Reading Frenzy ~ An Independent Press Emporium

...May Flowers

May 2012

Dear Readers,

Earlier this year I was reminiscing about the largely abandoned practice of making May Baskets and leaving them as surprises on the doorsteps of friends and neighbors. I decided to organize a May Day art show and fill the shop with floral inspired artwork, but the idea wasn't quite coalescing, and in the meantime the deadline was getting closer and closer.

Then, a few weeks ago, Amber W. Smith walked into the shop to consign her new artists' book Fluent Now in the Language of Grief. After she left I leafed through it and realized my May Day show was right there! When she popped back in later that day I invited her to show the original work and she happily accepted. Now, I didn't have sardonic funeral flower arrangements in mind originally, but as with many of my favorite Reading Frenzy encounters, being open to the unexpected worked out even better.

This month we have just a few events lined up after 1st Thursday -- The Loom of Ruin, My Day #20 Release Party, 100 Poems to Bestill Your Young Heart -- before we take a little break while Rose Festival revelers run amok in downtown Portland. Other than our June 1st Thursday opening we won't be hosting another event until the last ship has sailed.

In other news, the first week of May will bring the arrival of Crap Hound #6: Death, Phones & Scissors as well as scads of other new spring titles, including eight dozen new magazines and journals handpicked from across North America and beyond! Even if it never stops raining in beautiful Portland, Oregon this season is set to be the best spring we've had in many years.

Keep Reading!

Your Faithful Proprietress,

Chloe

 

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for local updates including events and new arrivals

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The Ledger

Consignment Update! Expanded Drop Off Hours!

Dear Local Publishers,

After a year of playing catch up with consignment and working out the kinks in our new computerized system, we're ready to expand our drop-off hours! From here on out you can come by during our regular business hours*, fill out a drop-off form, and leave your title(s). Drop-offs will be entered in the computer system within 3-5 days of receipt and you'll receive a confirmation email at that time.

The new drop-off only hours are:

  • Monday - Friday 11am-7pm
  • Sunday 12pm-6pm

Hours for pick up and and returns remain the same:

  • Thursday - Saturday 11am-7pm

If you've received a reminder that your consignment period has expired and you can't make it to the store during consignment hours, you can call or email Harlan -- harlan(at)readingfrenzy(dot)com -- to make special arrangements for pick up. He will issue you a check and place your items for pick up in our hold basket, so that you can come by at any time during our regular business hours. These arrangements must be made in advance with Harlan -- no one else on staff can prepare your payment and/or returns.

We've limited consignment hours for two main reasons: So that one person can be in charge in order to cut down on confusion and errors, and to ensure that there is time during the week when we can focus on other important aspects of running the store. With over 600 consignors that was proving very difficult. We appreciate your understanding and cooperation.

*We do not conduct consignment business on First Thursdays, 6pm-9pm or during other store events, which typically begin at 7pm.

Print Fancy!

April 11, 2012:

Reading Frenzy is pleased to announce the launch of an ongoing celebration of self-publishing called Print Fancy! Every month or two we'll select a handful of our favorite recently self-published titles and host a group release party and self-publisher social!

Everyone -- self-publishers and their enthusiasts -- are welcome! While the readers are pre-selected, all self-publishers are invited to consign new releases before 7pm on the evening of the event. All titles will be on special display for the evening, written up for our blog, and announced at the event!

Join us on Thursday, April 12th, 7pm for the first ever Print Fancy! featuring:

  • Michael Heald, the publisher of Perfect Day Publishing. His debut collection of non-fiction, SMALL, will be out this winter on Perfect Day. You can find him Monday afternoons at the IPRC and Monday evenings on his front porch.

  • Jazz McGinnis, is a queer trans guy living the dream. He used to write a zine called Camojacket as a teenager. He's now a queer activist, an advocate for women's reproductive health, and a serial OkCupid dater, all while managing his mental health. He's currently working toward going to nursing school. Dear Shane, I tried to kill myself, is a zine about his most recent severe depressive episode and includes practical tips on navigating the psychiatric system.

  • Karen Giezyng is the publisher of American Scooterist, the Vespa Club of America Magazine and Bumpstart: The Pacific Northwest Scooter Zine. She enjoys Vernors' Ginger Ale and long scooter rides. Bumpstart #6/7 is a double-issue documenting the 2010 Scooter Cannonball Run, during which Karen rode her Vespa cross-country from Vancouver, B.C. to Portland, Maine in ten days. What makes a sane person want to ride a scooter 3,500 miles cross-country? Read all about this once in a lifetime scooter adventure in Bumpstart #6/7.

  • In addition to his work on The Field Guide to the Aliens of Star Trek: The Next Generation, Zach is the co-author of Miami, You've Got Style: A Little Golden Girls Book, and author of Love is Not Constantly Wondering if You are Making the Biggest Mistake of Your Life. The first issue of The Field Guide... was written from the perspective of an eleven year old boy in the year 1990 who has become fixated on Lieutenant Commander Data as a way of coping with the panic attacks and outbursts of his mother. Each issue moves things forward one season of the show and one year in the life of the author. 

  • With an emphasis on personal stories, When Language Runs Dry publishes writings about how persistent pain impacts people's lives, relationships, and the way that they inhabit their bodies and communities, including articles on self care, support, and caregiving helpful for those not currently struggling with pain or illness of their own. Co-editor Meredith Butner will present an excerpt from When Language Runs Dry #4.

  • Katherina Audley is a writer, adventurer, online communications specialist, life coach, yoga teacher, professional viking and artist.Whoosh #3: the Zine for Whale Lovers inclused A Visit to Blue Whale Mecca, Orcasm in Argentina, Dirty Whale Jobs, Whale Trivia, Book Reviews, Two Dream Whale Expeditions Demystified, Whale Art, and Funny Dog Pictures.

New & Notable! March 2012

BOOKS, ART & PHOTOGRAPHY

  • Garbage Pail Kids by Topps Company (hardcover with bonus stickers!)

  • Hidden Treasure: The National Library of Medicine by Michael Sappol

  • Holy Cards by Barbara Calamari and Sandra DiPasqua

  • Just Kids by Patti Smith

  • Typography Sketchbooks edited by Steven Heller and Lita Talarico

BOOKS, FICTION

BOOKS, NON-FICTION

  • Add Toner by Aaron Cometbus
  • D.I.Y. Magic by Anthony Alvarado (Reading and signing on April 25th!)

  • The Enlightened Cyclist by BikeSnobNYC, a.k.a., Eben Weiss

  • Making the Future by Noam Chomsky

  • On Bicycles: 50 Ways the New Bike Culture Can Change Your Life edited by Amy Walker

  • Ritual America ~ Secret Brotherhoods And Their Influence On American Society: A Visual Guide by Adam Parfrey and Craig Heimbichner

COMICS/GRAPHIC NOVELS

  • The Art of Daniel Clowes -- Modern Cartoonist by Alvin Buenaventura

  • Cinema Panopticum by Thomas Ott
  • Injury #3 by Ted May

  • Love & Rockets: New Stories, Vol. 4 by The Hernandez Brothers
  • My Friend Dahmer by Derf Backderf

  • Nature of the Beast by Adam Mansbach, Douglas McGowan, and Owen Brozman
  • The Three Paradoxes by Paul Hornschemeier

MAGAZINES/ZINES

  • The 415th Time by Michael Heald

  • Algeria -- Notes on an Unfamiliar Place by Delphine Bedient

  • Bikenomics -- How Cycling Will Save the World by Elly Blue

  • Bumpstart #6 & #7 by Karen Giezyng

  • The Conium Review #1
  • Dear Shane, I tried to kill myself  by Jazz McGinnis

  • Doris #29 by Cindy Crabb
  • Filling the Void -- Interviews About Quitting Drinking and Using

  • It's Down to This: reflections, stories, experiences, critiques and ideas on community collective response to sexual violence, abuse and accountability

  • Lucky Peach Vol. 1 No. 3

  • The Ride Journal #6

  • Skinned Heart #3

  • Truckface #15

  • When Language Runs Dry #1-#3: A Zine for People with Chronic Pain and Their Allies

  • Wholphin #15: DVD Magazine from McSweeney's

  • Xtra Tuff #5.5 (CD) by Moe Bowstern

ARTIST'S ZINES

KID'S STUFF

  • Anorak #22: The Happy Mag for Kids Food Issue

  • Donald Boxed Set: Donald and the ... & Donald Has a Difficulty by Edward Gorey (hardcover, boxed set)

  • Little Fur Family by Margaret Wise Brown

  • The Magic of Reality by Richard Dawkins, illustrated Dave McKean

  • Make Your Own Robot by eBoy, David Shrigley, Donna Wilson, Bubi au Yeung, Roman Klonek, Ben Newman, Genevieve Gauckler, Malota, Hvass & Hannibal, Airside, Jon Burgerman, and Shin Tanaka

  • Press Here by Herve Tullet

  • Wave by Suzy Lee

MISCELLANEOUS

  • Let it Rain (CD) by PDX Pop Now

  • Wonder: Mini Eco-Journal Set by Nikki McClure

  • Zombie: 30 Temporary Tattoos by Mitch O'Connell

Taking The Piss: Conclusion

Original post here.

Long story short: Banksy didn't steal from me. He didn't plagiarize that quote on advertising. Ten years ago, he was careless, the opposite of sneaky. What's more, I was also careless.

Here's what's become clear: Around 2002-2003, Banksy included my words in Cut It Out, a self-published collection of his drawings and stencils. Banksy shortened the end paragraphs of my essay and changed it from first- to second-person perspective (for example, "they never asked for my permission" became "they never asked for your permission.") He then added Crap Hound to a list of credits in the back of the book, along with other sources and photo credits.

The problem: The pages in Cut It Out lacked page numbers, meaning the end credits were nonspecific. In the year Banksy made that decision, someone reading the passage would likely have had the book in their hand. Twitter, Tumblr, and Facebook didn't exist. Quotes and jpeg memes were distributed far less often and widely.

In my original post, I said that issues of attribution aside, all this could have been avoided had Banksy simply let me know that he'd used my essay.

The reality: In 2002, Banksy mailed an explanatory letter and a copy of his book to the address printed in Crap Hound. I never received it, most likely because beginning in 2001 I spent three years moving back and forth across the US. The PO box I'd used for years was eventually closed due to new postal rules after 9-11. From 2001 to 2004, mail was sporadic and plenty was undoubtedly returned to sender or lost in transit.

My main objection in all this -- that my words were credited wrongly (much worse than appearing uncredited, in my view) -- began when some random blogger recently took the quote, added "--Banksy" (reasonably), and posted it.

Choices made in the past (Banksy's choice to not use page numbers or on-page attributions, and my choice to void the mailing address used in Crap Hound while having no website or announced email) set things up for the current confusion.

Other complications: First, viral posts can spread and fade within a week. I felt if I didn't act fast to correct the record, there'd be no point once the Internet's attention had moved on. Second, Banksy's anonymity meant I had no way to confidently contact him. You can blame this situation on Banksy, but remember he encountered a comparable situation when he'd tried to contact me a decade earlier. Third, Crap Hound is filled with copyrighted vintage commercial art, used without permission. Because of what I use and write in my zine, Banksy assumed (correctly) that more so than most people, I wouldn't object to my own work being used, altered, without explicit permission. Again: My complaints were that the quote was misattributed, not unattributed, and that I'd never been informed afterwards.

I realize "Banksy stole the quote!" is much more dramatic and satisfying than "Banksy made a poor stylistic choice in his book layout, causing confusion years later! He attempted to inform me but had the wrong address!" The man's not an imbecile. This would have been an absurdly clumsy and doomed attempt at plagiarism. I will also say that in my recent, limited contact with Banksy, he's gone out of his way to be clear, kind, and genuine, in every way the exact opposite of a twat.

I'm very grateful to everyone who wrote, posted, and tweeted about this. The quote will remain out there with Banksy's name on it, but the source is now established online (and in future reprints) for anyone who looks deeper. Likewise, no matter what your opinion of Banksy, it's important and fair to establish that this was not a case of plagiarism. Lack of foresight, yes. Fraud, no.

Sean Tejaratchi, March 18, 2012

craphoundzine@gmail.com

@ShittingtonUK on twitter

Taking the Piss

Please read update here.

Chances are pretty good you've recently seen the "Banksy on Advertising" quote that begins, "People are taking the piss out of you everyday." The passage is from Banksy's 2004 book Cut It Out, and it presents the idea that if advertisers are going to fill your world with ads, you have every right to "take, re-arrange and re-use" those images without permission. The quote has been posted widely on Facebook, Tumblr, and Twitter, which is where I found it.

Here's the interesting part:

Most of it is swiped directly from an essay I wrote in 1999, in the "Death, Phones, Scissors" issue of my zine Crap Hound. The first paragraph is more or less original, but the rest is mine, right down to the same words and phrases.

See for yourself. Here's the Banksy quote followed by the relevant part of my essay as it appeared in Crap Hound. (The full essay is linked at the end of this post.) Pink indicates indirect references, and yellow shows the direct swipes.

Click to see full-size version here.

It's hard to know how to feel about this. My first thought was, "Hey, Banksy reads Crap Hound!" Then, "What the fuck is going on?" Then, "Am I a real person? Am I actually happening?" And finally, "Am I a beautiful flower angel sent from heaven to inspire Banksy?"

As problems go, it's a pretty nice one to have. I like Banksy's art and ideas. I'm flattered he liked my writing and my sentiments, and I'm happy others liked the quote enough to post and forward. I've seen forums where people are debating the passage, including rebuttals from ad-agency twats. It's on wikiquotes and a hundred blogs. My essay never would have had that impact on its own.

The downside is that Banksy's name is always on it. Seeing my writing credited to someone else makes it a little less magical. Same with knowing that one day (maybe soon, since the issue in question is being reprinted), I'll get to hear how I ripped off Banksy.

The fact that he's an "elusive mystery artist" doesn't leave me many options. I found contact info online, but so far I've only received bounced messages. 

My goal is to set the record straight online. There will be no lawyers or threats of legal action. I've tried not to jump to conclusions, or angrily denounce Banksy, or the Internet, or the terrible unfairness of the universe. Maybe a ghostwriter was responsible for lifting it. Maybe an attribution was lost in layout. (On the other hand, my words were rearranged and tweaked. How does that happen accidentally?)

Banksy, if you're reading this, I accept your apology for the mix-up! I have a Crap Hound book coming out next year, and I'll be sure to make it up to me by signing your name to a really enthusiastic jacket blurb.

Sean Tejaratchi, March 10, 2012

craphoundzine@gmail.com

@ShittingtonUK on twitter

P.S.: Two important things for clarity's sake:

My zine, Crap Hound, is full of "swiped" vintage advertising from 1920-1970 that was drawn by anonymous commercial artists. The crucial difference: I don't pass those images off as my own. When writing appears without attribution in Banksy's book, the natural assumption is that he wrote it.

Also, sooner or later someone might fart, "How brilliantly ironic, such classic Banksy! Swiping something about swiping, then complaining that it's been swiped!" For the record, I'm not a fan of telescoping, self-referential irony. It's a tiresome, lazy circle jerk that confuses ideas with actual life. I've seen people wondering if Banksy's Exit Through the Gift Shop was staged, so I'll be clear: This is a little baffling and irritating, but it's not a conceptual gag. 

The full Reciprocity essay is here, and the passage as it appeared in Cut It Out is here.

Note from Chloe: This has come to light while we're (Reading Frenzy/Show & Tell Press) in the middle of a Kickstarter campaign to fund a reprint of Crap Hound #6: Death, Telephones & Scissors. The campaign has been planned for months (and was posted on March 4th, four days before Sean found the Banksy quote). Some may consider the timing a happy accident, but this is a straightforward issue of giving credit where it's due. You can read about, pledge to, or share our project here.

New Arrivals and Restocks: February 2012!

BOOKS


  • Farts in the Wild by H.W. Smeldit, Jared Chapman
  • One Gear by SHS, Matteo Cossu
  • Rub Out the Words by William Burroughs, Bill Morgan, editor
  • What the Hell Are You Doing? by David Shrigley

COMICS & GRAPHIC NOVELS


  • Athos in America by Jason
  • Blammo #7 by Noah Van Sciver
  • Echo Echo by Charles Burns
  • Feynman by Jim Ottaviani, Leland Myrick
  • Ganges #4 by Kevin Huizenga
  • Jinchalo by Matthew Forsythe
  • Tales Designed to Thrizzle #7 by Michael Kupperman
  • Hark! A Vagrant! by Kate Beaton
  • Optic Nerve #12 by Adrian Tomine
  • Scenes from an Impending Marriage by Adrian Tomine
  • What It Is by Lynda Barry
  • The Wolf's Whistle by Bjorn Rune Lie

MAGAZINE/ZINES


  • Cabinet Magazine #44 
  • King Brown Magazine #7
  • Late-Era Clash #24 
  • n+1 #13
  • Uppercase #8-#12

KID'S STUFF


  • ABC Easy as 123 by Charley Harper
  • Book about Moomin, Mimble, and Little-My by Tove Jansson

Now In Stock: Uppercase Magazine!

February 15, 2012: We are pleased as punch to be stocking Uppercase, a beautifully produced, full-color art and design publication with minimal advertising from Canada! We've got issues #8-#12 now in stock!


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THURSDAY, MAY 3rd
 - SUNDAY, JUNE 3rd

Fluent Now in the Langauge of Grief

Mourning Flower illustrations by Amber W. Smith

Join us to celebrate the opening of Fluent Now in the Language of Grief. A collection of imaginary mourning flower arrangements at turns heartfelt and cynical by Amber W. Smith.

A message from the artist: "Subversive mourning flower arrangements as visual one-liners. The thought seemed a welcome respite from the body-oriented figurative work I tend to produce, and a series of these funeral flowers a small personal challenge to draw for quantity, to be less rigid and meticulous. What began as a punch line quickly evolved into a more sincere and direct examination of grief, loss, and the often surprising and selfish ways they manifest.  Sentiment presented as sentiment interests me less than sentiment wrapped in a darker package. Because of this leaning, it's my hope that the slight cynicism of these illustrations reveals an idea that's not really cynical at all. Recognizing and confronting one's honest reactions to loss, of any kind -- loved ones, a properly functioning body, joy -- can be as equally difficult as continuing without that departed thing, and the expectation for grief to be pure, pervasive sadness is unrealistic. A hyperbolic and humorous lens better allows what is ultimately sentiment to exist in the work without it appearing too immediately saccharine. After all, the heart is a muscle.

Still, mostly, I hope it's kind of funny.  Happy May Flowers, everyone."

Amber W. Smith is an artist and musician. She lives in Portland, Oregon with her cat, Cabbage Cabbage.

"Fluent now in the language of grief" is a line from a short story by Amy Hempel.


 
 

Upcoming Events

FRIDAY, MAY 25th, 7pm

100 Poem To Bestill Your Young Heart

Reading and Signing with Kenneth Woods

We were immediately struck by high school poet Kenneth Woods. Wise without falling into the precocious trap of feigning experience beyond his years, Kenneth explores his changing identity, newly formed philosophies, and the tyranny of math. As snarky, tender, melodramatic, implacable and logical as any teen can be, 100 Poems defines the hopes, fears, and loves of the shy creative misfits we all once were.

THURSDAY, JUNE 7th, 6pm-9pm

Chickfactor NW

Photographs by Gail O'Hara

Salsa party by gail o'hara

Reading Frenzy is pleased to present chickfactor nw -- a document of the international pop underground featuring (mostly) indie-rock titans from the Pacific Northwest. From 1992 to 2003, Gail O'Hara interviewed, photographed and had an awful lot of musicians stay at her indie-rock flophouse on 19th Street in Manhattan. This led to friendships and staying at those friends' houses while traveling. During her trips to Olympia, Washington, and Portland, Oregon, she attended festivals like Yo-Yo a Go-Go and Ladyfest 2000 and photographed many northwesterners such as Lois Maffeo, Nikki McClure, Sarah Dougher, Corin Tucker, Rebecca Gates, Scott Plouf, Calvin Johnson, Carrie Brownstein, Janet Weiss, Stella Marrs, Tae Won Yu and others. This collection reflects the community and friendships that developed during those special events and at a time when the indie-rock community was vibrant and fun. The portraits are intimate and her subjects are disarmed, laid-back and often more relaxed than they might typically be at a photo shoot. This is her first show in Portland and it is in conjunction with chickfactor's 20th anniversary.

"I started taking photographs as a small child, thanks to my father who gave me cameras. I have used an old Minolta, a Rollei spy camera, a Nickelodeon PhotoBlaster and a Canon Rebel. My lucky Canon is from 1990 and is deteriorating as we speak but I cannot stop using it anyway. I don't have a digital camera. I started taking photos of friends in high school and college, but it wasn't until the mid-'90s that I thought I might have a talent for portraits (the reason seemed to be figuring out what kind of film to use and where to get it developed, which means everything). I was lucky in that, at chickfactor, we were able to interview people early on in their careers, before they were famous sometimes and before they were weary of being photographed. We were fans and major supporters of music. It also helps that I am super-fast. Sometimes people don't even remember that I photographed them. I don't have a lot of training, apart from darkroom work, but I feel I have been able to develop an archive of wonderful intimate portraits of some of the finest musicians and artists in the world. I have developed a style that is dreamy and blurry and nothing like all the sterilized photoshopped nonsense that is out there. My heroes are Cecil Beaton and Lee Miller."

Gail O'Hara is a writer, editor, photographer, filmmaker, event organizer and documenter. She was born in Washington, D.C., learned a lot about music, journalism and film at Virginia Commonwealth University, and worked at the Washington City Paper, where she met Pam Berry. The two friends started a fanzine called chickfactor in 1992. For a decade she was its primary photographer, taking photos of musicians interviewed in it. O'Hara lived in New York City from 1992 to 2003, during which time she lived a super-music-intensive life, working at SPIN, Time Out New York as music editor, setting up chickfactor parties with live music, running a small label, interviewing and photographing and often hosting many artists at her apartment on East 19th Street in Manhattan. She became the primary photographer of Stephin Merritt's many projects from 1994 to 2002, and was commissioned to photograph such bands as Yo La Tengo, Low and Pavement. She moved to London from 2003 to 2007, where she photographed such bands as the Clientele, Pipas and the Would-Be-Goods and the city she adores. She co-directed and co-produced a documentary film called Strange Powers: Stephin Merritt and the Magnetic Fields (2010). She had a solo exhibition at Other Music in 2000, and was in a group show at Ladyfest 2000 in Olympia. She lives in Portland.

"There's something about Gail O'Hara's photographs that make me want to have dinner with everyone in them.  They're intimate, sporty and have a scruffy sophistication that makes me thirsty for more." -- Daniel Handler, a.k.a. Lemony Snicket, author

"The key to Gail O'Hara's portraiture is her supernatural ability to relax her subject to the point where the camera is almost forgotten." -- Stephin Merritt, The Magnetic Fields

"Through Gail O'Hara's lens, the old look innocent, the young look wise, the ugly, seductive, and the beautiful, human." -- Lupe Nunez-Fernandez, songwriter-artist

 

THURSDAY, JUNE 14th, 7pm

Print Fancy!

Group Release Party and Self-Publisher Social!

Print Fancy! is a bi-monthly celebration of recently released self-published titles! A handful of top notch self-publishers read from their work. Plus audience participation! Refreshments! Prizes! More information coming soon...

THURSDAY, JULY 5th, 6pm

The Axiom Absurd

New work by Harlan Mahaffy

More details soon...

 
 
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