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So THAT’S the Question.

I think we’re all agreed that another world isn’t just possible, it’s imperative. So what is that other world to be? That’s the main question, damn it. And there are flickers of light all over our world as people ask that question and try to answer it in their own, creative way.

That’s what we’re doing here. One more little flicker of light to add to the others, in hope that something catches and the entire landscape gets suddenly illuminated in a blaze of transformation.

So one question leads to another. We’re asking questions here in the quarterly magazine, and we’re inviting anyone who asks an imaginative question to join in.

Also, we’ve started a Facebook page, The Arcadia Project, where anyone can play with any kind of transformative idea. Or share an idea they’ve found somewhere else, from a light that maybe shines a little brighter than the ones surrounding it.

For example, Rose Jermusyk, who this issue shared “The Question and The Answer,” also contributed to the Facebook page an article from Medium, an important look at how visionary fishermen are changing our relationship to the sea.

It’s a story. It’s a real story, but I think it’s important that we all remember that real stories start with stories of the imagination. If it can’t be imagined, it can’t happen. And that is where we come in.

It’s never ‘just’ imagination. Imagination forms our reality; we forget that, we have forgotten that, to our immense cost. We have built ourselves a little over rational cage, and then bricked in the walls, and we wonder—where is the door? And where, once we find the door, is the Key?

We’re joining in searching for them both, because if there’s one thing everyone who ever joined in the EAP conversation believes, it’s that there’s a whole unexplored world out there, one where we can become something rich and strange.

In this issue, don’t miss my interview with social activist and poet Walidah Imarisha, about the function of visionary fiction in that process of Becoming.

As usual, Brian Griffith imagines a better world is possible—with animals, our partners on the planet.

Ellen Morris Prewitt wrestles with the question of Death and finds another kind of partner there, as well.

I do some wrestling on my own, about why Fantasy is truly important—being tired of hearing from so many unthinking people that ‘fantasy’ is so boring, so ‘not real life’. Fantasy is where our lives begin, and should we not be careful of that beginning?

Start fantasizing. And welcome back.

(PS: For you married cooks, if you want to read about how another world is actually possible, check out how my Dear Husband has, after 25 years, suddenly shown an interest in cooking mussels. You see—miracles do happen…)




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Spring and the Devil.

VERY appropriately, this issue, ‘The Devil You Know’, was pelted with poetry. Inundated. A tsunami of images came over the virtual transom, and it’s a tribute to our poetry editor Marissa Bell Toffoli (see her poem this month, ‘Garden of Unease’) that she caught them gracefully in her poetic catchers mitt while in the midst of creating her own…and, by the way, giving birth to her first child. That’s what we call poetry in motion.

Read the poems. No, I mean really READ them. The variety and lushness (and, in poet David Budbill’s case, the precious sparseness) will catch you from behind and lift you into spring. We’ve always been enthusiastic fans of the work of Charles S. Kraswekski, but ‘Down in the Station’ takes us past fandom and into a new way of looking at a world caught in a tightening circle. David Selzer’s ‘Exterminate the Brutes’ grabbed us by the throat and shook us. (Liverpool EAPers especially, take note…his look at Churchill will doubtless jibe with your own.) And Kirsten Rian’s ‘Migration’ soars, even as it sorrows.

There’s so much more, too. Of course, the prose. Both the excerpt from ‘Tales of the Devil’s Wife’ by Carmen Lau, and ‘The Broken Vessels’ by Ronnie Pontiac, are examples of the kind of modern fairy tale that EAP believes helps to change a tired story. Keep an eye on both of those authors; we’ll do what we can to cheer them on, though neither of them probably needs any help to get aloft.

And don’t forget to have a look at Brian Griffith’s ‘War Horses’, an excerpt from his upcoming book “Animal Wars.” The Devil we know is pretty close. That’s true, and it’s not a bad thing to realize it. In fact, it might be the first step to turning the Devil into…well. You know.

Welcome back.

(Postscript: You may have noticed the next issue’s subject: ‘This May Be the Last Time’. Aside from it being the pendant to the winter ‘Firsts’ issue, it kind of points to the fact that I think this part of the EAP experiment is nearing its end. It’s been a wild ride, and a fruitful one, and a lot of amazing work and relationships have come out of it—too many to mention here—so now it’s time to see what all that means, and which one of the forking paths upward to take next.

Stay tuned.)

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This issue of EAP: The Magazine features a memorial picture of Laika, the first dog sent into space, and we feel in solidarity with that dog, although a good deal luckier. We’re into celebrating Firsts, and fortunately for us, our reality is a bit more controllable than Laika’s was for him—i.e. no being shot into the atmosphere by people apparently sane, but secretly not: for who would be able to look a dog in the eye and send it off to a cold death who was fully in touch with their selves? If there’s one thing we believe in, it’s that there is no override switch for human feelings in favor of a Larger Good. There is no Larger Good, in our opinion, without the smaller, every day goods that happen to each living thing. And each unliving thing, too, come to think of it, though how you define the line that separates the two is beyond me.

So we here at EAP get to pick out our goals for ourselves, lucky us. Our booster engines having long dropped off and the course well charted straight ahead, we’re transiting into the next part of the journey. There are going to be a lot of firsts around here in 2015, and so many possibilities my head is spinning more than poor Laika’s was when he got launched around the world.

Unlike Laika, we can have a look at what we want to do and, even if our options are limited in an economic world increasingly bent on squeezing out the small provider of content, there are options. They do belong to us. And, as we always say around here: “You can do whatever you set out to do as long as you take reality into account.”

So. Taking reality into full account, we continue our experiment with the EAP publishing project this year, and expand its reach. The world of Arcadia, a world attempting to be made of everyday human good, has been more insistent, communicating with us ever more effectively, even frantically, since the days when it sent us that deceptively childish fairy tale, Snotty Saves the Day, and the YA story of Lily the Silent. Arcadian scientists have discovered a way to hand over more of their history…through a mirror. (I don’t know why we didn’t think of that before, probably because I don’t have enough time around here to look in mirrors much.) Coming soon: The Lizard Princess, a history of Sophia the Wise, the great queen of Arcadia, told by her, with a foreword by her granddaughter, Shanti Vale. After that, Aspern Grayling’s report on all aspects Arcadian, for the use of his imperial master’s security force, in Report to Megalopolis. There’s a whole world out there—actually, there are infinite worlds out there—but that’s the one that’s been given first to EAP to uncover.

(By the way, Mike Madrid fans should know Mike will be concentrating his considerable talents this year on illustrations for The History of Arcadia, making some history of his own in bringing pictures of that world to life.)

This year will also see our first experiment with bringing a book out in eFormat before paperback, and with plenty of interactivity as befits a book about gardening by a poet: Get a Rake, an alternative (and what an alternative!) look at growing, by Debbie Naples, with some of it excerpted most recently in the online magazine.

And we’re exploring a partnership with Beneath the Ink, a group that produces beautiful interactive eBooks. We’re pondering an edition of Alex Cox’s X Films complete with clips from his films, photographs from his archive, and other fair use materials sure to annoy the corporations that will claim we’re infringing their copyright, so alternative film buffs stay tuned for that.

In all of these adventures, we’ll be exploring our main universe: the universe of story, and how alternative story can and does change the world.

Poor Laika. He had to live by an old, old story. He was the first dog in space, and there’s a monument raised to him in Russia, and a postage stamp, and books written about him. He’s famous. He’s immortal. He’s dead. And I’ll bet you wouldn’t have traded places with him for anything.

I know I wouldn’t have.

Onward to a new year! Warm wishes to all who sail into her with hope and joy, and with control over their own choices and their own risks ahead.

Welcome back.1024px-Posta_Romana_-_1959_-_Laika_120_B




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Happy Everything…and Thank You…

A very merry and happy everything to everyone from EAP. As you can see from Mike Madrid’s droll photo on EAP: The Magazine, we’re heading into it with a twist and shout. And with this idea: that in order to get anything done, you have to risk looking a little dumb, taking a pratfall, or even two. Have we all got that? Good.

Special thanks to everyone who contributed so much support (and supportive messages) during our Indiegogo campaign. We were almost overwhelmed. But not quite. We can take it. Feel free to send more.

One of our key supporters was Ken Womack, author, professor, and present day Penn State Laureate. Ken is guest editor of this LIBERTY & LYRICS issue, and I had a delightful time exchanging correspondence with him about it.  We both were particularly taken with Boff Whalley’s contribution, “Anger is Energy.” Since Boff is one of the founding members of the anarchist punk rock group Chumbawamba, as well as one of the most energetically fun people I’ve ever met (the whole group is like that, come to think of it), he REALLY knows whereof he speaks.

And EAP’s favorite writing partnership, Marie Davis & Margaret Hultz, four hands with but a single voice, also supported our Indiegogo push, and asked for, as their perk, a phone call with me to talk over what was in their refrigerator and what they could make out of it for dinner. Well, they were humoring me. They really should be telling me what to eat. As you can see by what we did come up with in “Jam Today: Kentucky Curry.” A version of the same recipe will be in the new Jam Today: The Revolution Will Not Be Catered, coming in June 2014 to all the usual bricks and mortar, virtual, and electronic book habitats, but especially to indie bookstores near you.

We’ve got two more guest editor issues coming up, Spring 2014 will be hosted by Kate Tallman and Mark Tallman, one a librarian and the other a political science professor, who recently were flooded out of their canyon home in the great Boulder flood of 2013. So it’s probably not a suprise that the theme they’ve chosen is “Disasters: Natural and Un.” We’ve already had quite a few great contributions on that theme, and I’m looking forward to seeing what comes next.

Then, the Fall 2014 issue will be guest editored by the ineffable, inestimable, incredible Pablo Kjolseth, who runs the International Film Series at CU Boulder practically single handedly. How he has time to interact with us, I’ll never know. He’s pondering his theme even as we speak, but last I heard, he was leaning toward one that showcases two of his favorite things: Beer and Movies. He is probably also trying to work Cats in there, but as of press time that’s still undecided.

Welcome back, and, it bears repeating: a safe, sane, creative, joyous 2014 to all reading this, and to all you love, too.

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Why There Are No Postmenopausal Superheroines.

The Mountains and Plains Indie Booksellers Tradeshow was last week, in Denver, and, as in years past, I joined our fantastic western sales rep, Dory Dutton, at her table (she reps everything from Tuttle origami books to Lonely Planet guides…and a lot of other stuff in between, so we were an eclectic bunch), joined by another Consortium distributed press Torrey House Press, and three of their new authors. A raucous time was had by all. And I do mean All…I’ve been going to this for three years now, and this time there was a kind of fizz and sparkle going on that was everywhere remarked. (“Do we have a better spot this year? Is it the good canapes?” “No! It’s just everyone is happier and more energized, how did this happen?” ” Don’t ask, just enjoy it!”) The place was hopping. New bookstores had apparently sprouted overnight, young volunteers looked up at us with shining faces and admitted they loved books more than food, booksellers talked seriously about how they adored getting the right books into the right hands…it was a party.

I kept swapping hats between being the publisher of Exterminating Angel Press, and the writer of JAM TODAY and the soon to come JAM TODAY TOO, sometimes balancing both hats atop the head, sometimes doffing both of them to the hard working Torrey House authors next to me. Torrey House specializes in literary fiction and creative nonfiction that exemplify a love of the west and its environment, and judging from their authors, we might be running out of water in the west, but we aren’t short on charm. Scott Graham, who wrote the Grand Canyon set mystery CANYON SACRIFICE, Charlie Quimby of the already much talked about novel MONUMENT ROAD, and Kayann Short…who not only wrote A BUSHEL’S WORTH, but lives the life on a ten acre farm saved from urban sprawl just north of Boulder, where I write this. She and John, her husband, are examples of what I think of as the New American Culture–educated, cultivated people who live and feel deeply in and about rural areas. There are so many examples of this in my home base of Colestin Valley, Oregon (and I write about them in JAM TODAY TOO), and so many people like this coming up with new ways of being and seeing, and new stories to tell. The capital cities no longer hold a monopoly on our cultural story–and a good thing too. The prairie mustangs have a thing or two (or three) to teach the thoroughbreds about survival. And it’s those kinds of lessons about self-reliance, and about the necessity of self-knowledge, that we all need to learn over and over again.

And then there were the booksellers. It’s always a kind of bliss to hang out with indie booksellers (and librarians, but that’s another story). Imagine my extra added delight at discovering a place in Denver (just down the road! yes!) called BookBar that combines, yes, that’s right, wait for it, A BOOKSTORE WITH A WINE BAR. I just looked at the two owners who stood smiling in front of me and gasped, “Oh my, I am so THERE.” I signed two copies of JAM TODAY for them, and they told me they had a kitchen in the store, and did I want to come cook there? DID I? What does anyone who knows me think? I said, “If you have a kitchen and wine, I have garlic and olive oil.” We shook hands on it then and there. I’m going to entice a Denver friend or two into an exploratory foray there, but I’m already thinking it’s THE place to launch a JAM TODAY TOO tour out of come next year when the book comes out.

That was the author hat. As the publisher, I got into conversation with a bookseller from Tattered Cover, the venerable and beloved Denver bookstore. We agreed the whole point was getting books into the hands of the people who love them, and I showed him a copy of Mike Madrid’s DIVAS, DAMES & DAREDEVILS (which comes out tomorrow, as I write this), as a book that I love to hand over to readers and watch their faces light up as they pore over the pages of reproduced comics of the Golden Age. “There’s even a postmenopausal superheroine,” I told him. And he laughed. “People always laugh when I say that. So then I say: Why are you laughing? Why can’t we have a postmenopausal superheroine?”

“I know why,” he said. “Because superheroes have to have a flaw. And postmenopausal women HAVE no flaws.”

Is it any wonder I love indie booksellers? Mark of Tattered Cover, you I love IN PARTICULAR.


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We’re All in it Together.

No mere slogan, that. Physical fact, biological fact, even though our cultural default setting has it the opposite: the lie that life is the war of all against all. How did that lie get started? As usual, as a truth that outlived its use. Somewhere back in our collective history it became a better bet to ignore the fact of our interdependence (and not just between humans, but between all of nature, too) and concentrate on the individual units and how they’re different from each other. And somewhere back there we got the idea (which probably saved us from being eaten by wolves or something), that to compete as separate units, somebody rising at someone else’s fall, was a good way to keep the system moving forward. Maybe that was a good idea for a few thousand years or so.

Maybe it’s not such a good idea now.

How many of us think that’s a good idea now? I mean, given the cliff we look to be moving toward?

And yet, it stays as our default setting. Someone’s got to be on top, someone’s got to be on the bottom. Survival of the fittest. Those who have deserve more than those who don’t. Unrestrained competition leads to healthy growth (hah!). Self interest is the only true motivator.

All just one way of looking at things: mutable, fallible, and, more important, as a way to organize our mutual lives, just not working anymore.

How often do we have to repeat our mistakes before we learn from them? Or are we just waiting for Nature to rearrange our stories by force?

Here’s another way to look at things, another story to tell about ourselves:

Everyone has a stake in making a better world. All different kinds of humans and human thoughts/feelings are needed to make that world, not just a small slice of human possibility. Everyone deserves to make a living, nobody deserves to make a killing. Healthy competition is situational and leads to joy; unrestrained competition leads to cancerous growth. Self interest is too narrow a principle on which to build a world, unless there is an understanding that true self interest includes the interest of all.

That’s what this issue of EAP: The Magazine, is about. Playfully as always, because there is nothing more serious than a playful dance between new and old ideas.  The Death of Dumnorix, a beautifully poignant poem by Charles Kraszewski, inspired the topic—you’ll see why if you spend a few moments alone with it. And there’s everything else, in a multicolored jumble of contributions, from a reverse repeat of one sex dominating the other, to the yearning of a woman to be free of being (literally) burned over and over, to the sadness of the repetition of being treated like an object…how being treated like an object makes a subject treat others as an object, and isn’t it about time that cycle was broken?

Welcome back to EAP: The Magazine. And while we’re at it, I just want to mention a perfect little book sent to me by a sometime EAP author, Ralph Dartford: Cigarettes, Beer and Love. A hand made volume of poems. This is a collaboration between various artists, and the book design, as well as the oddly compelling poetry it dances with, show they spring from the same ideas as EAP: A love of creativity for its own sake. A joy in making beautiful things and sharing them. A belief in new voices, talking—singing—on the margins of an increasingly monolithic monoculture. A trust that it’s from these voices that new ideas spring. A belief in Spring, in the possiblities of rebirth. It’s not an EAP book, and I (and EAP) had nothing to do with its making or its distribution, but I had to mention it here since…well, not only since we share the beliefs of the artists who made it, but because we’re all in this together.  Look for it on Etsy; it’s a beautiful thing, in conception and execution, too.

And speaking of all being in it together, wholehearted thanks to everyone who has contributed to our Indiegogo campaign. It’s not hyperbole to say that we can’t do it without you. I hope the individual messages I’ve been sending to contributors convey that feeling enough. If you haven’t yet contributed, please do think about doing so, even with just $5. Especially with just $5. We feel the support behind every contribution, and it’s that support that is as necessary to survival as the actual cash.

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I was off to the ALA–the American Library Association’s annual conference–this last weekend, and what a change from the last ALA I attended back in 2010. That last was right when the economy had taken its steep nosedive, and of course the first fundings to be cut were the ones for libraries. Back then, everyone wandered around looking shellshocked and dazed, and I remember anxiously pressing books on librarians who didn’t seem sure they were going to be librarians much longer.

But this ALA was hopping. It was hopping, and vibrant, and buzzing, and clearly on the move.There were so many YOUNG librarians, and librarian wannabes just out of graduate school absolutely giddy with delight at the idea of their coming career. Especially librarians for children and teens.  I was on a panel Saturday morning directed at just these librarians: CROSSING OVER: TEEN BOOKS FOR EVERYONE  (the only small press there), emceed by the book-loving Barbara Hoffert, a Library Journal editor, and I talked about how I think EAP was actually formed in my experiences with my favorite neighborhood library when I was a child. It was the Richmond District branch in San Francisco, which had a children’s library downstairs, door facing west, and the adult library upstairs, door facing east. To get from one to the other, you had to race up and down a grassy hill. I remember lugging books from one library up to the other to get books THERE. And all of my History of Arcadia books, and all of EAP books, really, are nothing more than an attempt to build a secret spiral staircase inside from the children’s library to the adult, so any reader can move back and forth at their ease.

Gerry Donaghy, the new books purchasing supervisor at Powell’s books (and all ’round cool person) said it best. He said EAP books are ‘for the precocious inner child in everybody.’

Well, we hope so.

There is a lot in this Summer 2013: MONSTERS issue of the magazine for precocious inner children of all ages, too. Check out Timothy J. Myers’ version of a particularly evil one: this monster takes all the joy of living out of your heart, makes you hate your life and your family, makes you yearn for something you can’t have. No, it’s not television. It’s The Draug, THE FISHERMAN AND THE DRAUG. And our favorite young EAP writer who we’re watching grow with real joy (the Draug not having gotten to us yet), is Kelsy Liu, so read her beyond creepy tale, CRAWL.

And it’s gardening time. Resident EAP gardening expert Debbie Naples questions just what exactly are MONSTERS IN THE GARDEN?

Welcome back (and special welcome to any librarians out there, too!).

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Why We Don’t Have a ‘Submissions Policy’

I get a lot of emails that start something like this, “I’ve looked all over your website, but I can’t find your submission guidelines.” And I usually email back something like, “Well, that’s because we don’t have any. We don’t have guidelines, and we tend not to call them ‘submissions’, since we think of them more along the lines as contributions. So why don’t you just send me something you like that you’ve written, and I can tell you if we’re the right place for you or not.”

(We can do that right now, being so small. Who knows how long that will last? There is, after all, only so much time in a day, and everyone everywhere has their own limits. So I also ask that possible contributors to the magazine be patient when I reach mine.)

Now this is only for  “EAP: The Magazine”–EAP books are something else again. For one thing, our publishing program is full up for the next couple of years–yes, indeed, that’s how long it takes to get books out there into the world. But also, we need to get to know our writers before we settle down to work seriously with them, and that takes real time and commitment.  We’re a small outfit, and we’re in this for the joy of it, which is a damn good thing, because it doesn’t pay in much else. We don’t look at work that comes in and say, “Eureka! A genius! Rush it to press!” That doesn’t work for us, for a few really good reasons. The main one is that what we love and cherish are hard workers who are also hard headed and realistic about what has to be done to get work–any kind of work–heard. Those people are rare. And that kind of realism develops with a relationship.

Of course, as in any area of life, you can only develop real relationships with a very few people. And each one of those takes its own kind of nurturing. And time. Lots of time.

What we’re not interested in is ‘discovering’ the next genius. We don’t think that genius thing has been too terribly fruitful for the culture at large. Not to mention for the discovered geniuses themselves. Just look at the record. Also, anyone who thinks they are a genius tends to be an incredible pain in the ass to work with. Fact.

So we don’t have submissions guidelines. We’re perfectly happy to receive any kind of courteous, direct, short and to the point communication about anyone’s work, as long as it seeks to find people of like mind, and not people who will help get it rich and famous. Anyone who thinks they’re going to get rich and famous with their books needs to immediately stop wasting their time on this website and click on somewhere else. I’d suggest Time Warner. Or similar. Though I think even Time Warner may have realized they’re not going to get rich with books either.

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Trade Shows, Sales Reps, and Tiaras.

So I’m off for the annual Mountains and Plains Independent Booksellers Trade Show, in Denver, lugging my passel of books and pens along with me, and this is the moment (is there ever not a moment?) to once again express how impossible would be the job of the independent publisher without the truly astonishing work of the independent publishers’ sales reps.

These people crisscross the country, sometimes over unbelievably wide territories–to hear their stories is like listening to the denizens of some early wagon train, schlepping it across the twenty seven north south mountain ranges of Nevada–selling (cajoling, coaxing, promoting) independent viewpoints, independent ideas, in the form of independent books, to booksellers hanging around their espresso machines all over the country.

They’re the pollinators. You think Amazon is the only place to buy/sell books? Where do you think people learn about these books? The ideas get in the bloodstream, and before you know it, they’re in your blood too, and you’re looking around for words to confirm or deny, or support or complete…and there you are, looking at a book.

So now I’m off to the hive, to listen to the buzzing about what’s out there, and add a little buzz of my own. And in between the buzz, to giggle with Dory Dutton, one of the best in a group of Best with a capital ‘B’ (this means you, John, and Lise, and Terri and Bill, and Steve, and Stephen, and Melissa, and Keith, and JANE, and and and and and and…), because one of the things that science has taught me is that women behave differently when stressed than men do…we don’t go in for that ‘fight or fly’ response, apparently, when stressed we bond with other women and play with children, or with people capable of acting like children without descending to childishness. A real art, that.

Off to do both. Bond and play. See you later.

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Women in Filmmaking.

So I’m going to be in on a panel discussion tonight, in Boulder, on Women in Filmmaking, and it’s starting to get easier for me to connect my former life in film with my present life in books. There was a time when I just couldn’t see how to put them together–for one thing (and this is one reason I disliked being in the film world) there is such a strong gravity of illusion around the world of movies that you can hardly float in a real word. The least of it is people always thinking you live in Los Angeles. For example, there are the people who think, as we say jokingly around here, that I killed Hunter Thompson. Well, I certainly didn’t like him much. But people get these weird ideas about their icons, and if the person behind the icon doesn’t have a very strong center, that person starts living what people expect of them. And that, sometimes, kills them in the end. Nobody else has to do it. All you have to do is look around you to see that’s true.

And then, movie-making, which has its genesis in both the Mob wanting to launder its money, and in the U.S. government seeing it as what they call ‘soft propaganda’ for American hegemony, is an art form frequently in denial. No big surprise that it’s been the American art form of the Twentieth Century, since we Americans have made an art form of denial itself (and I say this as a loyal countrywoman, mind you). It denies its hysteria. It denies its exploitation of people under the sign of Glamour. It denies its rigid hierarchical form, more rigid than the Old Testament, sometimes. It is very big on denying.

But as I go on, I can see so much more clearly the issues involved with the two worlds, film and books,–any two worlds in our one world–being separated. There is a hierarchical structure going on here, the same one that separates subject headings in bookstores, as if wisdom could be broken up into tiny, unrelated sections. There is plenty of wisdom found in film, Goddess knows I’ve found a lot myself, but it’s hidden in all the shrieks and screams and drug overdoses and taped-on evening gowns, not unlike the real diamond in the detective stories, hidden in a costume jewelry display.

And, of course, these days, finding the diamonds in the paste is all I’m interested in.

So I’m pleased I’m going to be on this panel tonight, especially with a group of talented women who recognize quite clearly that it’s a fiction, another form of denial, to say that women have jumped over the barriers to recognition of their voice in film, or, for that matter, in any other art. I’m feeling easier these days about all those years I spent hammering away at film. I’m feeling like it’s got everything to do with what I want to support in books, too. I’m feeling like it’s getting easier for me to spot the diamonds in the mess on the sale counter, every day easier and easier.




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