The drawings are done using a simple android pre-installed phone application. The number of colors is limited and the colors can’t be mixed: red, yellow, orange, blue, green, purple, black, and grey. White can be achieved by leaving an area blank or using the eraser. Some variation in color and shading can be achieved using the gallery editor. The cartoons are drawn using fingers and thumbs and a disc stylus touch screen device pen. The font sizes are limited to four dots, each about twice as big as another beginning with a small dot like a period. See more drawings and cartoons on the Comics page. Also on Instagram.
Desultory. Defunct. Deconstruction. Debunk. Defunct. Deride. Decide. Depot Bay.
Sylvie dreamt an invisible wave of counterpoise forced all mortals to wear masks covering nose and mouth. Thus individual identity, what Freud called the id, was lost, and people would have to look into one another’s eyes when speaking and could only speak truth. Those refusing to wear a mask would be called liars and deniers and would be subject to debunking. Society would be detoxed of retail. Skilled jobs would return, though no one would be forced to work, and those who chose to work would not commute but work from home in building and making useful tools and items and providing useful services for daily life. One person might make beer, another shoes, another tiny houses. Another would keep the books. A livable wage would be guaranteed for every citizen of every country. The wave of counterpoise would cause disruption through widespread removals and reversals, humans moving down and away from commercialized statuses. Some would move literally underground. Already people were reinhabiting the Seattle Underground. Others were moving onto beaches or into the woods or turning abandoned malls into suburban campgrounds. Society would be deconstructed. Education would be deschooled. Police systems would be demilitarized and decentralized. Mortals would lose interest in their personal DNA and the social status of individual ancestry. It wouldn’t signify where one came from. The elderly would not be forced into retirement, but would assist with the care and teaching of the young, in growing community gardens, in making music, in writing and reading. Health care would be available to all and its underlying purpose would be health and not medicine. Cities would grow quieter, people moving around less, walking and biking, riding open air busses, trams, and light rail. Many things people had long taken for granted would disappear. Simplicity, simplicity, simplicity would return. As would civil disobedience. People would be responsible for their own entertainment. When I asked Sylvie how this counterpose, as she called it, was to come about, she said she did not know, but had awakened too soon. At the end of her dream, she was swimming with the whales off Depot Bay.
“Sylvie’s Dream of Counterpoise”
is episode 12 of
a Novel in Progress
in Serial Format at The Coming of the Toads.
(Click link for continuous, one page view of all episodes.)
“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:
“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″.
“You are the light
of the world.
set upon a hill
cannot be hidden” (Matthew 5:14).
Not to mention something you’ve put up online. What’s posted online can’t be deleted or hidden. That is the poet’s dilemma, who craves publication but still has changes, or will have. But that is only a matter or problem of print. Oral poetry, or song, allows, invites, indeed wants variations. Covers. Over time, cities get covered up. The earth rises, and falls.
I assumed the Queen Mob’s Teahouse poetry editor position back in April, taking over from Erik Kennedy, Queen Mob’s second poetry editor, from May, 2015, who followed Laura A. Warman. The gig is volunteer work, of course, as befits any true poetic enterprise.
I first put up, on April 19, three poems by Jax NTP. It was then the idea came to me to use my own paintings as the header images over the poet’s work. I was struck by Jax NTP’s atmospheric, impressionistic poetry. The poems are packed with energetic images changing with the speed of “Highway 61 Revisited”:
“there’s a giant temple on hazard and new hope streetfrom “how to pivot when you’re paralyzed,” by Jax NTP
blue reptile and green mazing skeletons, keepers of time
how long can you sit there with the pain before you try to fix it?”
And I had just finished a painting, the impressions of which, the symbols within, the colors, the shapes, I thought might complement Jax NTP’s poetry. I don’t mean to suggest any of the paintings necessarily align with the poetry in any literal way. In any case, I continued to look for images within my collection of painting pic selfies for complementary impressions.
Reading and reflecting on Jessica Sequeira’s poems, and later looking for a painting to go with the posting on QMT, I again felt the suggestion with impressions that seems the essence of poetry, particularly of poetical delight:
“The heavens have promised rain for so many days.from “Eastern Variations, style of Ikkyū Sōjun,” by Jessica Sequeira
I think of waiting for torrents from the white sky.
But it might be a long time. Or this could be a dream.
Taking your hand, I guide it below, to my cloud.”
I selected for Jessica’s poems a painting from last year, “City on a Hill,” a large painting that had taken some time to complete. Again, the setting of the poems and the painting seemed harmonious:
“lakes shine like mirrors
reflecting tall mountains
rainfalls are unpredictable
innocent changes in the divine mood
birds sing into great holy spaces
the wind whistles its reply
icy glaciers plunge towards skyfrom “My South,” by Jessica Sequeira
green valleys dive into earth”
I had taken numerous pics of “City on a Hill” when a work in progress in the basement studio:
And I used an early draft of “City on a Hill” to go with Ashen Venema’s poetry:
I sit still, watch him thin the oilfrom “My Painter,” by Ashen Venema
and restore his long gone love
on canvas, standing in
as the young skin
by the window, sunlit among
lilies, fresh cut, and Persian rugs
casually flung across seats.
Well, the setting of Ashen’s “My Painter,” “sunlit among / lilies,” doesn’t quite align with the basement studio, though things are there too “casually flung.”
All my paintings I eventually give away, to family, friends, colleagues, who show an interest and enthusiasm. “City on a Hill” is hanging in my daughter’s den, looking out upon the backyard. The light in the room is perfect. I just want or hope the paintings have a life outside my basement, where, as Ashen puts it in “My Painter”:
“A blaze of light rims his white hair
from under his thick swirl of brows
black humour hides, and surprise”
After all the work on a painting, which isn’t really work, of course, but play, like the work of much poetry, we just might find a true work of art in what we’ve mostly ignored, in the mess we left behind. That tablecloth, for example, now that’s a work of art!