Sam HiyateInterviewsBarbara Radecki and daughters Stefanie and Michele.
Your reconciliation of the domestic and the erotic.
Barbara: When my daughters were little, my husband’s work began to take him on the road a lot. Not only was I suddenly on my own with two little girls, but I was trying to find my creative voice amid a houseful of dreary chores. I loved being a mom, but resented that domestic drudgery.
I took it out on my husband. It took me a long time to realize that either I could writhe with resentment—while still having to do the dishes and laundry—or I could just do the work and let it go.
Believe me, you feel a lot sexier, a lot more attracted, when you’re not listing all your partner's mundane shortcomings in your head. And the chores lose their onus very quickly when you’re not seething about them. Anyway, in the end, domestic obligations balanced out between us.
Best reconciliation of the domestic and the erotic: the at-home date night.
Today we are publishing four more of our twelve finalists: Josh Zancan for fiction, Sonja Boon for nonfiction, Kathlyn Meyer and Addison Peacock for poetry.
Josh Zancan's Sycamore River is an exquisitely told story of sudden loss and everlasting sorrow, layered so deftly at each step that the growing sense of fatalism is simultaneously poignant and frightening.
Sonja Boon's French Kiss is a nostalgic coming of age story about leaving home and looking for love, seen through the lens of a quintessentially Canadian theme: the spaces between us and the differences that enrich us.
Kathlyn Meyer’s poem, Ragdoll, explores the dialectic between the sordid and the genteel, the privileged and the bereft, and does so with an irresistible say-it-out-loud rhythm and an array of arresting images.
Addison Peacock’s poem, Love Does Not Look Good on Me, plays with verse, imagery and narrative as it riffs on Dionysus for an unconventional look at love gone awry. (And it’s full of sass.)