This brick of an omnibus edition includes the three books by Burgess that take place in the town of Bewdley: The Hellmouths of Bewdley, Pontypool Changes Everything (yeah, the one they made into a movie), and Caesarea. This is about movies and violence and the inner working of the porn industry, among other things, but what matters the most is the wild humor that permeates everything. DJK should probably be locked up somewhere.
We want to promote work with merit through punkish methods.
INTRIGUE AND ENTROPY FREE
Between publishing a “Mutant Broadside” of Austin Charcoal’s poetry on a t-shirt designed by Alex Vincini, having Never Angel North tattooing Kim Vodicka’s winning “Cravan & Bronson Dilemma” poem on my right bicep, to throwing together our first ever Edenfield-orito Residency where the winner (recently announced as Sarah Rodriguez) wins a $100 stipend, $200 gift card to Taco Bell, a week of free lodging in downtown Everett, WA, two featured readings, and a published limited run of fifty pamphlets. To be the Willy Wonka of publishing in a way, and I think we’re getting there, especially with this last array of contests we’ve wrapped up. As far as the aesthetic and mission, I’d say those go hand in hand. Entities or writers that explore the delivery of language. Much of the concept was birthed through influences such as Inside the Castle, HOOT Review, Meow Meow Pow Pow, Joe Milutis, Russell Jaffe and Amaranth Borsuk. We focus on digital ephemera and unconventional literary objects. What are your influences, your aesthetic, your mission? Tell us a bit about Really Serious Literature. So, once my collection expired, I opted to continue with the project by soliciting fellow writers I was either friends with or greatly admired from a distance and, since then, have posted almost 100 Disappearing Chapbooks. I also received a fair amount of positive feedback. But the traffic was there (it’s built into the app, essentially) and with the right amount of engagement and hashtag usage, the experiment proved somewhat of a success. Once I tried this with “PXZA MNTN” I garnered more attention on that post in comparison to previous posts regarding publishing acceptances, etc… I was annoying about it, yeah. I wanted to find an approach that would encourage writers to promote their work while also creating an urgency for the reader. I can check it out whenever.” And in many cases, never do.
Having been an events curator for several years and a writer myself, I presumed the initial struggle to overcome is that writers generally suck at promoting themselves, and readers often think “well, it’s online. I’d scroll through to issues posted months or a year or so prior and was astonished to see very little continuous or current traffic. A “set it and forget it” type of approach. To gain traffic to the page, I reviewed the promotional strategies of a number of online journals and saw a similar trend many of the publishers and poets hardly ever shared the links more than once. Naturally, as most small presses start, I experimented with my own work to measure sustainability by posting “PXZA MNTN”, a short hybrid collection of deconstructed concrete poetry and prose. I began tinkering around and noticed posts had a cap of ten slides each, which is like a mini-chapbook. My partner at the time was an Instagram influencer and we experienced some pretty stellar rewards from that venture and I began to wonder how the literary arts or personal endeavors could benefit and thrive in that format, if at all.
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