Guest Editorial

Deep South v.3. n.1. (Autumn 1997)

This issue of Deep South is the first for 1997 and marks the triumphant entrance into the third year of publication. As with many new literary magazines, Deep South has been plagued by problems of funding and owes its survival to the determination and sheer hard work of voluntary workers who believe in the value of providing a means by which post-graduate academic and creative writers may publish their work.

As well as a celebration of survival however, the launching of this particular edition also marks other positive aspects. After the initial difficulties of funding Deep South is now assured of future finance since it has become a part of the University of Otago's English Departmental post graduate programme. And as well as dealing with the practical challenges of finance, Deep South has also managed the even more important coup of recognition since it has been awarded within the top five per cent of web sites by Lycos. This particular issue continues by offering the variety of submissions which has made the magazine so effectively unique: there are a range of academic articles, creative writing, translations of French poetry and an excerpt from a Russian novel. .

I am particularly happy to write the editorial for a magazine which has struggled to provide an outlet for academic and creative material since this year I have been awarded the Burns Fellowship, an award which gives a writer the financial freedom to write for a year. In the past my writing time has been quick flurries of activity during holidays or between work requirements and so having the luxury of time and a sunny office to write in is a gift. Many writers speak of the challenge of daily filling the blank page. Another pressing problem, although hardly of a profound or creative nature, is that of the bank statement. Most writers have to work at other jobs which is why awards such as the Burns are so valuable.

At the same time, when I first entered the office labelled, Paddy Richardson, Burns Fellow I must admit to a momentary panic. I write because I love to use words, to play with and create through words and because I like to write stories. That seemed rather too commonplace, not nearly erudite enough for my new lofty position. However I am always comforted by my favourite words from Chekhov who said : 'I have been reproached for writing about trifles. I haven't acquired a political, philosophical outlook on life. I keep changing it every month, and I therefore have to confine myself to descriptions of how my characters love, get married, beget children and talk and die'. And that is what I like to write : stories about the people I see around me and try to understand. Ordinary people in ordinary situations. Except that nobody is ordinary.

At present I am writing some new and editing some old stories, hopefully for a collection. After that I will take some time away from Dunedin to do some research and then begin a novel, my main project for the year.

Anne Sexton was once asked in an interview about her emotional response while writing and her answer was that, 'it's a beautiful feeling, even if its hard work. When I'm writing I know I'm doing the thing I was born for'. I believe that is why I love writing and why I write. It is an isolated occupation and it is hard work which is often unrewarded and the challenge of facing the blank page can be painfully daunting. But there is also that feeling of elated rightness when the writing is going well and the words are skimming easily and beautifully across the page.

Another question Sexton was asked at the same interview was what a creative writing teacher should aim to give beginning writers and her answer was courage. And I believe that courage is essential to the writing process, in the sheer hard work, in grappling with filling the blank page, in the exposure of publication. But tempering that is the joy of the process and the thrill of publication. And so I would like to thank and congratulate those involved in Deep South for their courageous perseverance in fostering the voices of new writers.