4 Questions: David Tomaloff

by CS

What is your earliest memory?

That memory is a collage, I guess, rather than a single concrete image. I think of a white German Shepherd named Sully, the neighborhood bar my father frequented, me trailing behind him on a Radio Flyer sled on the way to said bar, and lots and lots of (highly questionable) jukebox entries. Also: spicy aftershave.

What was your first acceptance/publication?

I am almost certain my first proper publication was in Opium Poetry 2.0. The piece was moved shortly after its publication to Asphodel Madness by Ross (the editor for both), so the posted publication date reads as being later than a few of my others. In terms of acceptance, I believe BlazeVox was the first.

Print or electronic?

I find I am at odds with myself on this. I like both formats, but I prefer electronic in many ways. I know that’s blasphemy. I fetishize books and chapbooks as much as anyone else does, and I prefer to read books in print. I enjoy the ability to frantically rifle through pages, yes. On the other hand, it is important to me as a writer to make my own work easily available to other people—just as important as it is to me, the reader, to have access to so many other writers and communities I might not have otherwise discovered.

I became interested in poetry as a young musician. I’d go to local bookstores and read the collections typically found at most chains. I loved some of them (and still do). It wasn’t until I became aware of the various online writing communities and small presses, though, that I realized how many people were out there doing the kinds of work I would ultimately feel most connected to. How can I dismiss that?

Tangentially, the conservationist in me likes the idea that all of this work can be so readily shared minus the toll on the environment. However, that may well be a debatable statement given the staggering amount of disposable electronics currently in circulation.

Do you write while listening to music, and if so, what do you listen to?

Music often plays a direct part in my process, yes. Many times music or photography will spark an idea that evokes an image or a couple of phrases I’ll want to explore. Sometimes I’ll continue to write with music on, but I usually prefer to focus on the sound and rhythm of the text. One notable exception would be my Red Ceilings Press chapbook, Olifaunt. The process for that one involved a constant rotation of Fugazi records on blast. Editing was done in silence.

I’ve begun pieces while listening to the Kills, the Hold Steady, The National, Vampire Weekend, M.I.A., the Distillers, and the list goes on. Come to think of it, I’ve written loads of stuff while listening to John Williams and Philip Glass, though I usually leave those guys on for some reason.

David Tomaloff is a writer, photographer, musician, and all around bad influence. His work has appeared in fine publications such as Mud Luscious, >kill author, PANK, Connotation Press, HOUSEFIRE, Prick of the Spindle, DOGZPLOT, elimae, and many more. He is the author of the chapbooks 13 (Artistically Declined Press), A SOFT THAT TOUCHES DOWN &REMOVES ITSELF (NAP and Red Ceilings Press), Olifaunt (Red Ceilings Press), EXIT STRATEGIES (Gold Wake Press) and MESCAL NON-PALINDROME CINEMA (Ten Pages Press). He resides in the form of ones and zeros at www.davidtomaloff.com.