In Defence of 4chan
There’s a message being conveyed by mainstream journalists and clickbait sites alike that 4chan hates women. This is true to the extent that 4chan hates everybody. 4chan hates 9GAG and Reddit, which are in many ways its direct descendants. It hates My Little Pony: Friendship is Magic culture, even though it has an entire “containment board” dedicated to it. 4chan will most likely hate me for writing this post. 4chan, as one local Fox News station stated, is “an Internet hate machine.” And you’re just going to have to deal with that.
I started visiting 4chan after reading Parmy Olson’s excellent book We Are Anonymous: Inside the Hacker World of LulzSec, Anonymous, and the Global Cyber Insurgency. At first I didn’t know what to make of it. User friendliness and design function were not priorities for founder Christopher Poole when he created the site as a 15 year old. Nor are 4channers welcoming of newcomers. When there’s an influx of new users, which happens every summer, or after a big media event like the fappening, the /b/ros get busy posting beheadings, coprophagiac gifs, and all manner of hair-raising content.
Virtual Book Tour: Désirée Zamorano
Mercy Amado has raised three girls, protecting them from their cheating father by leaving him. But Mercy’s love can only reach so far when her children are adults, as Sylvia, Celeste, and Nataly must make their own choices to fight or succumb, leave or return, to love or pay penance. When tragedy strikes in Sylvia’s life, Mercy, Celeste, and Nataly gather support her, but their familial love may not be enough for them to remain close as the secrets in their histories surface. Forgiveness may not be accepted. Fiercely independent, intelligent, they are The Amado Women.
Today is the last stop of Désirée Zamorano’s virtual book tour celebrating her new novel. Below, read a bit about Désirée’s life as a writer, one that should not be chosen lightly.
More years ago than I care to admit I sat at a Bouchercon (mystery) conference and listened to the writer Patricia Sprinkle speak about the “seasons” in a writer’s life. I had two small children, taught 5th grade, and had committed myself to carve time out of my day to write. But, I had given myself a daily quota that I was daily unable to make. Ms. Sprinkle’s presentation reminded me that there would be different seasons in my life and to not beat myself up for being unable to make my arbitrary quotas. I took her words in, deeply.
For decades I had one dream: to have a traditionally published novel that I could find on the shelves of a bookstore or library. Ten years ago, overwhelmed by unrealized dreams, and by what seemed like vain hopes and years’ worth of hours of writing (all these words—to what purpose?), I remember lying in bed and praying for God to excise this writing aspiration from my heart. Instead, I found a book that saved my artist’s soul: Making a Literary Life by Carolyn See.
Today is a very different time. Right now, I feel like the poster child for perseverance. When Cinco Puntos accepted my book, which would realize my dream, I released all the bitterness and resentment of my pre-published life. And I realized how ridiculous I had been, all these many years, to allow one thing to define me. One. How ludicrous. What, as they say in the psychology biz, a cognitive distortion. I wouldn’t wish it on my nemesis. Well, maybe.
A THEATRICAL ESSAY ON TRANSFORMATIVE THEATER FROM THE WORKS OF A FEW CONTEMPORARY FEM WRITERS
The second e-version of Gurlesque, an anthology of “the new grrly, grotesque, burlesque poetics,” is coming out soon with an expanded number of amazing female writers, including Jennifer Tamayo, Marisa Crawford, K. Lorraine Graham, Kate Durbin, Kate Degentesh, among others— along with the original contributors, one of whom is Stacy Doris.
When I read Doris’ funny, edgy, cerebral, and (dis)sensual Paramour in college, I knew I needed to go to San Francisco State for my MFA so that I could work with her in person. Stacy proved to not only be a phenomenal writer but also a caring mentor. Her passing in 2012 still feels raw today.
After reading an excerpt of Doris’ book The Cake Part [1] which was published in the first edition of Gurlesque, I decided to read the full version and then (circuitously) write the following essay, incorporating other writers that used theater the way she did (or did not) in that book.
Only, since I was writing about transformative theater, I figured the traditional essay format wouldn’t lend itself as well as a more dramatic format…
***
Scene: In a spaceship in a parallel universe. Android GERALDINE KIM types commands into the complicated lit-up dashboard as her ship is being attacked by a multitudinous tentacled alien race.
GERALDINE KIM: (ignores cosmic blasts while typing furiously.) I tried to write an essay on theatrical writing (not to be confused with the genre but more a leitmotif within other genres of writing—namely poetry) and then I realized that there are actually only a handful of instances of this in contemporary fem writing (that I could find).
GERALDINE KIM’s BEST FRIEND WHO WISHES NOT TO BE IDENTIFIED: (enters.) How many instances did you find?
GERALDINE KIM: Four.
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August 15th, 2014 / 10:00 am
August 15th, 2014 / 10:00 am
Catalog of ri¢h poets: Matt Margo
Are poets really ri¢h? It’s the question of the ages. What is ri¢h, even? It is another question. Does it have meaning? Is it quantitative? Is ri¢h a lifestyle? Is ri¢h a feeling? Is ri¢h more than a feeling (more than a feeeeeeeling)?
I feel rich when I walk into a bookstore and steal copies of my own book. I feel broke when I get my royalty check amounting to sixty cents. I feel rich when I get tipped tokens on webcam sites. I feel broke when I calculate the value of said tokens. All poets want is a little token of appreciation. Can all the poets please get some?
Matt Margo is today’s ri¢h poet, poeming away for a little gold coin. Or gold chain and medallion. Swag.
foe tha love of this
the money i linger over
is due entirely to
hours spent sitting around in the great
solar system designed
to be known as a kmart.
the money i shoot
only wants to maintain direct eye contact,
construct interesting beats, and
stare at my workplace.
my money is a poem wandering down mountains,
not a big word, just a thought,
a calming wash,
a spike through
a structural godsend.
This poem is included in my chapbook what i would say, which consists of found language from my Facebook posts strung together algorithmically. Each line is the result of chance, but each stanza is the result of taste—my attempt to compromise with the technology in terms of constructing meaning. The meaning being constructed in the case of this poem pertains to cash, which rules everything around me. I’ve never actually worked at a Kmart, but I do still understand the struggle of trying to invoke those dead presidents and keep them safe in wallets, checking accounts, and sock drawers. Yesterday I graduated from college, and today I am already feeling the tremendous pressure of needing but not having a job. The title of this poem is, of course, an allusion to my favorite Bone Thugs-N-Harmony song. But do we really live for the love of money? What other options do we have? The love of poetry?
Matt Margo i$ the author of When Empurpled: An Elegy (Pteron Pre$$, 2013), whi¢h you $hould pur¢ha$e $o that Matt Margo may one day be a Ri¢h Poet.
On Being Weird and Fashion
I remember it very clearly. It was Chinese New Year, this year: to celebrate, I wore red pants and a black and white polka dotted shirt and a red and brown cardigan. I looked down at myself and thought: Who let me out of the house like this? Luckily, I had not left my house. I was pacing in my backyard, smoking a cigarette, making circles and circles. I looked down at myself and had an epiphany: I’m fucking weird.
This is funny because for most of my life, I’ve tried to be weird, and then one day, I just became weird.
Catalog of ri¢h poets: Carabella Sands
Ri¢h like a ¢ockaroach scrambling and fighting other lesser insects for a bite of discarded pizza ¢rust. Ri¢h like a fifty ¢ent soda. Rich like a fire poker in the bottom. Rich like green eyeshadow all over your face. Carabella Sands is a ri¢h poet, and if you ever saw her reading poems laying on a concrete floor, you would never have any doubts about it.
Pornography
I hugged your boyfriend last night
He felt real good and warm
I tried to connect my brain to yours
All the way in Disney World
So you could get an image
Our bodies
A leading center
And imagine your bodies
I wanted you to feel him
And need to come home
ABOUT THIS POEM
Fuck. This poem is about love obviously. Feeling so good about hugging someone that you feel bad someone else doesn’t get the chance to do it. I don’t know how to write an “about this poem” Can’t I pay someone to do it for me?
Carabella Sands is the ri¢hest poet ever. She owns the sun and most other stars. Her Tumblr is made of platinum and diamonds.
ATTN: Ink Press Productions Summer Micro-chap Contest 2014
Tracy Dimond sent me all the details about another opportunity to submit new work this summer. If you got a manuscript perfect for the micro-chap contest, you best pounce on this one:
Ink Press Productions is thrilled for summer and for our first ever micro-chap contest judged by Joseph Young!
What is a micro-chap? We’ll be looking for more than just a short collection. As Joe says,
The micro-chap is a form in itself. It’s not a shorter, or more condensed, chapbook, it’s a book with its very own aesthetics. What can a series of 7 very short poems or 6 tiny stories, do that 50 poems can’t? What are its limitations, and what are its possibilities?
I’ll be looking for a chap that would do just that: push against its edges, try something it might not know how to do.
Submissions will be open July 7-21. The winning chapbook will be announced by August 1 and then published in a handmade edition of 50 books to be released at the end of August.
To submit, email 10 pages or no more than 250 words in one document to inkpressproductions@gmail.com
There is no fee for submitting; however, we encourage anyone sending their work to check us out: buy a book, some merch, or show your support by making a $5 donation to Ink Press!
Buk–Everytime
I talk to you on the phone you tell me I’m a great
writer
and everytime I read you in print you’re putting me down.
What is it with you?
the knifer
I presume you are either Steve Richmond or Harold Norse.
I’ll have to presume it’s you, Steven.
there is nothing wrong with your writing—Or Norse’s.
it’s when you guys get outside your writing that you
often get depraved and nonsensical. I don’t want to
say it, but I will, and check it out if you please.
I asked Martin sometime back to print both you and
Norse feeling that you both deserved it. I have backed
both your and N’s writing—in forwards (forewords) to
your books and even by word of mouth over a bottle of
beer. and I don’t do it out of good feelings or comradie,
I do it because I believe in the artistry of your work.
then Norse attacks me in print (indirectly), asserting
that I have come between him and Sparrow, ruined his
chances when I have done just the opposite. I am not
out to get anybody; you guys are ridiculous. stick to
the facts. and on those 300 poems you showed me that
night, babe, since you hardharp it so much—most of them
did happen to be bad. all right, I’ve written some bad
ones too, plenty of them. we run into slumps of spirit
and life…now, do you understand? I say you’re
a very fine writer but you’re too jumpy about movements
in the fog. relax. I defended your work against a
certain guy you know quite well who said you couldn’t
write. (over)
HE CAME BY A WEEK AGO
I told him that I thought you were one of the most
powerful and original writers alive. I don’t want
to tell you these things but you fore ce me to. now
if you’ll get your head on straight and get into
doing the WORK you’re capable of instead of imagining
I wish your beath death, then we’ll both feel one hell
of a lot better.
I hope you’re getting some good ass and some love
and that the lines are falling into place. I’ve come
off a couple bad days drinking but am back to getting
all things now. stay with it. Some day it will come to
you it has now. you don’t know it. get your teeth
into the typewriter ribbon.
Sure,
BUK
p.s. I’ve moved. you ever got any need to phone, o.k., it’s 661-7754.
The Opening Pages of Joshua Corey’s “Beautiful Soul: An American Elegy”
Available now from Spuyten Duyvil
Because my home office has stacks on stacks of books, because new books are added to the stacks almost daily, because I have not finished half of half of the books I’ve started, I cannot grant attention to more than the opening pages of a book before I decide whether or not to stick with it. In truth, if a book has not convinced me within five or six pages that it deserves my complete attention I put it in the box labeled “To Be Traded At The Bookstore in Jacksonville.” Sadly, many many books end up in that box. Given the limited number of books that escape such a fate, I thought I might spotlight a few of them this summer in a series I’m calling “The Opening Pages.” Could have also called it “Books that didn’t end up in the trade box,” but that sounded less catchy.
Joshua Corey’s Beautiful Soul: An American Elegy did not end up in the trade box. Quite the contrary. I think it’s one of the most interesting and impressive books I’ve read lately. And since it has just been released, I thought it would be a great place to start this series.
30 Pictures of Refrigerators
Amina Cain is the author of Creature, one of my favorite books in 2013.
Andrew Weatherhead is funny. I follow his twitter and laugh often at his tweets.