Benjamin Rybeck is the publishing director of Words and Images; from 2007-2008, he served as managing editor. He considers his most important job to be finding the right people with whom to work, and being as he has put together a staff replete with editors who are smarter than he, his job sometimes seems almost ridiculously easy.
Rybeck is a full time English major at the University of Southern Maine, interested in interdisciplinary studies. He is especially drawn to the following: the films of Paul Thomas Anderson and the French New Wave; the stories of Raymond Carver, Flannery O’Connor, and Charles D’Ambrosio; “Winesburg, Ohio”; all things James Bond; and the TV series The Wire.
He’s hoping to find fiction and poetry that all those other idiot literary journals have missed; after all, tons of great stories and poems go to sleep unpublished each night. He’s not looking for “perfect” work, because “perfect” work lacks the rough edges where the soul of the artist can be seen bursting out, trying to struggle free from under a pile of technique, trying to breathe again. Jonathan Franzen’s “The Corrections,” a novel with a million digressions, is preferable to Geraldine Brooks’ “March,” a perfectly controlled story, because “The Corrections” has energy in its imperfections, and “March” seems overworked and smoothed out until it lies dead on the page.
Sometimes he has trouble finding the time to exercise.