Bella Bravo reading selections from her Young Biographies (Monster House Press) & Wendy Lee Spacek reads Lady Lazarus by Sylvia Plath. From the Soft River Readings Series at General Public Collective on March 1st, 2014.
This is a zine about healing. The sort not understood through words, but in the whispering of songs remembered in dreams. Within these pages I split open my body, revealing ancestral cartographies of struggle, pain, resistance.
Truth or Consequences follows author Rachel Lee through a poetic and critical process of healing, empowerment, & magic—from the desert of Truth or Consequences, NM to the Midwestern metropolis of Columbus, OH—employing diverse and illuminating avenues of outlet: poetry, interview (w/ clinical herbalist Caty Crabb), illustration and photography, and rumination via personal essay (on shame, bodies, & growing up with an eating disorder.) All these collisions amplify and relinquish “society’s matrix of intersecting oppressions” and reveal the rebirth of a spirit transformed.
New chapbooks and zines (poetry, fiction, essay) from Monster House Press in today!
You can pick up some of our releases from Boxcar Books in Bloomington, IN!!
GONERS mentioned / briefly written about in the most recent issue of NME magazine
'rock journalism' seems insane to me
feel aversion, in general, to ‘reviews’ of anything
more specifically feel aversion to popular music magazines ~ with corporate sponsors ~ writing about ‘punk’ bands in an attempt to seem somehow more invested in independent / DIY music scenes
the popular music magazine feels validated via it’s attempt to appeal to a niche market & appear ‘relevant’ by using taglines like ‘you heard it hear first’
the unsigned / DIY band feels artistically validated via exposure from the popular music magazine which has successfully ‘dangled the carrot’ in front of the unsigned / DIY band, in terms of ‘success’ & financial stability from playing music
thought about n+1’s essay on pitchfork, 5.4, which mentioned the evolution of ‘indie rock’ in relation to social class, which seems relevant when a magazine like NME, a member of IPC media, is creating content ($$$) from bands like GONERS, who practices in a moldy basement with music equipment that is borrowed & always falling apart / breaking
seems like money as an incentive caused bands to work very hard to write good rock songs (1,2,3) but also seems that money as an incentive for rock bands in 2014 doesn’t exist, but, and i guess this is the point i am trying to make, that money as an incentive for ‘rock journalism’ in 2014 exists maybe more than it ever has
thought about how like shows in 1982 cost $5 & that shows in 2014 cost $5
thought about how, in general, like 10x more people will show up to a party than to a show at cafe bourbon street
thought about how like in 2050 people will view ‘rock music’ as some archaic thing that their parents listen to
thought about this jean rhys quote
“All of writing is a huge lake. There are great rivers that feed the lake, like Tolstoy or Dostoyevsky. And then there are mere trickles, like Jean Rhys. All that matters is feeding the lake. I don’t matter. The lake matters. You must keep feeding the lake.”