Wednesday, May 14th, 2008

Interview

THE LOFT LITERARY CENTER
Minneapolis, Minnesota
Sarah Anderson Caflisch
Administrator 

By Catherine Tudor

Tell us about the history of the Loft as an independent literary center. Who were the original founders and what were their goals? Are any of those members still involved?

This is a timely question because the Loft turns 30 years old this year! Since I am merely 31 years old myself, I obviously was not around at the Loft’s inception (and if I was, it would take a lot of regression hypno-therapy to get me to remember it.) But, what I know of the creation story of the Loft is this: It was founded by Minnesota writers (among them: Patricia Hampl, Jim Moore, Garrison Keillor) in a cozy loft above a Dinkytown bookstore (the part of Minneapolis where Bob Dylan also got his start). The mission being to provide community and support to emerging and established authors. Writing can seem like such a solitary pursuit, and I imagine that the need for feedback and encouragement from other writers was the void the Loft was created to fill.

Many of our founders are still actively involved with the Loft. Many teach or serve as mentors, others write craft articles for our publications and others give readings and presentations of their latest work. Many of the founders are established and well-respected writers. We still look to them for leadership with some of them serving on our Board of Directors or taking on other high-level volunteer duties.    

What is your background? How did you become involved with the Loft? How has it changed your life?

The question I get most often when I tell people I work at the Loft is, “Are you a writer?” My answer is usually, “No, but I'm a great reader.” I have always been a voracious reader and big fan of writing and the artists who do it. I have a broad liberal arts background; I studied theatre arts at the University of Wisconsin-Eau Claire, which gave me a healthy respect for the power of story-telling and I earned a degree in Psychology from the University of Minnesota, which gave me a construct in which to deconstruct the stories that are told.

While I was in school, I worked part-time at the Minneapolis Public Library. Through my work there, I learned about the Loft and when I finished school, I was lucky enough to get a job there. I’ve been at the Loft for four years and have loved every minute of it.

There is a misconception that the work done at a literary center is glamorous or that the employees spend all day discussing metaphor with Grace Paley or lunching with Robert Bly. Many are disappointed when I explain to them that an art’s administration job entails one doing administrative tasks to encourage others’ art. But, there is nothing better than performing those tasks with coworkers who are committed to literature and who love their jobs. The culture at the Loft is nurturing and that is prevalent in every part of the Loft; the classroom, the publications, the mentoring, and it exists in the work culture, too. I can’t imagine working any place else. And I have had many chances to do slightly glamorous things like drive Li-Young Lee to the nearest McDonalds for a Big ‘n’ Tasty.  

Your Open Book facility sounds like a writer's paradise. Describe your space and what's available to writers.

I would invite every lover of literature, when in Minneapolis, to stop by Open Book. It is the only building in the nation devoted to books and book arts. It was founded in 2000 by the Loft, Minnesota Center for Book Arts and Milkweed Editions. On the first floor, writers will find a lovely café, an art gallery, and Minnesota Center for Book Arts with their amazing gift shop. You then take the Open Book Staircase (a staircase designed to look like a book opening) to the literary commons. An inspiring space filled with art and many spaces for writers' groups to congregate. The second floor has a performance hall, where readings are done, writers’ studios for rent and a small library, filled with literary journals, books by Loft instructors and Minnesota literary presses, and other treasures. The Loft’s offices are on this floor also. The third floor is the home to Milkweed Editons, Loft classrooms and the Loft Book Club Room, along with a deck that overlooks downtown Minneapolis. It’s a readers’ and writers’ heaven. Visit us online at www.openbookmn.org.  

For those who have never visited Minneapolis, Minnesota, tell our readers what they might expect to find in terms of things to do, cultural events, the climate, and population.

Minneapolis was just voted the nation’s most literate city. The reason so many writers and readers come from Minnesota is that there isn’t much else do to when you’re snowed in! No, I’m slightly kidding. But, when you visit, you will find Minneapoltins well-read and devoted to their independent bookstores. There is usually an author event, reading, book festival every night.

Minneapolis is also one of the nation’s largest theater towns. If you come in the summer, make sure to check out our Fringe Festival. The music scene is rocking, too. As most people know, Prince, Bob Dylan, The Replacements, and Husker Du all hail from Minnesota. And, what article about Minnesota would be complete without mentioning The Mall of America?

How can someone living out of state benefit by becoming a member of the Loft?

So many ways. Our publications, Speakeasy Magazine and A View from the Loft, feature craft articles, opportunities for publication and ways to connect with others on the page. We try to use our publications as spaces for writers to connect. We also have grants and contests that are open to everyone, not just Minnesota residents.

Plus, knowing that one’s membership dollars are helping to engender another writer’s work and that money is being used to keep literature a dynamic and vibrant art are good feelings anyone in the world can have by being a member of the Loft.

How do you encourage writers who are residents of Minnesota? Please explain how your mentoring program works.

For the last 26 years, twelve emerging writers are selected through anonymous competition to work intensively with six nationally acclaimed writers of prose and poetry. Three of the mentors spend a month working with the entire group. In addition, winners in each genre meet with their respective mentors as well as hold individual conferences. Three mentors come in for intensive weekends of craft seminars with the full group and hold individual manuscript conferences with the writers in their genre.

This year, the Loft is lucky enough to have Alison McGhee, Molly Peacock, G.E. Patterson, Mark Winegardner, Evelina Chao, and Elizabeth Alexander serving as mentors.  

Tell us about your Speakeasy Magazine. How does it differ from the other literary magazines on the market? What makes yours special? How can we subscribe?

Speakeasy Magazine is special. Our current issue, “Fear and the Imaginitive Response,“ is my favorite. Writers like Janet Fitch and Naomi Shahib Nye delve into the topic of fear and explore how it drives not only their writing, but their lives. Each issue of Speakeasy is a forum on the page where readers and writers can explore the issues of the day. Like the speakeasies of the 1920s, Speakeasy magazine gathers a thriving community, where honest interaction is paramount and a somewhat marginal cultural activity gets center stage. Speakeasy is also bucking national trends and beefing up their book review section. It also features new poetry and fiction by  established national writers like Li-Young Lee and Minnesota favorites like Shannon Olson.

There are many chances for Speakeasy readers to join in the conversation by sending in brief missives on an upcoming issue topic or by voicing their thoughts at Speakeasy Speak-outs, live exchanges with the writers found in the current issue that are held at independent bookstores all over the country.

I would encourage all who are devoted to the art of writing to become a regular Speakeasy reader. You can subscribe by becoming a member of the Loft at www.loft.org or by visiting www.speakeasymagazine.org

You teach so many interesting writing classes and workshops for adults. What kinds of activities do you offer children?

We have a popular Summer Youth program where young writers, 4 to 17 years old, get to work intensively with published authors of all styles and genres--just like the students in our adult classes. Young writers can choose from topics like writing the Swedish Myth to exploring Spoken Word.

We also have writers that go into the schools. Our program, Basic Needs, is designed to work with teen parents, encouraging their creative expression as well as the importance of sharing books and stories with their children. We also work with our local Head Start program. All of our youth programs are explained in fun detail here:
http://www.loft.org/Youth.html

If you could describe the creative atmosphere of The Loft in one word, what word would you choose?

Dynamic!

Relevant Links:

• The Loft Literary Center's Official Site
• Speakeasy Magazine
• Open Book
• Milkweed Editions
• Youth Programs
• Minnesota

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