“Ocean Crag” pictured in stages. Oil on canvas, 16″ by 20.”
“Loomings” is the title given this now completed painting, shown below in various work in progress stages. The piece is 24″ x 36″ x 1&1/2″. For the first time, I used Lukas Berlin “Water Mixable Oil Colour” paints. I did not mix in any water. Though I have wall-hung the painting, the paint is still wet, but not dripping wet. It will take up to a year to completely dry, as discussed in the info. pdf linked above. I like the paints. Will experiment with mixing with water next time. The canvas stretched on wood frame was purchased used for $5 at a garage sale last summer. The black showing through, mostly around the edges, is from the original painting, which I mostly covered over, beginning with a squeegee wash of titanium white acrylic. “Loomings” is the title of Chapter One of Melville’s “Moby Dick.” An alternate title I had considered was “Sailboat with Umbrella.” But that seemed too specific. One wishes not to disambiguate one’s paintings no more than one’s poetry.
The first review of “end tatters” is in, received via cell phone text (place cursor in text box and scroll right):
"Finished End Tatters; especially liked About Confusion, Bells, and To Surf, which I hope to do this morning. Milk made me very sad. Waiting for your next novel. Alma and Penina my favorites."
To drive down, stop, and check out surf spots at the end of a beach town road is part of surfing. A second text from our first reviewer came in that evening, with a couple of pics and a note that he had made it into some waves:
Meantime, still not entirely satisfied with the “end tatters” cover (having already made several changes pre-publication), I made a post-publication cover revision. Copies sold with the blue back cover are now considered to have some increased value for collectors. New cover photos below:
Original back cover shown below:
Go here to order your copy. Write a review and send it to thecomingofthetoads @ gmail dot com, and I’ll post it to the blog.
“end tatters” is now available in paperback. I don’t intend an e-book version. As indicated on the copyright page, “Some of the End Tatters pieces previously appeared, some in different form, in these publications: Berfrois; Berfrois: the Book; Queen Mob’s Teahouse; Sultan’s Seal: The Hotel Cosmopolitan; One Imperative; and The Coming of the Toads.” The book does offer some new pieces also, though, so it collects previously published and new pieces. My primary purpose in publishing the book in paperback form is that I wanted to save, on paper, a number of pieces a bit scattered on-line, while I had some new pieces I wasn’t sure what I wanted to do with. Besides that, I enjoy making books, reading books, collecting books.
Distributing and selling indie books is a different matter. Even giving them away does not at all ensure they’ll be read. Nevertheless, I’ll be giving away a few copies of “end tatters” to innocent bystanders. So be on the lookout.
With “end tatters,” I’ve attempted a kind of imprint, the somewhat clumsy, perhaps, “a Joe Linker book.” Below, we see the “CONTENTS” page:
This and That…25
Taking the Call…27
In One’s Dotage…45
And a bit more info. for this post, with some pics:
- Paperback: 105 pages
- Publisher: Independently published (January 8, 2020)
- Language: English
- ISBN-10: 1654268291
- ISBN-13: 978-1654268299
- Product Dimensions: 5.5 x 0.3 x 8.5 inches
- Shipping Weight: 6.7 ounces
- Average Customer Review: Be the first to review this item
“Do you want this book published,’ he asked, ‘or just printed?” Said Angus Cameron (editor at Little, Brown) to J. D. Salinger upon learning Salinger wanted no advertising of his forthcoming “The Catcher in the Rye.” Particularly, and peculiarly, from the publisher’s viewpoint, J. D. wanted no author’s photo on the cover (Ian Hamilton, In Search of J. D. Salinger, 1988, Random House, p. 115).
How to launch a book? Advance review copies. Interviews. Author’s book tour. Live readings. Ads in trade journals. Book store displays. Billboards on Sunset Boulevard and in Times Square.
Like Salinger, though they’ve actually few if any other options, the indie writer/publisher eschews the traditional publicity stunts ahead of book store distribution for a blog post or two.
This is the second in a planned series of posts designed with the usual blog accompanied by tweet fanfare to launch, from the author of “Penina’s Letters,” a new book, titled “end tatters,” coming this week. Below, we see the front and back covers, and the back gives a brief description of what’s inside:
All work is work in progress. Never finished. Brought to a close. Ready for fashion. Finis. Ready to beginnan. Again. How to? Cover up. Conceal the old. Bury. Build over. Incomplete. Partial, patchy: imperfect.
Water based oils on canvas: 40″ x 30″ x 1&3/4″.
“Hard to get,” a friend writes. “Why do these social media applications insist on one’s date of birth, indeed, one’s real date of birth? But they never specify which birth. A friend, for example, claims to have been born at least nine times over the course of the last three millenniums. Never the same date of birth, mind you. She’s been born in every season. Rather enjoyed winter births best, she relates. Wake up from the weaning and it’s spring. Slow gathering of the senses. In this current life, she is an artist, oil paintings.”
Mud poor, of course, this artist, this life. Asked to borrow another friend’s email, who created an account for her. Apparently, she wanted to display her work on one of the prominent social media platforms, which required an email address. And a real date of birth. This she struggled with (having recollection of so many births, including several in her current lifetime), the result of which, and after having posted pics of a couple of hundred paintings onto her new web place, came notification the platform deactivated her account.
Yet another friend has now reported to have seen our artist just yesterday, which in these parts happened to be Christmas Day, another of her birth days. But, apparently, she now relates, she may be able to reactivate the account, if she successfully submits to the platform the following stringently produced selfie, described in an email to her borrowed address, to wit:
We’d like to help you, but we need to know your exact and real date of birth, including year, month, day, and time of day (using 24 hour clock time).
The easiest way to satisfy this requirement would be for you to reply to this email with several pics of yourself with a copy of your birth certificate hanging firmly from your neck with blue rosary beads and clearly visible and readable just below your chin.
- Include a front and back view of your face;
- Include side views, left and right, diagonally;
- Include your baby hand and foot prints;
- Smile so that your teeth are visible;
- Eyes open, face recently washed, no makeup.
Comply and we’ll send you a reply, but do not take this as a promise to reinstate your account. Further surveillance may be necessary. For example, we may require a pic of you sitting on the hood of your car with license plate clearly visible, and with time remaining on the parking meter.
We regret that these measures have become necessary, but we are doing our part to protect what remains of the free world. You may of course, avoid all of this potential inconvenience by simply upgrading your account to a business account that uses paid advertising across any one of our popular platforms.
The Purveyance Team
Walking north up 69th on the way to Montavilla for an afternoon coffee, in the street at first, around my neighbor’s sidewalk repair project, barricades up while the newly poured cement dries. Then a short hello to the next neighbor out trying, with some difficulty, apparently, to start his gas lawnmower, yard work project of mid-December in progress. Next I came upon a five gallon bucket half full of water placed in the walkway to secure what appeared to be a tiny cement patch job. At the corner of 69th and Stark, I noticed the city fire hydrant replacement work is now complete, tools and materials cleared, the new hydrant standing like a shiny orange Christmas ornament, moved around the corner. Against the curb, a large steel plate remains to be picked up. I had just set out, the day cold but partially clear, with no wind to speak of, and already I had enough news to fill a paragraph.
What is news? Most of what passes for news these days is tabloid sensationalism, entertainment, ratings and sponsor influenced selections from a worldwide reservoir of orality and photographs depicting and commenting on current events, the more current, the better, the higher the octane the more promise the trending and the more seen the ads. Today’s news is a kind of pornography, never enough to truly satisfy, and therefore an addictive substance. Originally, pornography was simply writing about prostitutes, while news was simply new things previously unknown to an audience. Today’s news is a new pornography, stories about the risks of public exposure of joyless addictions, risky setups for personal attention and gain.
An important accoutrement used in today’s news is the public opinion poll. But how can the public have any kind of informed opinion if its only source of information is the news? Yet the news is saturated with what the latest polls show. Even the public broadcasting stations seem addicted to polls, in spite of how poorly polls used at the time had predicted the 2016 election results. And the current polls, acknowledged generally to have meaningful margins of error, don’t seem to be moving anywhere, plus or minus. Impotent, still, polls are the new foreplay of stories to come.
Down in Montavilla and now discover the food carts on Stark in front of the old Beets parking lot have vanished. Now that’s news. Story at eleven.