Writing Well Will Cost You

I’ve never been a wake-up-at-five-in-the-morning-and-write-every-day kind of gal. I have nothing but admiration for people with that seat-of-the-pants-to-the-chair discipline, but that’s never been me. Instead I tend to wait — to cogitate and agitate — until I absolutely must put something on paper, until, whether because of an imposed deadline or internal pressure, it’s simply imperative. Partly, this is because I work two jobs and have two kids, but that’s not the whole story. I’m sure that given infinite free time, I’d be more productive on the page than I am now, and I’m equally sure that I’d still find myself procrastinating and sometimes “blocked.”Procrastination, in its weird way, is part of the process. While I’m procrastinating, I’m never really free of the task; I’m turning the creative problem over and over in my mind, consciously and unconsciously, reformulating the terms. At some level I am saying no to the easy, knock-it-out solution, the tired-and-true, the familiar. I might not be typing words on a keyboard, but something is marinating.

At a certain point, however, procrastination can morph into all-out blockage, silence, the freeze every writer dreads. Writer’s block issues out of fear — but of what? Some people speculate that it’s fear of failure (the story in your head is never as good as the one on the page, and what with Goodreads, Amazon, and BN.com, there have never been more critics). Others assert that the deeper fear is of success (i.e. a critical or commercial success in the marketplace might mess with your familiar low self-esteem or force other changes in your life). My gut feeling is that it’s something else: Writer’s block stems from fear of what might appear on the page if you’re writing honestly, if, as a teacher of mine used to say, “you have your pencil in the right place,” if you are writing toward jeopardy.

Writing well is a destabilizing act. A comfort read reinforces the readers’ and writer’s mutually agreed-upon ideas of how the world works, and it has its place; it’s entertainment. But literature challenges our fondest beliefs — about the world, about other people, about ourselves. It is mind-altering. Its creation transforms the writer, however subtly, and every revision is a revision of the writer’s intellect, the writer’s memory, the writer’s relationship to self. When you are writing well, when you are solving a creative problem with a new and strange and unforeseen solution, there is every possibility that it will scare the hell out of you. This is the bad news and the good news. This is also, of course, why we do it: We might learn something true.

Writing well will cost you. So how do we avoid being paralyzed by fear? I wish I knew. My best shot to date is to trick myself, even though I should and do know better, into writing “just a few sentences.” I know full well that “just a few sentences,” if they are good ones, creates an entryway into a world, one this is full of promise and terror, and from which there might be no turning back. I also know that pretty much every time out I hit “the wall” at what turns out to be roughly the three- quarters mark of whatever I am writing. I become convinced the whole enterprise is a failure, I’ve wasted my time, and there is no way through to completion — at which point I have to procrastinate some more, until I find a little opening, a pinpoint of light in that brick edifice. A flaw through which to chisel. To recognize a challenge is not the same thing as to overcome one, but it’s a start. I sometimes refer to awful drafts of work that eventually succeeded as a reminder that this too shall pass, that no wall is impenetrable.

Prediction isn’t my strong suit, but it’s a safe bet that I’ll never be known as prolific, and I don’t think I want to be. Every book, every story, every essay I have written has changed me in some way, even this one. The fear doesn’t go away, and it shouldn’t. But the fear of the fear abates — sometimes we even grow nervy with fear — and the faith that the work is worth it abides.

David Hoenigman

DAVID HOENIGMAN was born and raised in Cleveland, Ohio, but has lived in Tokyo, Japan since 1998. He is the organizer of Tokyo’s bimonthly PAINT YOUR TEETH, a celebration of experimental music, literature and dance. Hoenigman regularly interviews avant-garde writers for the online journal, WORD RIOT. He is currently working on his second novel, Squeal For Joy, forthcoming from Jaded Ibis Press.


“A perfect rondel.” –Terese Svoboda, author Black Glasses Like Clark Kent

“I like the obsessive quality of the writing and the way certain images or sentences seem to burst out of the background with a kind of eerie, insistent resonance. It’s like the emotional equivalent of the sensation of a phantom limb”* –Dawn Raffel, author of Carrying the Body

“Hoenigman’s terse, staccato prose is the language of consciousness, and his book not so much anti-narrative as true to the realities of one’s inner sense-making, true to the convoluted and seemingly disparate tales we tell ourselves. In short, Burn Your Belongings is a well-crafted and adventurous book from what is undoubtedly a writer of great promise.”  – Gary J. Shipley, Word Riot

David Hoenigman Books

burn your belongings
a novel by
david hoenigman“destined for cult status.”
– Alex Martin, Outsider Writers CollectiveART: orginal images by Yasutoshi YoshidaSOUND: original music by Yasutoshi Yoshida – LISTEN NOW“David Hoenigman’s Burn Your Belongings is a dense narrative of choppy sentences that elude the human desire for story at almost every turn. When read aloud, mantralike, the thick walls of text take on the feel of religious chant, a prayer to weariness and sickness and anxiety. At other times, they flutter with moments of happiness and love, and feel exponentially more like real life than anything Hemingway or any naturalist ever put to paper. In the margins of each page is a different vibrant color collage by Yasutoshi Yoshida. … The collages add another layer, another conversation, to the book.”
– Paul Constant, book critic for The StrangerBurn Your Belongings slowly, relentlessly builds the emotional ebb and flow of a love triangle over a period of months, perhaps years. Every fear, joy, doubt, hatred, desire and elation manifests through a litany of interior monologues – from the mundane to the profound and always beautifully lyrical. The accretion of imagery and often frighteningly stark examination of Self and Other create a transformational emotional experience. Hoenigman’s brilliance is his ability to transfer language to the reader so that by novel’s end, the feelings and observations of the characters become not their memories but the reader’s own.
Three illustrated editions available
Black and White
A hand-carved, hand-painted 2-foot length of mako bamboo contains the text and images of Burn Your Belongings printed in color on a double scroll.


A hand-carved, hand-painted 2-foot (approx) length of mako bamboo contains the text and images of Burn Your Belongins printed in color on a double scroll. The effect is a beautiful art object that might have been made long ago by someone in a Japanese village. A matchbook bearing the book’s title is fitted into a carved niche in the cork top. Hoenigman lives and works in Tokyo, the setting of Burn Your Belongings. Tokyo artist, Yasutoshi Yoshida, is a renowned Harsh Noise musician and record producer whose collage influences stem primarily from art brut. The book’s narrative exemplifies the intersection of old and new that still exists in Japanese culture, as well as the role of the American outsider situated in the insider world of Tokyo; thus the design of inside vs. outside. Moreover, to read the scroll one must “pile” the pages in a flowing heap, just as the author’s innovative narrative lyrically piles sentence upon sentence upon sentence to create not so much an obvious plot but rather a flowing experience so intense that it feels as much physical as intellectual. The intent is also to emphasize the delicacy of language – its mutability and potential dissolution – by printing the text and art on Japanese sumi paper. Approximate size: 2′ (height) x 7″ (diameter). Scroll approx. 190 feet long.

PRICE: $8500.00 Because our limited edition fine art books are handcrafted, each will vary slightly. Special order only. Allow 8-10 weeks. Email us to order now.Or buy now through Paypal. (We are a Verified Seller)

Tom Bradley (text) + Nick Patterson (art)

Tom Bradley taught British and American literature to Chinese graduate students in the years leading up to the Tiananmen Square massacre. He was politely invited to leave China after burning a batch of student essays about the democracy movement rather than surrendering them to “the leaders.” He wound up teaching conversational skills to freshman dentistry majors in the Japanese “imperial university.” Tom is a former lounge harpist. During his pre-exilic period, he played his own transcriptions of Bach and Debussy in a Salt Lake City synagogue that had been transformed into a pricey watering hole by a nephew of the Shah of Iran. Family Romance is Tom’s twentieth published book

Nick Patterson is a visual artist whose love of twisting minds and turning heads has lead him to explore all the darkness the human experience can muster, through high contrast ink drawings. With no official training in the visual medium, Patterson’s art is loosely tethered to reality, although it is very detailed. His inspiration is drawn from an amalgam of cartoons, comics, and movies. Carrying a sketchbook with him everywhere, he lets no flicker of imagination escape. Nick Patterson’s art has been published in several small magazines and novels. He currently lives in a city full of flowers on the western edge of Canada.
Tom Bradley (text) + Nick Patterson (art) Profile
“exasperating, offensive, pleasurable, and brilliant…it might well be genius”
Family Romance a novel by nick patterson (visuals)and tom bradley (verbals)

“It’s a monstrosity of the imagination as if a Burroughs virus hijacked the machinery of Finnigans Wake and replicated itself as a litera-teratus. Illustrator Nick Patterson joins Bradley in the procedure with ninety disturbing images of Bosch-like detail you don’t want to see on the way home from your local head shop.” —by John Ivan-Palmer, Exquisite Corpse

“Tom Bradley is one of the most exasperating, offensive, pleasurable, and brilliant writers I know. I recommend his work to anyone with spiritual fortitude and a taste for something so strange that it might well be genius.”
—Denis Dutton, Arts & Letters Daily

“I tell you that Dr. Bradley has devoted his existence to writing because he intends for every center of consciousness, everywhere, in all planes and conditions (not just terrestrial female Homo sapiens in breeding prime), to love him forever,
starting as soon as possible, though he’s prepared to wait thousands of centuries after he’s dead.” —Cye Johan, Exquisite Corpse Journal

“The contemporaries of Michelangelo found it useful to employ the term ‘terribilita’ to characterize some of the expressions of his genius, and I will quote it here to sum up the shocking impact of this work as a whole. I read it in a state of fascination, admiration, awe, anxiety, and outrage.” – R.V. Cassill, editor of The Norton Anthology of Fiction

Rick Whitaker

Rick Whitaker is the author of Assuming the Position: A Memoir of Hustling and The First Time I Met Frank O’Hara: Reading Gay American Writers. He is Concerts and Theatre Manager of The Italian Academy at Columbia University, New York.

Rick Whitaker Books

Goodreads Book Giveaway

An Honest Ghost by Rick Whitaker

An Honest Ghost

by Rick Whitaker

Giveaway ends September 30, 2013.

See the giveaway details
at Goodreads.

Enter to win

“He has put the force back into tour de force.

— John Ashbery


An Honest Ghost

a novel by

Rick Whitaker


“Whitaker proves that fiction is better than life—more interesting, much more thrilling”
— Edmund White

“Sheer genius…a uniquely gripping read.”
— Jenny McPhee

“An Honest Ghost is brilliantly conceived and brilliantly performed.”
— Adam Phillips

“Whitaker has performed such a work of genius and pushed it ad absurdum”
— Filip Noterdaeme

About the Book

Within the binary world of coded zeros and ones arises a choir of disembodied literary voices, from William Shakespeare to J. D. Salinger, Gertrude Stein to Susan Sontag, Djuna Barnes to Don DeLillo, and hundreds between and beyond.

Published as an interactive iBook as well as a paperback and ebook, Rick Whitaker’s semi-autobiographical novel, An Honest Ghost, consists entirely of sentences appropriated from over 500 books. Whitaker limited himself to using 300 words per book (in accordance with Fair Use); never taking two sentences together; and never making any changes, even to punctuation. In the iBook version, touching a sentence brings up its original source: a book’s title, author, and page number.

The experience of acknowledging each sentence as literary artifact, combined with the imagined accretion of books that built An Honest Ghost, deftly mirrors the burgeoning nostalgia in the narrator’s voice and, fittingly, in the careful reader’s heart.


More Praise for An Honest Ghost

“Reading An Honest Ghost is an exhilarating, percussive experience, proof that literature is capricious and exalted.  I felt like a grand piano some eccentric musician was playing, someone who knew all the composers and couldn’t stick to one for more than a minute. People always praise fiction for being lifelike but Whitaker proves that fiction is better than life—more interesting, much more thrilling, though it is inhabited by posturing, irresponsible, self-dramatizing characters…. The tension and excitement of this prose, constantly buffeting the reader, derives from all the different and unique authors who have contributed to it.”
— Edmund White, author of Jack Holmes and His Friend, My Lives, and A Boy’s Own Story

“Like an Italian micromosaic, whose infinitesimal ceramic tesserae generate an unearthly glow just by being in close proximity to each other, Rick Whitaker’s An Honest Ghost is both narrative and objet, a singular work of art whose singularity keeps beckoning to the reader. He has put the force back into tour de force.
— John Ashbery, poet, Self-portrait in a Convex Mirror, Illuminations: Arthur Rimbaud (tranls.), and Collected Poems 1956-87

“An Honest Ghost is brilliantly conceived and brilliantly performed.”
— Adam Phillips, author of Missing Out: In Praise of the Unlived Life and On Kissing, Ticklingand Being Bored

“An Honest Ghost is sheer genius, the uber novel, the ultimate palimpsest. It is a writer’s truth and a reader’s dream. Above all, it is a uniquely gripping read.”
— Jenny McPhee, author of A Man of No Moon and No Ordinary Matter

“I am struck by how deeply personal this book feels, even revelatory, as if the author had solicited other voices to perform an autopsy on his most private, intimate self.  And of course, I relish in this paradox which debunks all conventional notions of authorship, authenticity, identity and even language. What is remarkable is how Whitaker has performed such a work of genius and pushed it ad absurdum: the extreme bending appears effortless and forms a perfect circle, wherein full authorship of book, i.e. all the citations at the end of the book, are truly at the discretion of the reader, with all the responsibilities, pangs and joys this entails.  This time, Whitaker is asking us, readers, to assume the position!”
— Filip Noterdaeme, artist and author of The Autobiography of Daniel J. Isengart

Janice Lee

Janice Lee is a writer, artist, editor, and curator. She is interested in the relationships between metaphors of consciousness and theoretical neuroscience, and experimental narrative. Her work can be found in Big Toe ReviewZafusyantennaesidebrowAction, YesJoyland,LuvinaEveryday Genius, elimaeBlack Warrior Review, and elsewhere. She is the author of KEROTAKIS (Dog Horn Press, 2010), a multidisciplinary exploration of cyborgs, brains, and the stakes of consciousness; and a chapbook Red Trees. She holds an MFA in Creative Writing from CalArts and currently lives in Los Angeles where she is co-editor of the online journal [out of nothing] and co-founder of the interdisciplinary arts organization Strophe.

autopsy kit03

FINE ART LIMITED EDITION: An autopsy kit containing handcrafted surgical tools and various medical artifacts, including casts of octopi body parts in apothecary bottles. The kit is an aged wooden box with a secret compartment containing the novel printed on transparent “skin” and laid upon a bed of sand. Contains flash drive with soundtrack,Monster,” by Resident Anti-Hero. $10,000, by special order only. Contact us for information.

Janice Lee Books


Color Edition with Holga photographs by Rochelle Ritchie. (Click to buy book now.)





Black and white edition. (Click cover to buy now.)

“Janice Lee is a genius.”

—Eileen Myles, author of Inferno (a poet’s novel)

SOUND: Original music by Resident Anti-Hero
THE STORY: In Daughter, a daughter/doctor encounters the dead body of an octopus in the desert, perhaps the corpse of a lost god, and through her study of his physical organs, sheds more light on her relationship with the world at large. What is it like to be a daughter? What is it like to be God?, the text asks, intuiting implications of the consciousness of God and of the hermetic vessel that is narrative itself, while  revealing the sanctity of living, the unholy holiness of strange encounters, and the hidden mysticism of language.
“Daughter is quantum.  There is a girl, there is an octopus, there is language — in minimal bursts of physical intensities, their magnitude measured in intimate discretes. Janice Lee’s prose is energy transfer of the elementary particles of the matter of language.  There is a girl, there is an octopus, there is language, understood at the infinitesimal level.  No other book ever written has entered my body and being so physically pure.  There is not distance between the state of narrative and the matter of being.  I turn the page of her body.”
—Lidia Yuknavitch, author of The Chronology of Water and Reel to Reel

“Daughter, the new volume by Janice Lee, seems to rise as intuitive quantum ascent. It is praxis of the marred, of the seemingly uneven. Janice Lee understands that writing cannot exist as narrative outcome. In Daughter there is reckoning with the cosmos as phantom, as something that does and does not exist. Energies appear by means of paradox and evaporation.”
—poet Will Alexander, author of The Sri Lankan Loxodrome

In Daughter, Janice Lee floods the body of a book with the body of a body, all its hybrid, constantly damaging and mending cells. From field to field among the pages we are subject to a brain-damaged, collide-o-scopic file of some internet-age Acker’d Frankenstein having lived to see god die; and yet still must go on walking in the deity’s corpse, inside of which the billion bodies in such image have built our huts of shit and shit inside them. “The sea is a mysterious force, but there is no sea in the desert,” she writes, prodding at the hole left in the fabric on the earth between the homes: another phantom in a field of phantoms who themselves have again died. The result is a meticulous and terrifying resurrection, a glitchy screamtext passed in dire silence to the reader the way blood passes from mother into child.

Each year in the U.S. alone hundreds of thousands of new titles are published by traditional printing methods; that is, in bulk quantities. An average of 150,000 multiplied by an average print run of 5,000, multiplied by an average of 200 pages per book equals nearly 150 Billion (150,000,000,000) pages annually, plus book covers and jackets. This situation is similar to trading robots where new ones are coming up every day. Only the authentic last while the fake and scam disappear but only after using up a lot of energy and conning several innocent people. It is important to determine which is fake and real, take bitcoin loophole and check it out at https://top10binarydemo.com/system-scam-reviews/bitcoin-loophole/

Half of these books will be returned to their publisher and destroyed or liquidated. Those that cannot be liquidated will also be destroyed.

—Blake Butler, author of There is No Year

The word “monster” derives from Latin monstrum, an aberrant occurrence, usually biological, that was taken as a sign that something was wrong within the natural order. (Wikipedia) As Janice Lee proves, the same is true for daughters. Lee’s surgical cadences and sharp fragments work here as writing will work-to force attention to detail. Which is the unnatural order of things.
—Vanessa Place, author of La Medusa and Dies: A Sentence

Jan Millsapps

Jan Millsapps is a pioneering digital filmmaker, an early web innovator, and a versatile and accomplished writer. She has produced films, videos, digital and interactive cinema on subjects ranging from domestic violence to global terrorism, and has published in traditional print and online venues. As professor of cinema at San Francisco State University, she teaches courses in digital cinema, interactive cinema, web cinema and short format screenwriting. She earned her B.A. with honors in Creative Arts at the University of North Carolina at Charlotte; her M.A. in English at Winthrop University; and her Ph.D. in Rhetoric and Composition at the University of South Carolina. She also holds an academic certificate in cosmology.

Jan Millsapps Books


Venus on Mars will be published in multiple editions, including interactive multimedia iBook, ebook, full-color print, black and white print and fine art limited edition.

“a profound story full of
heart, wonder and wisdom”

—Harriet Ellenberger, Co-Founder and Co-Editor of Sinister Wisdom

Venus on Mars

a novel by Jan Millsapps

“Three women – three generations – all linked by a mysterious journal, one man, and the enigmatic planet Mars. With great imagination and a lyrical flair, Jan Millsapps has fashioned an engaging tale about finding your place in the cosmos.”
—Marcia Bartusiak, author of The Day We Found the Universe

”In a style that recalls the haiku imagery of Basho and the laconic economy of Hemingway, Millsapps writes across the unbounded interplanetary gulf that separates Earth from the brooding red planet Mars and intermingles the lives of three generations of women trapped in an involuntary struggle for gender equality that persists, even in the halls of haute science. Millsapps has a literary gift in her ability to bring the reader inside the eyes and mind of her characters. Every word is carefully crafted and delicately placed, every page magical to read. Even if the reader knows nothing about astronomy, Venus on Mars is a feast.
—Dana Berry, producer of Hubble’s Amazing Universe, Finding the Next Earth, and Emmy-nominated Alien Earths; author of Race to Mars and Smithsonian Intimate Guide to the Cosmos


Summer 1971. A lone spacecraft is on its way to Mars. Meanwhile Venus Dawson heads toward Pasadena – and back to her job at the Jet Propulsion Laboratory, where confidence is high among rocket scientists that the red planet will soon reveal its secrets.

Venus is in no hurry. Her male colleagues make lewd jokes about her, enter her in beauty contests against her will, and encourage her to wear her miniskirts even shorter.  So she dawdles as she drives, examining the journal she’s just inherited, written by her Great Aunt Lulu, secretary “with benefits” to a famous astronomer, and a woman who gazed at the red planet through a giant telescope long before women were allowed to do such things.

The clever JPL scientists are certain their new spacecraft will discover evidence of life on Mars, but Venus finds it first – on the pages of Lulu’s journal. But before she can use this information to level the workplace playing field, a cosmic misstep strands her at Lulu’s old haunt, Lowell Observatory in Flagstaff. Venus must navigate the Victorian era and the space age simultaneously to claim her place in an expanding universe.

In this stylish and edgy novel, author Jan Millsapps deftly teases the female experience out of a history of mostly male astronomers and rocket scientists, and tells a mesmerizing story about generations of women struck by the stars.

Elizabeth J. Colen

Elizabeth J. Colen was born in the Midwest, raised in the Northeast, has lived in the Southeast, and currently makes her home in the Pacific Northwest. She is the author of Lambda Literary Award nominated prose poetry collection Money for Sunsets (Steel Toe Books, 2010) and flash fiction collection Dear Mother Monster, Dear Daughter Mistake (Rose Metal Press, 2011), and a recipient of the Nelson Bentley Fellowship and Ingham Fellowship. Elizabeth also occasionally blogs about books, libraries, and train travel at: http://elizabethjcolen.blogspot.com

Elizabeth J. Colen Books

Reviews & Interviews:

Women’s Quarterly Conversation

Lambda Literary

“Colen is not timid about addressing the perversities of American culture head-on… The subjects are dark, generating perhaps more discomfort than comfort, but Colen reminds us that the human heart is still quite functional.” —D. A. Powell, Drunken Boat

“The poets I long for are the ones who aim their instruments at the eyes of culture and shoot without question.  Elizabeth Colen is one of those poets I always trust to let it all be done!  Count the bodies afterward!  The conspiracy of Waiting Up for the End of the World for instance, it’s her newest, brilliant collection.  ‘Arsonists are such failures at love.’  See, she just tells us where fire fails.  And as the house burns down THIS BOOK is what you should grab when running to the door.  Wave it in the faces of failure, which is another magic of waking us.  THANK YOU Elizabeth Colen! — CAConrad, author of THE BOOK OF FRANK (Wave Books)

“In Elizabeth J. Colen’s Waiting Up for the End of the World, conspiracy theories provide the dark and obsessive scaffolding for poems woven with myths of paranoia as well as fragmented scenes of psychological tension. Colen transforms her sensational subjects with an eerie calm or giddy perversity, committed to juxtapositions and details that shiver with a grotesque luminosity: wig strands “read” a palm, coffee grounds in a mug form the shape of a skull, a brother staples a girl’s arm to her sleeve. The duende who beckons from these poems is both pulsing alarm and violent seducer. In Colen’s realm of danger, we’ve ‘followed the sound of the siren’.” — Anna Journey, author of If Birds Gather Your Hair for Nesting

“In Waiting Up for the End of the World: Conspiracies, Elizabeth Colen gives us a book of poems built around conspiracy tales, those guiding myths of our culture, a book so smart and quintessentially American it feels both uniquely personal and blazingly collective.  Colen probes the nature of belief and gives us paranoia as resistance, storytelling as power, and the personal as inextricably tied to the social and political. ‘I am eating this piece of cake./The first piece was for me,/ the second for the end of the world,” she writes in “Day After, Over London,’ a poem that reimagines the crash of Pam Am Flight 103. The poems, stylistically flawless and each a jagged shard of the American dream, challenge us to rethink what we believe we know about the defining tales of our culture”. — Suzanne Paola, author ofBody Toxic and The Lives of the Saints




Waiting Up for the End of the World examines 20th / 21st century conspiracy theories from a poetic standpoint. First-person narrator road trips around the globe—from New York City, Dallas, Atlanta, Georgia, and Gakona, Alaska to Area 51, Lockerbie, Scotland, London, Paris, and Indonesia—to visit firsthand the sites of alleged secret plans and alliances and their sometimes cataclysmic outcomes, investigating through verse such topics as black helicopters, chemtrails, the North American Union, the fluoride conspiracy, and the JFK assassination, and exploring possible links between government and corporate corruption and the on-the-ground results of continued global overconsumption.




waiting color.indd

Michael Cadieux


“I was born and raised in the Northern Rocky Mountains of Montana.”

“This land until the 1940′s was a benign paradise providing a diverse range of plants and animals, including man. By the end of WWII, mining and timber interests, with the blessing of federal and state lawmakers, began systematic cutting and digging. Whole watersheds were divided and framed in checkerboard square sections. Propaganda tells us that roads, strip mines and stripped mountainsides are halleujah signs, signifying economic growth and an ever-expanding standard of living. Consumption. Gary Snyder puts it this way:
We live in an addict’s dream of affluence, comfort, eternal progress, using the great achievements of science to produce software and swill. True affluence is not needing anything. We have found the Holy Grail and it is the bottom line.
In 1969 the filmmaker Michael Snow set a robotic camera deep within the North Ontario landscape for five days and five nights. Unattended, the camera scanned and recorded a people-less land. Michael hoped the film would become a kind of absolute recorder of a piece of wilderness… a record of the last wilderness on earth, a film to be taken into outer space as a souvenir of what nature once was.
Michael Snow says, “I want to convey a feeling of absolute aloneness, a kind of good-bye to earth which I believe we are living through… it will preserve what will increasingly become an extreme rarity: wilderness. Perhaps aloneness will also become a rarity.”
The majority of my paintings (the Nova Totem Landscapes) express my anger and heartbreak at the despoiliation of the land.
– Michael Cadieux

Michael Cadieux Books

Paintings by Michael Cadieux

TEXT: original prose and poetry on environmental awareness by various writers and other interested people

EDITED BY Jessi Malatesta

SOUND: original music by Kristine Barrett Johnson

Pompeii detail

FINE ART LIMITED EDITION of 25Five spectacular prints, signed by the artist, are preserved in an watertight container and buried in a handpainted bamboo box of soil. The soil is planted with prairie grass. Contact publisher for price.

Examples of artwork appearing in the book.the Painted DesertTotem

Carla Gannis and Justin Petropoulos

Carla Gannis (@carla_gannis) has exhibited in solo and group art exhibitions nationally and internationally. Her solo exhibitions include “The Multiversal Hippozoonomadon & Prismenagerie” at Pablo’s Birthday Gallery, New York, NY; “The Non-Facial Recognition Project” at Edelman Gallery, New York, NY; and “Jezebel” at The Boulder Museum of Art, Boulder, CO.  Gannis is the recipient of several awards, including a 2005 New York Foundation for the Arts (NYFA) Grant in Computer Arts, an Emerge 7 Fellowship from the Aljira Art Center, and a Chashama AREA Visual Arts Studio Award.  Features on Gannis’s work have appeared in Art Critical, NY Arts Magazine, Animal Magazine, and Collezioni Edge, and her work has been reviewed in The New York Times, The LA Times, The Daily News, and The Village Voice.  Gannis holds an MFA in Painting from Boston University. She is currently Assistant Chair of Digital Arts at Pratt Institute. She lives in Brooklyn, New York with her partner in crime, poet Justin Petropoulos.

Justin Petropoulos is the author of the poetry collection, Eminent Domain, selected by Anne Waldman for the “2010 Marsh Hawk Press Poetry Prize”.  His poems have appeared in American Letters & Commentary, Borderlands: Texas Poetry Review, Columbia Poetry Review, Crab Creek Review, Gulf Coast, Mandorla, Portland Review, and most recently in Spinning Jenny.  Petropoulos holds an MFA in Creative Writing from Indiana University.  He co-curated “Triptych Readings” from 2010 to 2011 and was a guest blogger for Bryant Park’s summer poetry reading series, “Word for Word”.  Currently Petropoulos is the site director of an after-school program for elementary age children and is an adjunct faculty member at New Jersey City University. He lives in Brooklyn, New York with his partner in crime, interdisciplinary artist Carla Gannis. Visit him on Twitter at @redactioneer or at Marsh Hawk Press.

Carla Gannis and Justin Petropoulos Profile



Image from the project.


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The first iteration of this expansive multimedia book project is a collection of poems constructed by Justin  Petropoulos via manipulation and redaction of Edna Keaton’s The Book of Earths, published in 1928, a comprehensive history of theories about the shape of the Earth and its collective folklore.

<legend> </legend> includes poetry of various lengths and forms, organized as titled chapters. Ink drawings on paper produced by Carla Gannis in response to audio recordings of each poem are further informed by many of the original illustrations in The Book of Earths, most of which are variations of Earth maps.


Gannis’s drawings are paired with chapters that inspired them in the finished collection. The collection is designed to exist in multiple formats, each with their own aesthetic integrity and each to be released separately. The first version will be a limited edition run, possibly hardcover, of the collection which will contain media specific content, in this case paper, such as an original, spherical drawing by Gannis and a page of text from The Book of Earths redacted by Petropoulos. Following that will be a collection of poetry in paperback book, also with Gannis’s chapter drawings. Next will be the iBook — an interactive edition of the collection that includes video of Gannis and Petropoulos drawing and redacting respectively, audio files of poems read by the author, and audience- and crowd-sourced materials agglomerated from live events, a blog site, twitter account and ultimately from people who buy the iBook.

The Music & Musicians

composed and performed for The Pornographers and Pornographies
by OCNotes and Lisa Dank
VICIOUS cd front   Download the complete 14-track CD Now
composed and performed for The Vicious Red Relilc, Love
by Rachel Carns, Tara Jane O’Neil, and Anna Joy Springer
Words by Anna Joy Springer
LISTEN  composed and performed for Daughter
by Resident Anti-Hero
unfinished cover
LISTEN  composed for Unfinished
by Ron Heckert (Tornado n A Jar)
performed by Ron Heckert (music) and Betsy Carney (vocals);
produced by Carlos DeLeon
blank flash
composed by Bach; remixed and performed for Balnkby Paul D Miller aka DJ Spooky
Goldberg Variation Nos. 1 & 2 are also included on the recycled,
bamboo flash drive embeded in the Fine Art Limited Edition of Blank.
All three tracks will be included on the CD Compilation (2012).
Burn Your Belongings
composed and performed for Burn Your Belongings
by Yasutoshi Yoshida
Aunt Pig Cover
title story read by the author
Patricia Catto; produced by Jaded Ibis Productions

Crypto robots and trading

Have you heard about crypto trading? Do you know it is lucrative and very popular among traders both experienced and beginners? If you want to join the bandwagon it is very simple. Just download a crypto trading robot and open an account and start trading. But before you proceed you must know why cryptocurrency is so popular and how to trade in cryptocurrencies.

Crypto trading involves buying and selling of cryptocurrencies like bitcoin, Ethereum, and Litecoin to name a few at designated crypto exchanges. Cryptocurrencies are decentralized and there is no central authority that governs it; as a result, it is accessible to one and all. Moreover, it provides a lot of anonymity to its users making it even more attractive to trade in. They are also preferred because transactions cannot be reversed or duplicated thereby making them very secure.

There are several automated trading robots which can be used to trade in cryptos. Your returns will obviously depend on your investment and your strategy. But once you understand how these robots work you can become a successful trader.

Before you rush to get your own trading robot you must be aware that not all crypto robots are real; some are scams and frauds. You must be able to identify the real from the fraud. You can learn this here now at https://top10cryptorobots.com/crypto-robots/bitcoin-code/