Interview with Sean Mahoney

WG: Sean, recently you have been working on a project to have a booth for disability literature at the AWP conference in Los Angeles next year. Will you talk about how that idea came about?

SM: I attended AWP 2015 in Minneapolis. I was there primarily for the release of my brother's book Sunblind Almost Motorcrash and to enjoy what the city had to offer. I wandered among the booths and tables on the main floor, stopping, leafing through books, talking to people, drinking lots of coffee, and watching the parade of writer types. It wasn't until I ran across the booth for the Bellevue Literary Review that it occurred to me that there had been no other journals or presses present with disability themed literature as their marquee. Which I found odd—I had seen plenty of people with walking aides, guide dogs, or assistants making their way around. And who knows how many others there may have been — people like me with no obvious "tell". I also attended a panel discussion about the marginalization of the deaf and disabled in American literature. And Batman. Batman— thematically—was part of that panel too. I think there was one other panel about the 'disabled body' that I missed.

When I got home I felt…not incensed…but frustrated I suppose. Yeah — a good chunk of me felt left out. I did some research and when I felt I had a good understanding of the AWP requirements and processes I reached out to the only disability-themed journals I knew of: Breath & Shadow, The Intima, Kaleidoscope, Pentimento, and Wordgathering. I didn't plead with them to be a part of the AWP shindig in 2016 happening in Los Angeles. I said that they should be a part of it. I opened a dialogue. And the response was nothing but positive.

WG: Once the journals came on board, what did you do next?

SM: Enjoyed a solitary moment of panic…and then began assembling the pieces. And continuing the dialogue. How would we fund this? Who exactly were "we"? Was it even feasible to have 5 journals represented at the same table? How many representatives — if any — of respective journals were planning to attend? If the fundraising venture proved successful where would the money go?

I believe the name — the Dis-Lit Consortium was the first group decision. A first positive step as it were. Every step since has been positive, infused with dialogue and exchange, and very encouraging.

And it's been strange at times for me walking that line between active participant and mild-mannered facilitator…balance being as issue for me anyway coupled with my natural inclination as both rabble and rouser. I definitely felt a bit clumsy on more than one occasion…and perhaps that's just me. I haven't been part of a larger-scale collaborative effort in awhile. And I feel this is indeed a large-scale movement.

With moniker in tow we set about writing the text for our Indiegogo fundraising campaign. We set a modest goal of $2500 to cover the fees associated for an AWP booth, badges, etc. We designed a logo that very cleverly incorporates ASL. And purple. Huge fan of purple I am. At this time, we sit at $2698 raised 31 days into a 45-day campaign.

Some of the DLC 5 will bring issues of the respective presses. And since some of the presses involved with the DLC are web only affairs we are trying to also cull together a good representative sampling of disability poetics and literature to showcase. People need to know…and be readied, be receptive to this dialogue we want to engage in with them.

Incredibly though, I have recently been made aware via one of my AWP contacts that there will be no disability-themed panels at 2016's event. That seems criminal for a gathering bent on beating its chest for its heralded 'inclusivity'.

WG: It would seem that with the lack of representation by writers with disabilities in the panels and readings at AWP, your booth is going to take on added importance. What are your plans for displaying the books and writing of authors with disabilities at your booth? How can they go about participating?

SM: Good question. Honestly — I don't know. In keeping with the spirit of the DLC thus far we'll wing it…we will find a way to display what will whet the appetites of the uninitiated, the curious, the adventurous, and the literaryily underfed. It's not a super huge space to work in so we'll have to be selective and brimful with additional information and resources.

Actually I have to correct something from a previous response. I looked around the AWP website today for info about the 2016 event and found a list of the approved panels. And there is 1 —and only 1 — with a disability theme: Disability Caucus with Jennifer Bartlett, Meg Day, and Sheila Black. And I'm not even sure it's a panel.

Still it's a bit disarming. There are many…a lot a lot a lot…of panels devoted to LGBT themes, female and Black studies within literary channels, gender identity, and panels devoted to "other" voices…but just one panel carrying the disability voice. And take heed…this is no doubt and undoubtedly a cheap shot: current events notwithstanding…is this about marketability and what is and isn't topical? I mean we — our entire cluster fuck of wild soundless limbs and dark defective parts — generate billions and billions of dollars annually. Without question we drive a sizeable chunk of the global economy. The ADA just celebrated an anniversary. Why is it only 25 years old and not 100? So…topical? Rhetorical question. We are just not sexy? Maybe it's due to the fact that LA hosted the Special Olympics just a few weeks ago and that should be plenty good for all us poor unfortunate souls…"inspiration porn" indeed. I have no doubt a healthy smidgen of luck is involved but WTF—where is the balance?

But back to the question: by "they" participating, do you mean to ask if those writers are unable or unwilling to attend can still contribute in some way? Yes they absolutely can. They can tell people about the DLC booth. They can have friends stop by or shepherd people our way via their blogs or by word of mouth. Spread the word. Paint walls. Write an ode. Perhaps we should make a simple DLC business card that references the journals involved. Maybe a new informal network will rise?

You know what my biggest fear is though? Being left alone at the booth, unable to answer questions about specific writers or poems, timelines, events, art, plays, body realization, and whole-heartedly fabricating locations for espresso stands located in the sub-basement in response to an earnest but off-hand remark about how normal I look.

WG: Let me clarify the previous question. The Dis Lit Consortium will obviously be displaying information about the magazines of the consortium members but my understanding is that the booth will also have books by writers with disabilities there for examination and/or purchase. How can writers who would be interested in having their work on display — whether they will be present at AWP or not — be able to arrange with you to have their work shown at your booth?

SM: Two ways: upon seeing this printed interview, this open invitation as it were, on the grapevine of dis lit channels those writers will have to reach out to one of us who are directly involved with the DLC—one of the journals. Alternately, we are going to reach out to writers we know, asking to showcase their work and/or actively court their participation by having them stop by the DLC booth and sign books. And I have no doubt there are writers none of us know personally but whose work absolutely has to be represented both for its significance as a piece of literature and for its importance in the continuing development of the body of disability literature. So 'we' too will be writing letters and sending emails seeking permissions and works.

And people are more than welcome to make inquiries/suggestions at zuzus11@yahoo.com. Just put "DLC something something" in the subject line.

WG: In addition to your work on the Dis Lit Consortium you are also working on the third volume of Something on Our Minds. Can you tell readers who might not be familiar with it about that project.

SM: Something On Our Minds is the name of the anthology series created by the We Write for the Fight self-help group. Our 3rd volume will be released on 10.31.15. SOOM is a 100% benefit endeavor. All sales of the first two volumes went to the National Multiple Sclerosis Society (NMSS). This 3rd installment will see all proceeds going to the non-profit Accelerated Cure Project. Volume 3, like its predecessors, will be available on Amazon in both paperback and Kindle versions or through the CreateSpace.com bookstore.

It's a fantastic undertaking that has done nothing but improve in both the quality of material included and in the layout and design with each subsequent release. These books are filled with stories, essays, and poems hovering in the ether that is Multiple Sclerosis. These books give people the opportunity to make their permanent imprint and refine their writing voices; an outlet to share their struggles and tiny victories. Many of our contributors have never participated in a group writing project such as this and I feel really honored to have them along. And many contributors are bloggers or have regular online columns who are aboard supporting the ongoing chase for a cure.

Jiminy Christmas that sounded ridiculously polished! Right,then…moving on. While submissions for this third volume closed back in June any of the editorial staff can be reached at soominds66@gmail.com if a body had an inkling about participating in a potential Volume 4 release.

WG: You say that you have seen the quality of the work improve with each successive volume. Can you talk a bit more about how it has improved? Are there any suggestions that you would give to potential contributors about what you are looking for or, in the converse, what they should avoid in sending their submissions?

SM: Well the first volume was an idea with some phyllo dough wrapped around it. Tracy Todd and I were literally pulling people into the project and taking anything we could get. And it shows. Even the cover was scribbled 11th hour. But as template it proved invaluable when putting together V2. We took our time. We solicited contributions from a broader range of talent. We went a little global. We had help with the editing. V3 has some international flavor as well. It too is more refined with respect to content, layout, and cover art. And when I say refined I mean there has been more interaction between editors and contributors—more of a cooperative effort. More dialogue. I believe I only found myself in awkward water twice, maybe three times, so far, during the V3 process. I'm still such a novice when it comes to this whole book thing…and I stepped on some toes admittedly. No lasting harm. No calls for duels. And…the editorial team from V2 is back for V3. So there is continuity which has made V3 really a pleasure to work on.

I can't say that there is a "type" of poem or essay that we are looking for. We ask that people be comfortable enough with themselves to share what it is about them worth telling or revealing. We ask for personal truth…or an audaciously entertaining facsimile thereof. I would recommend one try to avoid cliche if at all possible; beware the tired tropes of MS…and there are many for sure. One thing I say to people when approaching them about contributing is that they are not restricted to just writing about MS. Most do anyway and that's perfectly fine. We do ask that people be open to revising and narrative suggestions. Basic stuff really.

WG: Sean, thank you for filling us in about the Dis Lit Consortium and about Something on Our Minds as well. Before we close, is there anything else you would like to add, perhaps about yourself or your own writing.

SM: I have some follow-up to an idea we touched upon earlier. It seems that both the dissatisfaction and disillusionment with AWP continues to grow. There is even a petition out demanding that AWP be more responsive to people with disabilities by making certain changes. Not that this is going to curtail DLC's presence at AWP 2016…but I feel it does make our presence of greater import. Perhaps we can serve as a calling card or sorts. That's likely naive on my part but…the outcry and the protest and the general yuck factor can only be held in check for so long before one side gives.

Anyway — my writing? Yes I write quite a bit. I had a span after Dx (4.4.12) where I was lucky to have many pieces published. And then it tapered off just as quickly. I'm pretty sure I don't suck as a writer…but I might. But in the larger scheme of things, and after attending AWP 2015, getting published lost some luster. I feel now more compelled to connect, to unify. And that, my friend, is damn satisfying.