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34.3 (Fall 2011): Legacy
TMR’s Audio Contest

Postmark deadline is March 15th, 2012!
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Magic, and other innovations.
This past week I (finally) completed edits on the additional materials for two pieces that, although they were part of textBOX’s launch this past January, have very patiently been waiting for their extra pieces to join them online. To Cynthia Miller Coffel’s Editors’ Prize winning essay “Letters to David,” we have added an introduction, questions, writing prompts and a brief note from the author. As with all of the additional materials provided on the site, the goal is to enhance readers’ experiences, to illuminate a particular aspect of the text, or encourage consideration of some of the piece’s subtler elements.
In the note that accompanied the essay when it was first published in TMR, Coffel describes her motivation, saying, “I wanted, in my essay, to honor the generous impulse of my twenties—working to help all those poor people, trying to make our country better—and I also wanted to treat that impulse lightly, to admit that it was mixed up with arrogance and exuberance and naiveté. I also wanted to honor my friendship with the man I’ve called David. I think that kind of friendship is one you can only have at a certain point in your life.” Understanding the author’s intent can have a profound impact on a reader’s approach and while intent may not be everything, in this case Coffel’s explanation simply clarifies the tender, yet honest evaluation of her own past that is evident throughout “Letters to David.”
L. E. Miller’s short story “Kind,” is also about a woman reflecting on the life she led in her early twenties, although of course this story is fiction and its protagonist, Ann, a fictional character. In addition to adding our usual introduction, questions and writing prompts, I am pleased to announce that “Kind” is the first textBOX piece to be presented with a full audio version. Recorded along with the first-ever audiobook edition of TMR in early 2007, “Kind” is read by Mark Kelty and you can listen via the toolbox in the right sidebar of all the pages on which “Kind” and its additional materials appear.
There is a special kind of magic in listening to stories read aloud. More than once over the past decade I’ve found myself sitting in a parking lot, transfixed by PRI’s Selected Shorts, unable to complete whatever errand I intended to run until I’ve heard how the story ends. At AWP a few years back, I attended a Selected Shorts performance of B. D. Wong reading Raymond Carver’s “Cathedral,” and remember feeling as though the other thousand or so audience members simply weren’t there. It’s as if being read to can hold me perfectly in the present by reminding some part of my subconscious of the pleasure of being read to as a child.
Adding full audio versions of the stories, essays (and eventually poems – more on that soon, I promise) on textBOX has been something we’ve been thinking about for a while. This summer we are going to make it happen. “Kind” is just the first of many. William Harrison’s short story “Eleven Beds” has been recorded and will be edited soon, and our new team of anthology interns are already hard at work selecting which essays and stories will be next.
In the meantime, if reading “Letters to David” along with Cynthia Miller Coffel’s commentary, and listening to “Kind,” leave you wanting more, you can always listen to all of the pieces from The Missouri Review’s first audiobook issue (30.4, Winter 2007) here. Of course if you like that, you can always subscribe to our digital issue, which comes complete with a full audio version four times a year. And if that’s just not enough storytelling for you, maybe my favorite fiction podcasts (here, here, and here) can tide you over until we can get back down to the studio and start making more magic.
Nell McCabe is The Missouri Review’s Anthology Editor.
Ever Dream of Winning an Oscar?
Well, me too. Evidently, so does did Trent Reznor.
No, not that Trent Reznor.

Reznor and Atticus Ross accept the Oscar for Best Original Score. Personally, I think he's more intimidating in a tuxedo.
That Trent Reznor. Reznor was a surprise winner to some, even with the success he had at the Golden Globes. Truthfully, the surprise is that someone so famous for transforming American industrial rock gained access to the clean-cut, elitist Oscar stage. You don’t need to be a film or music expert to find the differences between Reznor and, say, Randy Newman – winner of Best Original Song this year. You also don’t need to be an expert to see that Reznor absolutely deserved his Oscar. And the Ross-Reznor musical pairing isn’t finished making their mark on the film world. The duo is working with David Fincher on the score for The Girl with the Dragon Tattoo.
So, here’s the question: did James Franco get stoned and host the Oscars? Just kidding – but I’m not the only one asking that question.
Seriously, let’s take a closer look at Reznor’s career. We all already know Nine Inch Nails and, whether industrial rock is your thing or not, I think we can admit that what he did was groundbreaking and took a lot of talent. So, how did he do it? The answer, at least for the band’s fifth album, Year Zero: with a laptop in hotel rooms after rocking out on tour. No, not everyone loved Year Zero, but then again it seems like it’s always hard to please Pitchfork. The larger point here, is that Reznor built this album on the go, on a laptop, mixing sounds and beats outside of a multi-million dollar studio.
When you’re sitting at home, mixing your audio for this year’s competition, just think, I am Trent Reznor. I mean, it gets me through my day.
Why Audio?
Last week, as I edited one of the final audio recordings of the current issue of TMR, I remembered why I love audio so much. Usually, I contact the vocal talent, I’m at the recording session, or I’m editing some portion of the piece myself. When I was out of town in December, one of our interns, Jackie, had done the entire production for “The Way I Saw the World Then” by Elise Juska, which was read by Meg Philips, and I got to enjoy listening from start to finish.
This is why I love audio, why audio recordings of literature matter: it’s about storytelling. I love having stories read to me, where it’s just me and the voice of the reader, as if we were sitting together in a corner, away from the rest of the world and its worries.
My world, like yours I’m sure, has lots of worries. So, as a small remedy, I offer one of my favorite recordings–Brian Swann’s poetry feature from 32.3, our recent issue on Demons.
Audio and Video Competition Winners Announced
We’re pleased to announce the winners of the second annual Audio & Video Competition. We received 211 entries, and the quality was deep in nearly every category. Over the next few weeks we will audition the winners and select runners-up for your listening enjoyment.
Narrative Essay
First place, $1,000: “Dayenu,” by Judith Sloan
First runner-up: “What’s Your Status,” Judith Sloan
Second runner-up: “‘Reverie’” Reclaimed, Nancy M. Williams
No student entries/winners
Documentary
First place, $1,000: “Love Triangle,” Lauren Kirby
First runner-up and best student: “Dad’s Naughty Pictures,” Ken Cormier
Second runner-up: “Love, War, & PTSD: Peter and Anna Mohan”
Voice Only
Fiction
First place, $500: “Annunciation of the Baby Jesus One Block North of Riverfront Dr.,” Ann Rosenquist
First runner-up and best student entry: “Glorie in a Small Town,” Kristin S. vanNamen
Creative nonfiction
First place, $500: “Smoke Rings,” Rachael Hanel
First runner-up: “Mary Lee,” Robert V. Wolf
Second runner-up: “Foreign Land,” Sue Mell
Best student entry: “Personal Assistant Needed,” Kristin S. vanNamen
Poetry
First place, $500: “Living the Life of the Great Buster Keaton,” Douglas Collura
First runner-up: “Fear of Moving Water,” Alex Grant
Second runner-up: “There’s a Guy in L.A. Who Charges a Premium Teaching Men How To Get Women,” Todd Boss
Best student entry: “The Life Expectancy of a Fruit Fly,” “Some Revisions,” Marcus Wicker
Video
Creative Short
First place, $500: “Separate Vacations,” Anne Lewis
First runner-up: “A Length of Time Is Measured By the Space Between 2 Hands,” Ryan Scammell
Second runner-up: “The Clam Diggers,” Tim Wilson
Documentary
First place: $500: “The Unhappy Traveler: A New Yorker in India,” Basia Winograd
First runner-up: Inventing the G-Suit: the Life Story of Dr. Earl Wood,” Bill Bonde
Second runner-up: “Coming Home,” Dmae Roberts
Best student entries: “Nokota,” Lucie Schwartz; and “The Palmyra Massacre,” Brian White
TMR Podcast: Audio Winners Series: Judith Sloan, "Sweeping Statements"
Our first installment of the Audio Competition winners features the first place recipient of the Narrative Essay category, Judith Sloan. The essay, “Sweeping Statements,” is a first-person author-read accounting of teaching theatre, writing, and juggling in jails and alternative sentencing institutions with incarcerated teenagers. Category judge Jay Allison, of transom.org, says the essay “truly left the page and warranted its existence in sound.”Sloan is an actress, oral historian and audio artist. Her audio pieces have been produced for National Public Radio and New York Public Radio. She is also co-founder of the non-profit arts organization EarSay, http://www.earsay.org/. The piece was written, voice edited and performed by Judith Sloan; music produced and performed by Taylor Rivelli, for Taylormade Sounds, LLC; trumpets performed by Dave Guy; and music sequencing by Tomek Gross/Judith Sloan. You can subscribe to our podcast through iTunes, or listen to this entry directly here.








Look At All That Audio
As you know, the deadline for TMR’s audio contest is tomorrow. Early last week, I began to think about how to inspire people to submit to the contest. Working with audio from scratch, especially creating your own work, can be a daunting task. I was still stumped as the editor’s prize winning authors rolled into town this weekend. Then, during an in-studio interview (look for podcasts soon!), it hit me. Why not show you how we do audio? And here’s what I came up with:
We use Pro Tools LE for recording and editing all audio tracks.
After creating a new track, we adjust the gain to the appropriate level and begin recording.
We use a small, Whisper Room soundproof booth with a Neumann microphone and music stand.
A microphone outside the booth allows us to direct the reader during a recording.
Now, we edit. The cut, trim and mover tools are highlighted in blue in the upper left corner.
Finally, we transfer the file to iTunes to create an .mp3. That file is then uploaded to the digital issue for everyone to hear.
But you don’t need a professional studio to create your own work and submit. You can use software like Audacity or even iMovie and create great tracks, maybe even prize-winning tracks. Good luck and don’t forget to get your submissions in the mail by tomorrow. I can’t wait to hear all your great work.