Thirty West Revisited: Jane-Rebecca Cannarella
On interning for lit mags, hats as a muse, and the value of an old poster
“Thirty West Revisited” is a series of interviews with past and future authors from Thirty West’s vast catalog. Within, you shall experience inspiration for their writing, the process behind crafting their books, and what projects they are working on next. Conducted by Ollie Shane.
Ollie Shane: What got you into writing? Who are some inspirations for you?
Jane-Rebecca Cannarella: I have been into writing since I was a little girl, which I know sounds a little trite and precious. I wasn’t any kind of wunderkind, in fact, I was a terrible student and in remedial classes, but like many other awkward nerdy children, I devoured books by the dozens, especially Sweet Valley High and the Fear Street Sagas. I loved the exacting details of every character, and how you could see the bodies and faces of imaginary people. I would then emulate the descriptions and insert myself into copies of the stories I read; these stories were often an attempt to write myself into a cool and confident kid with lots of friends. I also journaled obsessively in a diary I named “Dee.”
After college, I wrote news articles for a literacy organization that focused on comics and sequential art, which gave me my first bylines. I also ran a comedic blog (back when blogs were a thing) called “Your Life is Not So Great.” However, I never pursued any creative writing ambition until I started interning for HOOT Review. I spent a huge amount of time with writers and their work, and being entrenched in a creative environment where people were putting themselves out there was incredibly motivating. And then, I started writing creatively.
My inspirations are all over the place: Edna St. Vincent Millay, Paul Zindel, the Wakefield Twins, Phillip Lopate, Phillip Levine, Russel Baker, Gwendolyn Brooks, Chen Chen, Shel Silverstein, John Cheever, Francis Ponge. This could go on and on. I am also incredibly inspired by loads of musicians, theorists, visual artists, professional wrestlers, and campy movies so this list could start to get pretty overwhelming. Thirty West writers are absolutely included in my inspirations, notably: Nick Gregorio, Alison Lubar, and JP Infante.
OS: What was it like getting into and engaging with the writing community? What are its benefits and challenges?
JRC: I was relatively ignorant of the writing community until I started working with HOOT. Writing can be a very isolating art, and while I developed community, those relationships were all related to musicians and photographers. When I started interning with HOOT, it opened up an entirely new world. I learned about small presses, literary journals and magazines, and small press book fairs.
It was initially very intimidating because I think many artists naturally have imposter syndrome (or at least I do, lol). When I started writing more, publishing, and attending readings, in the back of my mind I was always plagued by a nasty little voice who would say who do you think you are? Because I saw my work as inferior to the people who I orbited. But, I needed to get over that insecurity, and, eventually, I did. It is inspiring to surround yourself with talented people. And that is a major benefit, along with forming relationships. These connections have led to great collaborations, but even more importantly, I’ve forged real friendships through the indie writing world.
I am also incredibly inspired by loads of musicians, theorists, visual artists, professional wrestlers, and campy movies so this list could start to get pretty overwhelming.
OS: Where did you come up with the idea for your chapbook/poetry collection/novel?
JRC: For Better Bones (published with Thirty West), I worked with a good friend of mine to list all of my flash/hybrid pieces and we collected everything that had a similar theme (mostly pieces dealing with loss, and the chaos of being a messy person). That became Better Bones. When Josh mentioned the special pre-sale promotional options, one of them was a separate chapbook. So, I wrote a compendium of poems that spoke to the flash/hybrids in Better Bones. That became Marrow. The idea for Thirst & Frost (published with Vegetarian Alcoholic) was a response to Better Bones. It is a collection of flash/prose that deals with hopefulness. A Practical Almanac for Surviving Inside the Human Body (published with Bottlecap Press) came from the idea that case studies could be poetry, so I wrote prose poems about the mythology of bodies and wrote them as case notes. Collections from a Shipwreck (published with Alien Buddha Press) are prose poems inspired by what weirdness you might find at the bottom of the ocean. Eleven Hundred (published with Really Serious Lit) is a poetry collection inspired by a hat I bought at Urban Outfitters at Horton Plaza in San Diego as a teenager.
These connections have led to great collaborations, but even more importantly, I’ve forged real friendships through the indie writing world.
OS: How was it working with Thirty West in your work?
JRC: Incredibly rewarding, encouraging, and nurturing. Thirty West was my first publisher and they treated me, and the collection, with respect and patience. The enthusiasm and dedication that TW puts into their authors are unmatched. I still have the poster Josh made of the cover of Better Bones from my soft launch. And to this day, TW promotes and celebrates my work, and the work of all their authors. They have made me feel valued as a writer and validated as an artist. I couldn’t imagine a better team to have in your corner.
OS: What has been the reception of your work from the wider writing community?
JRC: Positive, I hope. I try to be as vulnerable as humanly possible in my writing, and I hope the earnestness and desire for connection are felt by others.
OS: What upcoming/current projects have you put out?
JRC: I’m finishing a new flash fiction collection, and I edit for HOOT Review and Meow Meow Pow Pow Lit.
OS: Any advice for the readers of Afterimages?
JRC: Writing comes alive through editing. Don’t be afraid of editing; collaborate with others to share work and notes, and don’t take criticism personally. And make sure to read the presses/places you’re submitting to, sometimes rejections are about a difference in styles and aesthetics but you’ll never know unless you read where you’re trying to home the work. Lastly, don’t let imposter syndrome get you down. Most of us have no idea what we’re doing.
Better Bones, the debut hybrid collection by Jane-Rebecca, has been a cornerstone in our publishing catalog. Through Thirty West or your favorite online retailer.