In this podcast we begin by looking through the work of our 7 most recent wildcards, have a look at Beir Bua's most recent issue, and then chat to the wonderful Shawn from The Daily Drunk Mag about the playful and exciting work they do.
Hello, and welcome to the Full House podcast. So we've got a really exciting two parter this week. So we're going to be starting off by looking at our most recent wildcard issue, and also taking a look at Beir Bua's February 2021 issue. And then we're going to be chatting to the wonderful Shawn from The Daily Drunk Mag. And then in Part B, we're going to have a great time chatting to Kelly van Nelson, about her amazing work for the community, how she became the successful writer she is today, and also chatting about poetry and performance and mixed media. So yeah, let's kick it off looking at Full House's, most recent wildcard issue, the seven pieces, so we're just gonna go through them real quick, give you a little summary, and quickly highlight, you know, I'm gonna highlight some of my favorite aspects of the pieces and why we chose them. Our next submission window is you know, it's open now. So if anything I'm saying saying sounds like it could be relevant to a piece you have, do submit it!
And so our first piece is from Carl Burkitt it and it is called 'opening lines of a poem I'll never finish'. And yeah, this is one of those unique language pieces. That opening phrase just brought us in immediately. It's, 'I woke up in the middle of Dawson's Creek', and we just loved that reference that contemporary culture reference. And but it's not just that there are some fantastic lines. For example, 'I could hear a kettle screaming' 'puddles gathered like gossiping nuns', 'I remember everything about that ham sandwich'. And it's the little random phrases, and it just makes this fantastic piece. Like, I wouldn't say many of the ideas are connected. In the beginning of the piece, we do have this bit at the end where it all ties in together. But for at least half of the piece, none of the ideas are connected. They're just random phrases, but they're so interesting, I've never heard them. And they're really abstract with little thoughts, for example, 'your smile killed a kitten.' And this is a type of thing I really love, because it's got a lot of creativity in it, it's got a lot of unique, you know, carl voice in there. And then at the end of the piece, we get this section about sending texts and this repetitive sort of dilemma of oh I wish I took the time to text you and end on this really like it brings us back to reality. And it really grounds us off with this as I say quite abstract section. I really liked the resolution at the end and we walk back to something that is really realistic and really relatable in that way I think. So it's a very intricate piece I think it's it's one that is definitely added to on when Carl reads this aloud as well. We have a an audio issue to go alongside it and yeah, Carl's reading of the piece really adds something special to that I think. I really enjoyed reading his reading of the piece alongside. And so yeah, Carl's a fantastic writer. I can't wait to see what else you know Carl produces in the future. I'll definitely be keeping an eye on him. That's for sure.
So then we move on to Kristen Garth's 'Southern Gothic Quarantine' and Kristen was actually in our diamond issue. She's one of the diamonds. This time around, she is a wild card, which is exciting. And it's a really quirky, short little piece. So it's very different than Kristin's other piece gill girl. It's got a completely different tone, a completely different style. But it's really interesting and it really pulled us in. Obviously the quarantine was very relatable in today's society. So that immediately engaged with us, but it approaches it in a really different way from 'a fictional 1883.' Again, it's quite a weird piece. In the best way. When I say weird its not an insult at all. All of our wildcard pieces are slightly odd slightly weird and that's why they're wildcards, we love them so much because we love this quirky quality that they have to them. So yeah, Kristin's piece is very interesting. I love lines like 'green longleaf pine a reclusive writer roams, will Google when alone.' It's got a really cool voice to it. There's lots in about a novella, plot device, so it's quite an introspective piece in that way. But yeah, it's got this fantasy quality to it as well with 'mermaids swimming in scarlet fever skies.' There's a lot going on in this piece but it really does work. And it's not a long piece, its quite small. But yeah, it's a really good piece and the ending 'next year longleaf pines quarantine with me'. Its a great piece and I would definitely recommend you checking it out. I think this piece would have hit really differently if I'd read it, you know, 2 years ago. Now within the context we're living in, it definitely means something. So it's definitely a piece you could read in contemporary now and really resonate with it I think. Another line I really enjoyed was, 'so I scribble yellow fever ghosts.' And yeah, it's just got these really gorgeous little gems of language in there. And yeh Kristin is a fantastic writer. So definitely recommend checking Kristin out for sure.
So then we move on to radial cracks, which again is fantastic when it's read. The audio version of this piece it's phenomenal. I really love the way that the language you know comes alive when it's read out loud. And there are so many fantastic lines in this piece. Just a few examples is 'in a lie so dense it bruises' I really like that line. And we have 'until the sun paints the world anew' which is really beautiful. We also have 'today's hunger outlining everything twice the rearview all thumb prints and radial cracks.' It's just really fantastic. I love the way that the story is told within this piece in a really interesting way. Yeah, I like the different ideas explored within each stanza. And I think it's a really cool piece. I really enjoyed reading it. And I've read this piece about four or five times it gets better every time I read it. I absolutely love it. And as I say the audio of this really brings it to life in a completely different way. And I was really, really pleasantly surprised when I listened to the audio back because I was like, oh, wow, there's something completely different to me reading the piece, as you know, often does with really great pieces, they can come alive in lots of different ways. So yep, this piece is from Siobhan. And I just think it's got a really interesting special quality to it. And it doesn't present ideas in the traditional way that I would expect to read. And when that happens, and when you know, reading surprises me, then I'm immediately engaged and intrigued. So Siobhan definitely caught my attention with this piece.
And then next up we have our visual art piece. So this is called 'Defiant bow 4a' by Edward Michael Supranowicz. And I don't think Edward has Twitter. But oh my goodness gracious. These art pieces are incredible. If you search Edwards name on Twitter, although Edward's handle doesn't come up, you can see so many fantastic pieces from Edward. And I'm pretty sure Edward does have a website. And we do have that linked so you can view the fantastic pieces of art there. But the way that Edward uses color in such a bold, vibrant way, we knew we had to have this piece. I don't think it does justice in our issue. I think you need to see these pieces on Edward's site. But they're gorgeous. You can you can just see that the sense of color and the way that Edward views shape and vibrance is phenomenal. Like there is so much talent within this piece. And it's kind of a bit trippy. Like it's one of these pieces where you look at and you feel like you're falling down the spiral. You know, you look at it too long, you're falling into the piece. We loved it.
And then we have 'death wearing a red dress on Sunday morning' by Ciara and this is a really short piece but it's really emotive. There is the trigger warning for this one for death and loss. But yeah, I think the thing that we liked most about it was the pure simplicity to it. We've mentioned before that we don't love pieces that are so flowery in detail, or that take a really roundabout way in a really long way to get to the point. Yeah, this piece definitely gets there quick and snappy, which is what me and Jack like but there are still some really interesting lines in there like 'salty wreathes, churning currents', 'cold cradle at the docks', I think cold cradle was the one line that made me say we have to have this piece. Sometimes when I read a piece there can just be one line, and I know it's just I can't turn it down because I love that line so much. And cold cradle was the one that drew in for me. I really like pieces where there are repeated letters and repeated sound is just a personal thing I like, I put it a lot in my own writing as well. So that definitely drew me into the piece. Yeah, those churning currents and cold cradle. I just absolutely loved it. And it's a really emotional piece, I think at the end. Yeah, it's a very, it's definitely a sad quality to it. But again, I really like these repeated lines and what Ciara did in a really short amount of space. And again, the reading of this one is really interesting. I love the quality it brings to the piece.
And then we have a great story by Kirsten Reneau and oh my goodness, I loved this piece so much. I cannot tell you how much I really enjoyed the way this piece is constructed. So we have this amazing opening paragraph about obviously food you know, I love food and things that are left in the fridge that are reminders of the narrator having to be you know, this cool girlfriend that doesn't mind that her boyfriend is off on a beach with his ex. And it's about this facade that she puts up when in reality, she's crumbling, she's not cool girlfriend at all, she just wants her boyfriend back. And what I loved about this piece is how quickly Kirsten established his narrative. And it's, again, it's not a long piece, it's a page and a bit, a small bit. But it doesn't need to be long, you know exactly where the narrator is coming from, you know, exactly the full picture, the full story in a really relatively short amount of words. And I think if you can do that you're just incredibly talented. I could have spent 3000 words and not gotten to the point. But the way that Kirstin does it is really interesting. And I think it really taps into a lot of, you know, relatable qualities like people reading this piece would relate to it. Absolutely, for sure. And for me, not every piece has to be like super experimental, or super academic, it can just be a piece that really taps into something that I see in the world. And I'm like, yeah, I see that I relate to that and I think you've presented this in a really cool narrative. And yeah, this is why I loved the piece. There's some really certain interesting phrases in the, for example, 'in the afternoons, the sleeve of your jacket seems to shake out the corner of my eye but when I look again, it stops.' Your presence, or lack of presence haunts me, we have this interesting play in there were certain items in the house sort of move around and it's almost like he's moving them but obviously he's not. I think the way that Kirstin you know, brings alive this character that is not actually present within the story is really, really well done. Yeah, I again, this is one of the pieces I've read quite a lot of times just purely because I really love it. I just keep wanting to go back to it. It's something that I would definitely read, you know, in spare time and get lost in like a short story collection from Kirstin, and I would love to see that. So hopefully that's something that you're working on. Because, yeah, Kirstin I would love to read it.
And then our final piece is can I abandon actuality by Carson Sandell. And yeah, this is definitely the line,there's definitely a line in this that made me choose it and the line is 'caked in and confectioner's sugar.' I just really liked it. I thought it was a really interesting way of you know, showing that white powdery sugarness and there's another one I really like 'dream of camelia kisses.' Another one I really liked is 'written by the wandering wind.' Another one is 'decompose from daydreaming.' And it reminds me quite a lot of Carl's peice, which is why we've actually put them at the start and the end of the collection, because we feel like they are quite a nice beginning and end. Because they have quite a few similar qualities in the way they kind of just are nonsense phrases. But really interesting phrases that, you know, you sit back and you can unpick, and you sort of have to figure out, what does this mean, and you have a real like, fun job of doing that. And the way that the ideas sort of connects or create a narrative in Carson's piece, I really enjoyed figuring that out. The last line, 'then smile knowing that I can't be heard.' It's just fantastic. I really recommend you check out this piece. None of these pieces are long at all, they won't take you long to read. They might take you a long time to digest but thats all part of the fun. So yeah, Carson, I really, really enjoyed this piece. Thank you so much for submitting it. And thank you to all of the the wildcards who submitted all of the writing was such a joy to read. I felt like in Carson's piece. I admire it, because it's something that I would aspire to write towards in the way that it does approach those interesting phrases. And I can really, I'm in awe of the way that Carson has approached language. And it's definitely something that I would like to do my own work and I strive to do my own work. So I feel like I can see who I want to be as a poet in this piece, which is why I do like it so much? And yeah, so they are fantastic wildcard pieces. Again, we really enjoyed these pieces, and they're just fantastic.
And so now let's look at their Beir Bua's second issue. So a bit about Beir Bua. It is ran by Michelle and Michelle is from Ireland. And Michelle does a lot of work with experimental poetry, modern poetry. She has been nominated for a pushcart in poetry. So definitely lot of experience from Michelle. And this journal has a particular focus for the avant garde, neo postmodern poetry, experimental, visual poetry, abstract poetry, concert poetry, everything that's you know, a little bit different and untraditional. There's a few different criteria and what they look for in submissions, I think this definitely illustrates a lot about them. So we have phrases like 'smart but no attachment', 'preferably no i or no narrative'. I especially like the fact that it says no narrative. I mean, I do definitely like narrative. I also absolutely adore pieces have no narrative, no connection, no story whatsoever. So I mean, already Beir Bua looks amazing. I mean, I know a lot about them. But if you didn't know about them, I think reading that would be enough to say, oh, yes, I definitely want to check them out. And Michelle actually does a series at the moment of podcasts. So she's interviewed a few different people in the community most recently interviewed Stuart McPherson. And these are really cool, because they are videos as well, it's not just like us a podcast, you can actually see faces and see expressions, which is a really nice thing to do. So yeah, they're a great site. They're experimental. And I love that. And, I mean, if you just look through the contributors, for their issues, there's so many great names in there. So the second issue is full of promise. And I have already looked at before because it did come out in February 2021. But I realized we never actually had it on the podcast. So I thought this is the perfect opportunity to go back reread, dissect some of our favorite pieces and share them with you guys.
So a piece that definitely caught our eye and our reading brain was Stuart McPherson. And so as I mentioned, he is on a most recent interview with Michelle. But yeah, his piece is called that 'That Time I Started to Panic'. And immediately that title just draws me in. I feel like titles are just so important. I mean, in our spades issue, we had Travis Cravey's really long, interesting title. And it really bought so much context to the piece and really made it come alive. And titles, I feel like they are things that sometimes you do sort of look over, but if they're good, they bring so much to the piece. And yeah, this is something that really interested me. 'That Time I Started to Panic' I'm immediately, like, oh, okay, what is the story here. So I think that's a really good choice from Stuart immediately to draw people in. This is formatted quite interestingly, the lines, they start off really long and they sort of go in and go shorter, and then they go longer again, as we get towards the end of the piece. I can definitely feel a sense of panic, just within the structure or in the form, which is something that definitely interests me. And there's some really, really interesting lines here. So I'll read a few of my favorite lines. So I think one of the most interesting phrases is 'place a still finger feel it faintly there, or an electric fence I am found, crumpling in the bent petals of a lotus, failed origami', I just think that was a really, really, really interesting opening to the piece. And we have at the end, this repetition of 'I am folded as a crane', I really like the way this idea of being so like, folded and crumbled and like crumbling with this panic is portrayed. Yeah, it's really consistent throughout the piece. I think it does it really well. And yeh, this is definitely a sense, a piece that I read it I'm you know, my heart rate is going up a little bit. Because especially as those lines get shorter, I'm like, oh, goodness, gracious, like, where is it going? What is happening? And you sort of want to race to get to the end of the piece, to sort of feel relieved? Like, what is this panic and get that resolution and get that ending almost like wanting to spoil it for yourself. But yeah, I really, really enjoyed this piece. It's definitely one that I could go back and reread a good few few times, and get something new from it every time which is, you know, one of the best things I think in a piece. And then another line I really enjoyed was, and 'and how I wrapped myself in the numbers and the valueless paper one, two, three check now and I promise, I promise, I found it there in-between my fingers and the water went cold bu not before I boiled it with my skin.' Yeah, I really love the way that particularly the line, I wrap myself in numbers, and then the rapid, you know, sort of speed that the piece can be read in. Maybe I'm reading it too fast. But I definitely imagine it being read in this sort of fast sort of tone. I feel like this is a piece that does go really fast I feel like its a piece thats in a few seconds, you know, maybe is a moment that lasts forever, but it just feels like it's a few seconds. But the panic definitely I think elevates the situation. So when I read it I get this sort of sense to you know, read it quite rapidly. But yeah, the wrapping of the numbers line is something that I really enjoyed reading. I think that's a really way of engaging with a really interesting way of engaging with the language. Yeah, I just think Stuart's done a really cracking job of this piece. I really enjoyed reading it. And I just I'm looking so forward see what else Stuart comes up in the future.
Another piece I wanted to highlight as having really interesting language is the piece 'I speak' from Joseph C.P. Christopher. And so this has a few gorgeous lines that I was like oh, wow, I love the way that it's phrased. So for example, 'in my ink, she dies like a vanishing.' And then we have one a little further down, which is 'A small beautiful broccoli sprouting unwelcomed into a mistaken childhood.' So they are the two line, I really loved but, there's so many gorgeous lines in this piece. But they're the two that particularly stood out to me. I just I really like the way that a lot of different ideas are explored in this piece and the story is told through this amazing language. And the lines all run into each other, they're separated, there's it, there's two lines per stanza, and they're separated into lots of different stanzas. And they all sort of, you know, read into each other. And I think it's quite, you know, a layered piece, I think, again, you could go back and read, read this many times, and get something new from the story. This is not one that's you know, shrouded in simplicity, this is definitely one that's definitely a little bit more advanced, takes you a little bit more time to unpack. And I really enjoyed reading this the third time, I enjoyed it the first and second, but the third time, it really hit home with me. And I was like, oh, God, I got something I didn't get with the other two times, even though I love the other two times, I think it's interesting sometimes the way that we can read a piece a few different times and get a completely different, you know, vibe from it. So yeah, I think this is a really fun piece. I like the last line 'words melt florets to give you crimson blossoms.' I feel like there's a lot of color and a lot of life within in this piece that I really enjoyed reading. And yeah, I definitely recommend you checking this one out.
There's an art piece I really enjoyed, which is from Lori Graham. It's so cool. It's got a lot of really bold colors, this dark, deep dark red, and then this bright yellow, and then we have this black. And first that you can't really see much apart from these cool shapes. But then, I don't know if if it's meant to be there. But I see this little face in the piece. And it's it brings a really interesting quality. And as soon as I see that, that thing that looks like a face, I start to see other really cool shapes within the piece that I didn't see before. And it sort of feels like a bit of like an illusion to me like an optical illusion, where I start unlocking things. I don't know if it's just a play with my mind, or I start things, seeing things that aren't there. But I really like the way that this engages my brain and forces me to look. And I think the sense of color is definitely something that is astounding within this piece and the way that color is manipulated into these different shapes to give them such a really cool quality about them. Yeah, this is fantastic. Yeah, I'd definitely put this on my wall. So you know, it passes the Leia check if I say that.
A piece is really fun is Leo Levinsky's 'There’s Enough Ice Cream for Everyone.' And it's just really repeated, it's got this line 'iscreamyouscreamweallscreamforicecream', the really really popular, you know, line and its just, you know, repeated throughout but there is emphasis, capital letters. And gosh, it's such an interesting piece, I'd see this as almost more like art. It is a fantastic I love the way that these letters jump out at you and force you to go back in and read and, you know, reread this piece in a completely different way. And I don't think I'm ever going to see ice cream or hear that phrase again, without thinking about this piece and the really, really thoughtfully fantastically intelligent way that this piece has been crafted and executed. I absolutely adored it.
And so our good friend Richard Capener is also in this issue. And I mean, obviously we see a lot of work from Richard in his capacity as editor for Babel Tower Notice Board, but I don't often see a lot of Richard's, you know, written work. And this piece is just well, it's just I struggle to find the words to even say what I want to say about this piece. But I mean, I feel like to sum it up is that it's challenging, it's messy, and it's dynamic. It just ends in the middle of a sentence. And this weird, interesting odd strain of thought is just cut off and you're like, what, what where's it gone? And it's sort of says fuck it we're moving on now. So it's this really small sort of short passage. And there's lots of I, I, I you know, phrases and a line I really enjoyed was 'I'm being too big for my mouth remember seeing said by speech it seems like seems so you had to understood, we spoke' and that's just a small snippet, but I think difficult and a bit tricky to read, definitely out loud, but also it's something that I had to read like a good few times because there isn't any punctuation in this piece. So it definitely makes you, you know, be like, what what is this, it's got no punctuation, it sort of ends in the middle of a sentence. And you do have to work, I think quite closely with this piece to to get something from it. And that is the type of work I absolutely love to engage with. So yeah, I had to read it a couple good few times out loud and in my head. But I think what you get from it is really, really delightful. Like, it's tricky, and you don't really know what's being said, but it's, it's fantastic. And you still come away being like, oh, okay, I didn't really understand what was going on that piece, but it's fucking brilliant. So yeah, I absolutely loved it. And I can totally see why it belongs within this issue of Beir Bua. And this is a piece I would just love to just sit with for like 20 minutes every night and every morning and just read it out loud and practice reading it and see all the times where I mess up and trip over words, because I think it's definitely piece you can do that with. But yeh as it as I say, it's not a particularly long piece. But I feel like I'd just love to, you know, sit down with it and get to know it and really understand because I feel like it's not enough to read this once, twice, even three times and really understand what's going on. Like, I feel like you definitely need to almost build up a relationship with this piece, which is something that I hardly ever get with a piece. So I think that's why Richard's piece was so interesting to me, because its unlike anything I've ever read before, and that obviously really excites me. It's fantastic. And I'm really excited to see more of Richard, he does have a pamphlet coming out with broken sleep so that should be really promising and really exciting. So yeah, looking forward to that one.
So another piece I really enjoyed is by Sujash Purna. And I hope I haven't pronounced that too too badly incorrectly. But it's titled 'Self-portrait of the Asian Indian Cook Making Tikka for Patrick Stewart on a Ubereats Ad'. Again, that title is fantastic. Yeah, it reminds me as I say, of the Travis Cravey title. And yeah, it's really good. I love the way it frames the piece. And, you know, if when I read that title, I'm like, yes, I totally want to read that piece. Definitely, sign me up. And I think that the pieces that do approach titles in such a quirky way like that is is really fantastic to see. So it sort of begins with this image of people wearing turbans and secrets and hairdos that the narrator will never see. And then we get these few questions of where do they go at the end of the day, how many glasses of wine, and I think this curiosity in the piece is something that's a really interesting quality to read. And it shines through in a really authentic and really interesting way. And then we have this sort of section around Indian spices, and tumeric and cumin, which is really fantastic to see. Yeah, I'm a big fan of pieces, that infuse things about food in the piece. And especially this has got some really interesting lines in there talking about the food. We have Patrick Stewart in the middle of it all, which is just so random, but so cool. I love it. And Ubereats of course and the thing that I liked most about this was the line 'Recite me Sonnet 141 and tell me which of these stolen spices gives you heartburn.' It's phenomenal. I love that and the different ideas and the way that this piece goes from you know, a to z is fantastic. I love the way that the story is woven and the narrative is told in a really surprising way you know you have these busts of random things but it works so well and I just really really enjoyed reading this one. It's phenomenal. Yeah, it's definitely one that I'd go back and reread so many times so 100% absolutely love this one.
And then we get the other half of the Babel Tower Notice Board we have Chloë Proctor and I'm definitely gonna fuck this up with the pronunciation of the name but it says in brackets broad with 'broad and slender with slender' so that's the translation of the language. And gosh, this is such an exciting piece. I absolutely loved it. We get these such interesting little phrases these phrases that Jack and I go crazy over the ones I've never heard before and they just work so well. A favorite of mine is 'uncanny arousal of Phantom consorts.' I just love the way that sounds and I've just never seen that on the page or seen that heard aloud before. And that followed from the sentence 'Haggard photographs upon such hummocks' and I just love it. I really would love to hear Chloë reading this piece. I think it'd be phenomenal. I really like another line is 'Only porous fantasy of annual blossom'. I just think the way that this the way that the pieces sound and the way that the language goes within the sentences, it just works so well. And again, it's something that I, I definitely look to do in my own work. So it's something that I really, really do notice in other people's work, and I really look out for where it's successful. I'm like, oh, I love that this is definitely something that, you know, I'm aspiring to do in my own work. So absolutely lovely. I love the line 'lit her electric' as well. Those short, snappy lines, just, they really resonate with me, and I love them. And they stick out to me thats the sort of phrase that, you know, I can see you tattooed, I just love it, it is brilliant. Another really great line is Bitter divergence wrinkles existence' and I mean, I could read you every line of this poem and say, oh, this is such a great line, because it's so great. And yeah, I really like the way it tells story. And, you know, you could read this piece, and I think everyone would find something different in it, which is what's a really beautiful quality it has about it. Yeah, I like that I don't necessarily understand it. And that I don't necessarily understand the context and the language from where it's originated. But I don't feel like I necessarily need to in order to take something from the piece. And I also like the fact that it's I am distanced to the piece in that way. This is why I think it'll be different for everyone who reads it, everyone's going to be slightly closer or further to the piece in terms of understanding, perhaps the context around it. And I think for me, having that sense of not understanding of unfamiliarity, gives it a really, really lovely, interesting feel. And it's something that I'm really excited to, you know, get to know and get deeper into this world that Chloë is talking about. I really, really like it. I think it's done super well. And I love it from beginning to end, its a fantastic piece.
So the next piece is from Nikki Dudley. And yeah, Michelle has managed to bring in all these big, fantastic, exciting, vibrant people in the in the writing community here. So I mean, Beir Bua is the place to be and the place to go if you want to read some really fantastic writers, and some of whom run fantastic experimental avant garde journals themselves. So it's really interesting to see. And so Nikki's piece is called 'My dear fanny'. It's so cool, there's a lot of it that's blacked out. And we just have these small segments, and it is a letter in its form. And Nikki's got in at the bottom that it was a letter written from John Keats to Fanny, but the parts that are redacted and revealed are so interesting to see what Nikki has, you know, kept in and taken from the piece. So a really, my favorite bit is where there's just the word 'acid'. And I love that I think it's so cool, because it's not a word I would necessarily, you know, think of when I, you know, think of that piece in the letter. But I think the way that Nikki's drawn attention to that word, gives it such an interesting, fantastic feel. I also really liked the line, 'follow you with my eyes', and there's a good one, which starts off with 'you had better not', which immediately is so interesting, it really sort of distorts and creates a really interesting relationship between Fanny and Keats. So I think the way that Nikki has carefully selected these phrases, tells such a cool story, tone comes across differently and a whole new story is created by what Nikki has chosen to blank out. And I just really love it. I think it's such an innovative, creative, really, really interesting piece and one that I absolutely love. Now, I could literally talk about Beir Bua's second issue all day, I could speak about every single piece, but I am aware that that would take forever.
So the last piece I want to look at is by Dr Pragya Suman. Again, I'm super sorry if I've pronounced that really awfully. But the piece, I think it's called reincarnation is fantastic. I really like it in particular, I really like the last line. So the last line is 'They are late...!' this is fantastic. I love that as a last line to the piece. The actual format and structure piece, it's really cool. I love the way it is spaced out. It definitely adds a lot to this piece, if this piece was just you know, in traditional straight, you know column on the left hand side of the page, so much will be lost and so much is gained by the really careful and considerate and thoughtful use of spacing in this piece to add so much. Another part I really like is the repetition of the word Tuk and then in brackets on the glass pane. Yeah, there's so many interesting segments to this piece that you could go back and look through and you piece together and I mean some of them I don't necessarily know immediately how these ideas are connected, but the more I go back and reread, I'm like, I can see it. And I mean, even if I can't see it, it doesn't matter, because the individual segments are so interesting alone, I feel like I could just, you know, take every small section by its own and spend ages exploring it and delving into it. I line I really particularly enjoyed is 'a thick apprehension Crushes my chimera' And we have these really cool phrases about you know, body and eardrum. And yeah, I just I really liked the way this piece approaches, the way that it tells story. And again, the spacing is everything to this piece, I love it. And the ending that gorgeous line I love of 'they are late', just ties everything together. And there's a lot of like nonsense language in this piece that, again, as I say, if you just took the lines up this piece you'd say well what does that mean, but together, it just tells a story in a way that I don't know if I can even explain, I think this is something that you just have to go and check out yourself because it's just absolutely phenomenal. And yeah, it definitely belongs its place in this fantastic journal. I really enjoyed reading this one. And I think I could spend years on this piece and just still be like ok gosh I didn't see that and unlock something different in it. And as I say those are the pieces that I love the most. So a really fantastic one and a way a really fantastic way to end speaking about the fantastic Beir Bua journal. So do check them out they are gantastic. And as I say, Michelle does these really cool YouTube interviews. So definitely one to watch, for sure.
And now let's move on to speaking to our wonderful guests, the fantastic Shawn from the daily drunk mag. So hi, Shawn, great to have you on.
Thanks for having me. I'm excited to be on with you.
Absolutely. So you are the representative of the daily drunk mag. So you tell us a little bit about how you began this project? And what you guys are all about really?
Yeah, so the project came about last March during the lockdown. I needed something to do with all this free time that I had now. And I had been itching to start a magazine for for some time, and everything seemed to line up perfectly. And so the daily drunk was born. So we're coming up on about a year. And it's been great so far. The goal from the magazine from the start was to just create this community of people where we could just write all these wacky and fun things and just kind of let your literary hair down and have fun and write about movies or your favorite video games or your favorite punk pop band. Just anything. It's it's really taken off. And I'm glad to see that to have all the support from all the people on Twitter. It's it's been a lot of fun to be a part of this.
Yeah. And I mean, we've had so many guests on our previous podcast, highlight you guys has been a really great place for fun. And just a really great site that is one of their recommendations for lit mags and I've been following you for a while as well I think you do some really great stuff. And it's really exciting to see how you've grown from where you started. So it's just great to see really and I mean so for you Shawn what are some of the highs of the experience been like so far?
Yeah, definitely just interacting with literary community on Twitter has been super welcoming. And it's, it's been more than I could ever imagine, when we started this. We have a lot of projects upcoming that I'm super excited about like, we're doing a chap book, basically, one chap book a month. And it's that's been a lot of fun to put together and just to work with all the different authors. It's great to have all these projects coming together full force.
So fun is a big part of the daily drunk mag and obviously playfulness as well. And you don't just explore that through you know, poetry and prose. You also have other different types of writing on your site. So you have articles and a nonfiction and essays. So how does that all come together?
Yeah, I just think all those genres, whether you're writing poetry, an essay on your favorite movie, or even fanfiction about, let's say, Mario Brothers, it's all about just having fun and and trying to put this vision together. I guess what I'm trying to say is you can write about fun things and still have it be literary. I think that's what the daily drunk is trying to prove to people that every time you write, it doesn't need to be serious, you can let loose and have fun and be yourself and showcase all the different things you're interested in. It doesn't need to be serious literature. But on the same token, sometimes all this fun stuff does make way to like a serious lens of your literature.
Okay, and so if you could describe you know, if he could chose three words to sum up the daily drunk mag, what would they be?
Just be yourself.
Yeah, just let loose. Don't worry about trying to make a huge impression, the biggest impression you can do for our magazine is just write what you love about we can always tell if you're passionate about the things that you're sending us and you're not pretending to be something you're not. We want to read about your your love of Fast and Furious or why Sonic the Hedgehog is the best game of all time. We want all that this is stuff that I think everybody wants to escape from a little bit and read why Keanu Reeves is the best actor of all time. And in my heart, I always believe there's going to be room for that kind of writing, and it can be engaging, and it can foster this community that we've seen on Twitter as well.
And so for any, you know, listeners wondering how they can write for you, is it all, you know, pitch centric or do you guys ever do content calls? How do writers write for you?
Yeah, this is interesting. Um, we recently switched up our format, because we were just, we're getting a lot of great submissions. But we just couldn't keep up with this fast turnaround time that we're promising all of our writers. So we recently switched our submissions to every Thursday. And we've kind of made a game out of this where it's, we call it Trump day sub day, we tweet out this hashtag and you send in your submission. And so we get our submissions on Thursdays. And by Saturday, we aim to have everybody aim to get everybody in decision by then. But those are just for our general submissions, we've had brought on a lot of great columnists and just just this short amount of time and a year away, I believe we're up to like 25 something columnists and some of those columnists have come from me asking all of our Twitter followers, hey, anybody want to write about drunk food reviews, or anybody want to write about your weird celebrity fascinations? And then other times people will just slide into our DMS and just blow us away with a pitch and it'd be like, yeah, come on board. We want that.
Yeah, and you guys have published some amazing pieces in your site. So I was wondering Shawn if you have any favorites, you know, since you guys started up that have really like stuck out in your memory and have been really interesting, good articles.
We just started a thing called writers of the month in January. One of the first pieces was called rats and dumplings by Lane Chasek. And it was about Ratatouille and the adventures in depression. And it's one of those pieces that as soon as I read it, it blew me away because it touches upon everything that the site's about, you know, just relating pop culture and things that you're obsessed with, to how it really impacts your life and how you can escape for a little bit, especially with film. Some of the more fun things that we've had, we've, especially during the summer, we've done a lot of office themed events where so for like the next three hours or so send me your piece on the office episode where Michael Scott is hosting a dinner party and his TV gets smashed with one of his dundies. And we'll just get like 20 to 30 pieces on Michael's TV getting smashed. And so one of my favorite pieces was a poem about his TV getting smashed. And that was from the perspective of the TV. So we have a lot of fun doing the office, we've had Fast and Furious nights, where we get a lot of poetry about Fast and Furious. We even had like a Shrek night one time. And all these theme prompts have been a lot of fun to run and get a great response from the Twitter community.
That's awesome. I love that. And another question I have for you Shawn is how did you come up with the name for the site? Where did this originate from?
Yeah, that's just one of those things. You're just kind of like, it sounded fun. It sounds cool in my head. I was like, this could be fun this could be quirky. You think of drunk, you think of fun party and I just wanted that to represent the website. And the mag as well.
Yeah, absolutely. And I mean, I wonder, Shawn, for you, why was it so important that you started the site for such fun and playfulness? Was it something that you felt was you know, lacking in the community at the time?
Yeah, I just from a personal standpoint, I like writing about Shrek, and Ratatouille and Johnny Bravo or a lot of this 90s wrestling stuff. And I just I just noticed that there was a serious lack of spaces that allow people to just let loose and write about these fun pop culture obsessions that they had. And I wanted to be a site where people could just come to and have fun for a bit and write a poem or a haiku about their, their favorite movies. And I think we've done a good job so far of creating a community where people come together and can can go back and forth and share their favorite stuff regarding pop culture.
And writers don't have to have been published before to write for you as right like, if you like the piece, you'll take the piece.
Oh, yeah, no, no, no experience required with some some of my favorite acceptances that we'll send is somebody who's saying this is the first time I've been published, I, I've never even considered myself a writer, I just found your site snd I thought it'd be fun to send something in. And those are always my favorite acceptances to send.
Yeah, and I mean, you started the site in a world in the time where the world was in a really sort of gloomy, lonely, sad place. With COVID and lockdowns, a lot of people were just indoors having nothing to do but watch Telly, or they were just really struggling, they needed something or they wished they had some sort of escapism. So I think your site it's really good in that way that it has such an emphasis on fun and exploration and the escape from the really reality that a lot of people were facing and feeling really lonely from. And I guess like down as well.
Definitely, definitely, um, it's been great to just even for myself from an editing standpoint to kind of step away from what's happening in the outside world and sort of like fall into, fall into love with a lot of these pieces that can help me escape and sort of put put what's out of my mind of what's happening. And I know from experience where we get a lot of messages from writers on Twitter, emails are saying, Thank you, thank you for creating the space, it's been really helping me get through the daily grind of what's what's happening lately. And that means a lot.
Yeah, definitely. And so if anyone thinking about wanting to pitch to you and write piece for you, what would you say to them? Because I mean, pitches can be scary coming up with this idea and sending it over and you don't know if it's even good, or you don't know if it's already been discussed. So what advice would you have around that for your writers?
Yeah, just say, go for it. We're really open to anything. Just because something's been done doesn't mean, it's been done from your viewpoint. There's never too much fun to be had is what I was what I would say to that.
And have you ever had any pieces that, you know, you've never, you know, read what the articles on before you learn something new from the subject matter. And you read something, you're like, oh, they're so cool that's really interesting.
We had a really interesting essay on the Queen's gambit come in, a couple months ago, and it compared the Queen's gambit to anime. And I thought that was really interesting how the the narrative arc was very similar to a show in anime. And that said something I never would have thought of.
Yeah, I mean, when we go on your website, and you scroll through all the different pieces, we have everything from astrology, to dinosaurs to fashion to Guy Fieri. So I mean, there's a pretty big scope there of interesting things. And is that something that you're really you know, like, happy about?
Yeah, it's sort of what are you in the mood for today. One of our new columns is you can get your beauty tips, but they're not like, serious, serious beauty tips. It kind of pokes fun at all that pop sugar column stuff. Or you say you're in the mood for Guy Fieri, you can unwind with some guy. I think it's nice to have a site where it's like, wow, you would never think like, you could get get parenting advice and you could get wacky fitness advice and then you could stop by and read some dinosaurs all in one go.
Yeah, I mean, the variety is amazing. You can come in with one thing and leave with another completely unexpected thing. You're like, I well, I never imagined a piece on that, but it suited works so well. And I mean, for you, what do you hope that readers, you know, leave your site with? What sort of feeling? And what sort of intention do you hope that you know, they get from the site?
I would say, the one goal is for them say, well, I had a lot of fun exploring that, I want to be a part of this. This is a site that doesn't take itself too seriously. And it seems like I can have a good time reading all the stuff that they offer for us.
One of the more positive things that we always hear about you guys is how quick you are with those turnarounds compared to literally everyone else, you're so fast. And you really do just go in there and I'm like, how on earth do you fit that in with your life? That's dedication.
Yeah, it's it's tough. That's why we we had to switch from Thursdays for now because we're just getting so many and it was always important to me from the start to get back to people quickly during the summer. I was getting back within 10 minutes to some people and that that was a real rush to send those fast acceptances out. And that was another thing I noticed that seemed to be missing. I know when when I send stuff out I, I want immediate response, like most writers and I was like, I want to be able to give that for our writers. And that's important to me, it's always important for me to keep the site free, give fast responses, and just really maintain the fun.
And I think a really lovely thing about you guys, and your really quick, lovely response is that it can be really lonely in the world right now. And with you engaging in the community in that way, that's really beautiful to see. And it means that more than other mags, you definitely have more of a relationship with anyone, like your followers, your writers, because the you do have that, you know, really, really quick response, and you aren't having people waiting for a really long time. So I think that's lovely.
Yeah, I think it, it kind of breaks down that wall, I would say, between the editor and the writers, I, I'm a writer too, I want people to know that we're approachable, we're just like you were sitting in front of our computer not not really doing too much. I can send you a decision within 20 minutes, what's the big deal? So I, I want to break down that sort of barrier, I should say that that comes along with submitting.
Yeh it seems like dialogue is something that's really essential, something that you know, you really like uphold between you and your writers in your community. And so I mean, for anyone thinking of submitting being a bit worried about the piece the pitch not being good enough would you guys, you know, have that conversation with them and say, let's maybe work on that pitch and try and get to like an outcome, so even if you're not happy with it, you can try and work around and give them some good suggestions in that way.
Some pitches, you can see that there's a good idea there. And maybe we'll just go back and forth, and like, hey, let's let's fine tune this one a little bit, there's something there. I, the goal at the end of the day is to get your words out to people. And I think everybody should have that opportunity. And I want this space to be that.
What I like most about you guys is the inclusivity of you know, everyone. On Twitter, I do see very often a real drive towards really academic pieces, or, as you say, you know, really like literary pieces and I like with you guys that, you know, they can be both it can be fun, and it can be academic or it can be literary. But you know, you don't have to, you know, go on to university or you don't have to been necessarily like stuck right into the middle of an academic world to be able to write something that is still literary and fun and playful, and can be published on the site. Like you can talk about dinosaurs and anime that is absolutely acceptable and valid.
Absolutely. Just from from my experience, from editing this magazine, we get a lot of pop culture, literary critique stuff, most noticeably back when Chadwick Boseman passed, we got a lot of like, really interesting and thoughtful and amazing pieces on what his death meant to the black community. And it just shows that, yeah, pop culture, it can be fun, but it can also shine a light on, on what it means to some people. And it's really important, it can help us pop culture can help us get through tough times, it can help us grieves, it can be this escapism that you need. It doesn't always need to be the super literary piece. But pop culture can help you create this literary lens. I would say.
Another thing I really like about you guys, is what you were saying about just wanting to get people's voices out there. A lot of people I meet, they're not confident in their work and themselves as a writer. I say, you know, are you a writer and they're not sure, or they don't know, because they haven't necessarily had anything out or they're not an academic and they haven't been, you know, critically received or anything but with you guys, they submit and they get published and they are a writer. And I think that's absolutely lovely.
Yeah, absolutely. I think, listen, if you're if you're writing, if you're sending something, you're a writer, it doesn't matter how many publications you have, it doesn't matter if you have a fancy desktop setup, or you're scribbling away on your phone, in your notes app and you're doing that, you're a writer, at the end of the day. It doesn't matter how you how you're going about it. And I think it's really great to like to try and build your writers and your and your community up. Because at the end of the day, if you don't have that if you don't have your writers submitting to your publication, you're you're just nothing. You need that support both ways.
Oh, yeah, for sure. I mean, you touched on this a little bit earlier about, you know, the community and so yeah, tell us a little bit more about, you know, what that experience has been like and what the response has been.
Yeah, I mean, I'm blown away by it still. Daily drunk it seems to have taken off. And I never could have imagined that. I think it's important to just really communicate and interact with your community. They're not just followers. They're people you want to build writer relationships with, and and have fun with and it's their feedback and their involvement and their interaction that that makes the website go, it really helps in the long run to just know that there's a community there. And you can do these fun Twitter games, you can do Haiku contest, and they're gonna interact and they want to be a part of this, it means a lot.
Absolutely. And so what have you taken from the experience of editing daily drunk mug? What have you learned from editing yet?
That everybody's capable of letting loose. You know, we've we've had some serious writers, and they've sent us in some fun, quirky pieces. And they, they would say, usually don't write like this. I never thought about sending in a funny, quirky piece like this. And I would just say, it's good to let loose and just write for fun sometimes. Another thing that I've learned is to just have fun doing what you want to do. Write about whatever you want to write about. Just try not to take it so serious. Sometimes it's just writing at the end of the day.
Yeah. And I mean, the pieces that you get, are filled with such energy and life and creativity and passion, and I imagined that must, you know, hype you up as well and inspire you as an editor.
Oh, yeah. Like when we did the Guy Fieri stuff. I was like, this is brilliant. How can't I think of Guy Fieri riding around in his top down convertible just cruising for the best eats in the land. I just don't know how some of our writers come up with this stuff. It's, it's really great.
Yeah, absolutely. And I love on your site, there's no limits, you know, you're just like, yeah, we'll take the piece and we'll give you a voice. And I just love that about you.
Yeah, not everything needs to be Tip Top academic stuff. I just, if it's entertaining, I want it. If we were talking about stone cold, Steve Austin, chugging some beers, that's, that's the piece for us.
Totally. And I can really, definitely see the appeal that you guys would have for a lot of people because you can talk about what you want and what you're passionate about in a really fun, creative way. And I imagine that unlocks a lot of really interesting energy within a piece and within the voice of a writer. And so the question I have for you is, what is the future of daily drunk? What does it look like, you know, in a year from now, five years from now, what are the future plans?
I think I'm really enjoying where our chap book process, has been going. I think in the future, perhaps maybe we can look into novellas or even novels, publishing them that that could be a lot of fun I think. Maybe even more anthologies. We've had a lot of good reception to our Adam Sandler holiday anthology that we put together back in December. So I think that'd be great.
Oh, yeah. And it's just so unique. And it's I think it's something that we really do need we don't need another anthology about you know, Shakespeare essays or something like that. Or Shakespeare plays we and fun stuff like what you guys are doing, like a guy fieri collection, an adam sandler collection, it's just something that's so it's different. It's unique, and it just puts a smile on your face, I think.
Yeah, definitely a good stocking stuffer I would think.
Definitely they would make such good gifts.
Right? I could see that like Spencer's, or, barnes and noble.
And you're just such a fun, inventive, amazing space. And I know that the daily drunk mag is only going to get bigger and stronger. And I wish you all the luck in that success. I can't wait to follow the rest of your journey and see the fantastic stuff that you guys are going to come up with soon.
Thank you so much. That really means a lot to me.
And thank you for coming on and chatting to us. It's been really great to learn more about you and the site. And I mean, if anyone listening out there hasn't heard of daily drunk mag, you need to stop whatever you're doing and go and check them out. So yeah, thank you so much, Shawn.
Thank you for having me. It was a blast.
Okay, so that just about wraps things up for part A. We've had a blast flicking through loads of great sites and issues and speaking to the wonderful daily drunk mag. And in part B, we are going to be chatting to Kelly Van Nelson about her amazing work and community work and the process of becoming a successful published poet and author. We will of course be looking at our tweet of the week and Jack will be going through some interesting lyrics and relating them to literature in a new music digestion section. And then we have a really cool news blast the end, which a lot of the news was found by our wonderful volunteer JP Seabright, so it's gonna be great fun over there. And thank you so much for listening.