the image that matters here, not the quality.

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Taking an image of a poem

 If you are matching an image to a poem, try to do it on as deep a level as you can. If the poem is about the sea, for example, don't just take a picture of the sea. Take a picture of the sky, perhaps, or a smaller body of water. This will allow both you and your viewers to make new connections.

 If you are taking the image first and then matching a poem to it, take photos of either some thing that is important to you, or, if you are struggling, something generic like the sky, flowers or trees. These shouldn't be too hard to find words for. When you are more used to combining photos and poetry, you can be more adventurous with your photos.

Writing a poem about an image

 I love writing poems about pictures; I find it a really creative and enjoyable way of writing. My way is simply to look at the image and write whatever comes into my head in a long flow of thoughts, and then edit it until I end up with something I like. 

 If you like to write in a more structured way, I recommend making a list or a mind map of words you associate with the image and then work them into poem. Think about the moment you took the photograph; what happened before and after, how you felt, what you were thinking. Alternatively, you could match it to another moment; a picture of flowers could remind you of someone you love; an image of the sky or water could remind you of a time you travelled. Here is a poem about a friend that I was easily able to match to a flower photo I had taken:

Putting the two together

 How you combine poem and image is up to you. I layer the writing over the poem but you could also display them side by side or you could perform the poem with the image behind you. It's a matter of what suits your style as a creative and as a person.

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 I hope you enjoyed this workshop and I wish you every success with the unique art form of the poem-photo. Here are a few of mine to finish. Thanks for reading,

 Elizabeth Gibson

 Blog Editor and Fiction Editor at Miracle Magazine

If you would like to see more of my work or contact me, check out my blog and Facebook page:

http://elizabethgibsonwriter.blogspot.co.uk

https://www.facebook.com/ElizabethGibsonWriterPoet

Interview with Lydia Popowich

Hello, Miracle readers, and welcome to our second blog interview. Here, Blog Editor Elizabeth Gibson speaks to writer and artist Lydia Popowich about her life and work.

EG: Hello, Lydia! How did you first get into writing, and which writers have inspired you?

LP: Writing was in my blood from the start due to the influence of my Ukrainian grandfather, Vsevolod Nahyrni, a writer and political activist in the former Soviet Union.  Every birthday and Christmas I would receive a card from him with a poem specially written for me.  


I began writing my own stories and poems at an early age.  As a child I was encouraged to read serious Russian authors, Tolstoy, Dostoevsky, Solzhenitsyn.  I read War and Peace at the age of twelve!  As an adult I’ve been inspired by a wide range of authors including Kerouac, D.H. Lawrence, Julia Darling, W.B. Yeats, Sharon Olds, Elizabeth Bishop, Iris Murdoch, Leonard Cohen… and even Stephen King! 

EG: What does writing mean to you?

LP: I’ve always associated writing with the desire to make the world a better place. It's a way of getting inside someone else’s head and seeing life from another point of view. Writing has a therapeutic value but it’s much more than that…it leads to greater understanding and tolerance between people. It is a tool for personal and social change.

EG: You are an artist as well as a poet; how do the two creative forms overlap for you?

LP: Visual arts and writing are two sides of the same coin for me. I often incorporate text in my artwork through collage and photography. I enjoy unexpected juxtapositions. I tend to use abstract and surreal imagery and a lot of colour in both poetry and art.  They are just different ways of communicating my experience of the world as a woman and as a disabled person. In recent years I’ve concentrated increasingly on poetry as it feels purer and more precise. It satisfies my obsessive compulsive streak!

EG: Your work often focuses on disability, health and body issues. How pressing do you feel these issues are in today's society? Which do you think are the best ways to approach them?

LP: Disability is the last great taboo which feeds on society’s fear of death, illness and impairment. Disabled people are not sad, sick people waiting for a cure they are just made differently. There is institutionalised discrimination against disabled people in the work place and in relationships. We are automatically seen as weak and inferior because we are judged physically or mentally ‘imperfect’. We are not allowed to fully participate in the world because of needless barriers and because of people’s ignorance. This is an issue which affects everyone, disabled and non-disabled, because we all age, sooner or later our bodies start to let us down and no-one is ever perfect. We live in a society obsessed with superficial appearances, it’s a kind of body fascism and it creates a lot of misery.  

I don’t know what the answer is…cultural change is slow in coming. It happens in tiny steps with the gradual breaking down of barriers between people.  Racial discrimination and homophobia are now considered unacceptable but people had to struggle to be heard for a long, long time. 

EG: You have lived in Newcastle and the Far North of Scotland; do you feel these places have influenced your writing and art?

LP: I’ve lived in the Far North for eight years but it’s too soon to tell how much my work has been influenced.  I am preoccupied with some of the same themes as in Newcastle, for example, alienation and body image but I feel more focussed on my writing without the distractions of city life. The Caithness landscape with its changing light and extreme weather conditions create great mystery and drama.  There is a unique sense of place I’ve never experienced anywhere else.  

I feel more grounded here and even though there are fewer people than sheep we are more closely involved with each other.  I’ve met many fascinating people and heard amazing personal stories which will inevitably influence my writing.

EG: What are your current and future projects?

LP: I’m working on a play based on my hospital themed poems and a novel called The Bog Country which is composed of interconnecting short stories.  I’m aiming to produce my first pamphlet of poetry next year.  Long term, I would like to produce a series of illustrated poems in the manner of Blake.

EG: Do you have any advice for young and/or new writers?

LP: It might be a cliché but writing every day, even if it’s just for half an hour is the best practice.  My other advice is not to be afraid to take risks or expose your vulnerabilities.  And not to be too precious about your writing, some things work, others less so…At the end of the day it’s just a selection of words on paper and not the cure for cancer.

EG: What do you believe is the future of poetry? How will it change; how will it stay the same?

LP: I feel that poetry is in the ascendant.  It’s becoming more fashionable and less middle class.  The internet has changed the way we communicate so it’s easier and cheaper to reach an audience.  It’s exciting how technology and popular culture have influenced our language, eg Twitter, texting, Facebook, rap music and this is all reflected in poetry.  Performance poetry will become the new rock and roll! 

EG: Could you show us an example of your writing?

LP: Here is a poem I wrote about a year ago:

ARTERIO VENOUS

Her country was besieged.
The Great Saphenous Vein, 
a lonesome road to nowhere,
a waste-land, booby-trapped with incendiaries.
Scarpa’s Triangle sailed a quiet sea
and Hunter’s Canal lay stagnant. 

Beyond a cotton screen of chrysanthemums
her body bore a map no longer secret, 
sketched out in clumsy biro, red for arteries, blue for veins.
Red and blue make purple, she’d learned at school.
Legs splayed a landscape across the table,
roads and rivers marked 
soft, pale flesh, inert on padded leather.
Like seagulls scavenging an empty shore
the white coats gathered in freezing stares
while she traced the tangle of petals,
leaves and stems interwoven beyond.

Pointless, she listened to foreign tales,
remembered a white horse
galloping circles in the wind, 
her purple coat flapping open 
as she ran down the road

Lydia Popowich

EG: Many thanks for speaking with me; I wish you all the best with your writing and art in the future.