Birds and Birthdays
Page 9
Works Cited
Belton, R. J. 1991. Speaking with Forked Tongues: “Male” Discourse in “Female” Surrealism? In Surrealism and Women, eds. M. A. Caws, R. E. Kuenzli, and G. Raaberg, 50-60. Cambridge, MA: The MIT Press.
Caws, M. A. 1997. The Surrealist Look: An Erotics of Encounter. Cambridge, MA: The MIT Press.
Chadwick, W. 1985. Women Artists and the Surrealist Movement. Boston, MA: Little, Brown, and Company.
___. 1998. Mirror Images: Women, Surrealism, and Self-Representation. Cambridge, MA: The MIT Press.
Colvile, G. M. 1991. Beauty and/Is the Beast: Animal Symbology in the Work of Leonora Carrington, Remedios Varo and Leonor Fini. In Surrealism and Women, eds. M. A. Caws, R. E. Kuenzli, and G. Raaberg, 159-182. Cambridge, MA: The MIT Press.
Kaplan, J. 1998. Subversive strategies: The Work of Remedios Varo. In A Woman’s Gaze: Latin American Women Artists, ed. M. Agosin, 110-128. Fredonia, NY: White Pine Press.
___. 1988. Remedios Varo: Unexpected Journeys. New York and London: Abbevilee Press.
Kuenzli, R. E. 1991. Surrealism and Misogyny. In Surrealism and Women, eds. M. A. Caws, R. E. Kuenzli, and G. Raaberg, 17-26. Cambridge, MA: The MIT Press.
Lansing Smith, E. 1997. Figuring Poesis: A Mythical Geometry of Postmodernism. New York: Peter Lang.
Levitt, A. S. 1999. The Genres and Genders of Surrealism. New York: St. Martin’s Press.
Tanning, D. 2001. Between Lives. New York: W.W. Norton & Company.
___. 1991. Statement. In Surrealism and Women, eds. M. A. Caws, R. E. Kuenzli, and G. Raaberg, 228. Cambridge, MA: The MIT Press.
Acknowledgments
These stories were originally written during the course of my first graduate degree in English, which I undertook at Youngstown State University. Many thanks to my thesis advisors, Dr. Philip Brady, Dr. Stephanie Tingley, and Dr. William Greenway, who introduced me to the concept and practice of ekphrasis in his graduate poetry workshop. I would also like to thank Richard Bowes, who talked with me about both the art and the artists to whom I was responding as I researched. His wealth of historical knowledge aided me in further understanding the greater cultural forces at work while these artists shaped their lives and their art. Many thanks to Tony Romandetti, who unknowingly inspired me to revisit these stories and this essay as I watched him work in his studio, shaping his own art. Thank you as well to Ellen Datlow, Terri Windling, Susan Groppi, and David Moles, editors who first published “The Guardian of the Egg” and “The Creation of Birds” in their anthologies, Salon Fantastique and Twenty Epics, respectively. And thank you especially to L. Timmel Duchamp, without whom this small raft would not have set sail into the great sea of stories.
Publication History
“The Creation of Birds” first appeared in Twenty Epics, eds. Susan Groppi and David Moles. All-Star Stories, Berkeley CA, 2006.
“The Guardian of the Egg” first appeared in Salon Fantastique, eds. Ellen Datlow and Terri Windling. Thunder's Mouth Press, New York, 2006.
Author Biography
Christopher Barzak grew up in rural Ohio, went to university in a decaying post-industrial city in Ohio, and has lived in a Southern California beach town, the capital of Michigan, and the suburbs of Tokyo, where he taught English in elementary and middle schools. His short stories have appeared in a many venues, including Nerve, Teeth, Interfictions, Asimov's, and The Year's Best Fantasy and Horror. His first novel, One for Sorrow, won the Crawford Award. His second book, The Love We Share Without Knowing, is a novel-in-stories set in a magical realist modern Japan, and was a finalist for the Nebula Award and the James Tiptree Jr. Award. He is the co-editor of Interfictions 2, and has done Japanese-English translation on Kant: For Eternal Peace, a peace theory book published in Japan. Currently he lives in Youngstown, Ohio, where he teaches fiction writing in the Northeast Ohio MFA program at Youngstown State University.