For years I’d a theory about the film The Lost Boys (1987), that vehicle for Corey heart-throbs Haim and Feldman. Forget the kick-ass soundtrack, forget the coloured lights, forget Canadian actor Kiefer Sutherland in leather, fangs and spiked hair, flying over the beach. It was the grandfather, played rugged, warm and soft-hearted by Barnard Hughes, who crashed through at the end, pushing two stakes that would kill the head vampire, turning the tables and saving the narrative. Did anyone catch it? The bottles of thick dark liquid, his “root beer” that no one allowed, his unexplained absence through most of the film, his collection of taxidermy? Even the fact that his daughter thought him dead at the offset, when their lost car arrived, the old man lying, sprawled out, on day-lit porch. How else could you explain any of this, but for the fact he was a vampire too? The two Coreys were just so much smokescreen. Even the grandfather’s last line, “all the damned vampires.” It wasn’t that the town had vampires at all, but citing foul excess. Was he one of the saved, or was he including himself?
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From the INBOX project
Possible Interpretation: A rhyme to remember how to avoid a hangover. Red sky at night: shepherd’s delight. Red sky in the morning: shepherd’s warning.
Variant: Better to remain silent and thought a fool, than to speak and remove all doubt. Little enemies and little wounds must not be despised. If wishes were horses, then beggars would ride, but you better not think about going outside. Keep your friends close, and your enemies closer. “Let him who is without sin cast the first stone.” —Jesus Christ. The coat makes the man. If wishes were horses, beggars would ride. All things come to he who waits. A cobbler formed the shape of shoes on a wooden foot shaped last. If it lasted long he was happy. Associated with Campanology (quotation from a Church bell tower). Truth will out. It’s a poor job that can’t stand at least one supervisor. One murder makes a villain, millions a hero. Time flies when you’re having fun. Judge not, lest ye be judged. Never rub another man’s rhubarb. Fool me once, shame on you. Fool me twice, shame on me.
Jonathan Ball holds a PhD in English with a focus in Creative Writing and Canadian Literature. He is the author of two books of poetry, Ex Machina (BookThug, 2009) and Clockfire (Coach House, 2010). His writing has appeared in numerous publications across Canada, the US, the UK, and Australia, including The Capilano Review, Grain, Prairie Fire, Matrix, The Believer, and Harper’s. He is the former editor of Dandelion and the former short films programmer of the Gimli Film Festival. His short film Spoony B (Martian Embassy Films, 2005) has appeared on The Comedy Network, and he co-wrote a screenplay that served as the basis for the independent feature film Snake River (Ronin Films, 2010). He teaches Creative Writing in Winnipeg.
20 pages, beautifully printed on extra bright paper.
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Joseph Lease’s critically acclaimed books of poetry include Broken World (Coffee House Press) and Human Rights (second edition forthcoming from Talisman House).
His poem “‘Broken World’ (For James Assatly)” was selected for The Best American Poetry 2002 (Scribner).
Marjorie Perloff wrote: “The poems in Joseph Lease’s Broken World are as cool as they are passionate, as soft-spoken as they are indignant, and as fiercely Romantic as they are formally contained. Whether writing an elegy for a friend who died of AIDS or playing complex variations on Rilke’s Duino Elegies (“If I cried out, / Who among the angelic orders would / Slap my face, who would steal my / Lunch money”), Lease has complete command of his poetic materials. His poems are spellbinding in their terse and ironic authority: Yes, the reader feels when s/he has finished, this is how it was—and how it is. An exquisite collection!”
Michael Bérubé called Broken World “remarkably inventive and evocative work from Joseph Lease, one of the finest poets writing today.”
Coffee House Press will publish Testify, Lease’s new book of poems, in April of 2011.
X (Angel City) is now available from Sacrifice Press.
Amir Langer is a Jerusalem-born, London-based software architect specializing in distributed systems, artificial intelligence, and other complex algorithms.
COOPERATIVE EXPLANATORY CAPABILITIES
IN ORGANIZATIONAL DESIGN AND PERSONNEL MANAGEMENT
Pil and Galia Kollectiv
Pil and Galia Kollectiv are London-based artists, writers, and curators working in collaboration. Their work addresses the legacy of modernism and explores the way avant-garde discourses of the twentieth century operate in the context of a changing landscape of creative work and instrumentalized leisure. They are interested in the relationship between art and politics and the role irony plays in its current articulation. They often use choreographed movement and ritual as aesthetic and thematic dimensions, juxtaposing consumer rites and religious ceremonies.
32 poems of 32 words on 32 places in Marseilles. Each poem can be read in 32 seconds or less yet contains thought enough for 32 minutes of reflection or more. The author accepts that only 32 people will ever read or see these poems but would not be disappointed to be proven wrong.
“Within months, the street was alive with ambition. With their short ‘80s skirts and high-heels, the Bandito’s waitresses looked more convincing as sluts than I’d ever looked in the clubs. Everyone was going somewhere. Time was no longer so aboriginal. In this new environment, we who just wanted to sleep looked like pale maggots exposed to the sun.”
Chris Kraus is the author of four novels: I Love Dick, Aliens & Anorexia, Torpor, and the forthcoming Summer of Hate. A collection of her art essays, Video Green: Los Angeles Art and the Triumph of Nothingness, was published by Semiotexte/MIT Press in 2004, followed by LA Artland, published in the UK by Black Dog Press. She has taught writing at the European Graduate School and UC San Diego. TRICK first appeared in Working Sex: Sex Workers Write about a Changing Industry, edited by Annie Oakely and published by Seal Press in 2007.
12 pages, staple-bound, available upon request.
Sacrifice Press publishes chapbooks of literary texts that strike us as interesting and special. We’re particularly drawn to self-referential fiction, pseudobiblical poetry, captivity narratives, blasphemous short plays, experimental nonfiction, and other textual puzzles.
Self-obsessed, self-aware, self-referential, self-examining, outrageously self-aggrandizing and endearingly self-deprecating, Joshua Abelow’s ASHES GIFTED is a collection of tongue-in-cheek words and images that could, if it wasn’t such a risky idea, be offered to favorite painters and poets to mix into their work.
I Don’t Want to Name Names
My name is Joshua Abelow. It feels great to write my name. I love the way it looks in print. It looks great typewritten or handwritten. It looks especially beautiful on the face of a big check. Most people call me Josh, but recently a girl from Switzerland told me she prefers calling me Joshua because it’s more beautiful. I told her I was fine with that. My birth name is, in fact, Joshua, but Josh is easier for Americans to say and I grew up in America. I decided to use Joshua, instead of Josh, as my professional name because I like the way the “A” at the end of Joshua lines up with the “A” at the beginning of Abelow. Like this: JOSHUA ABELOW. One of the reasons I decided to become an artist at an early age is because Abelow is an interesting-sounding name. It sounded artistic to me so I figured I must be artistic, too. Famous artists always have interesting-sounding names. I’m not famous, but I’m convinced my name is preceding me in this regard. Fame is just around the corner, like my next lover or girlfriend. A name must look good in print for an artist to become relevant – this is common knowledge. The downside to having a good-looking name is that the work might not live up to the name. What a drag that would be. It happens all the time, but I don’t want to name names.
12 pages, staple-bound, available for immediate shipping.
In GRANDPA ZINN, Chris Wells tests the Oulipian theory of the textual constraint and its power to produce surreal, subconscious materials. The author, whose presence dominates the seemingly simplistic narrative, makes sure that every letter of the alphabet appears at least once in each sentence, calling attention to the wonderful artificiality of the characters, the situation, and fiction itself. Curiously, this relentless manipulation of language, with its action-oriented agenda and surprising mixture of registers, results in a quiet, complex, subtly humorous and strangely sad story.
12 pages, staple-bound, delightfully pangrammatic.
Doing her share to support the wartime manufacture of superior housewives, Amanda Laughtland delivers KITCHEN TIDBITS, an excerpt from Improving Homes and Lives, a longer manuscript inspired by magazine articles and advertisements from 1943. Postcards to Box 464, her collection of eavesdropped and nostalgic poems, will be published imminently by Bootstrap Productions. From her own kitchen table in the suburbs of Seattle, she also operates Teeny Tiny, a literary zine and mini-chapbook series, soon to expand into somewhat larger-sized books with the publication of Collected Kona by Marcia Woodard.
12 pages, staple-bound, guaranteed to whet your poetic appetite.