How to Write About Your Artistic Passion and Get Published

artistic passion

Introduction – Helping Young Artists to Write About Their Artistic Passion and Get Published

Mungo vs Ranger Issue 4 coverAt Mungo vs Ranger we have a passion for the arts, and in particular for promoting young artists in the written word. Both poetry and prose has the potential to raise great emotions in the reader when it is original and written well.

There is a wealth of opportunity in this art-form, but how can a new artist get published, get noticed, and start their artistic career? Aren’t most people suffering from information overload already? Do they really want more, from an unknown person?

Yes. They do want more! Despite the huge explosion of written content on the web, we still believe that today’s authors have a massive contribution to make.

However, although interest in cultural output/ art is exploding like never before, the artist in poetry, or prose, will not be able to bring their special insights to an audience unless they can get themselves published.

Not only that, they must be able to get their work published on platforms which get seen, and if they are to sustain themselves in the future performance of their art, they will also have to find buyers for their artistic output.

In this article we explain how to write about your artistic passion and get published .

Originality Wins!

This may seem obvious, but the starting point of any great piece of poetry or prose, must always be to be as original in thoughts and perspective as possible.

Writing about an artistic passion, should be both what the budding author/ poet and get published desperately wants to do, and his/ her biggest asset. Passion invokes a personal view and an intimacy with a subject which ultimately should be the best source of that vital spark which will push the artists output from the mundane into work which readers will values, and even quite possibly love.

Turn off you phone, disconnect yourself from the internet, and all other distractions, and make thinking time for yourself.

Be influenced by what you read and experience, of course, but make time to be quiet and allow your unique personality generate something new. In two words: “be original”.

Forget About Being Commercial or Making a Product

Great art/ and expressing artistic passion will always sell itself. We are all constantly assaulted by people and advertising which promotes selling, so that we become brain-washed into the idea that all our creations should be capable of being neatly packaged to appeal to a target market.

The aspiring artist cannot, and indeed must not, fall into that trap if they are to have any chance of succeeding as an artist. It stifles originality, and the world is becoming heartily fed up with being sold to. More, and more, people are looking for originality, and fresh experiences.

That is the aim, and for most people it will fit very well with their artistic passion subjects. So, don’t over analyse, just let what you feel flow into your artistic output.

Peer Review Before Publication is Essential

No matter how original the work may be, to ensure that someone else looks at it and makes a constructively critical view before submitting the resulting output for publication is the next step that really should not be omitted.

It is hard to submit work for critical review, but think of it as being another mind to contribute to the work, and the result will be all the better for it 99% of the time.

Think About Your Audience: How Will they Find this Work?

Now, without considering your artistic passion to be a product to sell, as we discussed earlier, a wise artist will always put the work down for at least 24 hours, and preferably a few days. During that period try not to think about it.

After that time has passed read it yourself and review it, from the point of view of the reader, or listener if its poetry to be read out aloud.

It’s O.K. to take your art close to the margin of acceptability, but have you overstepped the mark of acceptability within the society that you live?

Have you produced an “artistic passion” something which might be seen as racist, or incite violence? Hopefully, the work and the country in which the author resides will not mean that the work will be politically unacceptable and possibly lead to prosecution of the artist. However, such an outcome may be possible in some circumstances, so take some time to think such things through.

The author should seek advice from trusted friends and experts if there is any possibility of illegality.

This step is an important one, and although any problems with publication, or performance would be exceedingly rare, this step is still very worthwhile.

Do Not Keep Returning to Your Work Excessively

Sometimes this is referred to as over-“gilding the lily”. As an artist it is inevitable that the temptation exists to seek perfection, or keep reinterpreting the work internally.

The artist should judge carefully when to stop revising his/ her own work. If in doubt, review once and then put yourself in the position of a reader of the work, after a delay as described above.

Do not be tempted to keep revising beyond a certain point, and certainly not after obtaining the views of a friend or fellow artist.

This can be hard for some people. Remember that few if any artists are ever fully happy with their work. So, accept imperfections will always be present, and move on. After-all, you can revisit your work again with another output, as your passion takes you, at a later date.

Concluding How to Get Your Artistic Passion Published

Take the information, and the reasoning, that we have set-out in this article and apply it to your artistic outputs. It should help you to see an improvement and raise your exposure and reputation as an artist.

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Bath Tub Gin

This page is a reproduction of the original page from the original website. It explains why the publication “BTG” was devised, and the intentions for it at the time. It’s a historical snapshot of the state of small print publishing and how it was viewed, in April 2001.


Bathtub Gin is published twice annually out of Bloomington, Indiana. The usual fare is a varied selection of poetry, short fiction, and artwork; after a period of experimenting with a sister newsletter, The Bent, which published small-press news and announcements, editors Christopher Harter and Tom Maxedon decided to devote an entire issue of BtG to the subject. The result is a lively sourcebook of resources and advice delivered through interviews with poets, small-press publishers, and independent bookstore owners. Below are two of those interviews: the first a Society of Underground Poets radio interview aired on WRVG-FM in Georgetown, Kentucky, between interviewer Troy Teegarden and Minnesota librarian and small-press activist Chris Dodge; the second with Karin Taylor, executive director of the Small Press Center in New York City. Contact information for Bathtub Gin, MSSRT and the Small Press Center can be found on our contacts page.

TT: With us now is Chris Dodge, activist-librarian and editor of the MSRRT Newsletter, a publication of the Minnesota Social Responsibilities Roundtable. Chris… tell us about the organization.

CD: The roundtable itself is a part of the Minnesota Library Association, which has nearly 550 members, and our unit has about 60-70 people. We’ve been active, or I should say “reactive,” for about twelve years since I got involved. There are a handful of people who have taken the ball each year and organized programs at our annual Minnesota Library Association Conference, but how you’ve seen us manifest is the MSRRT Newsletter, and that’s been going twelve years. It started out being simply a publication to let our members know what was going on in terms of programming and protests. It soon became a review publication, a Factsheet 5 for libraries that grew outside Minnesota and gained readership across the country and wider than that.

TT: At what point did you start sending out the MSRRT Newsletter farther than to just library people?

CD: Pretty early, because I was aware of reading Factsheet 5 back in 1988, and I’m certain I began sending it to him right away, and by getting listed in there other people began to contact me and I had already been seeing dozens of publications of a sort that, maybe today wouldn’t be called zines, but are alternative in that they question the status quo and they deal with things like the Peace Movement, for example.

TT: How did you personally get involved in all this?

CD: Sandy Berman is the personification of the term activist-librarian. That may seem like an oxymoron because the stereotypical librarian is someone who is a spinsterish woman who stands behind the desk or comes out only to shush children. Sandy is someone who has always acted proactively in trying to better connect potential library users who are underserved, and also to foster library services that are more fair, more accurate, more user-friendly, and he’s also been a real staunch advocate of alternative press publishing. He shared with me and many others some of his mail, simply that. He would share publications that he received and I would not only see and read them with fascination, but realize, “Hey, somebody oughta be reviewing these and indexing them.” So that’s what I began doing. It’s an individual who really gets me going, Sandy Berman by name.

TT: Do you have a large selection of small press publications at the library where you work?

CD: Not at all. Sadly, I work at a large suburban library system which has a lot of money and how they choose best to use that money is to buy more than 1,200 copies of the latest John Grisham novel and one copy of any of five editions of Ben Bagdikian’s Media Monopoly. So, I’m kind of like a thorn in the side of the institution. Some people would say that I do a service by letting our selection librarians know that certain things exist and I guess occasionally they do buy something. I think the library has subscribed to Factsheet 5, but that’s about it when it comes to getting zines out there for example.

TT: Now that Factsheet 5 is just about done, that’s not going to help much, is it?

CD: Right. No, I think they’ve subscribed for several years so give ’em credit for that. But very slow on the uptake. Traditionally, public libraries have been slow to collect certain classes of materials and librarians tend to view themselves favorably as gatekeepers. I think that the gatekeeper image is a bad one because it’s elitist, and, traditionally, public libraries have kept popular music recordings out, comic books out, and over the years certain classes of materials have begun to be accepted, but others have not. One entire class of music that we don’t get here it seems is punk. There’s certainly a huge market for it. Here in the Twin Cities there’s a record store called Extreme Noise which is quite successful, but our selection librarians never darken its doors.

TT: Maybe they just don’t want the punk kids hangin’ out at the library?

CD: I don’t know. But there’s lip service paid to “diversity.” Certain good things are done. But there are certain things which remain problems, and that’s a part of what some of us are trying to do in terms of advocacy. Another way of looking at it is in terms of “class,” because the library in which I work is suburban and its tax base is pretty upscale and affluent. So their collection is heavily weighted towards travel guides to the Caribbean and how to decorate your house, and there’s next to nothing on squatting, or the art and science of dumpster diving, or practical things for people who are living near the street, if not on it. Again, part of it has to do with working for a suburban library system and I do have colleagues and friends at the Minneapolis Public Library, where there is a somewhat different situation.

TT: Do you know of library systems that have a strong interest in small press publications?

CD: Yes I do. Minneapolis Public is a pretty good example because there are a lot of reasonable arguments against collecting zines in a library. If one is treating them equally with other magazines, you’ve gotta catalog them, which is a nightmare because they change titles frequently, it’s hard to tell where they’re coming from sometimes, they cease publication regularly. But there are ways around the problems. What MPL has done is simply to put them out. Go out and buy them, and put them out for public consumption. They check them out. But they don’t go to the trouble of cataloguing them. So I think that’s kind of a reasonable middle ground for a public library to take. Academic libraries could collect zines regionally, or the ones produced in their state or city. If you are a library that has a strong subject area in popular music, for example, then collect music zines.

TT: I know of at least one school, the University of Wisconson at Madison, they have a special collections that archives a lot of these publications, which is a very interesting idea to me because it seems like zines are created on the spot and they’re just barely put together and you read through it four or five times and it falls apart, so it’s good to see that somebody has been keeping these things on the shelf and holding onto a part of history.

CD: Yes, the whole aspect of history because just as with supermarket tabloids and slash literature, there’s some classes of literature that are represented in libraries secondhand, that is to say they are entire books about zines. There’s anthologies of zines, but if in years to come scholars and historians are only finding these secondhand sources, they’ll really be missing out because with secondhand sources you immediately get into problems. Wisconson Historical Society is really good for alternative presses in general. But they only collect Wisconson zines.

TT: So if one checked out MSRRT Newsletter, what would they find?

CD: MSRRT Newsletter is chiefly reviews. You’ll find reviews not of books from Harper & Row and the corporate publishers, whose books are automatically reviewed, but they will be from smaller independent publishers and sometimes outfits you’ve never heard of. It galls me to have to read that the publication Utne Reader, a few years ago, was represented in a magazine then called Small Press, now called Independent Publisher, on the topic of publishers’ press releases. The review editor of Utne Reader, when asked what she did with press releases, said, if it’s from a publisher or an author I’ve never heard of I’m more apt to throw it away, and this was somebody from Utne Reader! So that’s exactly the opposite of where I’m coming from. I’m most interested in publicizing, covering and reviewing things that nobody, or only a few have ever heard of — Public Enema, Prozac, and Cornflake. There are also several pages dedicated to things other than reviews. They typically involve commentary and news about library and publishing trends.

TT: Anything else to add?

CD: I’m gonna babble more about library trends, which seem to mirror publishing trends. In publishing, you have a certain degree of mergers. A smaller number of indie publishers are thriving and growing up between the cracks. In libraries and schools, there’s a trend towards running the library as a profit-making business. Managers are demanding of libraries that they make money and, in doing so, fees and fines increase. I find that problematic and that’s part of what I’m fighting in my work with MSRRT Newsletter. But we’re a small movement in a fairly, what I would consider, conservative profession: librarians.

Located in New York City, the Small press Center is a non-profit organization that supports the effort and work of small presses. It serves as a bridge between independent publishers and writers, as well as the general public. On a recent trip to NYC, Chris had a chance to speak with Karin Taylor, the executive director of the SPC. Here are some excerpts from their discussion.

BtG: In your opinion, what defines a small press?

KT: In terms of what I said about the Small Press Center’s definition [less than 12 titles published a year with print runs of less than 5,000]. But, of course, it is also an attitude and a commitment. We do distinguish between the small presses and independent publishers. Though the two terms are interchangeable, independent publishers are different. For instance, some of the university presses, like Oxford University Press, are absolutely huge. Farrar, Strauss & Giroux is an independent.

BtG: New Directions…

Yes, exactly. So, we have discussed at certain times in our evolution about changing our name to something that actually says “independent publishers.” But then people who are much involved with the SPC think that’s who we are and we are for the smaller people. “Independent publisher” does imply people who are more experienced, are larger, and they perhaps don’t need us in quite the same way. So, we’ve come up with a compromise: the Small Press Center of Independent Publishers.


This is a historical snapshot of a page which was available on the Archive Org website. We hope it helps anyone looking for one of these publications. Please tell us about you quest for a “hard to find book” in the comments, specially if you found a new source for that publication.

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How an Artist Can Work from Home and be Creative

How an Artist Can Work from Home and be Creative_33

Introduction

How an Artist Can Work from Home: Starting as an artist, including an author or poet, by working from home is attractive to many creative people when they are just starting out. That’s because of the cost savings. Adapt a room to use as a studio, and you are ready to start! That’s certainly how an artist can work from home.

It seems very easy, but many people find out very soon that it can very hard to stay focused on the task at hand. At home there are many distractions that surround you, even if you live alone. The problem becomes more acute when you live with other family members, and especially if you have children.

This article discusses some of the things that you can do to keep the creative juices flowing amid the various distractions of home life.

Define Your Work Space

How an Artist Can Work from Home and be Creative_33

The first common sense action is to separate spatially, the area or rooms(s) you will use for working in. Do this even if you live alone.

Tell the rest of the family in the home what those rules are, and stick to them.

Plan a Program Overall or Each Arts Project by Project

Pin your plan/ schedule to the wall, or in some other way ensure that you have it available at all times to refer to and comply with. In other words, you should set yourself a schedule and stick to it.

Don’t forget to update your schedule regularly, either.

Whether you are an artist or following any other pursuit, reward comes with applying one’s self to the creative process. Unless, you put in the hours to practise, and pursue, your artistic passions the outcome will be disappointing for any artist.

Stay Offline and Avoid Time-Sucking Social Media

How an Artist Can Work from Home and be Creative_0

Social media is clearly a useful tool for the astute artist, when used for the specific purpose of promoting his art work, such as poems written.

However, it is so very easy for people to waste whole mornings or afternoons on an enjoyable, but remarkably extended period of time, just sharing posts, and messaging friends.

The temptations for time-wasting once online are so great that our recommendation is to avoid social media totally, until outside the allocated work times.

Leave the Television Set Switched Off

This is an obvious one. However, we thought it worth including. Limit yourself to no more than possibly allowing yourself some music of the sort which you know will aid concentration.

Make Rules on Permitted and Non-Permitted Interruptions

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Simple rules, are a good idea for partners, friends and children so that they know under what circumstances the artist can, or cannot be disturbed.

Equally important though, will be the personal discipline of the artist, not to wander off and start doing things with a fellow home occupant!

Taking breaks, is of course acceptable, and should be done at set times and with a planned duration.

Get Organized and Stick to It

So, the previous points lead us to the point where all that remains is to stress the importance of getting, and staying, organized. A good way to do this is to plan each week ahead on every Monday. Fill in your tasks and task duration for each day, and keep that schedule to hand for frequent reference.

For a poet or author, plan the number of words that will need to be written per day, and then once the initial writing is done, allocate time to the necessary grammatical checking and reviewing tasks.

Give Yourself Treats and Generally Seek to Reward Yourself

How an Artist Can Work from Home and be Creative_10At each stage of the creative process there are rewards you can give yourself.

Work out what those will be. Try to keep them healthy if they are related to eating! And, make the most of those little treats!

Conclusion to How an Artist Can Work from Home and be Creative

Planning and organisation and then keeping up with a schedule has been the main theme of this article. It should be clear now, to our readers, that working from home takes some discipline.

Nevertheless, once any artist masters what they need to be creative, they will be one big step on the way to enjoying the many benefits of working at home.

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CONTACTS

Mungo vs Ranger Issue 1 cover

The following is a copy of the Original CONTACTS page of the MVSR Website, for officiandos of the old MVSR (small-print, poetry, art, books and reviews) subscription website.

It is interesting to note that Mungo vs Ranger is mentioned in a Wikipedia reference as the source of a poem by Dale Smith, on this Wikipedia page.


CONTACTS

Booksartistic passion

The Adventures of Yaya and Grace, by Rachel Levitsky.
Potes & Poets Press, 181 Edgemont Ave., Elmwood, CT 06110-1005. $7.

Cartographies of Error, by Rachel Levitsky.
Leroy Press,
17A Chattanooga Street
San Francisco, CA 94114

I Saw the Letter 5, by Bill Scheffel.
Three-Legged Dog Press.

Like Rain, by Kevin Opstedal.
Angry Dog Press, 3464 26th St., San Francisco, CA 94110

Poems from Naltus Bichidin, by Carl Thayler. See Skanky Possum in Magazines below for address and email contact.

811 BOOKS, edited by Joshua Beckman. $3 each!
YMCA (Writer’s Voice), 350 North 1st Ave., Phoenix, AZ 85003

Magazines

Blue Book, Michael Price and Kevin Opstedal, eds.
c/o Blue Press, 436A 14th St., San Francisco, CA 94103

Clamour, Renee Gladman, ed.

Skanky Possum, Hoa Nguyen and Dale Smith, eds.
2925 Higgins St., Austin, TX 78722

$5 per issue, $20 for a 4-issue subscription.

Click HERE to return to the INBOX.

This is a historical snapshot of a page which was available on the Archive Org website. We hope it helps anyone looking for one of these publications. Please tell us about you quest for a “hard to find book” in the comments, specially if you found a new source for that publication.

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INBOX – The INBOX Page from the original MVSR Website Reproduced for Old Subscribers

Mungo vs Ranger Issue 4 cover

INBOX

The editors have been reading a lot lately, so a mild San Francisco summer hasn’t proven much of a bother. At a reading at Dog-Eared Books last month a friend stumbled across the work of JEN HOFER, whose as far as, an engaging and attractively produced chapbook, invites thoughtful and repeated readings (Jill Stengel, a+bend press, 3862 21st St., San Francisco, CA 94114, $5 +$2 shipping).

Jeremiah’s been doing a lot of underlining in Full of Secrets: Critical Approaches to Twin Peaks (Wayne State University Press), which he calls “a brilliant critical investigation of the world’s most underrated and overindulged television show, questioning boundaries between art and commerce all along the way.”

So there you go. On more than one recent occasion we’ve caught Jeremiah mulling over his old DIARY quite a bit, and has this to say: “Never have so few done so little in so much time.”

He’s also been savoring old issues of Unpaved Road, an Oklahoma-based zine of the backwoods in which JOSHUA BLEVINS PECK explores regional eccentricities and interviews his porch-sitting, buckshot-loading grandparents. Peck also has a fat chapbook of poetry, where I was, available from Inklab Works (P.O. Box 4126, Seattle, WA 98104) –

– and all between marathon stints of web work on the new issue of MICHAEL ROTHENBERG’s massive poetry site BIG BRIDGE, which you may notice is accessible directly from our home page. There’s a feast of exciting work there, including a web version of an 80-page chapbook collaboration between ROBERT CREELEY and Bay Area artist ARTHUR OKAMURA.

Other good books we keep picking up: contributor JOHN BIRKBECK’s Longitudes (Carmine Creek Press, 121 E. Washington Street, Iowa, IA 52240-0075), ditto Rothenberg’s Favorite Songs (available through the Big Bridge website), the Moyer Bell Grant Seekers’ Guide (any leads, anyone?), the new Gary Snyder Reader, The Baffler #12 and its purity of essence, Commodify Your Dissent: Salvos from The Baffler, HOA NGUYEN’s Dark (Mike & Dale’s Press, 1999) RACHEL LEVITSKY’s Cartographies of Error (Leroy Press, 1999) and The Adventures of Yaya and Grace (Potes and Poets, 1999), KEVIN OPSTEDAL’s Like Rain (Angry Dog Press, 1999), CARL THAYLER’s Poems From Naltus Bichidin (Skanky Possum, 1999), BILL SCHEFFEL’s I Saw the Letter 5 (Three-Legged Dog Press, forthcoming), Clamour #4, Vol. 7 of Charles Olson and Robert Creeley: The Complete Correspondence (Black Sparrow Press, 1987), the many fine chapbooks in JOSHUA BECKMAN’s 811 Books (including Arabia Felix by DALE SMITH, Blueprint by RICK SNYDER and Fraction Anthems by CATHERINE WAGNER, the instalments in the series –

– nine so far — are only $3 each) and RODERICK NASH’s Wilderness and the American Mind (Yale University Press, 1968). June’s Blue Book #3 (Blue Press) features work by DALE SMITH, JENI OLIN, LISA MILLER and MICHAEL PRICE, each of whose work can be found in this online issue or in our archive, and also features work by Lewis MacAdams and Duncan McNaughton, whose work we have reviewed in MVSR (both reviews are online).

We’ve also been enjoying the second issue of Skanky Possum, an inspiringly high-quality poetry magazine published out of Austin, TX by HOA NGUYEN and DALE SMITH. So much so, in fact, that we asked the two poet-editors if they’d mind putting some of the new issue’s poetry online. Click on the link above to read selections from the second issue.

Online, ARCHIPELAGO has been a current favorite (www.archipelago.com), and a new issue of JACKET is now previewable (www.jacket.zip.com.au) but we haven’t abandoned our favorites: NERVE (www.nerve.com) and )ISM( (www.poetryism.com). Additional web recommendations will follow once we can relax and get online.

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REAL BOOKS the Order Page of the Original MVSR Website

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The following is an extract from the web archive showing the original book ordering page:


REAL BOOKS

Mungo vs. Ranger #3

Mungo vs Ranger Issue 3 coverOur new FALL 1999 issue features all work displayed on this site plus: additional poems by BILL SCHEFFEL, LISA BIRMAN and KEVIN KILLIAN; a full section of poetry by CEDAR SIGO (roughly 20 pages and a dozen poems’ worth); poetry by returning contributors TSERING WANGMO DHOMPA, JACK GREENE, LISA MILLER, JENI OLIN, DORIS PAI, MICHAEL PRICE, and MICHAEL ROTHENBERG, as well as new contributors BETSY FAGIN, STEFANI BARBER, DONALD GURAVICH, DAVID MICHAEL MCNAMARA, HOA NGUYEN, SEAMUS P. O’CUINN, JOHN PHILLIPS, PATRICK PRITCHETT and ROGER SNELL; poetry translations from French and Haitian Creole by JACK HIRSCHMAN; fiction by LISA TRANK; and a short essay by poet and translator ANDREW SCHELLING. Perfect-bound with a three-color, hand-letterpressed cover, 123 pages. Price: $5.00 (newsstand $6.00).
Mungo vs Ranger Issue 1 cover

Mungo vs. Ranger #1

Mungo vs Ranger Issue 1 coverCopies of our SPRING 1999 debut issue are still available. Featuring work by BOB ARNOLD, CHRIS BEVENS, TSERING WANGMO DHOMPA, JACK GREENE, RACHEL LEVITSKY, JEREMIAH MCNICHOLS, LISA MILLER, JENI OLIN, KEVIN OPSTEDAL, DORIS PAI, DIANA RICKARD, MICHAEL ROTHENBERG, BILL SCHEFFEL, ANDREW SCHELLING, CEDAR SIGO, DALE SMITH, MICHAEL SMOLER, ROGER SNELL, LISA TRANK, and JERRY TUMLINSON, with featured Louisiana poet STEPHANIE WILLIAMS (who merited 20 pages of poems and short stories plus an interview) and reviews of MICHAEL PRICE’s DOOMBOOK and DUNCAN MCNAUGHTON’s Kicking the Feather. Perfect-bound, 93 pages, wraparound cover image. Selected as )ISM(‘s featured zine for the month of June (www.poetryism.com). From a press run of 300, it’s no surprise we’re down to our last twenty-five. Price: $5.00 (newsstand $6.00)

The City Speaks

Four stories by author and MVSR co-editor JEREMIAH MCNICHOLS: “The City Speaks,” “Composition for Voice and Instrument,” “Money is a Muscle: Or, The Imaginary Child” and “The Fall,” handsomely illustrated in pen and ink by the author’s brother and co-publisher at Castor/Pollux Press, JOSHUA MCNICHOLS. Saddle-stitched, 52 pages. Price: $3 ($4 in stores and damned hard to find).

“fire”

Conversational interviews conducted by writer and Castor/Pollux co-publisher JOSHUA MCNICHOLS with members of a family whose matriarch spent a lifetime obsessed with fire. Captivating, colloquial and sincere, FIRE investigates the roots and effects of such an obsession, with an artist’s appreciation of nuance, understatement, and symbol. Illustrated with brush and ink by the author’s brother, JEREMIAH MCNICHOLS. Saddle-stitched, 56 pages. Price: $4 (no longer available in stores).

REAL BROADSIDES

“The Flame Stain”

Hand-letterpressed on a Vandercook SP4, this 11″ x 4.25″, 4-paneled broadside (11″ x 17″ unfolded) was designed and printed by co-editor ROGER SNELL to commemorate poet CEDAR SIGO’s appearance in the Featured Writer slot for our Fall issue. Red and black ink on heavy gray paper with protective orange glassine sleeve. Signed by the author. Out of a run of 100, less than ten remain. Price: $12.

Bill Scheffel’s “At the UC Art Exhibit”

Bill Scheffel’s poem from MVSR #3 (in this online issue). Hand-letterpressed, 13 1/2″ x 7 1/2″, tan and black ink on heavy beige paper. Price: $3.

2 Poems by Hoa Nguyen

“[Roll in your skull gone green]” and “[Love is a purple angel]”. Two panels, hand-letterpressed, hand-sewn, 5 1/2″ x 7 1/2″. Purple, green and black ink on cream paper with vellum cover. Price: $6.

Rachel Levitsky’s “Coney Island”

8 1/2″ x 11 on light (20 lb.) beige paper in black ink with green and purple inked background. Price: $3. The Scheffel, Nguyen and Levitsky broadsides can be purchased as a package for $10.


To order any of the above items, send a check made out to JEREMIAH XXXXXX to: 632 Lyon St., San Francisco, CA 94117. Send cash at your own risk. Include $1 postage for one item, $2 for up to four items, and $1 for each additional item if you go over four. A basic four-issue subscription to Mungo vs. Ranger is available for $20; for other subscription options, see our WHAT WE DO section.

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