Art & Words 2020

The Art & Words Show may be different this year, but it will go on. I’m thrilled to have selected this year’s participants–ten writers and ten visual artists–and to have scheduled the show for Saturday September 26 from 6-9PM at Art on the Boulevard in Fort Worth, Texas.

However, the world may not be back to normal operations by then. In that case, rest assured, we will figure out an online option of some sort, working with the writers and artists to figure out the best solution.

For more info on how the show works, visit this page, but basically: ten visual artists and ten writers will use one another’s work as inspiration. The resulting twenty pairs of art & words will be on display at the gallery (or online) for one week following the opening reception.

Below, I present to you the writers and artists who will be part of 2020!


Michelle Muenzler, known at local science fiction and fantasy conventions as “The Cookie Lady”, writes things both dark and strange to counterbalance the sweetness of her baking. Her work is in numerous science fiction and fantasy magazines, and she takes immense joy in crinkling words like little foil puppets.

  • Jerri Bourrous (Nacogdoches, TX)

Jerri Bourrous is a graduate of the Masters of Creative writing program at Stephen F. Austin University where she currently teaches. She lives in Nacogodoches, Texas, with her two dogs.

  • Fakoyede Seun (Lagos, Nigeria)

Fakoyede Seun is a Nigerian writer and school teacher. His work has recently appeared or is forthcoming in Sand Magazine, Slice Magazine, Bacopa Literary Review, and Vinyl Poetry.

Michael Stalcup is a Thai-American poet living as a missionary in Bangkok, Thailand with his wife and three young children. He learned poetry from good Hip-Hop, the Bible, and really old sonnets — and loves seeing visual arts and poetry join forces. You can find more of his work at

Matthew Pitt is Associate Professor of English at TCU and author of two story collections: These Are Our Demands, Midwest Book Award winner; and Attention Please Now, winner of the Autumn House Prize. Individually-wrapped stories have appeared in numerous magazines and anthologies. His problematic poems appear exclusively in private notebooks.

Kelly Talbot has been an editor for Wiley, Macmillan, Oxford, Pearson Education, and other publishers. His writing has appeared in dozens of magazines and anthologies. He divides his time between Indianapolis, Indiana, and Timisoara, Romania.

English is Layla Al-Bedawi’s third language, but she’s been dreaming in it for years. Her work has been featured in Winter Tangerine, Bayou Magazine, Strange Horizons, Fireside Fiction, and elsewhere. She is a co-founder of Fuente Collective, an organization focused on experimentation, collaboration, and hybridity in writing and other arts.

Deborah L. Davitt was raised in Nevada, but currently lives in Houston, Texas with her husband and son. Her poetry has received Rhysling, Dwarf Star, and Pushcart nominations and has appeared in Asimov’s and the Magazine of Fantasy and Science Fiction. For more about her work, please see

  • Gayle Reaves-King (Fort Worth, TX)

Gayle Reaves-King has been writing since she could first hold a pencil. Her journalism awards include a share in the 1994 Pulitzer Prize in international reporting. Dallas Poets Community published her poetry chapbook Spectral Analysis, and her articles have appeared in regional and national magazines. The Texas native helps organize Pandora’s Box Poetry Showcase, teaches journalism at UNT, and is working on her first nonfiction book.

JT Morse is a writer/photographer/editor with a passion for creative connection. Her work has been published by Interstellar Flight Magazine, Synkroniciti, ArtHouston, Nightmare Press, and other publications. She’s active with Writespace, Comicpalooza, and the SFPA. Morse loves to write beneath a hundred-year-old, ivy-covered oak at her ranch in Evergreen, TX.


Art & Words 2019

We’ve chosen the participants for this year’s Art & Words show, and it’s going to be such a beautiful show. I’m psyched as all hell.

For more info on how the show works, visit this page, but basically: eleven visual artists and eleven writers will use one another’s work as inspiration. All forty-four works (22 pairs!) of art & words will be on display at Art on the Boulevard from September 21 to September 27, with a reception and reading from 6-9PM on Saturday the 21st!

Below, I present to you the writers and artists who will be part of 2019!



7 Best Collaborations Between Writers and Artists

On Saturday October 1, Art on the Boulevard in Fort Worth, Texas, will display the work of 12 writers and 12 visual artists working in silent collaborations with one another’s work for the FIFTH annual Art & Words Show. Holy shit, guys. I’ve been curating this thing for five years. I couldn’t be more proud and psyched.cshd9upuiaao_ne

Art & Words started out as a project for my MFA in Creative Writing from University of Southern Maine’s Stonecoast Program. As part of the requirement, I had to write an academic paper related to the project. I chose “A Brief History of Collaboration.” It’s a long, academic-style paper that no one really wants to read. Basically, the best part of the whole thing is when I talk about cool writer-artist collaborations. I’ll just skip the boring parts.

So there you have it. Below you’ll find what I think are the 7 Best Collaborations Between Writers and Artists. (With all those pesky caveats: there are so many damn cool collaborations I haven’t found yet. Leave links in the comments if you want me to check one out!)

1. Dennis Ashbaugh and William Gibson’s Agrippa

Agrippa is an artists’ book containing a semi-autobiographical electronic poem on a floppy disc programmed to encrypt itself after one use. The project was conceived and created by painter Dennis Ashbaugh and fiction writer William Gibson. The book pages were treated with photosensitive chemicals that faded when the book was first exposed to light.

In the Art Journal article “Interactions Between Artists and Writers,” Ashbaugh said that “the notion of preserving one’s own artistic identity on a project like Agrippa would…seem absurd in retrospect.” Gibson agreed: “In an optimal collaboration, the collaborators enter a territory influenced by (as Mr. Burroughs has it) ‘the third man.’ Like Mr. Burroughs, I regard collaboration as an inherently ‘magical act.’ If I felt that my ‘artistic identity was preserved during the collaboration,’ I would feel that Dennis Ashbaugh had simply illustrated my work. This was not at all the case.”

This collaboration is one of my favorites for two reasons: 1. how fucking cool is a book that destroys itself? And 2. I love this “third man” concept (though I prefer the phrase “Third Entity”) that collaborations don’t merely combine two (or more) people’s work but create their own identity.

Google it and see for yourself.

2. Salvador Dalí’s Alice in Wonderland Suite


When Dali illustrated Lewis Carroll’s 1865 Alice in Wonderland in 1969, it became one of the most sought-after Dalí suites. I’ve never been as pumped about Alice in Wonderland as I am about other children’s stories. I suspect that’s because the Disney cartoon freaked me out as a kid (it was the talking flowers that did it). But when I first saw this suite in person in Montmartre at Espace Dalí, I was mesmerized by Dalí’s Wonderland interpretation and his depiction of Alice.

Until recently, the suite was only available in rare, expensive volumes. Thanks to the 150th Anniversary Edition from Princeton University Press, you can purchase a copy for under $25.

3. Jeff Vandermeer and Eric Schaller’s “The Exchange”

In Jeff Vandermeer and Eric Schaller’s “The Exchange”—a short story pamphlet  released as a chapbook in August 2008, reprinted in City of Saints and Madmen—the illustrations make the story.

Set in Vandermeer’s Ambergris city, “The Exchange” is told through the point-of-view of a stranger watching through a window as an elderly couple shares a meal and exchanges strange gifts. The narrative progresses through both the words and the subtle art: two squids decorating either side of images that appear at first to be ornamental and then reveal themselves as metaphors for the couple’s dynamic.

When asked about what challenges he faced during the production of “The Exchange,” Schaller wrote: “It took a little while for me to settle on what the actual images would be in the artwork. I am a firm believer that the artwork should work in tandem with the story, and not simply recapitulate information present in the story itself. The reason that this presented an initial challenge is that Jeff’s story is very visual, thus illustrations could easily be superfluous. What I resolved to do was to concentrate almost entirely upon the characters and have the illustrations reflect their emotional state and their responses to the environment.” (“A Decadent & Obfuscatory Interview with the Artist, Eric Schaller,” Oivas)

In City of Saints and Madmen, “The Exchange” appears accompanied by comments on the relationship between the fictional writer–artist pair whose names decorate the pamphlet cover. The academic-style text analyzes the story as a metaphor for the tumultuous relationship between the fictional writers which ended poorly.

4. Alexis Smith and Amy Gertsler’s Past Lives

Collagist Alexis Smith and poet Amy Gertsler admit to their own “Third Entity” experience collaborating together on the 1990 installation and related book Past Lives. In that same Art Journal article, “Interactions Between Artists and Writers,” (really worth checking out if you’ve got institutional access), Gertsler says of the installation that she felt her work took on a much more visual presence after working with the artist. In the interview they both state: “One aim was that neither artist would lose her identity, but that if we collaborated successfully, the piece would have its own, resolved, kind of third identity, almost like the way an offspring of two parents might resemble both parents in certain respects, and the other parent in different ways, but is actually a completely separate individual who has never been seen before in the world,” an apt description for the “Third Entity.”

Santa Monica Museum of Art, where the installation lived in 1989, describes it this way: “Combining text with found photographs and objects, Gerstler’s and Smith’s collaborative installation played off the notion that human beings can unknowingly bestow their essence on inanimate objects, and that these objects can therefore emanate some of the poignancy and radiance of human personalities.”

This is one of those that is fairly difficult to see for yourself, since it’s not up anywhere and the book is hard to find, but you can get an idea of the installation if you Google it.

5. Matt Kish One Drawing for Every Page of Moby-Dickp-41914-bk-moby-pg-1

Matt Kish is such a huge fan of Moby-Dick that he decided to illustrate every single page of the Signet Classic paperback. In his subsequent blog and book, One Drawing for Every Page of Moby-Dick, some paintings work on a purely aesthetic level and others benefit strongly from knowledge of the novel. Kish’s Page 550 is one of my favorites for the way it works with or without the text.

The whole project is now compiled in this handy volume. Kish’s blog, where he now illustrates other favorite literary classics, is still in operation.

6. Danez Smith and Sam Vernon’s “fall poem” & Broadsided Press

Broadsided Press is a force for both collaboration and change. Founded in 2005 by Elizabeth Bradfield, every month they publish a literary/visual collaboration in beautiful broadside form. They encourage people to not only read and view the work but to print it out and spread the collaboration far and wide.

I’m particularly moved by poet Danez Smith and artist Sam Vernon’s “fall poem,” which plays with dueling definitions of fall; the saccharine cliche of a seasonal poem becomes a metaphor for the fall of black bodies. I appreciate how an unassuming reader may find themselves surprised by this turn of phrase, in the same way that people who don’t daily fear gun violence might be surprised by the fact that many people do. I also appreciate Vernon’s surprising visual interpretation. Broadsided Press interviews the collaborators of each broadside, and Smith says of what they expected color-wise from the interpretation: “I imagined something brown & red in my head when I thought of the poem…” Vernon went with an image that is black-and-white and, as Smith describes it, “impenetrable.” Read the full interview here.

7. Rebecca Campbell and Nicole Walker’s 7 Rings: An Artist’s Game of Telephone

There’s no one contribution to this mass collaboration that strikes me more than any other; instead, I’m highly impressed by the collaboration as a whole. Described as a collaborative game, painter Rebecca Campbell and poet Nicole Walker started responding to one another’s work in private before deciding that games were more fun with more people. They started off the collaboration then invited five artists–writers, artists, musicians–to respond in 24-hour turns. The project ended in 2010 but is still housed here. Take your time with it. There’s much to hear, see, and read.

If you’re interested in my own annual collaborative Art & Words Show, read about it here, submit here every March, or come see it in person in Fort Worth, Texas on October 1.

Happy (Belated) New Year (but a little bit sad at the end)

The evidence of my Big Plans for the New Year can be found in the six-line list of resolutions I wrote on my giant to-do board. They’re reachable goals: read 30 books, finish revising my first (readable) novel, write a second novel (readable or not — no pressure!). I had high hopes of getting started on these resolutions right away. Then I caught a stomach flu, followed by a cold, preceded by two weeks of two other ailments. New Year’s was spent toasting kombucha and getting light-headed from the Vicks in our humidifier. The pre-New Year resolve has gone, for the moment, and been replaced with the resolve to veg out in front of Netflix, watching the movies I’ve been meaning to watch for years but haven’t ever gotten around to.

That’s all a long-winded way of explaining why I hadn’t put one of these posts together yet. Because I do ascribe to the relief of the new year, however self-constructed that blank slate may be. So here goes: all the writerly things I did this year, and a couple of the not-so-writerly things.

In 2014, my partner and I bought our first house, which means that I now have my very own writing office, where I wrote that first novel mentioned above.


I read books some great books: Duplex by Kathryn Davis, Written on the Body by Jeanette Winterson, Wonderland by Stacey D’Erasmo, Fortress of Solitude by Jonathan Lethem. I saw some great plays: the musical Fortress of Solitude, the Fairytale Lives of Russian Girls, Tomorrow Come Today. I read some great short stories.

In the spring I went to the Rio Hondo workshop in Taos Ski Valley and met some lovely people and saw some lovely scenery.


The Art & Words Show had its third successful year and was profiled in the March/April issue of Poets & Writers, which meant an uptick in submissions.


Publications-wise, I had a great year. I published 17 stories and one poem. I saw my first foreign-language publication when “They Come in through the Walls” was reprinted in French for Ténèbres. I won first place for “Mrs. Stiltskin” in Dallas’ Business Council for the Arts On My Own Time competition. My poems “The Ferryman” and “Strange Monster” garnered Honorable Mentions for Ellen Datlow’s The Best Horror of the Year, Volume Six. I would also be remiss if I did not mention that this year is my second and final year of eligibility for the Campbell Award, which is voted on by WorldCon attendees future, present, and past.

Here is a list of stories that first saw the light of publication in 2014:


Of course, not everything was rosy. I lost a favorite uncle, Gerald, without being able to say goodbye. One of the last things we talked about was my recent writing success, of which he was proud. I wish he were here to celebrate the new year with the family. He was a complex character better than any I could ever write.