Storyfox update! (many foxes)

Meant to get this up last week, and then grad school happened. Lots of good stuff to check out, including a couple fox-related projects that are a bit off-the-beaten-path, which lead me to create a new section: Interdisciplinary Projects (you’ll find the additions to that section at the bottom of this page, as well as on the main database page). One of those projects was facerig‘s Cathy the Red Fox which you should check out just…because. It’s neat, I suppose, but…I’m also not quite sure what to think of it. Check it out for yourself. Personally, I found it interesting in tandem with my thesis. Sexualized foxes, you are everywhere.

Thanks this week go to Sonya Taaffe. You can find other collectors of fox-stories here.

Check out all of STORYFOX: a Database of Vulpine Science Fiction and Fantasy here!

As always, if you have anything to add, you can contact me here and on twitter.

Storyfox update: Games and Video Games

facerig
~“Cathy the Red Fox” (2014)

Storyfox update: Poems

Asunción Alvarez
~”Mr. Fox” (Ideomancer 5.1, 2006)

Margaret Atwood
~”Fox/Fire Song” (Poetry, 1974)

Lisa M. Bradley
~”The Messenger Ensnared” (Polu Texni, 2012)

C.S.E. Cooney
~”The Grand Finale of Mr. Fox” (Papaveria Press, 2011)

Caitlyn Paxson
~”The Tall House of Mr. Fox” (Scheherezade’s Bequest #13, 2011)

Hannah Sanghee Park
~”The Fox Bead in May” (Poetry, 2013)

Janice D. Soderling
~”The Fox” (The Pedestal Magazine #53, 2009)

Ellen Steiber
~”The Fox Wife” (Ruby Slippers, Golden Tears, AvoNova/William Morrow, 1995)

Storyfox update: Short Fiction

Richard Parks

~”Three Little Foxes” (Beneath Ceaseless Skies #105, 2012)
~”The Ghost of Shinoda Forest” (Beneath Ceaseless Skies #63, 2011)
~”Fox Tails” (Realms of Fantasy 11.5, 2005)

KZ Morano
~”Kitsune” (Amok: An Anthology of Asia-Pacific Speculative Fiction, 2014)

Anne-Sylvie Salzman
~”Fox into Lady” (Darkscapes, 2013)

Alexandra Seidel
~”A Quest for Fire” (Lackington’s #3, 2014)

Storyfox update: Novels

Christopher Barzak
~The Love We Share Without Knowing (Bantam, 2008)

Irma Chilton
~”String of Time” (Macmillan Education Ltd., 1968)

Richard Parks
~The Heavenly Fox (PS Publishing, 2011)

Ellen Steiber
~Shadow of the Fox (Random House, 1994)

Storyfox update: Comics/Graphic Novels

Neil Gaiman and Yoshitaka Amano
~Sandman: The Dream Hunters (Vertigo, 1999)

Storyfox update: Interdisciplinary Projects

Kate Davies and Emmanuel Vercruysse
~”The Crepuscular” (article here) (LiquidFactory, 2007)

Sylvia Linsteadt
~The Gray Fox Epistles (2013–)

 

 

 

Storyfox Update! all the rest

Last Storyfox update for the week; this one’s kind of anything-goes. Music, short fiction, poetry, a Magic card. Today’s thanks go to Merav, Francesca Forrest, and Sonya Taaffe (who recently sent me more, which be added next week).

Check out all of STORYFOX: a Database of Vulpine Science Fiction and Fantasy here!

As always, if you have anything to add, you can contact me here and on twitter.

Storyfox update: Games and Video Games

Foxfire” (Magic card; Magic the Gathering, 1997)

Storyfox update: Poetry

Mike Allen
~”Reynard the Revenant” (Goblin Fruit, 2009)

J.C. Runolfson
~”Foxhunt” (Lone Star Stories, 2008)

Joshua Gage
~”Kitsune(Goblin Fruit, 2008)

Ruth Jenkins
~”Feral” (Goblin Fruit, 2012)

Storyfox update: Fiction

Angela Boord
~”Maenad” (Lone Star Stories #7, 2005)

Ken Liu
~”Good Hunting(Strange Horizons, 2012)

Kate MacLeod
~”Tale of a Fox“(A Fly in Amber #17, 2010)

Ashe Thurman
~”Kitsune no Yomeiri” (Flash Fiction Online, 2014)

Catherynne Valente
~”Ink, Water, Milk” (The Melancholy of Mechagirl; Haikasoru, 2013)

Storyfox update: Music

“Anna and the Magic Gown” The Kennedys (Koch, 2003)

Storyfox update: Children’s Books

Laurence Yep
~The Ghost Fox (Scholastic, 1994)

Brian Jacques

Storyfox Update! Poetry

This week’s third installment of Storyfox is poetic. Much gratitude to David Lunde, Gwynne Garfinkle, and Sonya Taaffe for pointing me towards these pieces. For those who have contributed in the past, see the collectors page. Want to see your name there? Send me foxes!

Another update will occur tomorrow, tying up the loose ends of this week’s massive update to the database.

Check out all of STORYFOX: a Database of Vulpine Science Fiction and Fantasy here!

As always, if you have anything to add, you can contact me here and on twitter.

Foxfoxfox.

Storyfox, poetry update (SO MANY POEMS. And there are more to come.)

Mike Allen
~”Hungry Constellations” (Hungry Constellations, 2014)
~”The Fox Smiled, Famished“: (Goblin Fruit #31, 2013)

Amal El-Mohtar and Nicole Kornher-Stace
~”The Maiden to the Fox Did Say” (Lone Star Stories #32, 2009)

Neil Gaiman
~”The White Road” (Ruby Slippers, Golden Tears, William Morrow & Company, 1995)

Theodora Goss
~”The Fox Wife“(Tor.com, 2013)

Yoon Ha Lee
~”Foxfeast” (Mythic Delirium 0.2, 2013)

Jeannine Hall Gailey
~”The Animal Heart: She Warns Him” (Mythic Delirium #21, 2009)

Samantha Henderson
~”Queen Elizabeth and the Fox” (Goblin Fruit #5, 2007)

Ted Hughes
~”The Thought Fox” (Faber and Faber; The Hawk in the Rain, 1957)

Sandi Leibowitz
~”Unmasking” (Mythic Delirium 0.4, 2014)

Rose Lemberg
~”A body that is bold to come” (Goblin Fruit #27, 2012)

David Lunde
~”Not Thinking of a Fox” (The Louisville Review #63, 2008; Instead, 2007)

Alex Dally MacFarlane
~”Sister” (Through the Gate #1, 2012)
~”In the Sun-Sweet Desert” (Goblin Fruit #27, 2012)
~ “The Jar-Mouthed Fennec” (Goblin Fruit #17, 2010)

Mari Ness
~”Petals“(Bull Spec #6, 2011)

Jamieson Ridenhour
~”Foxes” (Strange Horizons, 2011)

J.C. Runolfson
~”Kumiho” ((Going Going) GONE, 2009)

Mary A. Turzillo
~”The Shrine at Fushimi Inari” (Goblin Fruit #17, 2010)

Storyfox Update! Novels and Music

Second Storyfox update of the week, this time novels and music. Thanks again go to Sonya Taaffe for her many suggestions, and to Judy Guttormsen. In case you missed it, I’ve added a collectors page, where you can see who’s contributed to the database. Want to see your name there? Send me foxes!

Come back tomorrow for lots and lots of poetry.

Check out all of STORYFOX: a Database of Vulpine Science Fiction and Fantasy here!

As always, if you have anything to add, you can contact me here and on twitter.

 

STORYFOX, novel update:

Larissa Lai
~When Fox Is a Thousand (Press Gang, 1995)

Andre Norton
~The White Jade Fox (Dutton, 1975)

Victor Pelevin
~The Sacred Book of the Werewolf (Eksmo, 2005)

Susan Cooper
~The Grey King (Chatto & Windus and Atheneum, 1975)

David Garnett
~Lady into Fox (Chatto & Windus, 1922)

Dennis L. McKiernan
~Voyage of the Fox Rider (Roc, 1993)

 

STORYFOX, music update:

The Fox” Ylvis (TVNorge, 2013)

The Old Bitch Fox

Revontulet” Sonata Arctica (Spinefarm, 2001)

Reynardine” (traditional ballad)

Räven” Hedningarna (Resistencia, 1994)

 

 

 

 

Storyfox update! (Short Fiction and a Novella)

This week will be full of foxes. Thanks especially to Sonya Taaffe (who sent me beautiful, giant, numbers of fox poetry, fiction, and music), Storyfox has grown considerably since its tail first swept the interskies. Thanks also are owed to Gwynne Garfinkle, who recommended a couple pieces, as well. I’ve added a collectors page, where you can see who’s contributed to the database. Want to see your name there? Send me foxes!

Because of the huge inundation of stories, I’ve broken this update into about six separate posts. Today, we have short fiction and novellas. (Well, a novella.)

Check out all of STORYFOX: a Database of Vulpine Science Fiction and Fantasy here!

As always, if you have anything to add, you can contact me here and on twitter.

STORYFOX, short fiction updates:

Christopher Barzak
~”A Thousand Tails” (Firebirds Soaring, Viking, 2009)

Mary Gentle
~”Kitsune” (Odyssey #5, 1998)

Yoon Ha Lee
~”The Youngest Fox” (2014)
~”The Red Braid” (2013)
~ “The Fox’s Tower” (2010)
~”The Fox’s Forest“(2010)
~”Nine Tails, Hundred Hearts” (Fantasy Magazine #2, 2006)

Caitlín R. Kiernan (also on livejournal)
~”pas-en-arrière” (Sirenia Digest #5, April 2006)
~”The Sphinx’s Kiss” (Sirenia Digest #14, January 2007)

Meredith L. Patterson
~”Pale Foxes” (Strange Horizons, 2001)

Loren Rhoads
~”The Fox and the Foreigner” (Not One of Us #38, 2007)

Brittany Warman
~”‘Kitsune’, Fox” (Jabberwocky #7, 2011)

STORYFOX, novella updates:

D.H. Lawrence
~”The Fox” (The Dial, 1922) (also a film)

Applying for the Creative Writing MFA: the Statement of Purpose

Last year, I applied to twelve masters programs (eleven in creative writing, fiction, and one in folklore). I was rejected by five, waitlisted by one, and accepted by six. I’m currently working on my masters in folklore at the University of Oregon. I don’t have much time at the moment, but maybe in the next couple of days, I’ll muse upon my writing process and probably post other application materials. Till then, have some statement of purposes.

As you’ll see, they’re all quite similar. But by reading and considering them en masse, you’ll see how I tweaked each statement for each program.

The rejections:

The waitlist:

The acceptances:

Mastering Folklore (as best as can be done) pt i: The Application: Statement of Academic Objectives

Mastering Folklore (as best as can be done) pt i: The Application: Statement of Academic Objectives

Writing this post feels unreal. Writing about applying for grad school when I’m ten hours away from starting my third week of my masters is a strange, estranged thing. A reminder of how I’ve shifted (in time and place and self), and of how stress always shifts along with the shifting–and how I’m actually pretty decent at handling stress. For the most apart.

At any rate, to relieve some of your stress (assuming you’re a potential grad applicant to a folklore or creative writing MFA program [though I imagine this information could be potentially useful to any applicant]), I’ve decided to post some of my applications materials. Don’t steal them, don’t copy them. You’ll be found out if you do, and you’ll look very stupid, and very rejected.

Instead, use them to learn–probably mostly what not to do. But maybe what to do as well. I didn’t get into every single program I applied to, but of the twelve programs I applied to, I was rejected by five, waitlisted by one, and accepted by six. Not terrible, I guess. Others have done better, and less better. We’re all were we are.

All the above, briefly mentioned, programs were creative writing MFA programs, except for one in folklore–the University of Oregon’s folklore program, which I’m attending at this very moment. In the coming weeks, I’ll be posting more info and application material and thoughts about all my applications, but I figured I’d begin with the program I’m actually in.

So without any further worded procrastination, I give you…a statement of academic objectives, written for the University of Oregon’s Folklore program’s application requirements. (Click the link for a pdf, or just read it below.)

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University of Oregon—Folklore Master’s, General Folklore Track

Statement of Academic Objectives

 

I never imagined myself living in Montana. The hungry skies, earth so dry it crackles, the smoke in August—it’s terrifying to a girl born and raised in Washington, whose skin splits and bleeds when the air isn’t damp enough. And yet here I am, living beneath a hill dry and yellow as an old scapula, while my partner goes to graduate school. There’s no place for me to hide in the Bitterroot. But this self-imposed hermitage gave me something I never had in or outside of my time as an undergraduate—the space and silence to examine myself, and the perspective to realize what has always driven me: folklore.

Whether I’m drumming in my neofolk metal band, Felled, or writing short fiction and novels, the bones of folklore have always been present in my art. But I know now that presence isn’t enough—I need to go deeper. I need knowledge and awareness—I need a Master’s in Folklore. I want to study folklore from a theoretical perspective to delve further into my own art, to create work with more meaning, relevance, and nuance. Through these studies, I hope to become more sensitive to the world, and humanity’s folkloric distillation of existence—and to take this learning and share it with the larger communities of my artistic disciplines.

I graduated from Fairhaven College with an interdisciplinary degree in Percussive Wordcraft and Narrative Drumming, an exploration of writing and percussing with more empathy—using rhythm and sound to make my words tactile, story to deepen my music. Beyond school, I published a number of short stories and poems (many of them driven by folklore), lead writing workshops, taught high school percussion sections, and instructed undergraduate music students in a recording studio. Late this autumn, I finished a short piece of fiction titled For Hunger She Goes into the Forest, a feminist subversion of Little Red Riding Hood; not long after, I wrote The Eggs We Ate in Winter, a story in conversation both with the 1990s music subculture of Norwegian black metal, as well as a quieter dialogue with Koschei the Deathless, of Slavic lore.   My most recent musical endeavors have also spoken directly to (and of) folklore—my band’s newest album, Winterwheel, is a modern exploration of seasonal ritual, through the lense of ancient Anglo-Saxon Paganism.

I want to continue approaching these themes and lines of research in my art, but also attack them from an academic perspective in graduate school. I’m interested in studying the intersections between folktales and myth, and the literature of the fantastic—especially science fiction; in particular, I want to focus on gender roles and cultural appropriation in this sphere, as well as the fan cultures of fantastic media, and the creations that stem from them (specifically, fan fiction, art, and video). Beyond this, however, I’m also interested in the use of mythology in the established musical genre of folk metal, and the evolution of black metal—from its embryonic Satanic beginnings, to its current (and ever-growing) presence in eco-activism, and the mythopoesis of the Cascadian bioregion.

I’m drawn to the University of Oregon’s Master’s in Folklore because it seems very much alive. Both the faculty and current graduate students are involved in studies and projects that genuinely excite me. Not only is it a community I’d very much like to be a part of, I also believe I can offer the program a unique perspective on both music and literature in relation to folklore. Beyond this, however, Oregon’s Master’s in Folklore (and associated programs) has many of the resources I need to study my afore-mentioned interests. A number of courses are extremely relevant to understanding the bridge between folklore and fantastic literature, and the associated fan cultures—Gender in Japanese Literature and Film, as well as Tokyo Cyberpunk, Folklore and US Popular Culture, Folklore and Sexuality, and the German Fairy Tales course—among many, many others. There are also a number of faculty members with strong backgrounds in ethnomusicology, folk song, and Scandinavian folklore—knowledge that would provide tremendous support for my more musical slant of interests. In relation to music, both the courses offered through the Scandinavian program, and Folklore of Subcultures, would be quite useful to my studies. But besides Oregon’s excellent (and quite relevant) faculty and course offerings, the opportunities for the Graduate Teaching and Research Fellowships interest me as well, as I’d like to approach folklore from as many paths as possible. In my experience, studying a discipline from multiple angles makes for a more holistic and powerful grasp of the subject.

Ultimately, I would like to conclude my graduate studies with a terminal project that bridges my artistic and academic interests—a book of short stories, or a novel, that shows via fictional wordcraft the nodes between folk tales and their modern, fantastic counterparts. Conversely, I’m very interested in researching and writing a novel set during Norway’s second wave of black metal (during the time of the church burnings and murder), that gets into the intimate headspace of that particular subculture, all of its quirks, rawness, and darkness–or perhaps even writing and recording an album that strains and breaks the boundaries of that same genre’s current, modern incarnation.

After graduate school, I want to continue writing books and making albums with folkloric hearts, but also use my writing and musicianship to create a community-oriented, interdisciplinary narrative workshop, to share the knowledge I hope to gain by studying folklore. Before that, though, I want to whet myself with a Master’s of Folklore from the University of Oregon. I’d like to continue the interdisciplinary studies I began at Fairhaven College, but with even more depth and academic rigor. The Folklore Program offers just what I need: a vital, innovative community where I can thrive, struggle, and offer my very best, all while studying the folkloric spine of my art, and the earth and people it’s beholden to.