Matterhorn Books Issue: Winter 2012

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W O L V E R I N E  F A R M  P U B L I S H I N G ’ S

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questions,  curiosities,  &  resources  :  fort  collins,  co  :  free

free  :  a  quarterly  print  supplement  :  winter  2012

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POUDRE RIVER LIBRARY DISTRICT

WRITING FROM BEHIND BARS

Loco FoCo NaNo WriMo

S p e a k O u t ! Wr i t i ng Wo r k s h o p s & Jo u r nal G ive a Vo i c e t o t he I n c a rc e r a t e d

I n E n glis h it Mean s ‘A Writer’s Heaven’

By Molly McCowan

This month I am writing a novel. Not because I ever wanted to. I never did. But because I live in Fort Collins, and Fort Collins is the best place to write a novel in the month of November.

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An Inter view w i t h H o l ly Car roll, Executive D i re c t o r of the Poudre R ive r L i b r a r y Distric t B y B eth Kopp & To d d Sim m o n s Holly Carroll has been in library administration for well over twentyÀYH \HDUV SULPDULO\ ZKLOH OLYLQJ LQ Ohio. Before she accepted her current position as Executive Director of the Poudre River Public Library District (PRPLD), she was Deputy Director of Cleveland Public Library, a huge system with an eighty-million-dollar budget and thirty-one facilities. When the opportunity to be PRPLD’s Executive Director came around three years ago, she took a leap of faith, not knowing much about Fort Collins. As Executive Director, she is responsible for general administration of the library and oversight of all library functions and board relations (PRPLD has a seven-member governing board). Some of her other responsibilities include strategic planning, overseeing the general collection, and managing PRPLD’s budget of eight-million-dollars. We UHFHQWO\ VDW GRZQ ZLWK +ROO\ WR ÀQG out more about her and the goings-on continued on page 22 in the district.

BOOK SHARING Way s t o M a ke St r a n ge r s S t r a n ge r By Charles Malone

One way to test your faith in humanity is to generously offer something, anything meaningful, to your community with no expectation of return. Books—real, printed books share well. They travel; while they accompany us we develop a strong connection with the characters, the story, or the shadowy presence of the author. Beyond book clubs and traditional libraries, there are a number of ways to participate in a broad community of readers, to celebrate the enjoyment of reading and sharing.

Escape By Alice M. Entering into the land of Blue Doors Seeing the same prejudice day in and out. Coming apart inside my mind All I want is to get through this time. People lie and pretend Every day I wish it would end. —SpeakOut! Journal, Spring 2011

In 2001, Bookcrossing.com started keeping tabs on books and connecting readers. Any book could be stickered with a tracking number and turned loose in the wild. Whoever found the book could go to the website, log the ERRN LQ DQG RIIHU WKHLU RZQ UHĂ HFtions after reading.

Imagine for a moment that you want to write something: a memoir, a poem, a short story. Do you own a computer? A notebook? A pen? Paper? Do you have a safe place to put your ZULWLQJ ZKHQ \RX¡YH Ă€QLVKHG D GUDIW ZKHWKHU LW¡V D Ă€OH RQ \RXU GHVNWRS RU a folder in your desk drawer? Are you able to set aside time to write?

I loved this idea: the thought of a physical object being shared among perfect strangers and the opportunity to hear what they thought about the books I enjoyed. I began buying extra copies of good books and turning ...

To many Fort Collins residents, writing is a luxury. It is a privilege that they only have access to in certain, sometimes surprising places—like from behind the bars of the Larimer County Detention Center.

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By Kristen Smith

You may have heard of NaNoWriMo: National Novel Writing Month. It’s a writing marathon—50,000 words in one month. Beginning with twentyone people in San Francisco, California in 1999, it has grown to include an expected 250,000 this year. Thanks to the increasing popularity of blogging, coverage by newspapers like The Los Angeles Times, and the sophistication of its website, more and more people have found out about the writing contest and discovered how fun it actually is. The rules for NaNoWriMo contestants are that you have to write the book from nothing. It must be a novel, a graphic novel, or a screenplay. (Each format has alternate word counts. The screenplay contest, called “Script Frenzy,� has its own website.) continued on page 6

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  Small  Presses,  EBook  Vs.  Print,  Book  Reviews,  Comics,  Interviews,  &  More

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EDITOR’S NOTE Our community reads voraciously. We spend nearly eight million dollars annually on reading. There’s an assumption—one that even we fall under the influence of—that book people are quiet and unassuming, harmless. But books can contain dangerous ideas, sometimes just the danger we need. Books are banned and burned. They illuminate and inspire; they entertain and distract. To make a book is another matter. Publishers and artists collaborate in a creative process that is its own art. Simultaneously, for a writer to even call themself such and pour the kind of energy necessary to complete a financially dubious and emotionally challenging project takes guts. Readers take this same risk, putting time and thought into the hands of a stranger. It is dangerous to all involved even if we are sitting still. We love books, we share and we celebrate them. Our shelves are self expression. And all of these activities thrive as technology brings a great revolution, a confusing mix of promise and challenge, to the words we love. Thus: this edition of Matterhorn. wolverine farm publishing ’ s

MA T TE RHORN A Quarterly Print Supplement # 8 winter 2012

managing editor Charles J. Malone contributing editor Molly McCowan contributers Paul Binkley Evan Brengle Ellie Fortune Danny Hesser Chris Jusell Beth Kopp Amy Kousch Anne Macdonald Heather Manier Jane E. Roberti Matthew Sage Brian Schwartz intern Julia K. Morrison publisher/designer Todd Simmons board of directors Anne Macdonald Bryan Simpson Nate Turner Gary Wockner

special thanks

Gutenberg, workshop dance parties, hard cider, long walks, The Bean Cycle, CSU Library Archives, and bookish people the world over. The Fell Types used in this newspaper were digitally reproduced by Igino Marini (www.iginomarini.com). Cover photographs © John Romeo Alpha, Vince Black, Anna Fagre, Coleman Morris-­Goodrick, Matthew Sage

Everything herein © 2012 Wolverine Farm Publishing. All rights held by the individual authors and artists unless otherwise noted. All photographs © Wolverine Farm Publishing, or © by the company, organization, or individual in question, or used freely from the public domain.

Send monetary donations, comments, questions, story pitches, books and/or music to review, agricultural tools to try out, bicycles to ride, etc., to: Wolverine Farm Publishing, PO BOX 814, Fort Collins, CO 80522

Especially seeking letters to the editor. Please send in by January 1, 2013. Letters 1-­5 will be published and rewarded. For more information, please visit: www.wolverinefarm.org.

front matter

LITERARY HAPPENINGS AND ASSOCIATED IMPACTS 5TH 2 R E B M NOVE

3pm NOVEMBER 28TH 7:30pm

Letter Writing Club

The Writing Life

Join us for an hour of letter writing in the loft. We’ll have pens, pencils, typewriters, stationary, stamps, and a mailbox on hand. Bring your address book and a desire to save the letter. Free to the public, bring money for stamps and stationary.

This month we’re reading The Writing Life by Annie Dillard. Join us for a discussion about this book and the craft of writing. We’ll meet in the loft at 7:30pm. Free to the public.

m DECEMBER 1ST 3p

Rebecca Wolff & Dan Beachy-Quick

DECEMBER 6TH 7pm

Join us for literary readings by Rebecca Wolff and Dan BeachyQuick. Free and open to the public. Rebecca Wolff is the author of three books of poems (Manderley, Figment, The King) and a fourth, One Morning—, in manuscript, as well as a novel, The Beginners. She is the editor of Fence, a biannual literary journal, and Fence Books, and is the publisher of The Constant Critic. She is also a fellow at the New York State Writers Institute. She lives in Hudson, NY, with her two children.

Joe Carducci Joe Carducci will be reading from his new book LIFE AGAINST DEMENTIA. Joe was part of Black Flag’s SST label back in the ‘80s and one of his books was called the “Moby Dick of Rock Crit.” Free!

Dan Beachy-Quick is the author of Circle's Apprentice and Wonderful Investigations, as well as two collaborations with Srikanth Reddy and Matthew Goulish. He teaches in the MFA Program at Colorado State University.

DECEMBER 9TH 3pm

Don’t Give Up Until You Do: From Mindfulness to Realization on the Buddhist Path Book Reading with Fred H. Meyer M.D. Free and open to the public.

WOLVERINE FARM P U B L I S HING C O. & BOOK ST ORE

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involve yourself with literature. it’s good for your health.

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Book Sharing, continued from the cover

them loose. I over-thought the whole thing and began dreaming up wild places to GURS ERRNV LQ WKH KRSHV WKDW RQO\ WKH ULJKW UHDGHU ZRXOG Ă€QG WKHP /LNH $UWKXU and Excalibur. While most of these books were lost in the wild, challenging my faith in the projHFW RQH WRRN DQ LQWHUHVWLQJ MRXUQH\ , Ă€QLVKHG D QRYHO E\ 6DOPDQ 5XVKGLH ZKLOH travelling through Indianapolis; I left the book in the Arts Garden, downtown. Two years later I got an email; the book had been found in a used bookstore in Honolulu. Someone saw the BookCrossing.com sticker, bought it and re-released it into the wild, writing, “I found this book at a Goodwill Store in Honolulu, Hawaii. I paid $0.99 to rescue it and will release it back into the wild once I’ve read it. Until then, it sits on my Mount TBR. Happy Bookcrossing!â€? It wasn’t exactly a successful connection, but I was impressed by how far the book had travelled. The reader soon posted a positive review of the book, recommending it to readers interested in stories set in India or rich in understanding of human behavior. In 2010 the book turned up in Appleton, Wisconsin. The new reader struggled WR Ă€QLVK WKH ERRN WKH\¡G EHHQ FRPLQJ EDFN WR LW IRU \HDUV DQG Ă€QGLQJ WKLV FRS\ LQVSLUHG WKHP WR Ă€QLVK LW ,Q WKH HQG WKH\ GHWHUPLQHG WKDW ´LW ZLOO VWD\ RQ P\ bookshelf for many years as I hope my Indian children will want to read it.â€? This felt right. I wonder if there were others who read and shared, bought or sold, considered and discarded this single copy that travelled so far. I don’t know and that’s part of the joy. Similar to BookCrossing.com, Shelfari.com launched in 2006 and Goodreads.com in 2007 as places where the same conversations could happen without the need to share a single physical copy of the book. Users can read, rate, and review books. I think of these sites as Facebook without the faces (Bookbook?). Groups within these communities try to reconnect with the actual page, and other sites, like PaperbackSwap.com and BookMooch.com are possibilities. Still, there remains a tension between the virtual and the physical. The Little Free Library movement brings us right back to physical sharing and might be my new favorite way to promote literacy and a love of reading. Out near the intersection of North Overland Trail and West Vine Drive, Sarah Bayer and Bill Moudy built a small library and Bike First Aid station. This summer, under WKH FORXG RI WKH +LJK 3DUN Ă€UH WKH\ IHOW WUDSSHG LQ WKHLU KRXVH DQG GHFLGHG WKH\ wanted to do something for their neighbors. Sarah came across the LittleFreeLibary.org website: they made a trip to ReSource, got some beetle-kill wood, and had a friend help with the design. They made a Ă LHU DQG GLVWULEXWHG LW DURXQG WKH QHLJKERUKRRG :KHQ , SHGDO XS WR WKH OLEUDU\ , Ă€QG D ZHOO VWRFNHG SDLU RI VKHOYHV ZLWK D KHDOWK\ representation of local authors, books for kids, magazines, educational and environmental themes, and good literature. When initially stocking the library Sarah says, “We thought about people in the neighborhood and what we could do to engage them with reading.â€? Bill mentions there is a young girl in the neighborKRRG JURZLQJ XS LQ D ER\ Ă€OOHG KRXVH DQG WKH\ SODFHG &DUPHOD /D9LQJD &R\OH¡V Do Princesses Wear Hiking Boots? with her in mind. The rule for the library is simple: take a book, leave a book.

especially, are sometimes hesitant, like the the library’s some kind of trick. She wants to urge visitors without interrupting: “It’s okay to open the door,� she says, “It doesn’t cost anything, we promise.�

Sarah says, “It’s been an interesting social experiment for us.â€? They started with the intention to do something nice for their neighbors and have been surprised WR VHH SHRSOH WDNH D ERRN DQG OHDYH IRXU 7KH\ Ă€QG WKHPVHOYHV UHDGLQJ ERRNV they would never have found on their own. Bill touts a lack of late fees and better connections with his neighbors as some of the perks. He explains, “Even if something is put in there that you would never read, it gives you a little insight as to who is in the neighborhood and how their thinking is set up.â€? The mystery of who takes and leaves what is part of the fun for Sarah and Bill. Books about Southern Belles, an informal history of the settling of Salt Lake, and magazines with address labels removed. Bill adds, “Whoever puts Rolling Stone in there, thank you!â€?

“People have to be taught that it’s okay to be curious and open it up,� Bill says, “Our society is heading in the opposite direction: you need a license and insurance and registration to do pretty much everything in your life. And books have become the same way too because they’re so expensive. [The Little Free Library] throws this completely out the window because the book is owned by whoever holds it in their hand at the time.�

I imagine this must come with some frustrations. Yet, Sarah and Bill say the library runs itself, and even when a bike tube is taken, it is soon returned. Their friendly dog Tru sometimes barks at visitors, and Sarah has spotted a harmless Wolf spider in there from time to time, but beyond some enjoyable curatorial GXWLHV 6DUDK VD\V LW DOPRVW IHHOV VHOĂ€VK 6KH QRWLFHV WKDW SHRSOH NLGV DQG WHHQV

Thinking about the relationship between reading, sharing, and our society, Bill offers the following truism: “One of the last vestiges of real freedom: real books.� So, read on and share. Build a Little Free Library. Beware of dust. Take a book, leave a book.

Whether on Goodreads.com or Shelfari.com, BookCrossing.com or in a Little Free Library, books represent a raw and rare kind of potential. Sarah says, “There’s something about a real book. It has a presence and you know it is going to make an impact.�

book  sharing:  ways  to  make  strangers  stranger

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Loco FoCO NaNO WriMo, continued from the cover

%\ PLGQLJKW 3DFLĂ€F 7LPH DW WKH HQG RI WKH PRQWK \RX PXVW XSORDG WKH ZRUG PDQXVFULSW WR KHDGTXDUWHUV FDOOHG 7KH 2IĂ€FH RI /HWWHUV DQG /LJKW IRU D Ă€nal word count. Winning contestants (anyone who reaches the target word count) JHW OLVWHG RQ WKH :LQQHU¡V 3DJH DQG UHFHLYH D FHUWLĂ€FDWH DQG YLUWXDO EDGJH

her new cell phone, and someone else is wondering aloud how to donate to get a “haloâ€? and become a “NaNo Cherished Friend.â€? By donating ten dollars online, KH ZLOO UHFHLYH D GRQRU KDOR RYHU KLV 1D1R:UL0R SURĂ€OH SLFWXUH 'RQDWLRQV JR WR 1D1R¡V QRQSURĂ€W FKDULW\ WKH 2IĂ€FH RI /HWWHUV DQG /LJKW

The Fort Collins chapter, known fondly as LocoFoCo NaNoWriMo, has been growing exponentially since 2008, thanks largely to the highly visible sponsorship of the Poudre River Public Library District. The chapter has grown from one hundred writers in 2009 to about 200 in 2010, and 400 are expected to participate this year.

+DOO LV DJJUHVVLYH DERXW ZHOFRPLQJ QHZFRPHUV DQG ´ZDOOĂ RZHUV Âľ 6KH VD\V VKH completes her 50,000 words by hand so writers without computers feel they belong. And she gives “allowancesâ€? to “rebelsâ€? who want to write what isn’t supSRVHG WR FRXQWÂłQRQĂ€FWLRQ DQG VKRUW VWRULHV

Just as the Fort Collins libraries are known for cozy reading areas, friendly librarians, and state-of-the art buildings, its employees have passed that same warm feeling onto the Fort Collins NaNo chapter. The local organizers, Jewels Hall and Bonnie Grace, work at the Old Town Library, and Tara Soulen, a new NaNo volunteer this year, works at Old Firehouse Books. Starting in November, these three Municipal Liaisons will help orient writers at meeting places around town called “write-ins.â€? These are held at seven different locations: Wild Boar Coffee, Old Firehouse Books, Happy Lucky’s Teahouse and Treasures, CollegeAmerica, the Old Town Library, Everyday Joe’s Coffee House, Panera Bread, and the CSU Department of Engineering’s comSXWHU ODE 6SHFLĂ€F WLPHV DQG ORFDWLRQV DUH SRVWHG RQOLQH DW www.nanowrimo.org/en/ regions/usa-colorado.fort-collins.

I learned about the Wild Boar Coffee write-in last year from my neighbor, Dan Herrick—a Client Services Manager for Engineering Network Services at CSU. It’s the only write-in that meets year-round. Every Thursday from 6pm to 10pm, a group of writers get together in what was once a beautiful home from the ’20s. I told Herrick that I thought I was up for the challenge. I also met Jewels Hall WKHUH VKH ZDV JLYLQJ RXW JRRG\ EDJV WR QHZ SDUWLFLSDQWV DV ZHOO DV UDIĂ H WLFNHWV to those attending) and a dozen other enthusiastic writers. But I lasted only a few days, having written only a couple hundred words. This year, I tell Herrick, I’m serious. I have better reasons to want to write a lot and in good company. I explain that I am doing this article for Matterhorn, and want to know why he had done it for the last three years. “I wanted to meet crazy people like me,â€? he says. “The social interaction is essential.â€? He became a yearround NaNo writer, and even donated his lab space as a write-in site. This year I meet up with the other writers at Wild Boar Coffee, in what the barista calls “The Room Next To The Kitchen.â€? Full of small wooden tables DQG D KDOI GR]HQ SHRSOH ZLWK ODSWRSV , Ă€QG QRQH RI WKH XVXDO UHVSHFWHG VLOHQFH Hall is already there talking animatedly about the text messaging capabilities of

As I make my way around the room, I discover that about half of the writers here are these so-called rebels. Dan Graham is one of them. After years of running an after-school and summer program called Creative Sword Play, Graham decided it was time to do a “brain dump.� Graham has been writing about the sport of battle gaming for the past two years. Battle gaming is foam sword play. Last year’s book was about how to play the game. This year’s will be about how to make battle gaming equipment. Nearby, Saytchyn wants to write short stories. After writing two manuscripts during previous NaNo competitions, she came up with the axiom, “To write fast is not to write well.� There were too many threads left hanging, she says. Dave Ness wrote a 50,000 word novel last year about two men who trek north

in a land without air, food, gravity, or people. This year, he is still shooting for ZRUGV RI Ă€FWLRQ EXW KH KDV GHFLGHG WR ´EUHDN RXWÂľ RI WKH QRYHO PROG “Fifty fables,â€? he says. “It’s easy. There’s no research and you can have any kind of character. You can have a cricket jumping over the moon.â€? While all of this may sound slapdash—and it is—some people do get a published ERRN RXW RI LW -XOLH &DPSEHOO LV RQH RI WKHP $OWKRXJK VKH ZDV Ă€UVW NQRZQ among fellow NaNos for devoting a whole chapter to “hitching a truck to a trailerâ€? —a chapter not very well hitched to a storyline—she sold the rights to that Ă€UVW VWRU\ 7KH IROORZLQJ \HDU VKH Ă€QLVKHG WKH ODVW TXDUWHU RI 6HQLRU <HDU %LWHV Book One of her Clanless series. It was published last year. She has gone on to create other series for teens, including Into the West and Doc, Vampire Hunting Dog. 7KH Ă€UVW \HDU &DPSEHOO MRLQHG 1D1R:ULPR VKH ZDQWHG WR JHW D ORW RI ZULWLQJ done. But by the second year it was “to be with a lot of cool people.â€? Her favorite online tool became the egg timer for ten-minute word wars with fellow writers during write-ins. “Being around these people was inspiring,â€? she says. “As a result, I am further along now.â€?

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Online communication is also necessary, and, fortunately, it’s easy. By registering and posting a plot, one can access forums and chat with thousands of fellow writers around the country. An abbreviated checklist called “How NaNo Worksâ€? is as follows: ‡ 6LJQ XS E\ FOLFNLQJ ´6WDUW +HUH Âľ ‡ &UHDWH DQ DFFRXQW ‡ /RJ LQ WR \RXU DFFRXQW DQG Ă€QLVK VLJQ XS SURFHVV ‡ )LOO RXW LQIR DERXW VHOI DQG QRYHO ‡ 7DNH D ORRN DW WKH IRUXPV 7KH\ DUH WDLORUHG IRU \RX -RLQ VRPH :ULWH DQG respond. ‡ 2Q 1RYHPEHU st, begin writing your novel. You may update your word count in a box at the top of the site, whenever. ‡ -RLQ ORFDO ZULWH LQV At midnight local time on November 30th XSORDG \RXU QRYHO IRU RIĂ€FLDO YHULĂ€FDWLRQ 5HFHLYH D ZLQQHU¡V FHUWLĂ€FDWH DQG ZHE EDGJH %H DGGHG WR WKH ´:LQQHUV¡ Page.â€? And don’t forget to party. There are three big parties during National Novel Writing Month. All of them take place at CollegeAmerica, located at 4601 S. Mason Street. According to Hall, the kick-off is basically a Halloween party, with people dressing up, dancing, and eating potluck food. “At 11:59, there is this complete silence until the room explodes with typing at midnight,â€? she says. Then there is the mid-month fundraiser, called “The Night of Living Precariously.â€? It includes food, dancing, movies, writing, and a big jar for donations. On the topic of donating, Hall says, “You go to the movies. You spend on gas, tickets, IRRG <RX Ă€JXUH RQ VSHQGLQJ WZHQW\ GROODUV E\ WKH HQG RI WKH QLJKW ,I \RX FDQ go to the movies, you can give ten dollars to a team of people who helped you write better.â€?

WOLVERINE FARM PUBLISHING CO. & BOOKSTORE WOLVERINE FARM PUBLISHING is proud to present our new CSP program—Community Supported Publishing. We offer six levels of CSP shares, creating a variety of options for those seeking our books and publications. Each year we release four issues of our community-driven news magazine, Matterhorn, an annual Matter Journal to feature work from great local writers and artists, alongside contributions from all over the world. Twice each year we release the next installment of Boneshaker: A Bicycling Almanac, and we love surprising our readers with single-author works like our recent award-winning Logodaedaly, or, Sleight-of-Words, or limited edition broadsides. We strive to make beautiful and meaningful books and publications; when we find quality literature and art that mindfully engages us with the world, we want to share it.

7KH JUDQG Ă€QDOH LV WKH ´7KDQN *RG ,W¡V 2YHUÂľ SDUW\ $QG LI DOO JRHV ZHOO ,¡OO EH there with the other 30 percent of writers who are expected to win. I will not RQO\ KDYH SDVVHG WKH ZRUG 5LWH RI 3DVVDJH DQG EH D PLQWHG Ă€UVW GUDIW QRYHOLVW LI QRW Ă€UVW UDWH , ZLOO DOVR JHW WR KREQRE ZLWK DSSUR[LPDWHO\ RWKHU Fort Collins literary champions. But I can’t let it go to my head, because I know I wouldn’t be here without their help. What can I do for them? I wonder. But that’s a silly question. “Donate,â€? Campbell explains. “Every little bit helps.â€?

BUY A CSP SHARE TODAY!

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Writing from Behind Bars, continued from the cover

Sowing the Seeds of SpeakOut! Launched in 2004 by Tobi Jacobi, Ph.D. (Associate Professor in the CSU English Department and Director of CSU’s Writing Center and Center for Community Literacy), the SpeakOut! Writing Workshop aims to create alternative literacy RSSRUWXQLWLHV IRU XQGHUVHUYHG FRPPXQLW\ PHPEHUVÂłVSHFLĂ€FDOO\ LQFDUFHUDWHG adults and juveniles. An expert in community literacy, Jacobi describes how she initially became interested in working with incarcerated women and men. “I was teaching a life-writing class to a group of women [at the Jamesville Prison in New York State],â€? she VD\V ´DQG WKH\ ZRXOG KDQG PH VHYHQW\ Ă€YH SDJHV RI KDQGZULWWHQ OLIH VWRULHV WKDW ZHUH Ă€OOHG ZLWK WKH PRVW KHDUWEUHDNLQJ QDUUDWLYHV , JRW SXOOHG LQ Âľ By the time she came to Colorado in 2003, Jacobi was committed to getting involved with the jail system. Combining her idea, her past experiences, and plenty of writing prompts, pens, and paper, Jacobi and her team of interns and volunteers took the initial inklings of the writing workshop that would become SpeakOut! to the Larimer County Community Corrections (LCCC) facility. A semester later, the program moved to the Larimer County Detention Center (LCDC), complete with a name and a hand-drawn logo created by one of the inmates who had participated in that semester’s SpeakOut! Writing Workshop. “We were trying to think of programs that would invite people to rethink how literacy worked in their lives,â€? Jacobi says. “Not the red pen. Not the reminder of the high school teacher who told them what a failure they were at writing. We also try not to use the language of school [in the workshops]: we don’t use the words ‘homework,’ ‘teacher,’ ‘assignments,’ or ‘class.’â€? $OWKRXJK WKH SURJUDP IRFXVHG SULPDULO\ RQ WKH ZRPHQ DW /&'& DW Ă€UVW LQ SpeakOut! expanded to include youth at Turning Point—a facility dedicated to improving the lives of young people who struggle with substance abuse, mental illness, familial problems, legal issues, victimization, and educational concerns. The men at LCDC also wanted to get their voice out there, and became involved in their own SpeakOut! workshops in 2010. The SpeakOut! Writing Workshops are elective programs that are approximately twelve weeks long, aligning with the academic calendar. Participants can join sequential workshops; they are not limited to only one twelve-week session. At the end of each semester, a new issue of the Speakout! Journal is published, giving the writers an opportunity to have their voices heard by the public. The Mission of SpeakOut! Public outreach is one of three main goals of the SpeakOut! program. Jacobi envisions these goals as three concentric circles. 7KH FHQWUDO FLUFOH UHSUHVHQWV WKH Ă€UVW DLP RI 6SHDN2XW WKH individual experience. -DFREL QRWHV LQFUHDVHG FRQĂ€GHQFH LQ PDQ\ SDUWLFLSDQWV ZKR PD\ QRW KDYH UHDOized the power of words, or of their own voice. Everyone shows up at SpeakOut! for a different reason—because they love writing, because someone told them they were a good writer, or simply because they were curious—and they all leave with a personal experience unique to them. The middle circle represents the creation of a community of writers. “One of the main outcomes from working with the women in particular is that they get afĂ€UPDWLRQ RI WKHLU OLIH H[SHULHQFHV Âľ -DFREL VD\V ´,W¡V KDUG IRU XV WR KDYH D VHVVLRQ where someone doesn’t talk about losing their kids, rape, incest, and domestic violence—big issues. Many times, they preface it by saying, ‘I’m a little nervous; I’m not sure I can read this.’ And then other people in the room will say, ‘That happened to me.’â€? The outer circle represents public education, and this is where the SpeakOut! Journal plays a large role. “One of the aims here is to try to challenge the socially ascribed understanding of what a prisoner is—who a criminal is—and to demonstrate all these other life experiences that are going on,â€? Jacobi says. “We want to put the journal out and have people [in the community] pick it up and understand that there’s more than just the woman who got drunk, or who is an addict, etc.â€?

Can a Writing Workshop Be a Transformational Experience? Jacobi shies away from saying that SpeakOut! is a “transformationalâ€? experience. Indeed, an idea that can be so misconstrued and overused has no place in the SpeakOut! methodology. Instead, Jacobi aligns herself more with those who talk about interruption, or a momentary shift in thinking. ´:H¡UH LQVLGH WKLV H[WUHPHO\ DUWLĂ€FLDO KHLJKWHQHG VRFLDO VSDFH D MDLO D SULVRQ Âľ Jacobi says. “Locked doors, people coming on the intercom, everybody dressed the same. And yet we’re able to let go of some of that and break the social rules by talking about social justice and world events rather than the same rhetoric of ‘taking responsibility for your actions’ that a lot of the other programs have.â€? The word transformation LPSOLHV VXFK D QHDW Ă€QLVKÂłDQ HQGLQJ VHDOHG XS ZLWK a bright, shiny bow. But the reality is that once an inmate is released from jail, all the conditions that were there before are still there. They are still faced with absent or abusive spouses, substance abuse, joblessness, homelessness, childcare GLIĂ€FXOWLHV DQG PRUH “In the end, writing is something that they have the luxury of doing while they’re inside, but not always once they get out,â€? Jacobi says. The SpeakOut! Journal Since so many of the inmates involved in SpeakOut! are unable to continue writing once they are released, the SpeakOut! Journal becomes an important avenue: a link between those behind bars and an outside world that often misunderstands them. The SpeakOut! Journal LV SXEOLVKHG WZLFH D \HDU LQ 0D\ DQG 'HFHPEHU 7KH Ă€UVW journal, published in the fall of 2005, was more of a “zineâ€? than a book, and was only printed in black and white. In the spring of 2008, SpeakOut! moved into its current format: a perfect-bound, paperback book with a glossy cover. Last year, more than 500 copies of the SpeakOut! Journal were published and dis-

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The last line in the introduction of all the journals reads: “This book is dedicated to the writers at Larimer County Detention Center and Turning Point and to women and men across the globe who struggle against oppression, poverty, abuse, and gender discrimination by creating and publishing their stories, poems, essays, and artwork.â€? As a direct line to the outside world, the SpeakOut! Journal exists as a way to change our common misconceptions about the people serving time behind bars. I urge you to visit www.speakoutclc.wordpress.com to read all of the SpeakOut! Journal LVVXHV LQ IXOO DQG WR Ă€QG RXW PRUH DERXW WKH 6SHDN2XW :ULWLQJ :RUNVKRSV <RX can also learn more about the program at www.literacy.colostate.edu.

tributed throughout the community, free of charge. They are primarily circulated at local coffee shops and through the public library system. 7KH MRXUQDO SXEOLVKHV DQ\ JHQUH LQFOXGLQJ SRHWU\ ÀFWLRQ HVVD\V DQG DUWZRUN Each journal contains the work of all four of the groups that participate in the SpeakOut! program: LCDC men, LCDC women, Turning Point boys, and Turning Point girls. The works are deliberately comingled, and writers are not allowed WR SXEOLVK WKHLU ODVW QDPHV³SVHXGRQ\PV LQLWLDOV RU D ÀUVW QDPH DQG ODVW LQLWLDO combination are used instead.

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MAKING A CASE FOR eBOOKS By Brian Schwartz, Digital Publisher and eBook Expert

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‡ H%RRNV DOORZ LQVWDQW DFFHVV WR WKH UHDGHU QR PRUH ZDLWLQJ IRU D ERRN WR be shipped.

s someone who jumped into publishing with both feet in 2009, little did I know that the industry was in the midst of its greatest transition since the Gutenberg press. Much as the Internet, Apple, and MP3 players revolutionized the music industry, a similar transformation is occurring in book publishing. Driven by the way we consume information in a gadget-centric culture, the world of books is undergoing a shift that’s having a dramatic impact on the way authors and publishers produce books.

‡ H%RRNV DOORZ D UHDGHU WR FDUU\ DQ HQWLUH OLEUDU\ LQ WKHLU SRFNHW WKH ERRNV are available anywhere they go. ‡ H%RRNV DOORZ DQ DXWKRU WR DOZD\V NHHS WKH PRVW FXUUHQW HGLWLRQ RI WKHLU books available: no more wondering whether or not you have the latest edition.

The adoption of technology (in the form of eBooks) by readers has been accelerating due to three major factors: 1. Online access is becoming as common as the air we breathe. 2. The price of eBook readers has reached a point most can afford. (You can buy a Kindle for only $69.) When combined with all of the other mobile devices (smartphones, tablets, etc.), eBook readers are allowing a content creator to reach an audience as large as the Internet itself. 3. The number of available titles and other media (e.g., newspapers, magazines, journals, etc.). eBooks have opened up a vast universe of new content for consumers. Coupled with the fact that eBooks are usually less expensive than their print equivalents, even the most resistant individuals are starting to see the economic advantage of eBooks. Upon entering the ePublishing universe as a publisher in 2009, I quickly realized that the tools (and knowledge available on how to use them) were fragmented DQG GLIÀFXOW WR QDYLJDWH $V D SXEOLVKHU LW ZDV HDV\ EXW FRVWO\ WR JHW SULQW ERRNV converted into eBooks. The marketplaces hadn’t yet reached a level of maturity, and publishers weren’t even sure which technology would ultimately win out. eReaders were still relatively pricey, and many publishers thought they might be a short-lived novelty. But today, the evidence is overwhelming: more books are sold in eBook form than in print form. As Amazon continues its domination as the largest bookseller in the world, they’ve rewritten the rules of publishing—much in the same way WKDW $SSOH UHGHÀQHG WKH PXVLF UHFRUGLQJ LQGXVWU\ For many authors, the path to getting published is much different than it was MXVW ÀYH \HDUV DJR $XWKRUV ZKR GHVLUH WR JHW SLFNHG XS E\ D PDMRU SXEOLVKHU DUH using the Kindle platform to prove to agents and publishers that there is demand for their work. Many are curtailing traditional publishing altogether by selfSXEOLVKLQJ³UHWDLQLQJ D JUHDWHU SURÀW IURP HYHU\ ERRN VROG

Print books, on the other hand, represent a proprietary form. In order for you to access the content of a book, you must physically have the book in hand. It creates an unnecessary gap limited by distribution, the price you (or the library) can afford, and a higher cost to make books available to the public at large. Schools, libraries and bookstores are limited to the physical space available to stock print books. They must routinely eliminate titles with low circulation to make space for new titles (it’s estimated that more than 300,000 new titles are published every year). In the world of print books, this means that a smaller percentage of new titles will actually make it into libraries. Consider the fact that in the world of eBooks, there are no limitations on physical space—thus, there is no reason why a library would ever have to remove a book IURP LWV FROOHFWLRQ LQ RUGHU WR PDNH VSDFH IRU D QHZ WLWOH H%RRN Ă€OHV DUH WLQ\ LQ FRPSDULVRQ WR WKH VL]H RI D PXVLF Ă€OH ZKLFK LV ZK\ \RX FDQ VWRUH PRUH WKDQ D thousand titles on a single device. But what makes me most excited about eBooks? It’s the fact that the publishers and distributors of books are no longer the gatekeepers to who or what is getting published. The accessibility of titles to readers (in both cost and availability), and the knowledge locked within, has never been greater. It’s hard to fathom the amount of information being compounded every single time an eBook is published (my data suggests that 3,000-5,000 eBooks are published to Amazon every day). Books published as eBooks will outlive you and I, and will never fall to the fate of being “out of print.â€? eBooks have become a more valuable medium thanks to enabling technologies like search, text-to-speech, and the ability to read an eBook on any mobile device. It’s also becoming relatively easy to set up an eBook for print-on-demand—still allowing an author to make print copies available LQGHĂ€QLWHO\ VR WKDW D ERRNVWRUH RU OLEUDU\ FRXOG RUGHU D VLQJOH ERRN ZLWKRXW WKH need for a distributor to carry inventory. /DVWO\ RQH Ă€QDO DGYDQWDJH IRU H%RRNV ZRUWK QRWLQJ H%RRNV GR OLWWOH WR LQĂ LFW harm on our precious environment. Even recycled paper still takes a toll on the environment: you have to burn fuel to get the book (or newspaper/magazine) to the point of consumption for the reader. You have to burn energy to move any physical asset from one place to another. eBooks take advantage of a far more HIĂ€FLHQW SDSHUOHVV GHOLYHU\ PRGHO

Amazon has become the publisher & distributor for thousands of authors who would have never been published otherwise. In doing so, they’ve eliminated the role of publishers and book distributors as gatekeepers. Self-publishing is the only reason you can buy an eBook for as low as $0.99 today...because 100% of the royalties from that $0.99 book go directly to the author. Some of the advantages of eBooks over print books include the facts that:

Brian Schwarz, founder of 50 Interviews, is a publisher who has embraced the era of digital books. As a digital publishing consultant and eBook expert, he guides authors and publishers through the ever-changing world of publishing. You can contact Brian through his website at www.kindleexpert.com.

‡ H%RRNV ZLOO QHYHU JR RXW RI SULQW QR PDWWHU KRZ ORZ WKH GHPDQG IRU D title is, eBooks will always be available. ‡ H%RRNV DUH LQGH[HG DQG VHDUFKDEOH \RX FDQ VHDUFK DQ H%RRN IRU D particular word or phrase to recall the information you are looking for quickly. Content providers can provide more accurate search results to prospective buyers because every word in an eBook can be queried.

Attend a NaNoWriMo eBook Publishing Workshop on Thursday, November 29th

‡ H%RRN UHDGHUV LQFOXGH DQ HQWLUH GLFWLRQDU\ :KHQ WKH GHÀQLWLRQ RI D ZRUG is only a click away, the author can be assured the words they write will be understood by every reader, no matter what their reading level. The reader in WXUQ EHQHÀWV IURP EHWWHU FRPSUHKHQVLRQ RI PDWHULDO EHLQJ UHDG ‡ H%RRNV DUH FRVW HIIHFWLYH WKHUH DUH QR SULQWLQJ RU GLVWULEXWLRQ FRVWV

Attention all aspiring authors! Did you participate in this year’s NaNoWriMo event? If want to learn how to publish your novel directly to BN nook and Amazon Kindle, Brian Schwartz, the Kindle Expert, will be walking through the process of eBook publishing and WHDFKLQJ DXWKRUV KRZ WR XVH D :RUG WHPSODWH WKDW KDV EHHQ ÀQH WXQHG WR FUHDWH EHDXWLIXO eBooks (as well formatted for print-on-demand). His next workshop will be held in Old Town Fort Collins on Thursday Nov. 29 from 6:30-9pm. To register and learn more, visit www.BooktoNook.com or contact Brian @ 970-215-1078.

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GIVE ME PRINT Ruminations on Technology and Literature By Todd Simmons, Matterhorn Publisher

“The thing of it is, we must live with the living.� —Montaigne

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look around my house, the bookstore where I work, and my writing space at home, and printed books anchor every wall. Big, beautiful books mingle with small, almost nonexistent books; books of all shapes and sizes about almost everything pile atop one another, their characters, places, and visions an amazing jumble of humanity at its best and worst. I imagine all of these books gone in an instant, vaporized by some alien race that doesn’t understand our language, and the empty spaces look sterile and pure, as if dipped in rubbing alcohol. Sitting on the blank coffee table is one lone tablet—an electronic tabula rasa capable of bringing forth the world’s edited and collated human knowledge with the touch of a touch screen. I look around these now-bare rooms and think, what am I supposed to put on all of these bookshelves? When the Matterhorn editorial team decided on an issue devoted to books, we knew we wanted a pro-eBook article countered with one devoted to print ERRNV 7KH Ă€UVW ZULWHU , FRQWDFWHG DERXW ZULWLQJ WKH SUR H%RRN DUWLFOH DJUHHG immediately and off he ran in search of the right words. Next I tried to line up someone to write a defense of the printed book. Writer after writer declined, and VRRQ , EHJDQ WR IHHO D WZLWFK RI QHUYRXVQHVVÂłZK\ ZDV LW VR GLIĂ€FXOW WR Ă€QG D defender of the printed book? I decided to take the assignment myself—after all, I am a publisher, editor, writer, and work in a bookstore—surely I know enough about printed books to defend them. At last I have to reckon with the digital Kraken that’s invaded my own bookish life. For weeks I’ve been scribbling dead-end mazes of words in my journal. My defense of print staggers, then collapses, again and again. I consider the tradeoffs: more and more of the world’s great (and not-so-great) literature, available in an instant, at a low cost, on a portable electronic device you can hold in your hand and carry nearly everywhere. Or mountains and mountains of printed books, some falling apart, some written on and over, some not worthy of the trees they are printed on. People like new tools, as much as they like LQVWDQW JUDWLĂ€FDWLRQ DQG UHDGLQJ DQ H%RRN GRYHWDLOV QLFHO\ ZLWK EUDLQV DQG H\HV accustomed to working on a computer. We are evolving our digital selves. No matter which way I look at it, the popularity of eBooks will continue to rise, as surely as life becomes increasingly digitized. To me, the eBook vs. print debate is more about the technology than it is about the literature, though surely it is a reciprocal relationship that cuts to the very core of our culture. Technology steamrolls everything in its path, including the steamroller. Every argument I imagine centers around what are usually considered romantic notions—printed books “smell better,â€? or “look nice sitting on a shelf,â€? or “just feel rightâ€? when you’re holding one, lying in a hammock on the proverbial island. Who can deny how such antiquated talk like this sounds? Even talking has become antiquated. Not long ago people thought texting was ridiculous, but now everyone I know texts. Entire books are now written in texts. The internet and digital revolution are changing the way we see the world—what we read, how we write, where we get our information—and will continue to do so in ways that people are dreaming up right now, while plugged into their computers, smartphones, and tablets. While my two young children are literally being brought XS LQ D VHD RI SULQWHG ERRNV , NQRZ WKDW WKHLU IXWXUH ZLOO EH Ă€OOHG ZLWK PRUH DQG more digital content, with print becoming increasingly marginalized to the point of irrelevance. So, I wonder, what’s the point of defending something when you know you are going to lose?

of our careless use of pesticides such as DDT, Carson’s book helped launch the modern environmental movement, and ushered in the ban of DDT in the United States. Such disciplined and restrained approach to technology is rare, DQG LQFUHDVLQJO\ GLIĂ€FXOW LI ZH FRQWLQXH EHOLHYLQJ LI ZH HYHU UHDOO\ GLG WKDW technology is only a tool to be picked up, used, and put down. eBooks showcase our devil-may-care attitude about how technology improves RXU OLYHV DG LQĂ€QLWXP 5HDGLQJ DQ H%RRN LV GLIIHUHQW WKDQ UHDGLQJ D SULQWHG book, and to think less is to oversimplify the issue. Along with these so-called improvements come the often unspoken revenge effects of technology. No one thought about climate change when the Ford Model T came out in 1908, but now, just a mere 104 years later, with over one billion automobiles operating on WKH ZRUOG¡V URDGZD\V ZH DUH H[SHULHQFLQJ Ă€UVWKDQG ZKDW FOLPDWH FKDQJH IHHOV OLNH The revenge effects of a digitally based society won’t be known for decades, but we should at least consider what we are doing to ourselves as we fundamentally change with our technology. For a thorough summation of this subject, I offer up Nicholas Carr’s book The Shallows: What the Internet is Doing to Our Brains. Resulting from our increased time spent in a digital universe, of which eBooks certainly are a part, Carr describes decreased attention spans and the lack of deep contemplation. He describes the resulting reshaping of our brains from increased interruptions and how we grow accustomed to that way of reading, thinking, and processing information. I’m not advocating for a return to any previous time or technology, but I do think we need to be critical of the medium as well as the message. Ten years ago, without much thought or planning, my life landed on the written word, and books became both the river and the banks upon which my life moved. The romance of literature, of old creaky bookstores and libraries and even creakier writers, enthralled me to the point that I ditched all of it—my career at the time, the woman I was with, the life I’d worked for—and left it all behind for a life devoted to literature. Looking back now, it seems absurd to do such a thing, but absurdity is rich territory for writers, and the world of literature is full of the absurd becoming the new normal. eBooks might become the new normal, or they might not. People might realize they like the quiet, solitary adventure of VLWWLQJ GRZQ ZLWK D ERRN WKH FKDQFH WR LJQRUH WKH LQĂ€QLWH GLVWUDFWLRQV WKDW FRPH ZLWK WKH GLJLWDO ZRUOG 2U ZH PD\ FRPH WR Ă€QG ZH FDQ¡W UHDG DQ\WKLQJ ZLWKRXW the possibility of many other things being only a touch away. Some of my friends already jump nimbly back-and-forth between print and eBooks, and this balance is probably closer to the truth that will emerge in the coming decades. It all turns D SDJH EXW DV IRU PH JLYH PH SULQW *LYH PH WKH DFFLGHQWDO Ă€QG LQ WKH EDFN RI the bookstore, the torn copy signed by the author. Give me all the romance, all the sagging bookshelves, all the depth back to my barren walls.

Remember the Alamo I say, and, Death to the Machine!! Sure, printed books are machines too, capable of inducing strange behavior in the hands and heads of their own master. To paraphrase Annie Dillard, “Be careful of what you read, for that is what you will know.â€? That someone would rather read a book on a screen versus a page doesn’t concern me as much as the technological context within which that choice is made. eBooks further a disconnect between humans and the world. The disconnect stems from how we HQJDJH WKH ZRUOGÂłZKHUH ZH EX\ WKLQJV ZKDW Ă€OOV RXU KRPHV KRZ ZH DFFHVV and process information, seek knowledge, and attain wisdom. There is no turning back—only away—from technology, though in some instances our technology has so surprised us, or shocked us, that we’ve managed, at least in part, to control our use of it. Think about the book Silent Spring by Rachel Carson. In the wake

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OLD  TOWN  ACUPUNCTURE  CLINIC “Earth  connected,  heart  centered,  JHQWOH DQG HĹ”HFWLYH FDUH for  your  entire  being.â€?

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Wolverine Farm Publishing would like to thank Michael Bussmann and Matthew Sage for their year of ser vice to For t Collins as our inaugural Poet Laureates. You will not be forgotten. Nor will James Howe . Find their poem in Old Town.

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BOOK CLASSIFIEDS SEEKING COMPANION for long-term relationship. I am the third in a series of four but I can stand on my own. Must like fantasy and have a good sense of humor. Please pick me up if you enjoy satire and dry wit. I have a heroine that can be a smart aleck at times, but she is still my little princess. I will be waiting in the young adult section. Calling on Dragons, Enchanted Forest Chronicles, by Patricia C. Wrede.

GREEDY MEMOIR new to

Wolverine Farm seeks smart, savvy companion to show me around Fort Collins. My stories of the ’80s bond market will have you laughing on the floor, if not also feeling a little horrified. Ability to stomach greed and be cavalier about ripping people off a plus, but not necessary. I’ll be hanging out in the economics section, so look for me there. Liar’s Poker, by Michael Lewis.

APPRECIATIVE LOVER of classic fiction sought by early work of a modern literary master. Looking for beautifully written short stories? I may not be as intellectual as my big brother Ulysses, but I’m far more charming. Let’s get to know each other over a pint of Guinness at your favorite pub! (Did I mention? I’m Irish—and not just on St. Patrick’s Day.) Dubliners, by James Joyce.

LOOKING FOR ANARCHISTS, hobos, and gutter punks to share my life of petty crime and dumpster diving. I’m an anti-establishment zine spinoff who enjoys skateboarding, Ms. Pac Man, and train hopping. Turn-offs include labels, wage-slavery, the system, and corporate America. If you’re ready to quit your job and ride the rails, you can find me squatting in the travel section. Evasion, by Crimethinc.

SEEKING RUSSIAN literature

STURDY, EXPERIENCED history book looking to teach an unseasoned reader a thing or two. Looking for: a precocious schoolboy wanting to learn about your homeland, a colonial in the Americas looking to stay in touch with your Imperial roots, or maybe a historian who finds all other histories of Great Britain lacking. I am eager to explore together and help complete your knowledge. A Complete History of Britain, by ___________.

INTELLECTUAL SOLDIER seeks sweet, sensitive companion for lonely nights in the International Fleet Command Headquarters (currently located on Planet Eros). Must enjoy videogames, tactical warfare and physical combat. I was taken from my parents to fight the buggers and save the world, and I happen to be the third in a family of child geniuses, so don’t pick me up unless you mean it. You can find me (if you dare) in the Science Fiction section: serious inquiries only. Ender’s Game, by Orson Scott Card.

fan to share my account of one day at a Siberian labor camp. Likes include warm boots and extra servings of soup. Dislikes include Stalin and, uh, Stalin. Need a little company for the long winter? Then come help me make my escape! (Classic fiction section, on the right.) One Day in the Life of Ivan Denisovich, by Alexander Solzhenitsyn.

MERRY PRANKSTER seeks far-out friend to drive around in a DayGlo school bus and spread the love, the drugs, and the psychedelic philosophy, man. Must be open to experimentation with drugs, sex, alcohol, face-painting, skinny dipping, dancing in the desert, fur-covered walls, Eastern religion, swimming in Jello, world music, and freaking out the “squares.” Groovy, man. The Electric Kool-Aid Acid Test, by Tom Wolfe.

I’M A BAD BOY with big brown eyes that will make you melt. My manners may need some refinement, however I am as loyal as they come. You will fall in love with me at first sight and keep me in your heart forever. Come seek me out—I’m in the memoirs section. I’ll be dutifully waiting for you. Arf arf... Marley & Me, by John Grogan.

LOVE OLD MOVIES? Intrigued by Hollywood stories like Sunset Boulevard or Barton Fink? Well, I’ve got everything they do, and more! Come pick me up and we can have a little peek behind the scenes! F. Scott Fitzgerald was a great admirer of mine, by the way. Jealous?! Don’t be. There’s plenty of me to go around (three copies to be exact). The Day of the Locust, by Nathaniel West.

I’M FULL OF LOVE letters that a previous owner tucked into my pages. I’m also a gutsy collection of non-fiction venturing into the most dangerous parts of our world. If you have that self-destructive kind of curiosity, or a burning need to know, I’m your square-jawed, ruggedly handsome man. Let’s go to Sierra Leone, Afghanistan, and hold hands together as we fight wildfires in Idaho. Fire, by Sebastian Junger. GENIUS DESIRES AUDIENCE. I believe that

JANE AUSTEN IS A VAMPIRE! And a bookstore owner! Looking for an open-minded bibliophile with a sense of humor to listen to my unlikely, but certainly not boring, story of a beloved author’s undead existence. I will make you laugh so hard you’ll choke on your afternoon tea! Serious types and book snobs need not apply. Jane Bites Back, by Michael Thomas Ford.

OLD-FASHIONED NATURALIST seeks contemplative reader for long walks through the English countryside. Must love bird watching, plant-gathering, and the Romantic poets. Interested parties should bring a bouquet of foxglove and myrtle to the nature section of the bookstore. (Fair warning: I am well-versed in the identification of poisonous berries and fungi.) The Country Diary of an Edwardian Lady, by Edith Holden.

somewhere out there is the rare person who loves science as much as art, who delights in the patient attention required by poetry. And seriously, I won a MacArthur Genius Grant for being wonderful at what I do, so that should count for something. First Hand, by Linda Bierds.

Contributors: Paul Binkley, Evan Brengle, Molly McCowan, Charles Malone, Bethany Kopp, Patricia Gambino.

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The Fault in Our Stars By John Green

By Cheryl Strayed

Don’t be discouraged by the blurb for John Green’s The Fault in Our Stars. Sure, it begins by telling you about Hazel and her completely incurable tumor, but The Fault in Our Stars is quite possibly the most beautiful book about love that I have ever read. From WKH Ă€UVW SDJH WKHUH¡V D VHQVH RI Ă€QDOLW\ DQG LPPLQHQW loss as Hazel meets Augustus at a support group IRU \RXQJ DGXOWV ZKR KDYH IRXJKW RU DUH Ă€JKWLQJ cancer. The pair bonds over a book that ends in midsentence, leaving them, and anyone who reads this book, pining for more. As a last-ditch effort, the two WDNH D MRXUQH\ WR Ă€QG WKH DXWKRU DQG DVN KLP WKHLU burning questions, along the way growing closer and taking pains to savor the experience in the way only people who are acutely aware of their mortality likely can.

Sex. And drugs. And rock ‘n’ roll. Any memoir encompassing this trifecta of disfunction will be popular. But when the rocks are rolling down the mountainside of D VROR WUHN RI PLOHV RI WKH 3DFLĂ€F &UHVW 7UDLO WKLV recovery story is also an outdoor adventure story. And an unusual one, because the adventurer/narrator in Cheryl Strayed’s memoir, Wild, is a woman—a young, bright, pretty woman.

The Fault in Our Stars is the story of relationships: on the surface, the relationship between two people brought together under bleak circumstances, but also about the relationship between a reader and an author—the Reader and the Material. It is beautiful and lovely and hopeful and endearing, and yes, incredibly and profoundly painful, but the sadness it brings makes the beauty of the writing even more incandescent. —Amy Palmer, WFP Volunteer

Cheryl Strayed’s path in life was upset early (no spoilers here) by the quick, painful death of her mother. College degree evaporates. Young marriage implodes. Her family disassembles, each member stumbling off on solitary paths of widowhood and orphandom. Strayed’s confessional is not too sentimental, however, and sprinkled with humor more often aimed at herself than others. Her naĂŻvetĂŠ is scary/charming (she’d had no experience backpacking), but she is lucky, determined, foolish but not a fool. She found, living in fear, that the fear itself was the only real scary thing in her life—something that could literally be “walked off.â€? She writes, “I was amazed that what I needed to survive could be carried on my back. And, most surprising of all, that I could carry it.â€? Isn’t this why we all hike, backpack, or otherways travel to remote places or read travel memoirs? To be reminded of our quest in life? To learn to be in solitude and not be alone; to wander and not get lost; to know that the world is our home and we are in it—walking it, carrying it and our loved ones with us always? —Jane E. Roberti, WFP Volunteer

Little Raw Souls By Steven Schwartz Steven Schwartz’s new short story collection, Little Raw Souls (Autumn House Press 2012) has an unexpected spatial quality to it. Eight of the eleven stories display Schwartz’s clever use of space to provide a framework for understanding, and even managing, the characters and their worlds. In the opening story, “Bless Everyone,â€? the outcome (Charles being “cuckoldedâ€? by a young couple staying on his ranch) becomes less important than the sense of space Charles occupies; he is decisive and resolute while on his ranch, especially when he’s hacking away at a dead elk, or (mistakenly, as it turns out) advising the young woman to leave her man, but is lackadaisical while remodeling his house in town, or sluggish when communicating with his ex-wife. This spatial sense occurs again in “Absolute Zero.â€? Connor, a high school senior, swirls within multiple spaces: His home, where his mother is dying; the Marine recruiting center where he attaches himself to Sergeant Kenner; and the home of the “seer,â€? a fellow student who is so ill and misses so much school, the other students give him the epithet, “seerâ€?—bestowing upon him other-worldly knowledge and divining from him prescience insight. Connor is a different person in each of his spaces, and though it is obvious to the reader that he hasn’t the temperament to be a Marine, Connor might, in the end, choose that space, or release himself from it, or, simply move to another. The space he occupies becomes more important than his decision. In the other stories, such as “Seeing Miles,â€? where a grown man faces his own sexuality when he re-engages with his transsexual cousin, and “Galisteo Street,â€? where a retired writing teacher insists on meeting his newborn grandchild from an early relationship, multiple spaces determine the directions the characters take. By way of the spatial quality of the stories, and the character gems, such as, â€œâ€Ś This is the way he talks when he doesn’t want to talk anymore. He makes a little house of such language and shuts the door from the inside.â€? (The Theory of Everything), Schwartz nimbly moves his characters through their spaces, and all perceptions (theirs and the readers) are changed with each of these movements.

Telegraph Avenue By Michael Chabon Michael Chabon’s latest novel, Telegraph Avenue, is alternately D GLVFXVVLRQ RI PDULWDO LQĂ€GHOLW\ .XQJ )X PLGZLIHU\ EOD[SORLWDWLRQ Ă€OPV JD\ \RXWK MD]] WKH VWUXJJOHV RI VPDOO business, the movies of Quentin Tarantino, and a surface examination of modern-day race relations in Oakland, California. It is also a breezy story that combines these themes, along with a complicated plot, into something very enjoyable indeed. Nat Jaffe and Archy Stallings are co-owners of Brokeland Records, an independent store located on the eponymous street of the title. Much of the book involves their struggles against the impending opening of a mega-chain music store, the “Dogpile Thang,â€? which will mean certain doom for their shop. Chabon has spoken publicly of his love for language and, besides a masterful twelve-page sentence about midway through the book that neatly summarizes the plot’s intricacies from a parrot’s perspective, there is much to love here on a purely linguistic level. One character “[feels] his words landing, sticking, here and there, like snow on ready ground,â€? and another feels “disappointment that [will] linger for years...like a burnt smell in a winter kitchen.â€? Perhaps the overriding theme, unifying many seemingly disparate elements, is Chabon’s look at each character’s maturity level, especially as a result of their upbringing. The youngest people in the novel are often more measured and thoughtful than the adults, or at least willing to examine their own thoughts and feelings. Near the end, a mother tells her friend’s son, “You are a good boy...your momma raised you right,â€? and in this story, that is the highest compliment. —Chris Jusell, Thanksgiving Re-Enactor

—Anne Macdonald, WFP Board Member

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The Shallows: What the Internet is Doing to Our Brains

A Sanctuary of Trees

By Nicholas Carr

By Gene Logsdon

With The Shallows: What the Internet Is Doing to Our Brains, Nicholas Carr has delivered a compelling and well-researched account of the impact that intensive Internet use has upon our mental lives. Tracing a course through discoveries in neuroscience, the history of technological development, and the evolution of computers and the Internet, Carr has crafted a meticulous argument: Internet use actually changes the way our brains operate.

There is a palpable restfulness that I have experienced while reading certain books, although it usually comes with a concordant longing to tell others to delve here. Such is my experience while reading Gene Logsdon’s A Sanctuary of Trees: a luminous benediction to the spirituality, liberation, and freedom to be found in, and represented by, our wooded lands. If you have ever felt connected to a piece of land, the deep ecology of that feeling, the biophilia, is explained by Logsdon’s singular point of view.

&DUU SRLQWV RXW PDQ\ RI WKH XQLTXH DQG SRWHQW EHQHÀWV RI ,QWHUQHW XVDJH WKDW make it so seductive—such as unparalleled speed and ease of obtaining information—but also urges that users be mindful of the degree to which the Internet becomes their sole media for obtaining, sharing, and processing that information. Carr’s conclusions are startling: even limited and mindful Internet usage alters our way of thinking and structurally changes our brains, and the more extensive the XVDJH LV WKH PRUH H[WHQVLYH WKH DOWHUDWLRQ EHFRPHV 6SHFLÀFDOO\ ,QWHUQHW XVDJH discourages, and even disables, deep, linear thinking—the kind fostered by the reading of books—and rather, develops and reinforces a form of thinking only capable of processing information in a quick, fragmented manner. The Internet, Carr asserts, should be used as a supplement to—not a replacement for—magazines, newspapers, and books. The Shallows is at once an enjoyable and elucidating read. For tech-savvy proponents of digital information and anachronistic lovers of printed words alike, this book promises to engage, inform, and possibly even disturb the reader’s perspecWLYHV RQ WKH XVH RI ,QWHUQHW DQG LWV LQà XHQFH XSRQ RXU VHOYHV DQG RXU FXOWXUH

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$ PDMRULW\ RI XV SHUKDSV QRW WKH FKRLU EXW WKRVH RQ WKH IULQJHV ZLOO Ă€QG HQRXJK grist in any given chapter to be wooed back to the forest, even if we were just recently there. Logsdon’s testimony early on states, “I enjoy being out in the woods. I think that these interludes are more effective in gaining peace of mind than $100-an-hour sessions with a psychiatrist and more healthful physically than $50-an-hour sessions at an exercise center.â€? Indeed, on many an autumn day he will be found out in the Indian summer sun, splitting hard oak into fuel for the coming winter, for hours. This is a man, today age 79, who lost all vestigial pretensions while spending time in the deep woods: his real school while studying for the priesthood. Within the narrative of the wooded land he grew up in, Logsdon shows us the importance of understanding the historiography of such places, hailing back to when the Natives used what was provided by the Creator in the most sustainable way. There are lessons within this history, and within Logsdon’s storied time in the woods, worth exploring, perhaps even experientially.

—Evan Brengle, WFP Volunteer — Danny Hesser, WFP Volunteer

The Derrick Jensen Reader: Writings on Environmental Revolution

When Women Were Birds: Fifty-four Variations on Voice

By Derrick Jensen (Author), Lierre Keith (Editor)

By Terry Tempest Williams

Derrick Jensen does not shy away from the tough discussions and uncomfortable issues—he will, in fact, take you way RXW RI \RXU FRPIRUW ]RQH <RX FDQ Ă€QG PDQ\ RI WKHVH discussions in his new book The Derrick Jensen Reader: Writings on Environmental Revolution. There are other topics besides just the environment. For instance, in “Walking on Water,â€? Jensen lays out an argument against the public school system. From the 5RFNHIHOOHUV¡ LQĂ XHQFH RQ HGXFDWLRQ LQ WKH HDUO\ V WR WKH SUHVHQW GD\ LQĂ XHQFHV RI VWDQGDUGL]HG WHVWLQJ WKLV VWRU\ PDGH PH TXHVWLRQ P\ decision to keep my daughter in school. Is she being lead to a “subsumption of her individuality?â€?

One week before Terry Tempest Williams’ mother died of cancer, she left her daughter all of her journals—three shelves of which were only to be opened after her death. The night of the funeral, Williams discovered that every single one of those journals was blank. Thus begins her newest book, When Women Were Birds D FROOHFWLRQ RI Ă€IW\ IRXU different journal-like entries or ‘variations on voice’ that explore both Williams’ life and the meaning behind her mother’s empty journal pages. The format of this book differs from most memoirs in that it is a combination of anecdotes, conversations, stories, and poetry—each short section capable of standing on its own. These beautifully written vignettes paint a picture of Williams as an activist, an author, a daughter, and a wife of almost forty years. 7KURXJK KHU SHUVRQDO VWRULHV VKH VKDUHV PRPHQWV RI Ă€QGLQJ KHU YRLFH FKRRVLQJ to use it or not, and all the implications that come with such choices. Although she does tell us she is writing her own words in her mother’s journals, ZH UHDOO\ QHYHU Ă€QG RXW ZK\ KHU PRP FKRVH QRW WR :LOOLDPV ZULWHV ´,Q 0RUPRQ culture, women are expected to do two things: keep a journal and bear children.â€? What does it mean that her mother didn’t write in hers? Is her silence an act of GHĂ€DQFH D JLIW RU VLPSO\ DQ XQVROYDEOH P\VWHU\" —Beth Kopp, WFP Bookstore Manager

Derrick Jensen does this a lot. He is able to verbalize, or at least write about, issues that I, or even we as a culture, may think about, but can’t or won’t talk about. In “The Culture of Make Believe� he discusses—among many other taboo topics—the relationship and value that we place on humans vs. nonhumans; the relationship we have with and the value we place upon amassing wealth; and, of course, the relationship between men and women. There are more than a dozen stories that will keep you thinking and have you going back for more. As tough as the content of his books are, the issues are very important in our world today and in the future. We cannot keep silencing the tough issues, and this book gives a great way to start the discussions that no one wants to have. —Heather Manier, WFP Volunteer Coordinator

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a book lover’s gift guide

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a book lover’s gift guide

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An Argument for Comics By Paul Binkley &RPLFV DUH RIWHQ FODVVLĂ€HG DV VHFRQG UDWH WR FODVVLF OLWHUDWXUH 'R WKH LOOXVWUDWLRQV serve to “dumb it downâ€? compared to standard novels? Or are comics instead a union of two arts: writing and illustration? Can’t both media communicate complex ideas and excite great emotion and wonder? I feel that comics are a unique and diverse art form that is undeserving of the prejudice that often surrounds it. Any given comic, like any book, may not satisfy every reader, but I would like WR VHH PDQ\ RI WKH PHGLXP¡V PRVW RXWVWDQGLQJ ZRUNV JLYHQ WKH VHFRQG RU Ă€UVW chance they deserve. However, comics are not universally shunned. Watchmen by Alan Moore, with art by Dave Gibbons, won a Nebula award in 1988, and Time ranked it among their one hundred greatest books of the 20th century. Gibbons’ art compliments the dark, postmodern story to add many layers of new meaning to each scene. A single panel may contain enough content to spend time examining everything from characters’ expressions to which letters on a sign are veiled by steam, or blood.

bution that Sailor Twain is receiving now. However, it is still available for free in its entirety on its website. There are many out there who will never be convinced that comics have the potential to be as legitimate as any written or drawn piece of art, but I think there DUH PDQ\ ÀQH H[DPSOHV RXW WKHUH WKDW SURYH WKH ZRUWK RI WKH PHGLXP 7KH\ YDU\ greatly in their style and theme, but that versatility further proves their worth. They may not appeal to everyone, but I hope that in time more people will give WKHP D FKDQFH DQG WKDW VRPHGD\ WKH\ PD\ ÀQG WKHPVHOYHV PRUH UHDGLO\ DFFHSWHG among literary classics.

Japanese comics, or manga, enjoy a great deal of popularity thanks to the work of outstanding artists such as Hayao Miyazaki and Katsuhiro Otomo. Otomo solely wrote and illustrated a manga, Akira, which totalled at over 2,000 pages during the span of nearly ten years. Thanks to its complex plot of disenchanted, young antiheroes and its allegory for World War II, the comic enjoyed great success, and LWV DQLPDWHG Ă€OP DGDSWDWLRQ ZDV D PDMRU IRUFH LQ OHJLWLPL]LQJ -DSDQHVH DQLPDWLRQ as a serious art form. 0L\D]DNL¡V Ă€OPV KDYH HQMR\HG HYHQ JUHDWHU VXFFHVV LQ WKH 8QLWHG 6WDWHV ZLWK RQH RI WKHP ZLQQLQJ KLP DQ 2VFDU +LV Ă€UVW PDMRU ZRUN ZDV DOVR DQ H[WHQVLYH PDQJD Nausicaä of the Valley of the Wind. Like much of his work, the comic dealt with war and environmental crisis. In an imaginative, post-apocalyptic world, the young princess Nausicaä strives to save the planet from both its previous and possible future environmental apocalypses, as well as to mediate between two warring nations. Miyazaki has become famous for his style and frequently child-friendly Ă€OPV EXW KLV RULJLQDO Nausicaä is notably darker and more complex than what can EH DFKLHYHG LQ WKH VSDQ RI D SRSXODU DQLPDWHG Ă€OP Webcomics are held in even lower esteem. Often serialized and free, webcomics FDQ VHHP PRUH OLNH WKH FRPLF VWULSV \RX¡G Ă€QG LQ D QHZVSDSHU UDWKHU WKDQ Ă€QH literature. But these, too, can have all the virtues of printed comics. Two of the Ă€QHVW DUH Sailor Twain, or the Mermaid in the Hudson by Mark Siegel and Rice Boy by Evan Dahm. Sailor Twain, set aboard a steamship in 1887, is four hundred pages of beautiful, hand-drawn, charcoal illustrations that blend stylized characters with incredibly realistic, historically-accurate backgrounds. It was released weekly for free before beginning its current printed run. Rice Boy has the whimsical look of a children’s book but a considerably more serious plot that revolves around a hero’s journey and the dangers of messianic obsession. The world of Rice Boy is incredibly unique, and it has drawn concepts to match. Rice Boy, too, was turned into a printed book, but it never had the distri-

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A Conversation with Dan Beachy-Quick g

Interview and Introduction By Mandy L. Rose , PHW ZLWK 'DQ %HDFK\ 4XLFN LQ KLV RIÀFH DW &RORUDGR 6WDWH 8QLYHUVLW\ ZKHUH KH LV DQ $VVRFLDWH 3URIHVVRU RI SRHWU\ OLWHUDWXUH DQG FUHDWLYH QRQÀFWLRQ %HDFK\ 4XLFN LV WKH DXWKRU RI ÀIWHHQ ERRNV RI SURVH DQG SRHWU\ +LV PRVW UHFHQW ZRUNV include Work from Memory (a poetry and prose collaboration with Matthew Goulish); Wonderful Investigations (essays and tales), Conversities (poetry collaboration with Srikanth Reddy), Circle’s Apprentice (poetry), and the forthcoming While the Bee-Mouth Sips: Keats and the Poetics of Ardor. He lives in Fort Collins with his wife and two young daughters. As his student, we meet somewhat regularly to talk about poetry, writing, and the works I am studying. Recently, he agreed to talk with me about books, writing, teaching, and their relationships.

Over the last year, you’ve spoken of Keats often, and as if talking about a dear friend. When GLG \RX ÀUVW EHFRPH DFTXDLQWHG" I didn’t start reading him until graduate school. I was teaching at the Art Institute of Chicago and read his letters. It shook my understanding of poetry, and I began returning more often and faithfully to his poems. It has taken three to four years to read the entirety of his poetry, and I’ve gone back to certain moments countless times. What is it about Keats, for you? And can you say a bit about the Keats SURMHFW \RX ÀQLVKHG WKLV VXPPHU" I found in him the deepest imprint of what it means to think of being a poet. While the BeeMouth Sips: Keats and the Poetics of Ardor KDV EHHQ RIÀFLDOO\ DFFHSWed and will be published next fall by Iowa University Press. It was a devastatingly intense project. I haven’t been able to write since ÀQLVKLQJ LW I have no new project, unless patience is a project.

Not long ago, you loaned me your copy of Emily Dickinson’s Selected Letters. Most of us have read her description of how she knew a poem when she encountered it. In one of her letters, she wrote, “When I lost the use of my eyes, it was a comfort to think there were so few real books that I FRXOG HDVLO\ Ă€QG VRPHRQH WR UHDG PH all of them.â€? What is a real book?

Patience is ever the project of a life. <RX¡UH NQRZQ IRU EHLQJ SUROLĂ€F \HW you’ve called yourself a slow writer. Do you write by hand or on a computer, and where do you write?

Books that are most real are the ones I feel I never get to the end of; the books that have a deepening of meaning and mystery the more one reads them. Real books contain a resistance to being known, and there is always the necessity to return.

I used to write with pen, in journals I made myself, but my already bad handwriting worsened and I couldn’t write at the speed I was hearing the language. I switched to the computer and now I write everything that way.

Can you give some examples? :KR GR \RX ÀQG \RXUVHOI UHWXUQLQJ to?

Do you feel the switch to the computer has changed the writing or editing process for you?

Melville and Moby Dick, as well as other writers of greatest reality, which seem to me to be Emerson, Thoreau, Dickinson, Hopkins, Keats, and Paul Celan. All of these I return to in real ways. 7KH Ă€UVW ERRN , ERXJKW IRU P\VHOI ZDV D FROOHFWLRQ RI (PLO\ 'LFNLQVRQ¡V SRHPV WKDW , IRXQG DW a rummage sale. I remember turning to “Do you have a brook in your little heart,â€? and I was KRRNHG 'R \RX UHPHPEHU WKH Ă€UVW ERRN \RX ERXJKW" :KDW ZDV LW" I think [Emily Dickinson] would like being found at a rummage sale. I remember WKH Ă€UVW ERRN RI SRHWU\ , ERXJKW P\ VRSKRPRUH \HDU RI KLJK VFKRRO ,W ZDV a collection of Robert Frost. The funny thing is—it was misprinted. The same sixteen pages were printed twice, once upside down. I grew up thinking Frost was a radically experimental poet, and I was fascinated. Maybe that set up my ability to read and appreciate Susan Howe. We have talked before about the unique way a writer can choose their literary ancestry, or perhaps it chooses them, such that you have a bit of say in your literary ancestry. Who are your poetic parents, so to speak? I feel a deep relationship to 19th Century American Literature. Emily Dickinson, Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne. I feel somehow inheriting of that transcendentalism. Of course, the Romantics, and Keats—the Romantics were reading Keats. The whole tradition, as it matters to me, feels like a familial inheritance. My voice is only mine by virtue of its openness to the voices before it. I try very hard to give due reverence to that fact.

Backspace is one of the misfortunes of the computer, but I don’t revise or edit in the traditional sense. I write line by line. I’m not moving onto the next line with any dissatisfaction with the previous line. Do you start with a project in mind? How do you sustain your momentum? What does your writing day look like? With poems, often there are larger projects in mind. Working through one opens WKH QH[W DQG , ÀQG P\VHOI GULYHQ \HW KHOSOHVV WR UHVLVW ,W LV VRPHZKDW VKRFNLQJ to me that I’ve written as much as I have: I feel abashed at it. I keep myself devoted to the principle of being at work in poetry, and have refused to give myself an escape from it. , W\SLFDOO\ ZULWH LQ WKH PRUQLQJV VRPHWLPH DIWHU ÀYH 'XULQJ WKH VXPPHU I’ll go to a cafÊ and get two to three hours in. The vision I’m trying to attend to is only kept available by doing the work. Making an outline or waiting are things I don’t trust. Where do you like to write? Most of the Keats book was written at CafÊ Ardour, and so the title bears a bit of a thank you. You once likened my writing style to that of Niedecker, before I had read her work. Once I did, , IHOW DQ LPPHGLDWH VHQVH RI UHFRJQLWLRQ DV LI , KDG HQFRXQWHUHG D NLQGUHG DQG HYHQ DQ LQà XHQFH I didn’t know I had. Like meeting someone familiar. Who feels familiar to you in that way?

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You can only fall in love with poets you have a kindred spirit with. They have this ability to shepherd you into yourself. That feels right. What are you reading now? What is the last book you purchased? Where do you like to read? [He laughs.] Right now, I have in differing states of neglect, about ten different books I am reading. I’m trying to picture the stand next to my living room chair. $ ORW ZRQ¡W EH Ă€QLVKHG (QWKXVLDVPV JHW LQWHUUXSWHG 7KH EHVW SODFH WR UHDG LV somewhere in your own home, I think. The last book I purchased was 101 Soccer Drills. Speaking of soccer‌you write, give readings, teach, and still manage to have time to coach your oldest daughter’s soccer team. How do you balance all of it? I have no idea, really. I try to make possible what needs to be possible, and often I fail in one way or another. I do know that writing poems makes me a better parent, being a parent makes me a better poet. They keep breaking the assumed boundaries of each other. What do your daughters think you do? What do you read to them?

winter  2012     Â

The space of a classroom is fundamentally as creative as writing, so I approach teaching in the same way I approach a page. Teaching is always a lesson for me on how to be more receptive. A profound lesson on how to write and KRZ WR UHDG $Q\ JUHDW WHDFKLQJ LV D FRQWLQXDO GHPRQVWUDWLRQ RI WKH GLIĂ€FXOW\ RI teaching. It requires one to think with the students. Is there a class you have not taught yet, but hope to teach soon? I have submitted a proposal to teach a class on Keats and Paul Celan, together. I suspect their work is related in ways not often explored. We are lucky to live in Fort Collins, a place not only beautiful but known for a strong writing community. What thoughts do you have about poetry, both locally and nationally?

“I feel a deep relationship to 19th Century American Literature. Emily Dickinson, Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne. I feel somehow inheriting of that transcendentalism.�

My oldest knows I’m a teacher, poet, and writer. Only in the last year has she really asked about it. As for what we read, she likes to check out books and still likes to have stories told to her, often condensed versions of myths and fairy tales. My youngest will pick out things for me to read as well. I don’t read them poetry. I try not to force it on them.

I know as a student, a teacher, and a mother, that forcing a love for such things never works. It is easy to see that your reading and writing inform your teaching, and your teaching makes an appearance in some of your writing, as well. I’m reminded of your lines, “I pray, or hold a sheet of paper in my hands,� in a piece that positions you in front of a classroom. It strikes me that to teach is a form of reverence, an act of prayer inherent to the discipline. Each makes me truer to the others: [teaching] forces me always to realize I can’t take for granted I know the things I’m forced to know, and as such is a continual reintroduction to humility.

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— Dan Beachy-Quick

Yes, we are very lucky. While on one level, these aren’t things I think about, it is true that right now in Colorado, there is an extraordinary group of poets. A sense of both the vital and the vivacious. I don’t think about it in terms of who is doing what, but Colorado is an amazing place to be a poet right now. Poets are doing extraordinary work; there is a life to the writing. I think that is a sign of its health and [I] know there is a lot of poetry being written. I feel a kind of intensity, a principle, and devotion. My sense outside the intimate context is one I don’t dwell on. Is writing a book now different from when you wrote your ÀUVW" ,I VR KRZ"

, UHPHPEHU WKLQNLQJ QRERG\ ZRXOG ÀQG LW ZRUWK SXEOLVKLQJ 1RZ LW RSHQV XS the more necessary insecurity, not the worth of the work as measured by the ZRUN EXW D UHVSRQVLELOLW\ DQG UHYHUHQFH WR WKH SRHWV ZKRVH LQà XHQFH KDV OHG me to write. That seems a deeper kind of worthiness. I suspect that’s good. It is deeper but more maddening.

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Mandy Rose is a senior at Colorado State University, Senior Poetry Editor for The Greyrock Review. She is the author of Frost-Heave, a collection of poetry, and her work has appeared in “A� Literary Journal, The Rocky Mountain Collegian, College Avenue Magazine, and FS Life. She lives in Fort Collins with her two young children.

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Interview with Holly Carroll, Ex. Dir. PRLD, continued from the cover

Three years ago you took this position. Tell us about that transition. I got hired and took a deep breath and said, ‘Okay, I’ll make the change.’ My husband had just taken an early retirement, so his position wasn’t an issue. He was able to stay back and get the house ready to sell while we got settled here. I like working in a library this size—I consider it a medium-sized library, although [it is] one of the larger ones in Colorado, because you can affect change. It’s large enough and the budget is large enough so you can do a lot of exciting things. Has the board always been part of the library system in Fort Collins? The library was part of the city. There was a whole campaign to make it a separate library district. Districting has provided adequate funding for library services. A governing board was then appointed. The board is appointed by the City and County Commissioners. When we became a district—the newly appointed board negotiated an Intergovernmental Agreement (IGA) with the county and city—to divide property and the transfer of power. :H VWLOO FRQWUDFW IRU VHUYLFHV ZLWK WKH FLW\ VXFK DV KXPDQ UHVRXUFHV DQG Ă€QDQFLDO management. We do our own budget, but we use their software. The city provides the audit. We get network infrastructure from the IT department. The library FRQQHFWV WR WKH FLW\¡V Ă€EHU RSWLF QHWZRUN ZKLFK LV D UHDO EDUJDLQ 7KDW LV HVVHQWLDO for us because there’s so much broadband used in these buildings, especially around three o’clock, after school [lets out]. And, [we get] contract with the city purchasing department for procurement services. Each year we look to see if it’s cost effective, and so far it is more cost effective for us to contract with the city than go off on our own. The city is more like a vendor to us, and we do get our KHDOWK LQVXUDQFH DQG EHQHĂ€WV IURP WKH FLW\ >DV ZHOO@ %HLQJ LQ D ODUJHU SRRO PDNHV a big difference for us; a big savings.

winter  2012

we had to get rid of older books and multiple copies [of books]. The average age of the collection, minus the local history collection, was thirteen yeas So, we were holding onto some stuff we could depart with. That was a change in the service model; we don’t need as many books. We are members of Prospector and the public borrows approximately ninety-thousand items from it a year, so if we need something of research quality or esoteric [value] we can get it. Prospector has eleven billion titles and it’s quick, too: I’ve been very impressed. The network here is so much faster than in Ohio. We’d wait weeks to get a book you can get pretty quickly here. Those were some of our goals; to make it bright, to open it up. Drop ceilings were added in half of this building, but that was ’80s and ’70s design. So the EHDXWLIXO ZDIà H FHLOLQJ WKDW ZDV SDUW RI WKH RULJLQDO GHVLJQ ZDV RSHQHG XS The meeting room is about 50 percent larger. It can hold easily 120 people in classroom-style [seating]. It’s divisible, so we can hold a couple meetings [at WKH VDPH WLPH@ :H KDYH ÀYH JURXS VWXG\ URRPV WKUHH LQGLYLGXDO VWXG\ URRPV and a collaboration room, which has a table with a large TV screen and a lot of adapters. You can have webinars and hold Skype sessions. We geared it for businesses and groups that need to meet, to learn together, and to communicate from a distance. We’re getting three smartboards that the schools use and putting those in the group study rooms. The other concept was—and this is a pretty standard service model in most of Colorado—to have a smaller desk to implement a proactive service model. Staff isn’t hiding behind huge reference desks, because that truly is a barrier to a lot of people. We have a smaller desk and the staff roves. When they see someone who QHHGV KHOS WKH\ FDQ OHDYH WKH GHVN DQG ÀQG RXW KRZ EHVW WR KHOS WKDW SHUVRQ That was a whole service model that was introduced with the design of this building. It’s much more open; a lot of walls were knocked out. How did the staff react to the remodel?

Are there any drawbacks to being an autonomous district? Not really, most of our revenue is from a 3-mil property tax. If the real estate [market] is up it grows; if the property values go down it goes down. We’ve been very static the past few years because there hasn’t been growth. TIFs (Tax Incremental Financing), that the city uses to encourage building and development within the city affects the revenue that is collected for the district each year. The >+LJK 3DUN@ Ă€UH ZLWK LWV GHVWUXFWLRQ RI KRPHV DIIHFWHG RXU SURSHUW\ WD[ collection as well. It’s not a panacea for all funding because it’s subject to what’s happening in the community. Other than that—no, I think what we have is pretty ideal. I think we are still getting some of the best services we can from the city but we make our own decisions. I think we have adequate funding. We can move in different directions and we don’t have to go up to city council to have a budget approved. Can you talk a little bit about the Old Town Library remodel and what the goals were for it? We wanted to bring it up-to-date; it was looking pretty tired and worn. There had been a few “refreshersâ€? since it opened in 1976, but it certainly wasn’t adequate for the modern library of today or the library of the future. Right before I came along, the board adopted a facilities plan, and one of the priorities was to get this [library] remodeled—to expand it as much as possible. We wanted to open it up to create some spaces that the public wanted. We had three community meetings in the summer of 2010 to gather ideas from the community. [The public] wanted a larger meeting room. They wanted quiet study spaces. They wanted expanded computers. They wanted the childrens’ area larger and more accessible because at that point we had ninety-inch shelving in the children’s area to accommodate the collection: I can’t reach ninety inches up, let alone little kids. Those were the ideas that came from both the staff and the community. I truly believe that libraries are more about community than being warehouses of books and things. I think it really is a place for people to gather. That’s the guiding principle. We wanted to bring the park into the library and the library out to the park. With the expansion, we built down and added more windows. We put a lot more seating around the open areas to ‘bring the green in.’ One of the most visible [changes] outside is the addition of the bike racks; all the bicyclists came to us and said, ‘You’ve got to do something about the bike parking.’ It was in the center [originally], and you had to walk around it, and we have as many as sixty bikes out there in the afternoon. We can accommodate that now. We wanted to be able to better merchandise the collection too, and that’s one aspect that’s been so popular at Council Tree. You’ll see that some of the VKHOYLQJ HVSHFLDOO\ LQ WKH Ă€FWLRQ DQG WKH FKLOGUHQ¡V >VHFWLRQV@ LV ORZHU 7KDW PHDQW

,W¡V EHHQ D GLIĂ€FXOW FKDQJH :H UHRUJDQL]HG WKH VWUXFWXUH ZH JRW ULG RI PDQ\ books. The other change that’s central to all of this [is that] we’ve instituted a ψ RDWLQJ¡ FROOHFWLRQ 7KLV PHDQV WKDW LI \RX ERUURZ D ERRN IURP >WKH@ 2OG 7RZQ Library but you happen to be at Council Tree, you can return it there and it resides on the shelf at Council Tree until someone else checks it out—the theory being that it’s a green practice. We cut out thirty thousand dollars in courier costs, let alone gasoline and our carbon footprint, that type of thing. The other theory [behind this] is that the collections can build based on the interests of the SDUWLFXODU QHLJKERUKRRGÂłDOWKRXJK , WKLQN WKHUH¡V D ORW RI WUDIĂ€F DPRQJ WKH WKUHH buildings. Harmony has less shelf space: we do have a problem of [having to] redistribute books if the shelves get too crowded or for some reason we have twenty copies of Stephen King and none have been returned to Harmony. The books are available and they don’t have to be packed for delivery and be couriered for a day and wait to be shelved. The books are readily available to the public for browsing or borrowing. [All of this] was a change for the staff—especially for [the Old Town Library] VWDIIÂłEHFDXVH VXGGHQO\ WKH ERRNV WKDW WKH\ FRXOG Ă€QG RQ WKH VKHOI PD\ EH located at Harmony or Council Tree. That was a shift, the whole service model. We had lots of training. Council Tree opened with a proactive service model so it wasn’t new to their system. What other changes are coming to the District? $OO WKH GLJLWDO FRQWHQW DQG WKH H%RRNV :H¡YH UHDOO\ KDG WR ORRN DW WKH Ă€QLWH GROODUV ZH KDYH WR EX\ PDWHULDOV DQG Ă€QG PRQH\ WR EX\ H%RRNV DQG GDWDEDVHV and digital content that takes away from the print resources. How do you meet the immediate demand because 80 percent of the public is coming in for the bestsellers or the stuff they see on TV? And so you need multiple copies of high demand items and now have fewer dollars to purchase secondary titles. We can’t be a research library. We can’t spend money on esoteric stuff that might get used once in three years because we have to meet the needs of the majority of people. So that’s been a switch. We are lucky to have Prospector. Also, anyone can get a card at CSU, use their databases, and use their collection. :H¡UH ZRUNLQJ ZLWK RXU WZR DIĂ€OLDWH JURXSV )ULHQGV RI WKH /LEUDU\ DQG 3RXGUH 5LYHU /LEUDU\ 7UXVW WR Ă€QLVK WKH UHPRGHO DW WKH 2OG 7RZQ /LEUDU\ 7KH Ă€UVW component of all this is the plaza area and the street accessibility projects; the plaza is going to have a new look. There will be different grades of cement that will look like waves, like the Poudre River. When you’re inside it looks so new and fresh, and then you step outside and you [see that] the plaza is showing its age— we are going to open it up a little bit. The Annie statue, the railroad dog, is going to get more of a prominent location in the plaza.

Š Ellie Fortune

an  interview  with  holly  carroll,  executive  director  of  the  prld

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With the street accessibility [portion], one of the [current] drawbacks is that there is a sidewalk and parking along the street, but there’s only a small ‘driveway’ to get into the front door, and this is the only public access. People cut paths through the snow or they make their own paths, We’re bringing the sidewalk down to the curb. We’re required by the city to upgrade the handicap access at the corners. There will be more access points to get to the library entrance and the plaza.

We have staff recommending books, we have it on our website. We have author visits. I don’t think libraries are getting credit for our literacy and literary effort. It’s all about the bottom line right now for many publishers, which, unfortunately, is not good for society.

When is this construction going to start?

The public has voted to tax itself [property tax] for library services. Millage varies among districts. Ours is a three-million dollar levy. I’m not sure what the average cost is—I wasn’t here for the campaign. I think the average cost [to the taxpayer] LV DERXW VL[W\ GROODUV D \HDU RU Ă€YH GROODUV D PRQWK $ SHUVRQ ZDV FRPSODLQLQJ about the tax at the recent Friends of the Library book sale. I thought, ‘Five dollars a month, you can’t even buy a large latte [for that amount.’ The millage in the Pikes Peak and Arapahoe districts can be as high as four, four and a half—it just depends on the size of your population and the amount you need to generate to adequately run the library. I think we are very much in the ballpark. This is probably the average tax that the public pays for the price of a library district.

It won’t start until April. The Elks are building two small pieces of the plaza, and they gave us a substantial fund outright. They are building a large checkerboard, and we have chess pieces that were donated by Clothes Pony. We’ll store them at night; it’ll be fun. And the Elks are also building a storytelling tree. There’s a tree with a natural slope [in the plaza], and it’ll just be a shady place for eight or nine kids to gather. The other two big components are the improvements to the diagonal sidewalk, and we’re calling that the ‘bench allĂŠe.’ It’s European because this whole diagonal aspect is historic in nature; a lot of parks in the 1900s had this cut through. So we are going to widen that and make it safer because it can get pretty congested. We are also going to do some grading improvement, because the water collects at that very center of the diagonal sidewalk. We’ll move the memorial benches along side the diagonal to form the bench allĂŠe. We are trying to formalize where the benches will be placed. The formalized diagonal sideway will be more of a gateway into Old Town. The amphitheater, which builds on the natural slope on the north side of the building, will have a stage with electricity. In fact, we are working with the Bohemian Foundation and the Downtown Business Association to make sure that this [setup] will complement NewWestFest. The city is giving us money to complete the [bench allĂŠe and amphitheater] and part of the plaza. We’re really excited to make these improvements.

How much do people pay for the district?

How many employees do you manage? We have about 180 employees, that’s about ninety FTE. We employ many parttime [employees], and about forty full-time. How many volunteers do you have? We have 901 volunteers (working almost 18,000 hours) the equivalent of nine full-time employees. And we have over a million people come through our doors each year. I like to compare that to Rocky Mountain National Park: we do a third of its business.

“I think libraries are becoming more than just warehouses of books.�

What was the reasoning behind putting the vending machines in the front?

— Holly Carroll, Executive Director of the PRLD

What about local writers? What does the library do to engage them?

We had always planned to put something there, and ideally it would be coffee. We ZRXOG UHDOO\ OLNH FRIIHH EXW ZH¡UH GHDOLQJ ZLWK D WKLUW\ Ă€YH \HDU ROG EXLOGLQJ DQG we couldn’t get a water line there without enormous expense. The [basic] idea was to have some food there. It is not all soda and candy—I insisted on healthy stuff. As far as larger trends are going, how do you balance the desire for new technology and eBooks with printed books? I think libraries are becoming more than just warehouses of books. We still have that ‘book brand’ and I doubt we’ll lose that in the near future. But we provide so many other services. [Print media] is really just one of our services. We have databases; much of the information is more up-to-date online than in books. You can buy a book today and it’s out-of-date by the time you get it processed and on WKH VKHOI 6RPH RI WKH UHIHUHQFH LQIRUPDWLRQ QRQ Ă€FWLRQ W\SH LV EHLQJ SXEOLVKHG only in an online environment. We still have a very large reference collection. We’re doing reference at Council Tree without a reference collection. Our staff there is trained to use databases and online resources and for the most part can answer most questions. We buy a lot of reference books online that get updated regularly and are less costly than the print format. And we still are buying lots of ERRNV :H EX\ Ă€IW\ WKRXVDQG LWHPV D \HDU DQG WKDW ZRXOG EH ERRNV DQG '9'V books on CD. We purchase more digital audio and some digital movies [as well]. We’ve been struggling with maintaining a music CD collection because more music is available for download and streaming. A new service we offer is Freegal, ZKLFK DOORZV \RX WR GRZQORDG Ă€YH VRQJV D ZHHN WR NHHS IURP WKH 6RQ\ PXVLF collection. And there are so many online resources like Pandora, where people can get their own [new music]. We’re debating whether to continue to buy music CDs because it’s a niche market now. Libraries change with society. We have an old Carnegie Library [situated next to the Old Town Library]. I have studied pictures of how the old Carnegie was used DQG DGDSWHG EHIRUH WKH FXUUHQW OLEUDU\ ZDV Ă€UVW RSHQHG LQ ÂłDQG D ORW KDV FKDQJHG LQ WKLUW\ Ă€YH \HDUV LQ RQH KXQGUHG \HDUV 7KH OLEUDU\ LWV FROOHFWLRQ DQG LWV IDFH UHĂ HFW WKRVH FKDQJHV , WUXO\ EHOLHYH OLEUDULHV KDYH WR EH DERXW WKH IXWXUH we’re not the sole keepers of information. People used to have to go through libraries and librarians as the intermediaries. We have a lot of competition, and what we know is that many people are not really discriminate about the information they get. The majority of the public, will search using Google and be VDWLVĂ€HG ZLWK WKH Ă€UVW IHZ KLWV WKH PRVW SRSXODU KLWV 6R KRZ GR ZH PDLQWDLQ RXU integrity but provide relevant, up-to-date services in this world? Do you pay a certain fee for eBooks? For Random House, we pay somewhere like 300 percent more for an ebook than for a print book, or what a customer pays for the ebook version. I have the Kindle and I buy copies when I can’t borrow a [print] copy as quickly as I would like. This is why it is so important to anticipate the public’s reading needs, and order print or the eBooks in advance. I still love the smell and feel of print books. 7KDW¡V WKH RWKHU ELJ FRQFHUQ , KDYH 7KH SXEOLF ZDQWV LQVWDQW JUDWLĂ€FDWLRQ DQG we can’t always meet expectations. The Pew Research Institute did a study, and they are saying people who purchase eBooks also borrow eBooks and print books from the library: generally, we all work together to promote reading and help each other. Libraries promote authors and reading much better than Amazon.com or some of the companies do. We provide a venue. We encourage people to read.

We sponsor many writing workshops. We have the NaNoWriMo going on now if you’re familiar with that. We are one of the most successful locations in the nation. This is such a great community: we’re so lucky to have so many writers here. Especially young adult [writers], like Laura Myracle and Laura Resau. Laura Pritchett spoke at the library in September [about] her new book, Great Colorado Bear Stories. We’re open to local authors all the time. We’re close with Old Firehouse Books, and they’ll bring authors in occasionally. They often use our meeting rooms. We provide the venue and then Old Firehouse Books sells copies of the author’s books. It is good for all parties, a win-win. Last night was debate night, but we also showed a webinar of J.K. Rowling and her new book for adults. She gave a lecture, a webcast in our library. We’ve also partnered with CSU; our Friends of the Library group and the CSU Friends group brought Nicholas Carr in recently, and over 550 people attended. What about your bookshelf at home? What have you been reading? I’m rereading The Sparrow by Mary Doria Russell because I’m in a book group. And that’s one of my favorites. She’s from Cleveland and I’ve met her a couple of times. I’ve been reading Louise Penny mysteries, the ones that are set in Montreal. I’ve been listening to CJ Box because I made a presentation in Wyoming recently, so I said, ‘Okay, I’ll listen to some of his mysteries.’ They’re a different side of Wyoming. I’ve recently read The Swerve and the Nicolas Carr book. A lot of my reading has been because of book clubs and author presentations sponsored by the library. But I love to read: that’s why I’m here and that’s why I’m a librarian. Do you read on an eReader? I have a Kindle just because it’s so easy to purchase books, and that’s another controversy. The major publishers do not want to sell their eBooks to libraries because we loan them for free. I think it will end legislatively or judicially because the publisher’s current business model seems to be a monopoly and that is so contradictory to what libraries are about. This is one of the biggest threat to public libraries right now. What would you say is the role of the library? And why is it important that we should continue to support it? I think that a library is a vital part of the community’s infrastructure. We are not an institution, we are part of the family—of the community—and we are thinking about the future with the services and the materials we are providing. We just have to do a better job of marketing what we are all about. There is a nostalgia about libraries surrounding old Carnegie buildings and book mobiles. Those traditional roles of libraries aren’t as relevant today. We provide a place for the community to gather and to learn in various methods. There is a lot of emphasis on passive learning—coming in and having impromptu lectures or group meetings—and about organized programming, or partnering with agencies. We are essential to the community. A community is less rich without a library. I can’t imagine communities existing without libraries. We are here to solve some of the community’s problems: that’s why it’s important to have the staff involved in the community so that the library district is a true partner.

an  interview  with  holly  carroll,  executive  director  of  the  prld

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LOCAL INDEPENDENT PUBLISHERS A

Glimpse into the

Unique Array of

Local

Independent Publishers By Molly McCowan

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Bailiwick Press

Bailiwick is:

Karla Oceanak, Founder and Author Kendra Spanjer, Illustrator Launie Parry, Designer RenĂŠe Becher, Jill of all Trades Their Mission: “To produce books that kids love to read. Books that teach, inspire and delight. Books that will be equally at home in the classroom as they are on kids’ nightstands.â€? Five Adjectives to Describe Their Publications: Hilarious, smart, child-focused, allusive, celebratory. About Bailiwick Press: Bailiwick Press is a Fort Collins-based book publisher that focuses on children’s literature and is locally renowned for its award-winning “Aldo Zelnickâ€? series. The Aldo Zelnick books start with the letter ‘A’ and will HYHQWXDOO\ JR DOO WKH ZD\ WR Âś= ¡ 7KH Ă€UVW ERRN LQ WKH $OGR =HOQLFN VHULHV Artsy Fartsy, won the Colorado Book Award and the Mountains & Plains Independent Booksellers Association Regional Book Award in 2010. The books currently available are Artsy-Fartsy, Bogus, Cahoots, Dumbstruck, Egghead, Finicky, and Glitch. Bailiwick Press was founded in 2009 by a “dream teamâ€? of talented friends: Karla Oceanak, Kendra Spanjer, and Launie Parry. They are the only publishing company in the world to be founded and owned by three women with their particular VNLOO VHWV 7KH\ GLVSOD\ D SDOSDEOH FKHPLVWU\ Ă€QLVKLQJ HDFK RWKHU¡V VHQWHQFHV DQG ODXJKLQJ FRQVWDQWO\ 7KH DWPRVSKHUH RI %DLOLZLFN¡V RIĂ€FHV WXFNHG LQVLGH DQ LQYLWing house-turned-studio located at 309 East Mulberry Street, is cheery, colorful, and creative. Oceanak and her team are passionate about the impact that books have on child literacy. “In today’s digital world, the act of reading is increasingly fragmented,â€? Oceanak says. “While we believe that all forms of literacy are essential, we also believe that books provide children the cognitive challenge they need to construct meaning from fully-developed stories. And best of all, books delight!â€? Bailiwick Press’ publications are distributed by the Independent Publishers Group ,3* ZKLFK PDUNHWV VHOOV DQG IXOĂ€OOV ERWK 1RUWK $PHULFDQ DQG LQWHUQDWLRQDO orders for them. A publisher in Israel recently translated Artsy Fartsy into Hebrew, and Korean publishers are also interested in the series. The staff of Bailiwick Press often visits local schools to interact with kids and speak to them about the importance of reading. “I think I would feel gypped if I didn’t get to go talk to kids about our books or what they read or what they think,â€? Oceanak says. “I would be unhappy in a room all by myself writing these books and not trying to connect as much as possible with the kids [who are] reading them.â€? Spanjer says, “Another reason that we visit schools is to be ambassadors for the message that says, ‘Look, there’s plenty of stuff out there for you to read. If you’ve found something that you like to read—even if it’s not a book—just keep reading it!â€? <RX FDQ Ă€QG %DLOLZLFN 3UHVV¡ ERRNV DW PRVW PDMRU ERRN UHWDLOHUV LQFOXGLQJ Barnes & Noble and Amazon.com, and also from their website, www.bailiwickpress. com.

On The Challenges They Have Faced: Oceanak: “We’re tiny little minnows playing in a giant ocean right now. Not many SHRSOH DV VPDOO DV ZH DUH JHW WR SOD\ LQ WKDW RFHDQ 6R LW¡V H[FLWLQJ DQG Ă DWWHULQJ EXW LW¡V DOVR YHU\ UHDO LQ WHUPV RI >RXU@ Ă€QDQFLDO LQYHVWPHQW DQG UHSHUFXVVLRQV )RU H[DPSOH ZKHQ %RUGHU¡V Ă€OHG IRU EDQNUXSWF\ WKH\ KDG DERXW RI RXU ERRNV that we didn’t get paid for.â€? Spanjer: “The whole world of industry people who are industry-related journalLVWV RU LQGXVWU\ UHODWHG UHYLHZHUV HWF GRQ¡W WDNH WKH ÂśOLWWOH Ă€VK¡ VHULRXVO\ QR PDWter how good their product is. They either don’t notice us or, because we’re not coming out [of] a major publishing house, we don’t exist. It’s the ‘vegetable of the day’ on your plate—if you don’t try it, you’ll never know if you like it.â€?

On the Joys of Their Work: Spanjer: “One time we were visiting a Title I school in Cheyenne that had been able to buy every child in the school a book. For some of the kids, this was the only book they owned, and they would hug it and say, ‘I’m going to take such good care of this book! I love this book!’ There was this one little girl who ran up to us as we were leaving and said, ‘I just wanted to tell you that besides God and my parents, you are the best people ever.’�

On the State of Publishing Today: Oceanak: “The publishing industry is experiencing a transformation. Small presses and self-publishers DUH FUHDWLQJ ERRNV E\ WKH PLOOLRQV DQG ODUJH SXEOLVKHUV DUH Ă€QGLQJ WKDW WKHLU VWUXFWXUHV DQG RYHUKHDG DUH no longer sustainable. It’s an exciting—and dizzying—time for anyone who loves books.â€?

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Mud Luscious Press Mud Luscious Press is:

J. A. Tyler, Founding Editor Andrew Borgstrom, Associate Editor Corey Zeller, Associate Editor Ben Spivey, Co-Founder of Blue Square Press, an MLP imprint David Peak, Co-Founder of Blue Square Press, an MLP imprint Mud Luscious Press’ Mission: “To publish raw and aggressive works of (typically) shorter lengths, particularly those that challenge the border between poetry and prose.â€? Five Adjectives That Describe Mud Luscious Press: Raw, aggressive, demanding, powerful, poetic. About Mud Luscious Press: J.A. Tyler founded Mud Luscious Press (MLP) in 2007. Initially, MLP consisted of solely an online-only quarterly magazine, but it soon moved onto producing poetry chapbooks—publishing over sixty different titles by sixty different authors until MLP stopped making chapbooks in 2011. In 2010, MLP began producing perfect-bound books in its Novel(la) series. They have published nine novel(la)s, two anthologies, and six titles under their new LPSULQW 1HSKHZ ZKLFK IRFXVHV RQ VOLJKWO\ VKRUWHU OHVV UHĂ€QHG PDQXVFULSWV ,Q addition to Nephew, MLP has also spawned a second imprint: Blue Square Press (BSP). BSP was already an established indie press, but their inventory and values were so similar to MLP that the two presses eventually decided to team up and combine readerships. Tyler started MLP for an unusual reason: to become a better writer. “As a new writer and not-yet-editor, I was having trouble getting myself to read more online literature,â€? he says. “I started to wonder, ‘How do I read better so that I can understand what I’m doing right and wrong in my own writing?’â€? Tyler chose the name “Mud Lusciousâ€? (a line from the e.e. cummings poem, “[in Just-]â€?) to invoke the sensibility that the work that MLP prints is “not as easy to digest as a simple, straight narrative.â€? What Tyler is searching for in a manuscript is a rare combination of beauty, overarching theme(s), aggressiveness and rawness. “I always joke with people, and there is some seriousness there as well, that I want people to choke on our books a little bit,â€? Tyler says.

Tyler is also very focused on ensuring that the process is rewarding for the authors. “I love our books, and I love the authors who do the work,� he says. “Knowing that they’re getting readers and distribution—and that they’re happy with how their book looks, which is really important—is the biggest thing that puts a smile on my face. Because we’re really centered around them�

Surprisingly enough, Tyler never had to invest his own money into MLP—besides the initial $15 to launch a new website, that is. “As long as people keep buying our books, we’ll keep making new ones,� he says.

0/3 QRZ IRFXVHV VROHO\ RQ WKH 1RYHO OD VHULHV WKH ÀQDO LVVXH RI WKH RQOLQH quarterly magazine was published in July 2012. All issues of the magazine are available at the MLP website, www.mudlusciouspress.com.

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Margins Magazine

Margins is: Jordan Twiggs, Publisher & Designer Laurel Baltic, Editor in Chief

Margins’ Mission: “To put the task of editing in the hands of the reader. We want to be a publication that bridges the gulf between writer and reader, artist and viewer, creator and seer.â€? Five Adjectives That Describe Margins: Fresh, inventive, challenging, open, expectant. About Margins: Margins is a brand new quarterly literary, art, and design maga]LQH ZLWK D YDU\LQJ WKHPH 7KH YHU\ Ă€UVW LVVXH RI WKH PDJD]LQH FHQWHUV RQ WKH theme of “Nostalgia,â€? and will be published in January 2013. Margins was the brainchild of Jordan Twiggs, and the seed of its creation was planted during a moment of frustration at a local Town Hall meeting. Twiggs regularly attends Town Hall meetings because he enjoys the platform that it lends towards constructive criticism and interesting discussions. The topic of this particular evening revolved around food, and the conversation quickly steered into what Twiggs describes as “woe is meâ€? territory. As participants began to morosely list the hardships involved in creating sustainable food production (it’s QRW HFRQRPLFDOO\ YLDEOH LW¡V YHU\ GLIĂ€FXOW WR VWDUW XS HWF -RUGDQ¡V LUULWDWLRQ ZLWK the lack of communication about the ways to move forward grew. “I thought, ‘I know! I know!â€? he says. “But the system’s not working for us currently, so how do ZH Ă€[ LW?â€? Twiggs felt that there were probably people in the room who could lend ideas or bring their own expertise to the problem, but they weren’t speaking up. He decided to do something about it: he would create an open platform that invited thoughtful discussion, conscious thinking, no-holds-barred idea exchange, and creativity. “This magazine isn’t supposed to be about getting famous or bragging that you’ve been published,â€? says Twiggs. “It’s about being really honest, in the face of the immense risk that someone is going to read what you say and respond to it, positively or negatively. That’s the challenge we should always be pushing for, and the central goal of Margins.â€? Laurel Baltic, Margins’ Editor in Chief, came on board soon after speaking to Twiggs about his vision for the magazine. She was drawn to the idea that a magazine could serve as an exchange, or a multi-dimensional conversation. “Often, when things are published in a literary magazine it represents the end of the creative process,â€? says Baltic. “We imagine that the physical artifact, whether it’s a picture or a piece of writing, should actually be a bridge between the creator and whoever is seeing it or reading it. We want our readers to feel encouraged to engage with what they’re reading: to talk about it with others, to write in the margins, etc.â€? The physical design of Margins is consciously laid out with large spaces around the text (hence the name Margins), which will encourage readers to write in their own notes and thoughts, doodle, mark up the text itself with a red pen, and interact with the text in a way that is usually discouraged. To submit your own writing/questions/ideas to Margins Ă€QG RXW PRUH DERXW them and/or donate to their Kickstarter and Community Funded campaigns, visit www.inthemargins.org.

Acupuncture  -­  Chinese  Herbs Massage  -­  Qigong  -­  Diet  Therapy Â

Photography Credits: Devin McDonald, Tomas Herrera, Jordan Twiggs

On Self-Publishing

On Reading Online:

7ZLJJV ´6HOI SXEOLVKLQJ LV DEVROXWHO\ QHFHVVDU\ /LNH DQ\ Ă€HOG WKH OHVV GLYHUVLW\ of action and creativity, the less diversity of product. If only one publishing company is responsible for all of our literature, the scope of content and ideas becomes more and more limited. The more points of view on display, the better we can examine them and choose the ones that are the most poignant or confrontational or inspiring.â€?

Twiggs: “There’s a lot of distraction going on. It’s so easy to click through from one article or story or photograph to the next that we don’t give ourselves time to let the aesthetics and the concepts sink in. We’re being less and less engaged with and critical of what we see. That tendency toward a sleep state is not just boring, it’s dangerous. But, the Internet is also a fantastic way to connect and discover people and things and ideas you wouldn’t normally.�

On the Best Place to Read: Twiggs: “In a cabin in the woods. In a big leather chair. With a beer. Candles are lit. While Tchaikovsky is playing...that last part is optional.�

                                                                                                      matterhorn

Green Fuse Poetic Arts Association is: Katherine West, Senior Editor Jeff Finer, Consultant Pat Maslowski, Series Editor, Grandmother Editions Claudia Van Gerven, Series Editor, Grandmother Editions Lexy Stevens, Assistant Editor, General Submissions

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Green Fuse Poetic Arts Association

Their Mission: “To nourish grassroots writers through small press publications, workshops and readings, and to connect grassroots writing with its community.â€? Five Adjectives to Describe Their Publications: Artistic, compelling, moving, authentic, human. About Green Fuse Poetic Arts Association: Founded in 2005 by Katherine West, the Loveland-based Green Fuse Poetics Arts Association (GFPAA) was the realization of West’s desire to give local writers a way to share their work ZLWK WKH ZRUOG $ QRQ SURĂ€W RUJDQL]DWLRQ *)3$$ SXElishes a wide variety of creative writing, including poetry FKDSERRNV IXOO OHQJWK ERRNV RI SRHWU\ Ă€FWLRQ PHPRLU and more. GFPAA currently has two main publishing branches: a general branch and another branch called Grandmother Editions. Grandmother Editions SXEOLVKHV VKRUW HGLWLRQV RI SRHWU\ Ă€FWLRQ PHPRLU FUHDWLYH QRQĂ€FWLRQ DQG SURVH SRHWU\ E\ ZRPHQ ´RI WKH ZLVGRP \HDUV Âľ :RPHQ need not be actual grandmothers to submit their work, but the branch focuses on spreading the voice and knowledge of women from the “wiseâ€? generations. West believes that “a reading is the best way to serve poetry. Even better than a publication,â€? and GFPAA displays this philosophy by holding regular ensemble readings that showcase their writers. GFPAA also sponsors critique and open mic groups, and hosts non-local authors in facilitated workshops. GFPAA has members from all over the country, and they send a free GFPAA publication to everyone who joins or donates to the organization—thus “spreading the wordâ€? about the writing talent in the Northern Colorado region. As an unwavering supporter of the creative arts (West is a poet herself, and her husband, Jeff Finer, is a musician), West feels that the general public is quite aware of what independent publishers bring to the equation. “The most interesting writing in the country comes out of the small press community,â€? she says. “These are not the homogeneous voices you hear coming out of the big publishing houses. Each book has its own style, and most of them are a very good read—dynamic, exciting, compelling.â€? :HVW VWUHVVHV WKH LPSRUWDQFH RI WKH SXEOLF VXSSRUWLQJ LQGHSHQGHQW SXEOLVKLQJ RQ D Ă€QDQFLDO OHYHO DV ZHOO ´7KH SXEOLF QHHGV WR JHW EHKLQG buying literature, or one day WKH\ ZLOO WXUQ DURXQG DQG Ă€QG HPSW\ VKHOYHV DURXQG WKHP Âľ VKH VD\V ´3HRSOH ZLOO VSHQG KXQGUHGV RI GROODUV JRLQJ RXW WR HDW EXW WKH\ ZRQ¡W VKHOO RXW Ă€YH RU WHQ GROODUV for a distinctive book.â€? Find GFPAA online at www.greenfusepoeticarts.org, ZKHUH \RX FDQ VLJQ XS IRU WKHLU HPDLO QHZVOHWWHU VXEPLW \RXU ZRUN DQG Ă€QG RXW DERXW WKHLU QH[W UHDGLQJ RU ZULWLQJ workshop.

On Self-Publishing: West: “It’s always good to open up a way for the sharing of stories, but the quality of self-published books, and even some small press books, is appalling. %RRN PDNLQJ LV DQ DUW 1RW HYHU\RQH LV TXDOLĂ€HG WR GR LW 0\ DGYLFH WR WKRVH ZKR ZLVK WR VHOI SXEOLVK RU HYHQ WKRVH ZKR ZLVK WR VWDUW D PLFUR SUHVVÂŤ is‌get an editor! Get an artist! Make a community that includes individuals with experience in these areas. This blindness is an extension of what is happening with literature as a whole and poetry in particular; people have come to believe that poetry and journaling are the same—just pick up a pencil and you’re a poet. The same with making books. Just round up some friends with a little ambition and a lot of unpublished words and that makes a press. Is this true of music? Is this true of painting? Musicians and painters study for decades. Words are art too. We must respect those who put in the time to nurture their art form. We must respect those who put in the time to develop a means of presenting that work that is worthy of it.â€?

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