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Flash Sale: 50% off “The Conium Review: Vol. 3” this weekend!

The Conium Review: Vol. 3 is just $6.00 (with free shipping) this weekend! This is not a back issue. Volume 3 is our current issue, with a normal list price of $12.00. The 50% discount lasts from Friday, July 24th to Sunday July 26th.

The Conium Review has been called “spectacular” by Small Press Reviews, and Prick of the Spindle says we’re “raising a unique voice.” The Review Review also notes “A reader will be entertained and satisfied with the variety of storytelling while the writer will be encouraged and hopefully inspired.”

Don’t miss this chance to snag a discounted copy.

“The Review Review” reviews our latest issue

The Review Review reviews The Conium Review‘s latest issue (yeah, there’s confusing number of “reviews” in that sentence).

In her review, Callie Feyen notes that many stories are “haunting,” and she says “the magazine allows different ways to tell a story.” She goes on to say “Whether the plot is deft, or deliciously lengthy, each story in the review provides remarkable characters, and situations to grapple with. A reader will be entertained and satisfied with the variety of storytelling while the writer will be encouraged and hopefully inspired.” Read the full piece at The Review Review website.

The Conium Review Pre-AWP Sale!

Unable to attend this year’s AWP Conference in Minneapolis, MN?  Still want a sweet deal on a fantastic lit mag?  We’ve got you covered.

For a limited time, we’re selling The Conium Review‘s latest issue for just $10.00 with free domestic shipping!  (For international shipping, please e-mail us for an invoice).

This is our latest issue, with work from Olivia Ciacci, Tom Howard, D. V. Klenak, Jan LaPerle, Zach Powers, Christine Texeira, and Meeah Williams. It normally retails for $12.00 plus shipping costs. Get ’em while they last.

Contributor Conversations: Hillary Leftwich interviews Jan LaPerle

Hillary Leftwich interviews The Conium Review contributor Jan LaPerle. Her work appeared in Vol. 3 and on our Online Compendium.


[Hillary Leftwich]: Your flash story “Murmuration” appears on our online website and “Laden” was just published in the print version of Volume 3 Collector’s Edition. I found both flash stories to have a similar theme about the relationships between mother and child as well as life and death, but in dramatically different ways. Was this similar theme intentional? Which story do you feel has the strongest portrayal of this theme?

Jan LaPerle[Jan LaPerle]: A few minutes ago I was reading over an Artist Statement I wrote last year.  I wrote, “When I write, I write of fear.  Fear like ivy climbing the trunk of the pecan tree that shades our house; it has wrapped itself around me.  Every day I fear losing this little girl – every day when I send her off to school with her backpack and little pink shoes, I feel it; every night when I tuck her in bed I fear she may not wake in the morning.”  The thread that runs between my characters and myself is fear: fear of losing my child, fear of losing my freedom, my life, my control (so many fears and too many to list).  Instead of intentional, I’d say it’s a theme in all my work – something I just try to get at and something I look at from every angle and every distance.

There’s something simpler, cleaner about the fear in “Murmuration.”  The fear of not being able to fulfill a desire, in the story, for both characters is tragic, and most tragic in the living than the dying.  In “Laden,” there are so many complicated fears – fear of becoming a parent, fear of losing a loved one, the fears of the neighbors recognizing their own fears, and the fear of an adult looking at a fearless child.  I believe “Murmuration” travels deeper into one fear and “Laden” is a somewhat messy look at a lot of fears coming together in an image – that strange image at the end of the family frozen in the ice.  So, perhaps the strength here is in the potency, the deeper look, the murmurations.  Though I’m not exactly sure.

[HL]: It has been said that poetry lends itself to flash fiction. As a poet and a fiction writer, do you find this to be true? Are you drawn more towards one or the other in your own writing?

[JLP]: I wrote poetry first.  I completed my MFA in poetry and never once wrote fiction, but when I moved to Oklahoma and began a PhD, I took several classes in fiction.  I felt drawn to write stories, but I was never very good or very drawn to the short story.  In my last fiction class, we all ended with a 5-minute reading (we were to read a short segment of a longer piece).  But, for the reading, I decided to write a complete piece to be read under 5 minutes, and that is when I, rather organically, wrote my first flash fiction piece.  I fell in love with the form.

The crafting of a flash fiction piece is much like crafting a poem, but what I love about writing fiction is the characters, the magic between characters in setting, etc.  Sometimes writing a poem seems a little self-indulgent, and not because poetry is necessarily, but mine is.  I know I need to push my poetry, to find a way to write a new type of poem.  I’ve tried all sorts of things but maybe not hard enough.  I feel right writing flash fiction in a way I haven’t with poetry in a long time.

[HL]: In your flash story “Laden” there is a description that gives me goose bumps: “And then the trees pulled, a response to the pain they found there.  The frozen pond stood suspended in the air, held by the surrounding branches.  The slowing winds rocked the pond like a cradle.”  What is one story or poem you have read where a line or paragraph has stayed with you over the years?

[JLP]: My first love as a writer was Plath, and this line from “Tulips” has never left me: “The nurses pass and pass, they are no trouble/ They pass the way gulls pass inland in their white caps/ Doing things with their hands, one just the same as another/ So it is impossible to tell how many there are.”

Even in that poem, there are better lines, but the image here is frightening and I’ve thought of it often for many years.

[HL]: There is a saying, “If a writer falls in love with you, you will never die.” Have any of the stories or poems you have written held true to this saying? If someone did make it into one of your writings, why did you choose them, even if it was inadvertently?

[JLP]: It is often the faces of strangers that are most haunting to me – they are the ones I write about (though there are pieces of me and the ones I love floating on their surfaces).  For example, when we were living in this little town, Bluff City, I was driving to work early one morning and I met a couple driving in a car – both of them were very tall, skinny, and very pale.  The car windows were large and I could see them well.  I imagined they had been working all night and were on their way home.  They seemed very sad to me, though I knew it wasn’t fair of me to think so.  Or, maybe, there was something about them that reflected my own sadness.  I wrote then a story about them, “Swing Shift,” and in it they find happiness and light.  If I hadn’t written their story, I wouldn’t have remembered their faces, but it’s been years since I saw them on the road, and I can see them as clearly as the tree outside my window.

[HL]: Your poem, “She Rings Like a Bell in the Night” was published in Rattle and also nominated for a Pushcart Prize. The title is also taken from the Stevie Nick’s song “Rhiannon.” If you could pick one song to describe your writing overall, what would be your theme song be?

[JLP]: “After the Storm,” Shovels & Rope.