If you're up for a field trip and you love taking tours that revolve around a century old murder, there's something in the works just for you! The residents of Herkimer County, NY are already planning centennial events to mark the county's most famous murder case. The story of Chester Gillette, the murder of Grace Brown and the subsequent trial became the basis for the classic American novel, An American Tragedy by Theodore Dreiser. July 11, 2006 marks the centennial of these events and that gives you plenty of time to plan your next summer vacation.
Here's what Flying Dog's website said:
A golden ticket has been placed, 'willie-wonka style', inside one of containers. The ticket is an invitation for two to Hunter Thompson's memorial at Owl Farm in Woody Creek, Colorado on Aug 20. You and a friend could be joining Hunter's inner circle, including Willie Wonka himself, aka Johnny Depp, to witness Dr. Gonzo's final departure from the business end of a cannon! The prize includes round trip airfares from anywhere in the continental US, two nights accommodation and transportation to and from the memorial.
If more writers could write like Richard Hell, I'd be a happier man.
Hell doesn't write very much, or very often. He'll give us one new book of poetry or a slim paperback novel every few years. Godlike, his first novel since 1997's superb Go Now, is an absolute pleasure and a perfect distillation of this unique author's talents.
Godlike purports to be the scribblings of a middle-aged poet named Paul Vaughn who sits in a mental hospital reminiscing about a younger poet named R. T. Wode, but it becomes quickly apparent that Hell is basing the story on the real-life relationship between two 19th Century French poets, Paul Verlaine and Arthur Rimbaud. He tells the tale with a light, glancing touch. Imagine if Jim Jarmusch made a movie about Verlaine and Rimbaud, and you get the idea. The Vaughn/Verlaine character also resembles Richard Hell himself, and the story is updated to Lower East Side New York City circa 1971.
But enough about the plot, because when Hell writes I only care about the sentences. I couldn't get through half a page without pausing for a big smile or a grateful sigh of recognition. Hell's writing is pointed, sharp, like a junkyard of broken glass. Surprising connections abound, celebrating random oddness, reaching for beauty or truth:
To give offense was his mission, his meaning ... People say James Dean was the same way, mean and arrogant and competitive. And I remember having this revelation watching Bette Davis on-screen one time. That everything that was magnificent about her in the movie would be impossibly obnoxious in the same room with you ...
Nixon the opposite of Dylan, right? Does that make them creators of each other? What would you do with that? Was there anywhere to go with that? Dylan's name looked like Dylan too ... They both have hanging noses and tense mouths. Richard Nixon -- cross-eyed, his tight downturned lips where the spit leaks out at the corners. What if you switched their names?
Why are soap containers so beautiful? The packaging, I mean. Brillo, Ivory, Tide, Comet. It can't be a coincidence. But the thing I really love to see, that gladdens my heart, is a thick stand of empty two-liter generic soda bottles pressed against each other on the floor. The soft gleanings, the complexity of the light, the humility, the blue labels, the uniform bottle shape in the random blob of the clustering ...
Snot is white blood cells that've died fighting germs.
Some writers are dull at heart, and mask their dullness with literary complexity and intellectual obscurity. I don't like writers like that. Hell is my kind of writer; his sentences are rational, direct, clear as water. It's the ideas behind the words that stand surreal and gather poetic mystery.
Like Paul Verlaine himself, Richard Hell suffuses his writings with images of filth and depravity but expresses, through it all, a surprisingly affirmative and affectionate view of life. As the pages of Godlike progress, we know that Vaughn will have to shoot Wode (without seriously injuring him), that Vaughn will go to prison and that Wode will disappear, reemerge and die. After this all plays out, Vaughn tells us the difference between Wode and himself, which is the difference between Arthur Rimbaud and Paul Verlaine:
He looked at emotions as a scientist, but there are things I know more about than he did. I know that love is real."
I think this is also the difference between hundreds of mediocre writers and Richard Hell, a great modern transgressive poet and author who writes about nothing but the joy of our world, and of life.
This is good news, although we're still waiting for the rumored Black Book by Jay-Z and Nas's mythical autobiography, so I wouldn't bet money on any of these seven books actually existing at any point soon. And I'm kinda confused about this statement that he wants these books to set a good example for kids. Snoop thinks he's got seven volumes worth of good example in him? We are mystified but curious.
Jamelah Earle: I was looking at your website and it appears that you have a lot of projects. What are some of the latest things you've been working on?
John Lawson: Our big June release is Terror-Dot-Gov: Docufictions by Harold Jaffe. It takes a unique approach that blends nonfiction and fiction, covering the war on terror in a way that is both sad and hilarious. Last month we had Spider Pie: Salacious Selections by Alyssa Sturgill. She's one of the great new surrealists, and we're excited to be the ones handling her debut book. Our most ambitious work yet is a move away from digital printing (print on demand) to do a substantial press run for the uncouth thriller Play Dead by Michael A. Arnzen, which will be out in August. And, of course, our most challenging collaboration yet: a son due in late July! I guess you'd call that a "limited edition." Seriously, though, I believe we'll have released something like 15 titles in 21 different editions during 2005. Of course, that doesn't count the various eBook editions we'll be putting out -- eight electronic formats for each book. So it's busy, busy, busy, considering we're just two people with some volunteers.
JE: What do you think about today's literary establishment? Did it play a role in your getting into indie publishing? How did you get into indie publishing?
JL: Well, I took the roundabout way. I started off as an aspiring screenwriter, completing scripts between sessions in the studio -- I used to be an audio engineer. That ended when I got encouragement from producers, although the final sale continued to elude me. As a writer of "weird" stuff it turned out I need somebody else's stamp on me before producers would invest. So I began selling articles and short stories, and pretty soon the Hollywood scene didn't matter anymore. Then, trying to sell my books, it became clear today's literary climate
isn't too much different than Hollywood. So I tracked down the most outrageous publisher I could find, Eraserhead Press, and asked how I could help them. My intentions were to help the literary rebels thrive so alternative voices would have a better chance. I started out as editor of EHP's online ublication, then moved up to Head of Promotions. It was actually Carlton Mellick III, EHP's founder, who suggested I break off and start my own company. His philosophy is that there can never be "too many" unusual publishers out there, and I agree. Ironically, as a side note, a UK producer is making me an offer on one of my scripts, so my plan worked...it took many years, but I finally made it.
JE: Do you think online writing is a good way for writers to find an audience, or does the fact that there are so many message boards, blogs and personal websites make it harder for unknown writers to have their voices heard above the fray? Is online writing a viable alternative to print?
JL: Online writing is one of the most under-utilized aspects of the publishing industry. The role of the indie publisher/author could really fall under the heading "guerilla writing." There's a great essay by Harold Jaffe illustrating how the five tenets of guerilla warfare can be applied to freethinking publishing in the current (corporate) publishing landscape. The major publishing and the midlevel people often have such bulky infrastructures that they can't respond to new developments until it's way too late. Our company springs from the advent of the Internet. We started as editors of an online literary journal, and all of our books have sprung from contacts we made there. There are plenty of webzines and message boards, and while traditionalists dismiss it all out of hand it's worth looking into. For us the zine is not only a testing ground for working with writers, but it's a free marketing tool. You can't beat it. Plus, our printer accepts the book files via online upload, sales reports from our distributor are updated daily online, we sell well through the multitude of online shops, we use online chats for promo, get our authors featured at various websites... the potential is endless.
As an author, there are plenty of low-grade webzines and message
boards, and others that put out product better than most "small press" magazines. There are serious readers and publishing professionals watching what happens on the Internet, and there are plenty of idiots too. It doesn't matter. Make a good impression on them all wherever and whenever you can. If you look at through the mindset of free advertising it would be insane not to put your writing out there in electronic format, even if you're just talking reprints. From where I sit, relying on the web has accelerated the growth of my writing career by at least five years, if not more. The contacts I've made with authors, editors, and readers have been invaluable.
JE: You run Raw Dog Screaming Press and an online literary journal, The Dream People, and I read on one of your pages that you "publish the unpublishable". How would you describe this so-called unpublishable writing? What kind of gap do you think your publishing projects fill?
JL: All the conglomerates to spring from the wave of mergers begun in the 1980's, they aren't willing to invest in authors so much as they invest in categories. What, then, becomes of the cross-genre author? The fringe literature? That's where we step in. Our focus is on the fringe, whether it's absurdism, surrealism, offbeat literary genre stuff, Beat-style work... essentially, material that's hard to pigeonhole, yet is sellable to multiple audiences. A lot of the stuff we've leaped at has passed through the hands of other companies because they don't "get" what the author is trying to do. The answer is obvious: they're telling a good story! Just because you won't find a section in the bookstore dedicated to a particular style doesn't mean it's an invalid approach. It just means us lazy publishers need to figure out how to sell/who to sell it to. We're gaining ground quickly, because there are people everywhere interested in all types of fiction, who want to see something fresh, something uninhibited. Despite popular opinion the sales are there, you just need to find a way to get the word out.
JE: Does being published by someone else give a writer more credibility than self-publishing?
JL: Well, that all depends. I know several publishers who do so little in terms of book design or promotion that you're better off self-publishing. That way you at least have some control over how the book looks and you know up front that you have to handle all promo yourself. Then again, you'll need to do some self-promotion even with the largest companies -- they may have a department dedicated to promo, but each person will be handling four or more books, and their staffs are being cut back all the time. As far as reviews are concerned, it's nearly impossible to get a reviewer to consider something you published yourself. By the same token, a new publishing company will encounter difficulty getting reviews, even for books by veteran authors, simply because it's expected that new companies will fail and nobody wants to waste their time on you.
Everything in publishing is a battle of attrition. The longer you stick with it the more people will take you seriously, because the shoddy companies will fail, or the authors who lack dedication will return to their day jobs, and you'll be left standing when the dust settles. The rules for promo are the same whether you're an indie publisher or a self-published author. It takes about six to twelve months to get recognized, and maybe a year to three years to see substantial profit coming in from a release. That's because you're relying, largely, on word-of-mouth promo, which also happens to be the best sort of promo around.
JE: What kind of advice would you give those who may be looking to get into publishing (either just their own work or the work of others)?
JL: There are plenty of books on the subject, so spend a few months researching the publishing industry to see what's expected out of you as a publisher or as a writer. When you do something, do something you
love because as I said you'll be promoting it for a while. Stick with it no matter what. One of the things I always tell myself is "Neither victory nor defeat shall affect me," which sounds corny I guess, but it's easy to get sidetracked by a bad review or a successful author signing. As long as you do five things a day for your company you can't go wrong. And, about bad reviews, research indicates that some people buy stuff reviewers trash to spite the reviewer, so it's never a completely bad thing. And lastly, right now might be the best time ever to get into publishing. Relying on digital printing means you don't need a crazy business loan to start up, and as I said the Internet gives you free access to readers on a global scale. Then if things go well you're in a position to go in any direction you want.
I hadn't read him until recently, when I picked up a copy of Expelled From Eden, a greatest-hits set apparently designed to make Vollmann's famously sinewy and labyrinthine writing palatable for normal people.
I've read about 1/10 of what's there so far, and my feelings are mixed. He can certainly turn out a sparkling sentence, and I also like his focus on mankind's inherent violence and depravity. His two main obsessions seem to be global war and prostitution, though I'm really not sure what the connection is between the two subjects.
I'm going to keep reading, but I'm already turned off by the back cover blurb that calls Vollmann a future Nobel Prize winner. Why? He hasn't fully won my vote yet ... in fact I'm not even sure I'm going to keep reading the book. I'd like to know if anybody else has any opinions on this guy.
I know, you think I'm probably joking, but I'm totally not. Because seriously -- she has some really good songs! I know she doesn't write them herself or anything, but whoever does the writing deserves some credit for the accurate capture of life itself. (Maybe it's Barry Manilow, since he writes the songs that make the whole world sing and all.) 'I'm Not a Girl, Not Yet a Woman'? I feel like that every day. It's because I'm 25.
Last week I asked about your favorite poems, and I really enjoyed the stream of responses which included, in the order in which they were posted: "The Love Song of J. Alfred Prufrock" by T. S. Eliot, "High Flight" by John Gillespie Magee, Jr, "The Height of the Ridiculous" by Oliver Wendell Holmes, Matthew 6:25 - 34, "Out of the Cradle Endlessly Rocking" by Walt Whitman, "The City in Which I Love You" by Li-Young Lee, "Poem In October" by Dylan Thomas, "Constantly Risking Absurdity" by Lawrence Ferlinghetti, "A Supermarket in California" by Allen Ginsberg, "l(a" by e.e. cummings, the entire "Leaves of Grass" by Walt Whitman, "Herbsttag" by Rainer Maria Rilke, "Death Fugue" by Paul Celan, "Cloud" by Vladimir Mayakovsky, "The Waste-Land" by T. S. Eliot, "What a Piece of Work is Man" (from "Hamlet") by William Shakespeare, Sonnet 130 by Shakespeare, "The Second Coming" by W. B. Yeats, "Kaddish" by Allen Ginsberg, "Power" by Gregory Corso, poems by Jane Kenyon, Anne Sexton, Christina Rossetti, Carl Sandburg, "Wild Swans at Coole" by Yeats, "The Drunken Boat" by Rimbaud, "Sonete Postrero" by Carlos Pellicer, "Sonnet" and "Masa" by Cesar Vallejo, "in Just-/spring" by e. e. cummings, "Howl" by Allen Ginsberg, "The Raven" by Edgar Allen Poe, "When i consider how my light is spent" by John Milton, "The Purist" by Ogden Nash, "Nothing Gold Can Stay" by Robert Frost, Sonnet 116 by Shakespeare, "As The Mist Leaves No Scar" and "The Reason I Write" by Leonard Cohen, "So I said I am Ezra" by Archie Ammons, "This is Just to Say" by William Carlos Williams and "Variations on a Theme by William Carlos Williams" by Kenneth Koch, "And Death Shall Have No Dominion" by Dylan Thomas, "In Society" by Allen Ginsberg, "Acquainted with the Night" by Robert Frost, "13 Ways of looking at a blackbird" and "The poem that took the place of a mountain" by Wallace Stevens, "The Death of the Ball Turret Gunner" by Randall Jarrell, "Fern Hill" by Dylan Thomas, "Mending Wall" by Robert Frost and "Love is a Dog from Hell" by Charles Bukowski.
The first one mentioned (by none other than my LitKicks co-editor Jamelah) happens to be my own favorite. T. S. Eliot began writing his poem "The Love Song of J. Alfred Prufrock" in 1910, when he was a 22 year old philosophy graduate student. Five years later it was published in Poetry Magazine, and it became his first famous work.