My poem The Poetry In Between is featured in Lummox 6 from Lummox Press. I’m proud to be included with so many talented poets in such a beautiful volume. It’s 25 bucks for over 200 pages and worth every penny. Check it out!
I didn’t write that.
I found this graphic somewhere or another on the internet when I should have been writing or working instead. It stuck with me, and while I may not agree or disagree with it, it proposes serious questions.
Is traditional publishing a black hole?
In 2017, is there still a stigma against self-publishing?
As with most topics, it depends on whom you ask. I’ve never had a problem with it; in fact, out of my six chapbooks two were self-produced. There is a lot of bad self-published work out there, but there is a lot of bad writing put out by major publishers as well.
However, I would hesitate to call out editors as elitist with asinine egos. Firstly, that is not fair. Secondly, I’ve been on that side of the desk and can assure you that editors are not out to destroy the dreams of their writers… that would be rather counterproductive, don’t you think? I would also hesitate to call these small magazines pathetic. The small press has been very kind to me, and while I am far from famous, the only reason anyone knows who in the hell I am, is because of the small press magazines/presses which found some sort of value in my work.
I don’t have a problem with the publishing game. I don’t have a problem with the hustle, the research or submission process. I don’t even have a problem with the rejections. It’s all part of this writers life we committed to.
For me personally, the problem is a lack of truly experimental presses. To make it worse, out of the handful of experimental publishers I find, most of them do not accept unsolicited submissions, or are closed to submissions entirely. I’ve been sitting on two manuscripts for quite some time, submitting them when I finally find an appropriate publisher… obviously that has not been fruitful. It’s frustrating. Because of this, self-publishing has an appeal.
Does it matter how these manuscripts find their way into the world? I’m not going to become rich and famous writing experimental texts. The type of people who would look down at my writing because it is self-published, would likely look down on it even if it was published by Penguin.
Ironically, I have self-produced noise/sound art for many years, as have most of my contemporaries. In the music world, D.I.Y. art is not looked down upon, but celebrated. Why the difference between the music world and the literary world, are we as writers that pretentious and self- important?
So what do you think?
I’m pleased to announce that I have four poems up in one of the best blog/zines around for challenging literature, Otoliths. It is another issue packed with exceptional writing, if you’ve never checked out Otoliths you are missing out.
The electronic/noise/experimental project of Shawn Blackburn and myself, Blk/Mas has finally returned with a new album download. X + Quantity Of Me may be our best effort yet, and I hope you’ll check it out, along with all the other stuff we have to offer over at The Awareness Factory.
I’m proud to once again return to one of my favorite destinations on the internet Ex-Ex Lit. Head on over to read another excerpt from my work in progress, Subliminal Syntax. Take some time to read some of the other offerings on the site as well! Homes for experimental literature on the web are far and few in between and this one is worth supporting.
Proud to once again have some poems featured over at Altpoetics, “purveyors of nextperimental literature”. Hopefully you’ll check them out, I’m in good company.
The new issue of Red Fez is online and am once again proud to be included with a great group of writers. It seems some habits die hard, like factory poems. So click the link to read one more.
I am proud to have two pieces up over at one of the best online magazines around, 3:AM Magazine. They are both non-fiction pieces, something I have not published a lot of over the years but am looking forward to delving further into. The first article concerns defining noise/sound art, while the second piece is a log of experiments with dreamachines and binaural audio.