“Bahala” Filipino Calligraphy by Kristian Kabuay
Sunday, November 9, 2014
|Join us for an evening of multi-genre storytelling to celebrate local talent, community, and creativity. They will share their stories, treating our minds to the art of the verve. This month’s lineup features a fresh selection of San Francisco writers: Tommy Butler, Mark Alvarez, Arvin Temkar, and Wendellen Li.No RSVP required, this is a free event. Enjoy the captivating stories, stimulating conversations, tasty bites and libation in the vibrant ambiance of Ensoma’s Salon de Beauté.
ABOUT THE READERS:
Tommy Butler is an award-winning fiction writer and screenwriter. His fiction has most recently appeared in Oxford Magazine, and he was a 2014 Peter Taylor Fellow at The Kenyon Review Writers Workshop. He has also been a Writer-in-Residence at The Screenwriters Colony. His feature screenplay, Half Life, is currently in development with Wishbone Films and Tracey Becker. He currently lives in San Francisco, but has called many places home, including Connecticut, New Hampshire, La Jolla, Boston and New York City. He has recently completed his second novel.
Mark Alvarez is a writer and translator with a comedic flair. He is based in San Francisco where it’s dry, but is originally from Florida where it’s humid. He hopes there is a market for science fiction that combines early modern metaphysics with the latest advances in stupid jokes. He has written for BNP Paribas, La Redoute and SF Fash + Tech and translated for Le Monde, The Next Web and French startups in Silicon Valley. He writes comedy about history at his blog WTFvsWW2.
Arvin Temkar is a San Francisco-based writer and journalist. His essays have appeared in Hyphen and Paste magazines, and his journalism in newspapers from Guam to Brooklyn. He is also a contributing editor at Hyphen, and is into ramen noodles and Hank Williams.
Wendellen Li is a writer, also based in San Francisco. More below.
ABOUT SNAP FICTION:
Snap Fiction is a project by Wendellen Li that curates and refocuses short fiction for the digital age—fiction that fits the eye. It rejects the classic definition of a short story as one that can be “read at one sitting,” in the words of Edgar Allan Poe, and instead proposes a new parameter for consideration: the screen. If evolution of form reflects the changing demands of readership and markets for publication, then traditional measures, i.e. word count, page length, and duration, are less relevant to electronic displays of text. The essence of a work of art being its unity of impression and of effect, limiting text to fit the size of a screen allows for an uninterrupted reading experience—the beauty and immense force derived from totality is preserved.