Jane Rosenberg LaForge

Jane Rosenberg LaForge was born in Los Angeles and raised in the suburb of Laurel Canyon, where she attempted to rub shoulders with the hip and famous. Though she was not successful in that endeavor, she rode horses, took ballet lessons, participated in the Renaissance Pleasure Faire, and graduated from Hollywood High School. After finishing her bachelor’s at UCLA, she worked as a journalist in California, Maryland, and upstate New York. She studied writing in the Kate Braverman workshops of the early 1990s in Los Angeles before attending the University of Massachusetts, Amherst. At UMass, she was a Delaney Fellow and a researcher for two of Jay Neugeboren’s books on the public health system, Transforming Madness and Open Heart. Since earning her MFA, she has taught college reading, composition, and literature part-time in the New York metropolitan area; published critical articles on African-American literature; and four volumes of poetry: After Voices (Burning River 2009); Half-Life (Big Table Publishing Co. 2010); With Apologies to Mick Jagger, Other Gods, and All Women (The Aldrich Press 2012); and The Navigation of Loss (Red Ochre Press 2012), one of three winners of the Red Ochre Press’ annual chapbook competition. She has been nominated twice for a Pushcart Prize (once for poetry, and once for fiction) and once for a StorySouth Million Writers Award. She lives in Manhattan with her husband, Patrick, and their daughter, Eva.

Jane Rosenberg LaForge Books

An Unsuitable Princess

A True Fantasy | A Fantastical Memoir

Jane Rosenberg LaForge
Fine Art by Mary Ann Strandell
PRAISE for An Unsuitable Princess

“Jane Rosenberg LaForge’s An Unsuitable Princess is a daring combination of old-school storytelling and the true wit of the best of contemporary memoirists.  The first of these is a fairy tale about a young woman who cannot speak, while the second tells of the author’s awkward coming of age within the shadows of a disintegrating Hollywood neighborhood.  But it is when these two narratives prove themselves inescapably linked that the novel takes its most affecting turn.  ‘Tell me the story of your life,’’ the author’s daughter asks, and so the author does, with both hilarious and heartbreaking repercussions.  ‘Finally,’ the author writes, ‘I am famous.’”  –Michelle Hoover, author of The Quickening

“It’s two, two, two tales in one. On your left, a deftly told Early Modern horsey fantasy; on your right, an aching memoir of the authorial teenage Ren Faire trauma that begat the tale. Rosenberg LaForge has crafted a quirky and compelling new class of literary mashup.”  –Jess Winfield, co-founder, Reduced Shakespeare Co. and author of My Name is Will: A Novel of Sex, Drugs, and Shakespeare

“Rosenberg LaForge lays out her dreams and desires in this tender and heartbreakingly candid reinvention of memory. An Unsuitable Princess is an entirely original look at life, personal history, and one’s original hopes.”  –Kate Southwood, author of Falling to Earth


An Unsuitable Princess: A True Fantasy/A Fantastical Memoir tells two stories simultaneously. In the first, which takes place in Renaissance England, a mute stable girl of mysterious talents and potentially dangerous parentage finds herself punished for saving the life of the boy she loves. The second story, told through a series of footnotes to the first, is situated in the late 20th Century and explain the inspirations for the first story. An overly talkative, solidly spoiled, middle class girl muses on the social and economic phenomena the author observed while growing up in Hollywood during the birth of the hippie movement, the sexual revolution, women’s liberation, and the growth of Renaissance England re-enactments. She does not save the boy she thinks she loves. Indeed, she may have hastened his death. Even years later, the only way she can acknowledge this failure is by spinning an elaborate fantasy that becomes the tale of a wretched orphan who turns out to be a princess.

Nathan Hansen

Nathan Douglas Hansen served the U.S. Army as an Arabic Linguist and Combat Flight Medic. While working as a feature writer and investigative journalist in the newspaper industry, he was nominated for a Pulitzer Prize. Currently, Hansen teaches World Literature, Classic Literature, Poetry, and Creative Writing at an at-risk boarding school located in Northern Arizona. He is a board member for Running River School, a Waldorf-based, nonprofit, parent cooperative, coordinating field trips for youth, working as a public relations officer, and writing grants. He has worked as a social worker, landscaper, bouncer, comedian, telemarketer, tour guide, bartender, waiter, coach, dorm advisor, and endless other professions, adding to his belief that living is what creates the best material for fiction. Hansen is the father of four and husband of one and lives in Sedona, Arizona.
Nathan Hansen Books
Coming Fall 2015

Sold individually as illustrated color ebook, or…


…as a BW or illustrated color paperback, in tandem with Brian Bradford’s novella, Greetings from Gravipause.

Forget You Must Remember
a novella
by Nathan Hansen
art by Derek Miller
“Powerful stuff. A clear and strong voice to be reckoned with.”

—Dan Fante, author of Chump Change, Mooch, Spitting Off Tall Buildings, and Short Dog


The author of this autobiographical fiction spent five years with the U.S. Army followed by multiple stays in VA psychiatric units, all of which culminates in this experimental piece that sheds light on the ebb and flow of psychosis and the walls that seal it off in obscurity.


“Forget You Must Remember burns its way into our consciousness like the drugs and delusions that have scalded its narrator’s mind and soul. Gisick’s life is unextinguished by depression, paranoia, addiction, and the labyrinthic procedures of the ‘recovery’ process, but he is without hope or direction. Nate Hansen takes us to the center of chaos and leaves us there, looking out through warped, funhouse mirrors of insanity while science and the state look dispassionately inward – testing, treating, and analyzing a man whose enduring humanity is irrelevant to everyone except Gisick himself, and the readers who simply cannot forget him.”

—Steve Heller, author of What We Choose to Remember and The Automotive History of Lucky Kellerman, President, Board of Directors
Association of Writers & Writing Programs

“Nathan Hansen fully comprehends the depth of this journey. The understanding of mental illness and his compassion for and knowledge of it makes this story compelling.”

—Mariel Hemingway, Author, Actress, Health and Wellness Advocate

“ … in its idiosyncratic realized-metaphors, and object posings of the, perhaps, ultimate (institutionalists) subjective situation, Nathan Hansen’s fine piece of writing, here is, I think, important, and even reminds me of, say Kafka …”

—Dow Mossman, author of The Stones of Summer

A letter from Bret Potter, USA SFC (Ret.)

“Reading Forget You Must Remember for the first time was a bitter sweet experience. I’m both proud of and humbled by the courage it took for Nate to essentially bare his soul for the world to see. At the same time it’s an odd feeling reading a story for which many of the scenarios that will be seen by many as simply words on a page are excerpts from your life they are almost like the directory of cryptocurrencies which are mere numbers and hashes for the ignorant but for the users and the inventors they are part of their portfolio, a part of their daily existence. One can know more about them and how to trade with them at https://top10cryptorobots.com/crypto-robots/bitcoin-code/

For better or worse, my brotherly love of Nate instantly immersed me into a world of bi-polar disorder that I had only cursorily studied as a pre-hospital first responder. Nothing can adequately prepare you for the journey you take when it is personal and not just clinical. Most people have heard the expression of ‘hindsight being 20-20.’ Until you experience your own personal Keyser Söze type epiphany of retrospect, you can’t truly fathom the depths to which this disease pulls not only the one afflicted down with the force of an undertow, but also those closest to them.

Having just recently retired from 20 years of active duty service, I’ve witnessed firsthand our military’s current exodus from two battlefronts and the effects it has had in regards to mental health treatment. There are mental health care providers that are now expertly trained to the conditions of our current climate working tirelessly to heal those in need. Yet somehow it never seems to be enough for all. I’ve had far too many subsequent experiences with watching those that wrestle with the demons of mental illness, floundering in a system ill equipped for the sheer numbers of those in need. I’ve seen the all too familiar look in their eyes when they feel that they are alone, no matter the reassuring gestures or words they receive. To them simply trying to ‘feel better’ is a task akin to shoveling the ocean. Most days it’s as helpless of a feeling for us that love them looking in as it is to them looking out. Sometimes all you can do is figuratively grab a shovel, wade into the waters, and begin to work by their side.

Hopefully the following pages will reach the reader in the same ways it did me. Let this story be an inner voice of understanding from the perspective of those dealing with mental health issues. I want you to hear the words that go unspoken, understand the emotions that can’t be described. I want to pick up a shovel too.” – Bret Potter, USA SFC (Ret.)

My $40,000 Wedding

Lifetimes ago, I flirted with the idea of getting a master’s in social work. But I knew in my heart I was insanely bored by those “established” models and theories in thick, hardbound books: flow charts designed to explain away human behavior. I like observing oddballs, not trying to fix them. So, nah.

I then decided that if I ever took the master’s plunge, it would have to be in a creative field. This conclusion ate its own tail, because why pay out the nose for an advanced degree that doesn’t subsequently increase one’s value in the job market, right? (And didn’t I already learn that lesson with my undergraduate degree in theater performance?) So, nah.

Eventually, however, the fear of carrying a student loan was drowned out by a heart-scream, begging for a new chapter in my life. I applied to, and was accepted into the UCR Palm Desert low-residency program. I would get my MFA in Creative Writing.

I knew going in that I was trailing far behind the pack in terms of my reading resume. I had read no more than three real books in the past ten years, one of which was a “Big Book.”

But I figured there are two types of people who pursue MFA’s in writing: those who are inspired by the works of the masters, and those who just love to write shit down.

I was, of course, the latter. Even so, I still felt a bit inferior.

Anyone: Have you read…

Me: No.

Anyone: But I didn’t say which book.

Me: Well, if it’s not ‘The Road,’ by Cormac McCarthy, then the answer is ‘no.’ I haven’t read it.

But even more crippling than my embarrassingly small Goodreads profile was my incredibly thin skin. I could probably borrow several of the aforementioned “social models of human behavior” to get to the bottom of my extreme sensitivity, but, simply put, any criticism of my work sent me into a spiral of despair, which was then pounded even further by soul-sized waves of unworthiness.

What? That paragraph didn’t rock your universe? Fine. Doesn’t matter, anyway. Because I quit. (Again.)

While I commute back and forth with what needs to be done. I should have tried my hands on online trading of cryptocurrencies.  The automated trading robots are quite popular and the best among the lot is crypto VIP club. It offers a pathway to understand and learn about the digital currency.

I would then announce that writing wasn’t really my thing after all. Writing was just a red herring. My real destiny? Rock star.

Yep. I needed to surrender to a life of rock and roll.

Having course corrected, I would dig my electric guitar out of storage. Is this it? Nope. That’s my bass guitar. Well, the little bass. And there’s the big bass. And there’s The Acoustic. And there’s the Other Acoustic.

Ah. Found it! The Electric One. Much easier to play than The Acoustic. Tick, tock, Gledhill.

Unless… unless I really was supposed to be an actor, after all?

Well, I could ponder that while I looked for my connector thingy that went from my amp to my guitar.

I would make sure at least one of my three guitar tuners still worked. I could just duct tape the batteries into it, since none of them still had a lid to the battery casing. Oh, snap. This one isn’t even a guitar tuner. It’s a metronome! Good to know.

Then, while tuning my ax, I would remember that one of the reasons for my unsuccessful career in music (thus far) was that I had never owned a proper humidifier for The Acoustic. (The stoner guy who was teaching Guitar 2 at Old School Town of Folk Music was pri-tty mad that I didn’t have one.) I’ll go ahead and order one tonight on Amazon. Now is the time. Oh, and a guitar hook for the wall. So Bad Ass.

I would make a commitment to myself: No turning back, this time. I would finally learn to play the guitar, and give my Muse a voice with which to sing songs and say some stuff.

Well, I really only need to learn enough chords to birth the songs out of me. I’ll let real musicians have at them, once I get them on their feet.

G chord. C chord. G chord.

Hm. This sounds so good! It’s amazing what you can do with distortion pedals. Everyone makes it seem so hard, but then you take Guitar 2 at Old Town School of Folk Music and you realize that all the best songs are, like, four chords.

Hmmmm. Where is that folder with the Old Town sheet music, anyway? I loved playing that one Oasis song. The big hit. Where did that folder get to? I think it was manila…

And so it would go for a week. Or less. Inevitably, the rock star charade would end when I would catch a glimpse of my hands, and, once again, accept that God had stuck five toes onto the outer radius of my palms, where most people have fingers. And I would once again surrender to the fact that I would never be able to play all those chords in those books that people with real hands can play.

Anyway, guitar is hard. There’s math.

And once again, I would find myself in front of the glowing face of the Airbook, trying to remember what had sent me bouncing into that sizzling nutfarm where inmates tend to overgrown crops of Escapism, Procrastination, and Denial. How had I ended up there? Again?

And then: Oh yeah. Someone said my writing wasn’t perfect.

So, in September of 2011, I knuckled up to the task at hand: becoming the best writer I could possibly be. (Which, frankly, is every bit as hard as guitar. But at least, with writing, my fingers are long enough to type all the letters. And there is almost no math.)

Then, two years into the two-and-a-half year MFA program, the miracle happened.

After six consecutive months of having my work publicly burned at the stake, my painfully thin skin melted off. I’m not even sure exactly when it happened, but my ego became a wispy pile of ash whirling into the corners of my apartment and then out the door. Tiny ego tumbleweeds rolling here and there, there and here, until it was (almost) all gone.

And underneath the rubble of self-flagellation I discovered a shiny nugget of truth:

It’s all good. And even when it’s not, it doesn’t matter, because I’m gonna do it anyway. I’m just always gonna write stuff. And if, someday, the criticism burns again, I am just gonna have to figure out a way to get through it. Because I’m never going to stop writing. Because I can’t.

Hence, the greatest gift of my MFA was the liberation of my creativity from the shackles of my own ego. That alone will be worth the monthly stab of a student loan payment.

As I see it, $40,000 (pre-interest) was the cost of my first wedding. I am in love, and ready to take the plunge. I am committed to sharing my life with the blank page, for better or for worse, ‘til death do us part.

J.A. works, naps, and watches her Roku in Chicago, IL. She writes for ChicagoNow.com under the slightly misleading moniker “Old Single Mom.” She damn near has her MFA from UCR Palm Desert’s low-res program, and lives with a 5 year old son who would prefer that she only use the term “dynamite,” to describe him. J.A. is currently working on “The Branson Novel,” but so what, right? Everyone is working on something, man.


Download a pdf of our 2014-2015 Catalog

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just click “TRUST”
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will download.


Original art by Janice Lee
Original music by Resident Anti-Hero


While you patiently wait for the catalogue and the book to be read, you can take some time out and explore the world of cryptocurrencies.  First you need to understand about the benefits in trading bitcoins. Once you get to know more about it, you will be hooked to it.

The biggest benefit of trading in bitcoin is that it offers complete security.  The trader does not have to give away his credit card or bank details to withdraw or deposit money when you are dealing in bitcoin transactions. Especially if you are trading with foreign brokers, this is a big benefit with regard to financial security and the cost.

Another advantage of bitcoin trading is that the cost of trading is quite low. Most of the online brokerage firms have kept the cost low in order to attract new clients as still it is  a new segment.  In addition to this, the traders only have to deposit a nominal amount to start with.  However, do check all the brokerage firms come under the authorized regulatory.

Speaking of benefits, another benefit of online trading is that anyone from any field is welcome to the market to trade and there are no restrictions. If you are worried that you don’t possess adequate knowledge with regard to trading of digital currencies, then you can relax as there are many automated highly sophisticated software’s available which can conduct the transactions on your behalf.  They have been created solely to help the ordinary people to earn money and be rich.  You can choose the crypto code software as they are the best in the industry.  All the users have good things to talk about it.

Last but not the least, another benefit of trading bitcoin is that there are no global boundaries.  If you use the bitcoins, the brokerage firm in Africa can transact with a firm in UK.  If the broker and trader are willing to conduct business around the globe, then the geographical boundaries are not a concern. The best part is that this market works 24/7, hence the time zone of different countries or continents doesn’t make any difference.  Be it day or night, the transactions can be carried out at any moment of time.  Now coming back to the books, play and its reviews,


Original art by Shelly Jackson, Kristie Fleming, Rachel Carns, Belden Sezen, Annie Sprinkle & Beth Stephens (Love Art Lab),

Rosetta Ballew-Jennings

Rosetta J. Ballew-Jennings is most at ease amidst the moxie of old houses and cemeteries.  She is fond of home concoctions and remedies, half-begun projects, and made-for-television movies.  Her MFA is from Texas State University, and she currently lives in historic Saint Joseph, Missouri.  This is her debut poetry collection.

Rosetta Ballew-Jennings Books

ROOM-cover-bw-webList Price: $16.00
6″ x 9″ (15.24 x 22.86 cm)
Black & White Bleed on Cream paper
86 pages
Jaded Ibis Press
ISBN-13: 978-1937543402
ISBN-10: 1937543404
BISAC: Poetry / General

Is The Room Cover

List Price: $32.00
6″ x 9″ (15.24 x 22.86 cm)
Full Color Bleed on White paper
Art by Grace Roselli
94 pages
Jaded Ibis Press
ISBN-13: 978-1937543396
ISBN-10: 1937543390
BISAC: Poetry / General


Is the room

debut poetry collection

with art by Grace Roselli

“These rich, spare poems are here to remind us that we are mistaken, thinking so rarely of transformations, and when we do, in thinking mostly of the ends of them. Is the room places us in contact with transformation as action, where with this book’s speaker, we come alive to domestic and sentient processes rife with illusion, breakings up and down, passing, being passed, hiddenness, exposure, signs, the failure of signs, waiting, glimpses, dismantling, joy. Rosetta Ballew-Jennings shares Jean Valentine’s love of silences (deep listening is there), but these poems are completely her own, and with this stunning debut collection, ours.
—Kathleen Peirce, poet, The Ardors and The Oval Hour

“In this debut collection Rosetta Bellew-Jennings brings an unflinching attention and a strong voice to the conversation. The crux of this collection of poems comes with a  lot of good memories for each of us. The phrases and situations take us to an all-new experience one which is very special and close to our hearts. Read More Here to know how you can procure the book for yourself. The site of crisis is interior — both inside the house and the that which we must go through alone. In many ways readers are housebound voyeurs, but in the end it’s really us we’re watching in these mirrored walls. Built on fragments that are both elegant and focused, Is The Room draws our attention to the isolation of looking, and the clarity of ‘[s]omething I cannot find.’”
—John Gallaher, poet, Your Father on the Train of Ghosts and Map of the Folded World

“Ballew-Jennings’ poems have us question the nature of relationship and life as people move in and out of our lives, and us across time. If the origin of the word haunt is to pull, claim, to lead home, then Is the Room is a collection of poems that both haunts the reader and feels haunted itself.  Through her mysterious and lovely collection, the poet reveals the boundaries between what/who we know and what/who we think we know, and the variety of separations, however arbitrary, that exist between them/us. Ballew-Jennings leads us, pulls us toward a home that dwells in our collective memories.
—Stacy Christie, writer; editor at Hothouse

“Rosetta Ballew-Jennings’s poems are alive and intelligent. Their deliberate, sometimes disorienting syntax takes us on a multilayered journey through rooms, doors, hallways and windows. The physical as well as the emotional space within the poems is haunted, and everywhere we question what we see, for we witness people and colors ‘change back and forth’ and ‘you may not be/ the you of here.’ Ultimately, this book is about love, a story ‘about something/ you would underline twice.’”
—Katerina Stoykova-Klemer, Senior Editor, Accents Publishing

“Is the room makes poetry out of dream logic and uncertainty, whether it’s a location only specified as ‘left of where you are’ or a phone message from a woman who can’t say why she’s calling. Rosetta Ballew-Jennings’ writing explores stark and disconcerting fragments of a domestic life where even household doors and halls don’t fit together quite right, and where a conversation about cereal and milk shifts abruptly to “I don’t love you, / or something like that.” With mysterious lyricism and echoes of Jean Valentine, this book heeds the author’s plea and applies it to the reader: ‘Please do not forget / what I am afraid of.’”
— Steven Schroeder, poet, Turn and Only Gifts Changing Hands

The Art of the Overshare

Seth-Fischer by Seth Fischer
How many of you want to hear me talk about poop?Don’t worry. I’m not going to talk about poop.

My sister, though — she talks about poop. In fact, when she’s about to start dating a guy, she gives them a litmus test. She says, “I poop. Do you have a problem with that?” If they get weird, she walks.

Out of respect for the Internet, I’ll use Urban Dictionary: an overshare is “way too much information given about (usually personal) subject matter.”

Their example?

“Did I ever tell you how you were conceived? No, mom, that’s an overshare.“

It’s a hard example to argue with. Neither Mom nor kid benefits much from sharing that information, so it’s just kind of a shitty thing to say, if all it does is make the kid uncomfortable. But we don’t have the full context, either; there could be a very important reason for mom to be telling that story, like how her and dad’s tryst in a nuclear storage facility explains the kid’s telekinetic powers. Or the kid might be struggling with her sexuality, and this is a way, however misguided, of the mom trying to reach out. Or the kid might be bullying her mom about her sexuality post divorce, and this is the mom’s way of fighting back. Without context, we don’t know anything.

In other words, accusing someone of oversharing is like saying, “It is what it is.” It’s just another way to silence people before figuring out what they’re really trying to say.

As a writer and teacher of personal narrative, what interests me isn’t so much what an overshare is. I want to know who gets to decide what “way too much information” is.

My knee-jerk thought is that these deciders are assholes, and they sit in a brightly lit corporate boardroom gesturing at charts, their lunches fully catered, drinking brandy-spiked coffee. Or, as is usually the case when I picture assholes in boardrooms, the guilty party lies within.

The most powerful personal essay writing challenges these assholes inside us. And almost always, whether you want it to or not, this is when the writing becomes political. The LGBT rights movement, for example, was and is accused of oversharing, and it’s been personal stories, more than anything else, that’s led to its success. Survivors of sexual abuse are told not to talk about their experiences, but sometimes, when they do, the results can be inspiring, healing and cathartic for everyone. I’d venture that these experiences should be shared, and widely, as long as the storytellers are aware of the risks of telling their stories.

Now, there are a lot of ways to screw up the telling of a risky personal narrative. But they all seem to point to its inherent danger: the ill-considered overshare makes the author appear the asshole because it fails to provide the full context and because it makes people uncomfortable without purpose. In a sense, in the writing of personal narrative, there is rarely such thing as an overshare. There is only an undershare.

My sister also has a girl power bracelet she makes her potential boyfriends see. She knows who she is. She knows what she wants. She knows, sadly, that the cards are stacked against women in many ways, but that if she pushes the right buttons, she might scare the wrong people away or even motivate the right people to think of women in healthier ways. Her oversharing is subversive, and it is awesome.

Is that our job as writers? Is that our job as writing teachers? I think it is. I see my job as helping myself and my students to grow, not just as writers but as people and activists and citizens. I want to create a safe place to explore, but I want it to be clear that the world doesn’t necessarily have our best interests at heart. In the era of social media, personal narrative writing should be required for every freshman, because that’s what they do, what I do, too, all day, every day. A particularly popular Facebook post is likely to reach a hundred times more people than a personal essays published in a small literary magazine.

Yet we ignore this, and this is how we think about the way we tell our stories: “Be careful what you put out there! Don’t overshare! Employers might find that! No one wants to hear about your sex life! Just stop it!” This tactic, if I had to guess, works about as well as abstinence programs.

What if we worked, though, to talk about ourselves intelligently? Can we talk about ourselves in ways that make us better citizens, writers and people? Can we train our students and ourselves to be able to see ourselves from the outside?

Have you ever heard the phrase “throwing shade?” It’s when someone talks shit, but all this does is make it immediately apparent to everyone else what their weaknesses are.

Here’s a somewhat shameful example of this: I moved to LA a couple years ago, and like many people, I’ve struggled here. One day, I posted an obnoxious article from Vice Magazine trashing LA, saying, “I can’t argue with a word of this.” The article said things like, “Everyone is scared of Scientology” and “There are broken dreams everywhere you look.” It was stupid and clichéd. My LA friends were not amused. I backtracked and didn’t at the same time. I complained about working too hard for not enough money. I said, “I am having an LA-is-treating-me-like-a-worthless-piece-of-shit week. I kind of want to punch it in the nose. Can I punch a whole city in the nose?” My ex-girlfriend, who’s from Glendale, called me out, accused me of throwing shade.

I took a step back and looked at the post again. What if I were reading this in a novel? What if a fictional character had written this post? Well, the character would look like a failing writer having a temper tantrum; a man who thought himself more important than the millions he shares a city with; a man who, like so many people before him, couldn’t hack it in Los Angeles. What I’d done is failed to do what creative nonfiction writers have to be able to do — see myself from the outside. If I had voiced my frustration in a way that showed my full situation and with more awareness, I might have had people offering me work. Instead, I got attacked.

And this is the real trick of successfully oversharing: You have to be able to embody your less than perfect emotional states, but you have to be able to do that with clarity, precision, and self-awareness. You have to be able to simultaneously have a temper tantrum with the you-the-character-from-the-past and get across that you-the-narrator-in-the-present are able to access those emotions but still reflect on them.

You should be able to have a control on your emotions. If you are not able to do so and do not trust them, then you need to work on it. If you have plans in trading online currencies, then better use the service of bitcoin code as it keeps emotions apart and conducts transactions.

Here’s a solution I encourage my students to use: do a character sketch of yourself. Answer a series of 20 questions about yourself that you would ask a fiction writer to answer about their characters. It helps you to see yourself more objectively.

I teach students the difference between the character they’re writing about who is usually a persona of themselves from the past, and the narrator, which is usually a persona of themselves from the present. They have to answer questions about both personas — the character and the narrator.

They usually hate it more than anything, but it works.


A draft of this essay was presented at the 2013 conference of the Rocky Mountain Modern Language Association.

Seth Fischer’s writing has appeared in Best Sex Writing 2013, Buzzfeed, Pank, Guernica, and elsewhere. His essay “Notes From a Unicorn” was named a notable essay in The Best American Essays 2013. He is a contributor and former editor at The Rumpus. He teaches at Antioch University Los Angeles and Writing Workshops Los Angeles and is a Jentel Arts Residency Program fellow.

Dawn Raffel

Dawn Raffel Books


Click cover to buy the print edition. Only $10.



Artwork by Dawn Raffel’s son, Sean Evers, who was 14 when he made the drawings.


Selected by O,The Oprah Magazine:

Best 2012 Memoirs
Best Beach Reads of 2012
10 Titles to Pick Up Now: June 2012
Best First Lines

 ** A Wall Street Journal Bestseller **

The Secret Life of Objects

a memoir



“Her gift for capturing the nugget of a relationship in a single backward glance works
beautifully in this illustrated memoir.”
The Chicago Tribune

“The Secret Life of Objects is a lean, brilliant, playful memoir.”
The San Francisco Chronicle

“You may never look at that lamp the same way again after reading this evocative memoir…”
O, The Oprah Magazine

“Her memoir reflects on everyday objects such as a cup, a ring… From these memories comes a whole life story.”
Reader’s Digest

“A unique, evocative memoir…written with all the wild bloom of imagination that
fiction brings to the table.”
The Quivering Pen

“This endearing memoir takes an assortment of otherwise ordinary possessions and
turns it into a series of delicate, resonant stories.”
More Magazine

“’Sometimes things shatter,’ Dawn Raffel writes in The Secret Life of Objects. ‘More often they just fade.’ But in this evocative memoir, moments from the past do not fade—they breathe on the page, rendering a striking portrait of a woman through her connections to the people she’s loved, the places she been, what’s been lost, and what remains. In clear, beautiful prose, Raffel reveals the haunting qualities of the objects we gather, as well as the sustaining and elusive nature of memory itself.”
– Samuel Ligon, author of Drift and Swerve: Stories
“Dawn Raffel puts memories, people and secrets together like perfectly set gems in these shimmering stories, which are a delight to read.It is true that when relevant information with appropriate analogies and examples is strung together in a beautiful pearl of thought, it is mesmerizing and interesting besides being coherent and easy to follow. Take the case of the review of the Bitcoin Trader robot at https://cybermentors.org.uk/bitcoin-trader-review-can-profit-bitcoin/ where every aspect of this digital currency is explained in complete detail similar to the novel where Every detail is exquisite, every character beautifully observed, and every object becomes sacred in her kind, capable hands. I savored every word.
– Priscilla Warner, author of Learning to Breathe – My Yearlong Quest to Bring Calm to My Life

Elizabeth Earley

Elizabeth Earley holds a BA in Creative Writing and an MFA in Fiction from Antioch University Los Angeles. Her stories and essays have appeared in Time Out Magazine, The Chicago Reader, Geek Magazine, Outside Magazine, Gnome Magazine, and Hyper Text Magazine. Other fiction has appeared in The Windy City Times Literary Supplement, Hayden’s Ferry Review, The First Line Magazine, Story Week Reader, Fugue, and Hair Trigger. The Hair Trigger piece won the David Friedman Memorial Prize for the best story in that anthology. Elizabeth has  twice been a finalist for the AWP New Journals Award, has received two pushcart nominations, and was a finalist for the 2011 Able Muse Write Prize for Fiction and for the Bakeless Literary Prize for Fiction. A new novel excerpt, “Backbone”, won an Honorable Mention in the Glimmer Train March 2013 Fiction Open contest.

About the artist, Christa Donner

Elizabeth Earley Books


Full-color edition with art created especially for the novel by Christa Donner


Black and white edition.


“inventive, searingly honest, gorgeously written.”

– Gayle Brandeis

“eloquent, moody and strangely poetic.”

– Michelle Tea


A Map of Everything

a debut novel



“Elizabeth Earley’s A Map of Everything is one of the most structurally inventive and emotionally remarkable books I’ve come across in quite a while. I can draw a parallel to the stupendous success of bitcoin and other cryptocurrencies here. Now it is even possible to trade in cryptocurrencies from the comfort of your home if you posses automated trading systems. You can learn the facts here now at https://cybermentors.org.uk/ there are so many systems just like there are writersSo many writers traffic in the sensationalism of event, while Earley wisely knows that this is only the start of the trouble—and that our hearts truly beat and bleed in the repercussions of events. It’s a book that reminds us who we are to each other and to ourselves, and it has a resilient beauty, and a confident and true voice rare in any novel, let alone a debut.”

– Rob Roberge, author of The Cost of Living


“The writing in A Map of Everything is beautiful. Never shying away from the difficult, and embracing the big emotions, Earley has given us a strong, graceful and finely-etched novel.”

– Leonard Chang, author of Crossings


“Inventive, searingly honest, gorgeously written, this book will both break and heal your heart. With A Map of Everything, Elizabeth Earley charts her own fresh and dazzling territory.”

– Gayle Brandeis, author of The Book of Dead Birds and Self Storage


“In A Map Of Everything, Elizabeth Earley has the eyesight to notice what we trample underfoot, the instinctual intelligence to know why we do the things we do, the heart to rise above obliterating darkness, and — from somewhere — the ability to write like a witch.”

– Peter Nichols, author of Voyage to the North Star, nominated for the Dublin IMPAC Literary Award


“An exploration of love and tragedy, what we owe to others and what we owe to ourselves, A Map of Everything is eloquent, moody and strangely poetic.

– Michelle Tea, co-founder of Sister Spit, and author of The Chelsea Whistle and Valencia


“In a little over 300 pages, A Map of Everything somehow manages to be a novel about everything: surviving tragedy, love, despair, complex family relationships, identity, how to be a good person, how to live in a world full of contradictions and dangers that are as much internal as external.  This is a remarkable debut novel.  Read it and weep – with both joy and sadness.

– Christine Sneed, author of Little Known Facts and Portraits of a Few of the People I’ve Made Cry


A Map of Everything is a tender story of personal transformation, addiction, loss and memory. Elizabeth Earley is a welcome new voice to literature.”

– Ali Liebegott author of The IHOP Papers and Cha-Ching!


“Elizabeth Earley’s remarkable debut novel, A Map of Everything, deftly follows a family through the complicated trajectory of their lives after one devastating moment on a rain-soaked street. Anne, the youngest, “fifth born”, leads us over the intricate roads of this map, telling stories along the way of June, her beloved, injured sister, and of her siblings and parents. Bold and deeply wounded, Anne is unflinching in her role as narrator and chronicler; we lean in to listen closely to hear. Her voice is full of heat and gravel, of the longing she has for those things she feels she may never fully know: love, a family unbroken, a place to settle. Earley’s rich weaving of time, science, place, point of view, and plot is created with language and form that is surprising and stunning. Pain, joy, loss, accomplishment, need, survival, love, terror, and tolerance are among the roads on this map of everything, and they all—rather miraculously—lead to a certain and satisfactory grace.”


– Patricia Ann McNair, author of The Temple of Air



Anne’s sister, a bright and lovely teenager, sustains a traumatic brain injury after a near-fatal car accident. As a result, Anne and her siblings and parents are thrown into a decades-long struggle for belonging, deliverance and redemption — with surprising results. A Map of Everything intimately explores the fragile nature of family dynamics, revealing what is salvaged, what is lost, and what is gained after a tragedy hits home.

Cris Mazza

The most unusual love story you will ever read.”*

Original soundtrack composed & performed by Van Decker. With Mark Rasmussen on tenor sax.

Something Wrong With Her is notable author Cris Mazza’s memoir centered around anorgasmia – the inability to have an orgasm.

Research suggests that at least 75% of women cannot reach orgasms through vaginal intercourse, and upwards of 15% are completely anorgasmic. The surplus of contemporary sexual memoirs would have us believe otherwise.

But Something Wrong With Her is not a book about overcoming anorgasmia. Rather, it is a poignant memoir about a girl who didn’t feel the sexual awakenings she knew she was supposed to feel, and about the boy who loved her nonetheless. Thirty years later Cris Mazza went back to find that boy, now a man, only to discover that he’d never stopped yearning for her. Worse, in an attempt numb his feelings for her, he’d sealed himself into an abusive marriage.

Something Wrong With Her is an astonishing real-time testimony of a couple’s reconnection, and their candid wrestling with 30-year-old memories, questions and regrets.

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“Mazza establishes early on that her sexual dysfunction has been debilitating and difficult on pin to a specific cause. Something Wrong with Her is her attempt to write in what she calls “real time;” to delve into her past with a hyper-focus on the one relationship that’s defined her life: an early romance with Mark… Something Wrong with Her is frank. Bold. Mazza faces head-on that which would give most writers pause. What surprises about this book, however, is how much more cerebral than physical it is. It’s almost all in her head.”
— The Rumpus

“On math exams we were always told to show our work, privileging process over result. An increasingly and pleasingly unhinged experiment in autoforensics and self-consciousness, Something Wrong With Her is stuffed with both show and work. In sorting out the question implicit in the title, Cris Mazza assembles a long paper trail of primary documents: yearbook inscriptions, journal entries, published fiction, emails, personal letters on band stationery, and more, more, more. It’s part sexual history and part detective story. She writes: ‘I thought I had control of the material when I wrote the story…. I’m going back again now to regain control.’ Control’s great, but I’ll take the mess any day: here’s to ‘going back again.’ Here’s to showing your work.”
—Ander Monson, editor of DIAGRAM and New Michigan Press, and author ofVanishing Point

“SOMETHING WRONG WITH HER is certainly the most unusual true love story you will ever read, layering recollected scenes and psychological analysis with journals, emails, letters, yearbook inscriptions, excerpts from the author’s past literary works, jazz metaphors, footnotes and more. Cris Mazza’s indefatigable self-scrutiny creates an experience that verges on the psychedelic. Reading this book is less like reading a typical memoir than like spending time in someone’s else’s head, or someone else’s life. The generous decision of literary love-object Mark to allow his writings to be included here adds a fourth — or is it a fifth? — dimension to this unprecedented document.”
—*Marion Winik, author of Highs in the Low Fifties, First Comes Love, and Rules for the Unruly: Living an Unconventional Life

“Something Wrong With Her turns away from the bogus story of what’s sexually ‘hot’ to finally tell the story of what’s real and human: the other bodies who don’t fit into this culture of idiotic faux sexual excess. By articulating the chronicle of her own body, Cris Mazza successfully seduces us into questioning the libidinal fictions we’ve been telling ourselves about our own bodies. Beyond brave writing.” — Lidia Yuknavitch, author ofChronology of Water and Dora: A Headcase

Davis Schneiderman

DAVIS SCHNEIDERMAN is a multimedia artist and writer and the author and editor of eight books, including the novels Drain(TriQuarterly/Northwestern) and Abecedarium(Chiasmus) and the forthcoming blank novel,Blank: a novel (Jaded Ibis); the co-edited collections Retaking the Universe: Williams S. Burroughs in the Age of Globalization (Pluto) andThe Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game (Nebraska); as well as the audiocollage Memorials to Future Catastrophes (Jaded Ibis). His creative work has appeared in numerous publications includingFiction International, The Chicago Tribune, The Iowa Review, TriQuarterly, and Exquisite Corpse.He is Chair of the English Department at Lake Forest College, and also Director of Lake Forest College Press/&NOW Books. He edits The &NOW AWARDS: The Best Innovative Writing. He can be found, virtually, at www.davisschneiderman.com

Davis Schneiderman Books

the DEAD/BOOKS trilogy


Preorder here and save 20% off cover price. Enter Discount Code AQFGX36X when you order. Valid through October 30.



INK COVER copyComing 2014

About the Project


DEAD/BOOKS is a trilogy of conceptual works by Davis Schneiderman from Jaded Ibis Productions: BLANK (2011), [SIC] (2013) and INK. (forthcoming). 


BLANK is a 200+ page book whose text offers only 20 enigmatic chapter titles like, “A Character Broods” and “They Encounter An Animal,” with audio remixes by Dj Spooky and pyrographic art by Susan White.

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[SIC] includes public domain works under Schneiderman’s name, including everything from the prologue to The Canterbury Tales to Wikipedia pages to genetic codes, along with a transformation of the Jorge Luis Borges story: “Pierre Menard, Author of Don Quixote.” The fine-art edition of [SIC] contains a pathogen that readers may deploy onto the text, to become sick— sick about copyright.

[SIC] contains images from visual artist Andi Olsen, an introduction from Oulipian Daniel Levin Becker, and sampling-based tracks, already created for other projects, from Illegal Art label acts Yea Big, Oh Astro, Steinski, and Girl Talk.  The fine-art edition ($24,998.98) will be packaged with a biological pathogen, which the reader may choose to deploy over the text. In this way, the book [SIC] will make the reader sick — sick about copyright. The book is timed to the release of 25 free, full-text e-books — including The Red-Headed League and Young Goodman Brown, now marked with my name.

INK. is all dark, a smear of solid ink over every surface of the book. INK. erases, redacts, and overwrites itself, ink extending and overtaking every surface. The fine-art edition of INK. uses ink sourced from Schneiderman’s blood. Further, Schneiderman will also put his library at risk. Any person who buys INK. may choose a book from Schneiderman’s library, which Schneiderman must then destroy. He will send evidence of the remains to the purchaser.

This e-book forms part of an e-book cache released in time with [SIC], and its familiar text with new attribution interrogates notions of originality and authorship in an age of rapid transformation of the publishing industry, the shape of narrative, and the transmogrification of the printed word.