David Wilk Interviews Charles Bernstein of L=A=N=G=U=A=G=E Magazine

April 12, 2014 by  
Filed under Publishing History, PublishingTalks

charles-bernsteinPublishing Talks began as a series of conversations with book industry professionals and others involved in media and technology about the future of publishing, books, and culture.  As we continue to experience disruption and change in all media businesses, I’ve been talking with some of the people involved in our industry about how they believe publishing might evolve as our culture is affected by technology and the ebb and flow of civilization and  economics.

Recently, the series has expanded to include conversations that go beyond the future of publishing.  I’ve talked with editors and publishers who have been innovators and leaders in independent publishing in the past and into the present, and will continue to explore the past, present and future of writing, books, and publishing in all sorts of forms and formats, as change continues to be the one constant we can count on.

It’s my hope that these conversations can help us understand the outlines of what is happening in publishing and writing, and how we might ourselves interact with and influence the future of publishing as it unfolds.  Some of my latest interviews reflect my interest in the history of independent literary publishing, an area I have been involved in for a very long time.

Charles Bernstein has been a poet, editor, theorist and teacher of poetry and poetics, and is best known as a leader of what has become known as the LANGUAGE school of poetry. Between 1978 and 1981, Charles and poet Bruce Andrews edited the truly extraordinary journal they called L=A=N=G=U=A=G=E, that has become one of the most influential literary magazines of the last half century.  That magazine, which circulated a relatively small number of copies during a relatively short period of time (13 issues), helped to establish and define what was then mostly an outsider and alternative challenge to contemporary poetry and thinking about reading poetry and which has now become a fixture in modern poetry and poetics. All the issues of the magazine are available online here.

Since that time, Charles has taught and continued to help establish influential organizations. He was the David Gray Professor of Poetry and Letters at the SUNY Buffalo and Director of the Poetics Program, which he co-founded with poet Robert Creeley. At SUNY, he co-founded the Electronic Poetry Center and is currently the Donald T. Regan Professor of English and Comparative Literature at the University Pennsylvania. He also is a co-founder of the outstanding and wonderful poetry audio archive at UPenn called PennSound (there’s a Writerscast interview with Charles, Al Filreis and Michael Hennessey here).

Our conversation about L=A=N=G=U=A=G=E continues my effort to document at least a small portion of the creative work of independent literary publishing of the late 20th century, that has been so important to the development of contemporary literary culture.220px-Cover_of_L=A=N=G=U=A=G=E_magazine_(February_1978)

The anthology mentioned in the talk, The L=A=N=G=U=A=G=E Book (Poetics of the New), was published by Southern Illinois University Press, and is in print and available.9780809311064Note to listeners: as with all these historically based conversations about literary publishing, this is a relatively long listen, at about 48 minutes.

David Wilk interviews Bradford Morrow of Conjunctions Magazine

conj61dPublishing Talks began as a series of conversations with book industry professionals and others involved in media and technology about the future of publishing, books, and culture.  As we continue to experience disruption and change in all media businesses, I’ve been talking with some of the people involved in our industry about how they believe publishing might evolve as our culture is affected by technology and the ebb and flow of civilization and  economics.

Recently, the series has expanded to include conversations that go beyond the future of publishing.  I’ve talked with editors and publishers who have been innovators and leaders in independent publishing in the past and into the present, and will continue to explore the past, present and future of writing, books, and publishing in all sorts of forms and formats, as change continues to be the one constant we can count on.

It’s my hope that these conversations can help us understand the outlines of what is happening in publishing and writing, and how we might ourselves interact with and influence the future of publishing as it unfolds.  My latest interview reflects my interest in the history of independent literary publishing, an area I have been involved in for a very long time.

Bradford Morrow is an accomplished novelist and poet. In fact we talked about his outstanding novel The Diviner’s Tale in 2011. Brad is also the founder and editor of Conjunctions magazine, which he began in 1981. Conjunctions is truly an exceptional literary endeavor that is now sponsored and hosted by Bard College. Conjunctions has long provided a platform for a host of unknown writers, many of whom are now well known, as well as enabling a number of established writers to create work that challenges reader expectations. Every May and November the magazine publishes anthology form collections around specific themes that include significant long-form work.

Conjunctions has embraced digital publishing, offering a weekly online journal of new work by individual authors, called Web Conjunctions, as well as a multimedia collection of recorded readings, and an archival collection of full-text selections from the anthologies. In particular, I like this line on their website, as an appropriate epigraph for the three-plus decades Conjunctions has been publishing: “a living notebook in which authors can write freely and audiences can read dangerously.” I can’t think of a better motto under which to publish.brad morrow 2

It was a pleasure for me to spend some time talking to Brad about the past, present and future of Conjunctions and the challenges and enjoyments of the work of literary publishing, and I hope also just as much a pleasure for you to hear what Brad has to say here.

(Alert to listeners – as are many of the Publishing Talks interviews, this one is quite long at 51 minutes, but you can always pause and return if it’s too long for one sitting)

Publishing Talks: David Wilk interviews DeWitt Henry of Ploughshares

February 10, 2014 by  
Filed under Publishing History, PublishingTalks

Ploughshares_(magazine)_Spring_1998_coverPublishing Talks began as a series of conversations with book industry professionals and other smart people about the future of publishing, books, and culture.  As we continue to experience disruption and change in all media businesses, I’ve been talking with some of the people involved in our industry about how they believe publishing might evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics.

Recently, the series has been expanding to include conversations about a wider range of subjects beyond my initial interest in the future of publishing.  I’ve talked with editors and publishers who have been innovators and leaders in independent publishing in the past and into the present, and will continue to explore the past, present and future of writing, books, and publishing in all sorts of forms and formats, as change continues to be the one constant we can count on.

It’s my hope that these conversations can help us understand the outlines of what is happening in publishing and writing, and how we might ourselves interact with and influence the future of publishing as it unfolds.  This week’s interview reflects my interest in comic art, illustrated story telling and new technology as a platform for expanding story telling in interesting and challenging ways.

Ploughshares is one of the great literary magazines of the last fifty years. Founded in 1971 in Boston by writer, teacher and scholar DeWitt Henry and writer and bar owner Peter O’Malley, it has gone on brilliantly from very humble beginnings to publish an extraordinary range of writing. Founded in a bar called the Plough and the Stars in Cambridge, Massachusetts, Ploughshares to give the young and upcoming writers of its time a voice and a platform, the magazine  has been a literal breeding ground for great writers of fiction, poetry and nonfiction as well.

One of its innovations was to invite writers to guest edit individual issues. The list of editors is pretty incredible, including Seamus Heaney, Derek Walcott, Rita Dove, James Alan McPherson, Philip Levine, Gerald Stern, Raymond Carver, Rosellen Brown, Maxine Kumin, Donald Hall, Marilyn Hacker, Mark Doty, Richard Ford, Sherman Alexie, and many others. Ploughshares editors have received almost every award given in American writing. Throughout its now celebrated history, Ploughshares has managed to maintain a high level of excellence in writing and has avoided being trapped by the narrowness of a particular school or narrow vision of what American writing can be. It has consistently nurtured new talent, and continues today to bring attention to new writers. And lately, Ploughshares has broadened the definition of what a literary magazine can be with an innovative series of ebooks called Ploughshares Solos.

Interviewing DeWitt Henry about the history of the magazine, bis work as editor and writer, and the current and future of Ploughshares was a great pleasure for me. Having been involved in literary publishing and distribution myself, I know how incredibly difficult it is to sustain both the artistic and structural vision in this kind of publishing. Ploughshares truly represents an extraordinary accomplishment for those who have worked on it, published in it, and of course read the magazine during the many years of its existence.

There’s an excellent history of the magazine on it website. And you might want to visit DeWitt Henry’s own website to learn more about him as well. He is am accomplished and interesting writer too. Alert to listeners, as this is part of an effort to document the oral history of literary publishing, this is a longer than usual podcast – but worth your time to listen.dhcropped-330outside_passage_160

Publishing Talks: David Wilk interviews Liam Sharp and Ben Abernathy of Madefire

treatment-cropped-625x326Publishing Talks began as a series of conversations with book industry professionals and other smart people about the future of publishing, books, and culture.  As we continue to experience disruption and change in all media businesses, I’ve been talking with some of the people involved in our industry about how they believe publishing might evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics.

Recently, the series has been expanding recently to include conversations about a wider range of subjects than my initial interest in the future of publishing.  I’ve talked with editors and publishers who have been innovators and leaders in independent publishing in the past and into the present, and will continue to explore the past, present and future of writing, books, and publishing in all sorts of forms and formats, as change continues to be the one constant we can count on.
It’s my hope that these conversations can help us understand the outlines of what is happening in publishing and writing, and how we might ourselves interact with and influence the future of publishing as it unfolds.  This week’s interview reflects my interest in comic art, illustrated story telling and new technology as a platform for expanding story telling in interesting and challenging ways.
Madefire is a very cool development in the evolution of technology platforms that enable digital storytelling.  Founded by Ben Wolstenholme, Eugene Walden and artist/writer Liam Sharp, Madefire has big ambitions, and has drawn significant support from investors, creators and readers.  In their own words, it’s a big play: “Madefire is undertaking an epic journey – One that we believe will revolutionize how stories are told, read, and shared. One that will transform a once static medium into an interactive experience that unfolds dynamically on mobile devices, and evolves with each new episode. It’s our Motion Book Tool that will make all this possible. We built it to unite the timeless beauty of sequential art with cutting-edge technology, and to give new creative freedom to the world’s most visionary creators and storytellers. All in the service of advancing the art of storytelling.”
At the October 2013 New York Comicon, I had a chance to get a demo of the software in action and was impressed by the Madefire approach, which provides comic artists with a whole new set of tools to enhance the visual storytelling mode in digital form.  What is most appealing is the organicism of the approach – they are not trying to overwhelm us with game based features, but enabling the creators to expand their vision and engage their readers.  It is indeed a big project and new developments continue to emerge.  They call what they are making “Motion Books” which gets across pretty clearly what they are after. Their alliance with DeviantArt is a mind opening approach to publishing and engaging with communities of readers and creators online.
For this Publishing Talks interview, I spoke with both founder and CCO Liam Sharp and editor Ben Abernathy, formerly a group editor at DC Comics. I highly recommend downloading the Madefire app and experiencing some of the work that has been made using the Madefire tools. Listeners please note, this is a relatively long interview at just over 40 minutes.Liam Sharpben

 

 

 

 

 

 

 

 

Madefire

Publishing Talks: David Wilk interviews Charles Bernstein and Al Filreis of PennSound

December 4, 2013 by  
Filed under Publishing History, PublishingTalks, Technology

Bernstein-Filreis_Mark-StehleIn this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

It’s my hope that these conversations can help us understand the outlines of what is happening in publishing and writing, and how we might ourselves interact with and influence the future of publishing as it unfolds.

PennSound is a very special online resource that was instigated by founders Al Filreis and Charles Bernstein with the incredible support of the University of Pennsylvania in Philadelphia. There is really nothing like it in the world, and for anyone interested in poetry, poetics, or the literary world of the past 100 years, it is an incredibly important resource.  The energy and dedication that has gone into this unmatched collection of recordings of poets reading, lecturing and talking about poetry is a gift whose impact will be felt for many years to come.

Filreis wears many hats – he is Kelly Professor at UPenn, Director, Center for Programs in Contemporary Writing, Co-Director, PennSound, Publisher of the literary magazine Jacket2 as well as Faculty Director, Kelly Writers House. In addition, he is the author of a number of books of criticism.  Charles Bernstein, an old friend of mine, is one of the most important poets and critical thinkers of his generation of writers.  He was the David Gray Professor of Poetry and Letters at the SUNY Buffalo and Director of the Poetics Program, which he co-founded with poet Robert Creeley. At SUNY, he co-founded the Electronic Poetry Center with Loss Glazier. Charles is currently the Donald T. Regan Professor of English and Comparative Literature at the University Pennsylvania.  He was a co-founder also of the important literary magazine L-A-N-G-U-A-G-E and is the author of many books of poetry and theoretical writings about poetry, language and thinking.  Also in this discussion is Michael Hennessey, the editor of PennSound, and author of the “PennSound Daily” column. Michael holds an MFA in Creative Writing from Emerson College and has published critical work in magazines and anthologies.

I wanted to talk to Filreis, Bernstein and Hennessey about how PennSound came into being, to learn more about its scope and breadth, and to hear first hand their plans for the future. My hope is that our discussion will draw as much attention and support to PennSound as possible.  And I can’t help enjoying the appropriateness of presenting an audio experience of this essential audio resource.  There is something new and compelling posted at PennSound almost every day.  Please visit, spend some time, and enjoy the rich trove of poetry as spoken and discussed by the poets themselves.portrait-for-home-page  Even those who don’t read or even like poetry have their minds changed by the experience of hearing the words out loud.

pennsound_podcast_logo   hennesmi

Publishing Talks: David Wilk interviews Eugene Schwartz

Gene Schwartz PhotoIn this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Gene Schwartz has been an active participant in the publishing business for many years.  I first knew him as the ubiquitous representative of the magazine Foreword, covering every possible book and technology event for the benefit of independent publishers.  He still works as editor at large of Foreword Reviews.   He is an industry observer, an occasional blogger and columnist for Book Business magazine,  a member of its editorial advisory board and its Publishing Business Conference and Expo Advisory Board. He heads his own publishing consultancy, Consortium House, and is currently engaged in new business development projects for Waterside Productions, He is also notably co-founder of Worthy Shorts Inc., an innovative online private press and publication service for professionals , publishers and associations

In an earlier career, he was in the printing business, directed production at Random House and CRM Books/Psychology Today and was director of production and operations for Prentice-Hall/Goodyear. He is a former PMA (IBPA) board member and founder of the San Diego Publishers Group.

Schwartz has a civil engineering degree from CCNY and completed graduate course work in public administration at NYU, so like many of us in the publishing business, he came to this business from a very different background.

I thought it would be valuable to talk to Gene about publishing, past, present, and future, since he has been involved in so many different aspects of the business over such a long period of time.  He is consistently perceptive about the way technology and change can be harnessed by publishers and others in the book business, and has a terrifically tuned critical sensibility that he can bring to bear on any subject.  We had a great talk and covered a wide range of subjects in this interview.ws100_detail_cover

Publishing Talks: David Wilk interviews Thomas Schinabeck

dotdotdotIn this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.  They also provide an opportunity to hear what all kinds of leaders and participants in publishing have to say about the communication between writers and readers through the particular lenses of their own experiences.

We’re far enough along in the development of ebooks and digital reading for numbers of individuals and companies to be interested in developing new ways to package and present text in ways that differ from those that developed over the last few hundred years of analog “real world” print publishing.  Applications like Flipboard, Instapaper, Pocket, and Readability all allow readers to curate their own reading experiences by “clipping” articles and stories on the web, and saving them into reading software that makes both a better reading experience on your tablet than websites on laptops or desktops allow, and enables reading at leisure in a self controlled context.  And sites like Social Reader from the Washington Post enables sharing and finding web content through existing social networks.

Dotdotdot, a new application now in beta, developed by Thomas Schinabeck and friends in Berlin is similar in shape, but goes farther, I think, to enable readers to have much finer controls over their e-reading experiences.  Dotdotdot allows me to upload my own epubs as well as content I have discovered on the web, or that friends may have sent me.  The site is socially enabled, so that members of the community can choose to share their own and follow what other users are reading.  Annotation also adds to the reading and sharing experience – marginalia is fully integrated into the dotdotdot experience, so it is a truly social reading platform.  And its archive capability allows readers to use dotdotdot as a repository – independent of devices or the closed ecosystems that e-readers create.  And dotdotdot, unlike all the other content aggregating programs I have seen, is designed around long form reading.

“We thought if we find a technical solution for how we can import texts into a platform that the user already has, we can provide all the stuff on top of it that makes a great user experience, and also uses the full potential of digital text,” Schinabeck said in an article about dotdotdot on Pando Daily in January 2013 (now a bit out of date, but still a great description of the site).

Thomas and I had a terrific conversation in March 2013 both about the program he and his partners have created, as well as exploring some of the philosophical and technological underpinnings that drove the establishment and development of what I think is a really compelling new offering.  The partners behind dotdotdot have paid alot of attention to what readers want and will benefit from in digital reading environments, and have really thought long and hard about how to support a worldwide community of readers.  I’ve been using dotdotdot and find it to be an elegant and compelling experience for reading digital texts, interacting with them, and sharing in ways not provided by any other reading experience, an exciting approach to using the web to broaden the experience of text.

Thomas has a masters degree and part of a PhD in digital media studies, and worked for the record label BMG and was a brand manager at MTV Networks in Europe.  His interesting personal website it here.Dotdotdot-300x131

Note, dotdotdot is still very new, in development and not fully realized yet. Right now it works with DRM-free epubs, as well as HTML web content, and is mainly aimed at iPads and iPhones (and a browser add-on is available for most available browsers).  New features are being added regularly.

 

Publishing Talks: David Wilk interviews Glenn Nano

glenn nanoIn this series of interviews, called Publishing Talks, I have been having conversations with both book industry professionals and others with interesting perspectives about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations can help us understand the outlines of what is happening in, around and to the publishing industry, and how we might ourselves interact with and influence the future of publishing and culture as our interesting present unfolds into the future.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Glenn Nano is a truly amazing guy I ran across first when he founded Code Meet Print, a “community at the intersection of texts + technology that will contemplate, define, and help build better interfaces for engagement, more relevant curators for discovery, and more useful marketplaces for dissemination of great writing and content to eager readers.”  And at Tools of Change this year in New York, I had the pleasure of moderating a panel called “Beyond Devices: Is The Real Value of eBooks Social Engagement?” on which Glenn appeared, and impressed me with his incisive and original thinking.

Evidently, Glenn is a serial entrepreneur who brings great ideas into being, or spurs them forward.  Aside from CodeMeetPrint, he also created Dictator Goods (you have to visit this site), was a principal at Centurion Venture Partners, and most recently engineered a very interesting start up called AnswerQi (“tech answers from real experts in real-time”, which I think is taking up most of his abundant energy for the moment.

As Glenn wrote in the introduction to Code Meet Print: “Words are finding new modalities, and innovators across disciplines have begun to experiment with how technology might improve their creation, curation, and consumption.”  This sums up very nicely what so many people involved in writing, publishing and reading are trying to understand right now.

I am very pleased to have had the opportunity to talk with Glenn about his views of the current state of publishing, storytelling and writing, and his views about where we are headed.  I think you will find this conversation to be among the most interesting on these now well-worn subjects that you will hear or read.  Glenn thinks about the digital present in a way that I think alot of people whose roots are in traditional publishing simply do not natively understand.  So there is always something for us to learn from what he has to say.

Alert to listeners, we were having alot of fun talking, so this interview runs longer than usual at 46 minutes.                                                                                        global_22005223

Publishing Talks: David Wilk interviews Andy Doe

doe_headshotIn this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

I discovered Andy Doe’s writing quite by accident, and a happy accident that was.  UK based, Andy comes from the music business. Most recently, he was the COO at classical music label Naxos from 2010-2012, and was head of classical music at iTunes from 2004-2010; now he freelances to help artists, labels and other organizations on recording and marketing activity, both on and offline.  He also blogs brilliantly and with a great sense of humor at Proper Discord.

A piece he posted in November, 2012 caught my attention and is one I highly recommend to anyone interested in physical and digital media; it’s called What is Going on with the Record Industry (at New Music Box, a very cool site about new music). It’s a list of ten observations with explications of each.  The first one is called  “Almost everything you read about the state of the record industry is, at best, totally useless,” which should give you a good idea of where Andy is coming from and where this piece might be headed.

Naturally, I thought it would be fun to talk to Andy about his thinking about the record business and to draw him out on how what has happened and is happening in that industry might apply (or not apply) to the book business. We do tend to think that all entertainment media businesses, including books, music, television, radio, film, video games and even newspapers have similar enough structures and relationships between physical and digital media, as well as similar disruptive innovations as to make the experiences in one useful to the those who work in other creative industries.  So we talked about that a bit, as well as how some of what Andy has observed and learned in the music business may not be relevant to book publishing.  Overall, because he is such a smart and witty guy, I think this conversation should be of particular interest.  As has happened recently, when discussions have been going well, we have gone a bit longer than podcasts usually go. This one is 47 minutes.

Another good reference point I should mention – here’s a written interview with Andy Doe by Tom Manoff you might enjoy as well.

And oh, by the way, this is the 200th interview I have posted on Writerscast since its inception just a few years ago.  I’d like to thank all the wonderful writers, technologists and thinkers who have been willing to give me some of their valuable time to pepper them with questions and engage them in my enthusiasms and interests.  And I’d also like to thank the individuals who have helped make this project work, my daughter, Emma Wilk, for editing my often poor efforts at recording, website builder and podcast expert Rob Simon of Burst Marketing, and his web guru, Jeremy Brieske.

And in particular I owe thanks to all of you who have listened and responded to this humble effort to contribute to the cultural and intellectual good of all. andy_doe_2-540x359

Publishing Talks: David Wilk interviews Ishmael Reed

Ishmael ReedIn this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Ishmael Reed is not only one of my favorite writers (fiction, poetry, theater and a wide range of nonfiction), he is an editor, publisher, literary activist and one of the founders of the Before Columbus Foundation, which has sponsored the American Book Awards since 1980.  His latest publishing venture is Ishmael Reed Publishing Company, sponsoring the work of a diverse set of writers from many continents, including an online magazine, Konch.  He blogs for the San Francisco Chronicle at www.sfgate.com.

His own books include the now classic Yellow Back Radio Brokedown, Mumbo Jumbo, The Freelance Pallbearers (a book I like to re-read at least once every five years), Flight to Canada as well as an amazing number of collections of essays, plays and poems, and recently, Powwow: Charting the Fault Lines in the American Experience, an anthology he co-edited with Carla Blank.  Forthcoming books include The Fighter and the Writer: Two American Stories (Random House), and Brawls, a new collection of Ishmael’s always provocative and on point essays. Ishmael Reed is a massively prolific writer in a wide range of forms.

You can read a complete biography of Ishmael here.  It’s pretty impressive, but listen to this interview I did with him to get a real sense of what he has done to support and promote the full breadth of writing and creativity in this country (and around the world).  Ishmael Reed gives voice to the heart and soul of the river of creativity that flows out of and through the great American continent, and never fails to tell truth to power, expose alternative views of accepted wisdom, and makes us think long and hard about who we really are.Fiction Anthology_0  This conversation covers a wide range of topics, and includes much about the history of independent publishing in the last several decades, and much more.

Blan_0609807846-330 A guest appearance by editor, writer and professor Carla Blank near the end of our talk.

 

 

 

 

 

 

 

 

 

Carla Blank

Next Page »