portrait One on One Archives

Charles Salzberg

Issue No. 146 ~ July, 2009

"...I'd written an article about street gambling, 3-card monte, and an agent asked me to write a novel based on it. I didn't really want to, but when she said I could make several thousand dollars, which was a lot of money then, I said yes. I think I wrote it in a month...It was called Street Gambler, and fortunately, I probably have the only copies left."

Pam Uschuk

Issue No. 142 ~ March, 2009

"...Almost too late, I learned to love my mother. Sometimes taking care of her constant needs felt like an imposition, but I've come to understand that it was also a huge gift I'm still unwrapping. I've written about her in poetry and prose, and I continue to untangle the web of my knotty childhood."

Greg Herriges

Issue No. 142 ~ March, 2009

"...While my students were dying in gang fights, I had to enter a numerical symbol next to each dead student's name... A big "L" meant the student had left the system. A little "l" meant the student had been transferred to another class in the school. "99" meant you'd been capped, hacked, and stacked, Jack. It was enough to make you sick."

Jamie Malanowski

Issue No. 137 ~ October, 2008

"No editor or publisher ever wakes up in the morning, looks out his window, and scans the landscape for a brilliant writer who's just too shy to put himself or herself forward. It's a put yourself forward business, at every level."

Molly Peacock

Issue No. 137 ~ October, 2008

"I went to the State University of New York at Binghamton and studied with the poet Milton Kessler. He gave me the best advice about my poems. He'd point to something in a poem that he thought was successful and he'd say, 'See that?' 'Yes,' I'd say. 'Well,' he'd say, '"do that again.'"

Walter Cummins

Issue No. 137 ~ October, 2008

"All through college, I wrote for the school paper and even edited a humor magazine, for a while emulating a then-popular humor writer named Max Shulman. Junior year, with trepidation, I signed up for a creative writing course, which started my life of fiction despite the disasters of those early stories."

Lynn Aarti Chandhok

Issue No. 133 ~ June, 2008

"I was always a good writer, but I didn't think I had an imagination. I liked pottery because I understood that if I just practiced over and over again, I could get a form just right...That's really how I started to feel comfortable writing poems -– by trying to attend to form...I think the forms gave me a space to work out what really was there in my imagination."

Xujun Eberlein

Issue No. 133 ~ June, 2008

"...when I wrote fiction I was often unconscious about which part was from memory and which from imagination. For nonfiction, I tended to double check my memory, and I often turned to other sources to verify my memory. But if I found a conflict between a second source and my own memory, I might believe in myself more."

Mathias B. Freese

Issue No. 133 ~ June, 2008

"...I believe to become a great writer or a very good one the writer must avoid organized teaching. I think like a shrink, a father, a lover, a mensch, but not as a writer. When I come to write, I go inward, very inward, and I allow my unconscious to blast through, often ooze, into awareness; that is how I write."

Afaa Michael Weaver

Issue No. 131 ~ April, 2008

"When I think of sociologists who aspire to be writers, I think of W.E.B. DuBois, whose prose was quite good as we all know. But he was not a poet or a novelist. One day, I hope These Hands I Know will be recognized for what it is, an excellent primary source for people such as sociologists. The book gives a view to the effects of racism on black family life and the effects of child abuse."