There’s my “career,” Daniel, and then there’s my career.  The first is what enables me to do the second.  It allows me to pay the rent, keep the fridge half-full, raise my kids in something other than poverty and, when I’m not overwhelmed by these day-to-day challenges, to write.

Writing is a privilege.  I don’t for an instant believe that anything I write will make one gnat’s breath worth of difference in the world, and I occasionally regret the expenditure of paper and ink (or at least digits) in exercising this privilege.

But I’m thoroughly convinced that all of us have a need to do something more than survive.  When I was still a young student (in Vienna, Austria at the time), a professor asked me whether I was going in search of fame and fortune.  I told him no, I had no desire for fame and fortune; what I wanted—I modestly appended—was immortality.

Many of us achieve a brush with immortality in our children.  If I accomplish nothing else in my own life, I can honestly say that I’ve had a small part in raising two of the most extraordinary people I know: a son, Christopher, and a daughter, Alexandra.  The first is an aspiring writer; the second is an aspiring dancer.  Their talents and aspirations aside, they’re both genuinely considerate, loving, sensitive and likable individuals.  That I, as a parent, love them is a given; that I also like them is not.

I like them.

FARAWAY: How did you first know that you wanted to write?

I’ve known since I first entered college as a pre-med major (Davidson College, in Davidson, NC) in 1969 that I wanted to write.  I puttered around with some poetry at the time, the object of which was some poor girl up the way and over the mountain in Bristol, TN.  Mostly, however, I read.

1968 – 1969, however, was a troubled and troubling time.  I left Davidson after a year, moved around a bit for almost two years trying to make some sense of my life, then went to Europe with the idea of getting an education on my own terms.  The eight-year plan was both straightforward and naïve:  I’d live in four countries for two years each, learn the language, the culture and the literature of each.  I ended up living in five, including a summer in the then-Soviet Union, and learned five languages.

By the time I returned to the U.S., I’d learned at least enough to know I’d have to get a college degree—and so, I enrolled in Columbia University here in NYC.  One of the things I obviously hadn’t acquired in Europe was wisdom; I enrolled as a philosophy major.  However, I also knew I’d have to work one day to support my habit.  I minored in Russian and studied a sixth language, Swedish.

I graduated from Columbia in three years as clueless as I’d gone in—which is a pretty dangerous state to be in at the age of 33.  I stumbled into a secretarial job with a high tech company because, thank God, I’d learned how to type 65 wpm in high school.  Some of my jobbing in Europe had included teaching English as a second language—and so, I also had a pretty good idea of grammar, syntax and spelling.

It wasn’t long before I realized that most of the glory and money in the business world nested in sales.  I had debts that would’ve tried Job.  I consequently moved into sales, where I’ve been ever since.

As my eldest sister has never tired of telling me, she knows no one less disposed to the sales profession than I am.  She’s right.  But I had some luck, and it was pretty damned easy to be successful at sales in the nineties.

Then, of course, came the dot.com bust.  At 50, and with a base salary that would’ve made a commander blush, I was suddenly out of a job—and without prospects for getting another one.  I turned, in 2002, to the only other thing I knew how to do—and yes, to the only thing I’d ever really wanted to do.

I got my first poem published in The American Dissident, and I thought I was on my way.  If not exactly to fame and fortune, at least to a way to make a living.  I continued to write poetry, most of which has been published either on the ‘Net or in print, including one Pushcart Prize nomination.

I wrote a four-act play that went nowhere.  To purge myself of the failure (in all respects of that little oeuvre) I started to write short stories.  I wrote the first one in seventy-two hours without a dictionary or reference book of any kind.  It eventually ended up in an anthology titled Next Stop Hollywood: Short Stories Bound for the Screen.  (They may’ve been bound, but only in the editor’s head.)  That story, “Waltzing Matilda,” appears in the anthology you have kindly agreed to publish.

I wrote a second, “In the Animal Kingdom,” which also eventually earned a Pushcart Prize nomination.  It, too, appears in this anthology, Stories.

I eventually went on to write a novel, Trompe-l’œil, which, with an unhappy ending at 162K words and using eleven languages (in dialogue), understandably remains in neglected manuscript form—although the first chapter of it has been published once in print and once on the ‘Net.  Some other excerpts have also been published on the ‘Net.

Speaking of which, Internet publishing has been quite kind to me.  It hasn’t paid my rent—not by a long shot—but Googling to my name would suggest that I’ve done reasonably well in cyberspace.

If success is measured in more than coffee spoons, however, I frankly haven’t done well.  If I’m still alive today, it’s thanks to a woman who has, for all intents and purposes, kept me financially afloat for a couple of years now—and also to a supreme bit of serendipity in finding a job in the industry in which I’d worked for eighteen years, and which I began last December.  The man who hired me chose to overlook what most would not: my age (not to mention my seven years’ absence from the industry, during which it had evolved almost beyond recognition).  I intend not to let him down.  If this means that I spend less time writing, so be it.  Let others have their shot at grinding trees into pulp or the ether into digits.  I will—only because it’s the one writing thing I can do that doesn’t require long hours at a single sitting—continue to dabble in poetry.

To read samples of Russell’s poetry click here.  Be sure to return tomorrow for the first chapter of Something Special.

The new issue of Faraway is online, featuring dozens of pieces by many new authors.  Click on the titles below to read the individual stories or poems, or click here to view the issue as a whole.

On the Other Promontory by Davide Trame

Winter Passage For Billy Collins by Michael K. Gause

Dwindling Times and Burden by Gary Beck

A Work in Progress by Benjamin Nardolilli with artwork by Travis Jeffords

Paramecium by S.P. Flannery

Her Shunted Complexion by Ray Succre with photo by James Berkshire

Beyond Organic Groceries by Elizabeth Kate Switaj

“Behold I Am Oblivion” by Terence Kuch

Titian on His Journey Home by Davide Trame

The Book Review by David Kentner

A Family Matter by Josh Mitchell with photos by Atina Thorning

Manic is the Dark Night by Michael K. Johnson

Dwellings by Luigi Monteferrante

The Whole History of Art by William Doreski

Can I Get a Witness by Eric McKinley

Betty With the Peacock by Willow Healy

Fading Flurries by Sean Wiebe

? by Jeff Hendrickson

RedYellowRed by Katie Rutherford

Conceptual Conflict by Felino Soriano

Spirit Faces by William Doreski

Roy Flint, Circa 1988 by Jen Conley

Venge by S.P. Flannery

Smack! by James Berkshire

The Silent Signs by Olga Zilberbourg with artwork by Gay Degani

Some Dark Blue by Beth Mathison

Coming to America by Shane Ryan Bailey with L.A. Harvest by James Berkshire

Let the Dead Bury Their Dead by Mark Konkel
New Grass by Michael K. Gause

Read the whole issue here, or preview the issue by clicking below:

Poetry: On the Other Promontory by Davide Trame.
Short story: The Book Review by David A. Kentner.

And return tomorrow for a new short story by Josh Mitchell, illustrated with photographs by Atina Thorning.

 And there were pools among the rocks

by the sea, deep pools, dark blue,

that would never dry

in the sunlight, I had climbed

to the cliff top and now stood

among them, craters filled as if by surprise

to the brim.

Click here to read the rest.  Click here to read more about Davide.

These things always seem to take longer than anticipated. A word on the process: Our pet chimp Dimba solicits short stories, poems, and artwork from his cage at the company fortress in Montclair, California.  Accepted pieces are then shipped through a series of tubes to his brother’s underground log cabin in Montpelier, Vermont. His brother uses scotch tape and elbow grease in his spare time to assemble the various and sundry pieces into something marginally acceptable for mass digestion. Sometimes an ocean liner is hired to ship material to the chimp’s cousin, who lives in a big wooden shoe in Norway and has more and better digital skills.

The first two issues of this publication were profoundly and embarrassingly amateur hour (still, my favorite bit out of everything we’ve done is the first poem from the first issue). With Vol 1, Issue 3 we started working thematically with varying levels of success. E.g., Vol. 1 Iss. 3 featured birds and trees…um…for no particular reason. Volume 2 Issue 1 was broken up by the 4 seasons and had a cool cover. Volume 2 Issue 2 had a victorian theme, complete with fake ads that i think turned out pretty good.

Since Vol. 2 Iss. 2 took a bit of effort we tried to do something simpler with this one: i had always liked the title of the Nine Inch Nails song “The Line Begins to Blur”. what if we used kind of a Mondrian / straight lines theme that gradually became more blurred, curved, etc? It had a certain kind of symbolism and resemblance to daily experiences. Easy!

4 months later the current issue is on your screen.  I think we basically executed this concept, with Sean Wiebe’s last lines of the first half “…a new thought that has been slow in coming” leading to Jeff’s two explosive centerpieces and subsequently more abstract, natural images. This one might have been labored to death, but see what you think.

So, for next time, how about some suggestions for themes? Also- the next batch should plan on submitting their bios in 6 words or less.

Also, for best viewing: download and save, then view as “Two-up Continuous”.

In the meantime, our Contributors page has been fully updated to include all of the new writers, poets, and artists from this new issue.

Click on their names to read more about them: Sean Wiebe, Davide Trame, Atina Thorning, Elizabeth Kate Switaj, Ray Succre, Felino Soriano, Luigi Monteferrante, Eric McKinley, Terence Kuch, Mark Konkel, Michael Lee Johnson, Willow Healy, Michael K. Gause, S.P. Flannery, Jen Conley, James Berkshire, Gary Beck, and Shane Bailey.