Posts tagged “Comics

Speculative Realism: What It Means, What It Is and Why You Need to Know About It


Charlie Brooker’s Black Mirror is really the best TV on your screen. It quite literally holds up a black mirror not just onto our society but to each one of us as components, now data-cogs, of the society we can no longer see anymore without the aid of mirrors.  We are like goldfish in a goldfish bowl kept rotating by the shortness of our attention spans and never even realising the wetness of our environments.

Charlie Brooker, his cast, co-writers and the producers at Netflix are doing us the moral service of reminding us of the remnants of own moral outrage and how our own ethical boundaries have long since been trespassed by the dark consequences of convenience and more efficient processing.

The machines never took over, we just surrendered.

Andrew-Ostrovsky_George-Redhawk_GIFWe are like commuters stuck in traffic complaining about the traffic that we are actually both part of and complicit in. Even though from our subjective vehicles, we cannot see it. Traffic controllers retain the power however it is a remote distributed, bureaucratic, systemised power that is no longer subject to one human’s judgement. Who do you alert when the traffic lights stop working? You don’t have to, they already know.

I have as of late, paraded the term Speculative Realism, borrowed from the French post-idealists. Who understand that the only way to view ourselves clearly is no longer as mere individuals but as components of a larger neuro-ecology that contains, constraints and ultimately defines us. We are the furniture that a system beyond our own subjectivity keeps rearranging “on our behalf”, “for our own safety”. “for your security”.images-1

I have only slightly re-engineered the term in the context of a literary genre, of storytelling, perhaps the sole remaining respite of human freedom. A story is a purely human phenomenon untainted by machine efficiency as machines don’t need to tell each other stories. But we do, and in doing so we may be flexing the last quiescent muscle of our humanity. A story is comprised up 3 interlocked elements: The storyteller, the story and the audience (or to whom the story is told). At least two of these components are human, subject and object; the rest is merely synaptic grammar.   images

When a story is told and heard, a condensed complex of information, human knowledge and near spiritual wisdom is transmitted in a compact instant well beyond the speed or circuitry of a microchip. Remember, we are the minds that created and defined data. It is that creative mind that is both alert and receptive to the information that is vital to our survival, as a species and as sane human beings. Storytelling is our salvation and Poetry is better than prayer because you don’t have to pretend that someone is listening.

Speculative Realism is just my tag for vital, survival information being conveyed by storytellers. As essential as where the next herd of buffalo might be. Speculative Fiction has here to provide the luxurious canvas for our imaginations to ponder possibilities. But Speculative Realism is not what you might do ‘if…’ but what you will have to do ‘when…’ To survive, to retain your own identity and perhaps even your sanity. Speculative Realism is imperative, it carries the mental equipment we need to survive.

imagesBlack Mirror is a series of short cameos of Speculative Realism. The term is beginning to gain traction since I first observed the emergence of this genre in film, fiction and screen entertainment. I have since read a reference to Neil Gaiman‘s work described as Speculative Realist in his use of double vision, (the seeing of two apparent contractions as one), in his characterisations. I don’t know if he thinks that, you’d have to ask him.

Cyberpunk auteur Bruce Sterling, in Wired, refers to Speculative Realism as Philosophy Fiction, which is as good a handle as any because Speculative Realism defends the autonomy of the world from human access in a spirit of imaginative audacity.

In his recent Edinburgh University Press publication Speculative Realism and Science Fiction, Brian Willemsuses a range of science fiction literature that questions anthropomorphism to develop the Speculative Realist position. He looks at how nonsense and sense exist together in science fiction, the way in which language is not a guarantee of personhood, the role of vision in identity formation and the differences between metamorphosis and modulation.

hqdefaultThese are useful critical and academic insights. But the real meat is in the eating and Black Mirror takes you to the centre of the Speculative Realist banquet, piling your plate high with outrage, moral panic and cautionary tales of horror. I suggest tasting a sample as we’re all going to be eating from this same table for the very foreseeable future,
the future that has already arrived.

© Igor Goldkind 2016images-2


IS SHE AVAILABLE? AN HONEST REVIEW

Patrick Arnold

Chris Browning:

“i follow igor goldkind on facebook. i am not a friend of his, but a friend of mine kept reposting things he’d written and said and i found his way of expressing himself too good to ignore. as is the case with this book. i’ll level with you. i don’t really understand poetry – it’s too opaque and often too personal for me to really understand and i often feel i am missing huge amounts of the impact of even the small amount of poetry i do understand. if i read it aloud i appreciate it more, but even then. but when i saw a goldkind book of poetry was on offer and remembering how much his writing had affected me in the past i thought i would take the risk

i’m glad i did. again, i don’t fully understand or appreciate all of it but goldkind is a beautiful writer. he enjoys the ways a sentence hangs together both on the page and, if you follow me, in the mouth as you read the words. but what makes the book special is the third way he makes the words work – through graphic design. you see the OTHER reason i followed goldkind is because even though his words my friend linked me too resonated, i also liked the fact he’d been involved in all sorts of british comics over the years, especially 2000AD which is a comic i have very, very fond feelings towards….

by Bill Sienkiewicz and Rian Hughes   ©2014

by Bill Sienkiewicz and Rian Hughes ©2014

and it’s on this level that even this man who struggles with poetry found himself adoring the book. because it’s a beautiful thing to hold. a beautiful thing to look at. and in the same way that if i don’t like all the poems,

if there’s a bit of artwork that someone has contributed to the volume that doesn’t work for me there’s often something coming along very soon that does absolutely work. there’s some lovely art here by people i do know of – rian hughes, glenn fabry, david lloyd, shaky kane, bill sienkiewicz – and many i didn’t – i was very taken by the work of dix, lars henkel and jeff christenson particularly. even if i didn’t like a poem or piece of art, something special and wonderful and surprising would be along very soon

and speaking as someone who is very deeply in love with books as a printed medium and could never imagine reading or appreciating an e-book, the fact that the electronic edition has apparently so much more to it – music! moving images! – very much pleases me. this is a book by someone who not only has a glorious way with words but has a very unique vision for what he wants to do. and that’s why i’ll be cherishing this volume… “

Patrick Arnold

THE HEART’S FLESH AWAKENING


THE OFFICIAL PRESS RELEASE: IS SHE AVAILABLE? AVAILABLE NOW ON iTUNES.


Date: March 31, 2015 at 21:38:22 PDT

Subject: To my friends: THIS is What We Have Done – Is SHE Available?

From: Amy Sterling Casil , Chameleon Publishers

I can honestly say, this is like no other book we have ever seen before; we think perhaps – like no other you may have seen as well.uc

31 March 2015

For Immediate Release

IS SHE AVAILABLE? PUSHES BOOKS AND PUBLISHING FORWARD THROUGH POETRY, ART, AND MUSIC

Southern-California based publisher Chameleon Publishing releases its first major publication: Is SHE Available? by Igor Goldkind April 1 via the iBooks store.

What We DoIs SHE Available? pushes the edge of what is possible with present EPUB3 technology and how books are created and made. It is not an App, it is a true book that marries pop art, comics, avant-garde, jazz, spoken word poetry, video and animations, and type design. Its creative journey was more than a year in the making, growing from the collaborative work of artists, musicians, editors, and designers on two continents.

The poet, Igor Goldkind, is a San Diego native who lived in France and the UK for two decades while promoting the work of today’s most notable comic and graphic novel authors and artists. As a teen, he was one of the co-founders of San Diego’s legendary Comic-Con.

According to Bleeding Cool, “It was Goldkind who popularized the phrase ‘graphic novel’ with the media and found that gave them permission to cover the previously-considered childish medium of comic books . . . . Now, Goldkind’s vision of what graphic novels could be, is returning.”

Is SHE Available? was produced using an international collaborative model, but the book is one man’s voice and one man’s story.  Goldkind’s words and voice inspired the art of over 26 internationally-known artists, including cover art and interior illustrations by Eisner-winner Bill Sienkiewicz (Elektra Assassin, Daredevil and more), additional interior Advance Review pdf of IS SHE AVAILABLE_Page_76illustrations from other graphic novel illustrators and award-winners including Glenn Fabry (Hellblazer, Preacher), David Lloyd (V for Vendetta and many others), Liam Sharp (Judge Dredd/2000 AD/Madefire), fine artists and illustrators Lars Henkel, Mario Cavalli, Mario Torero, Wendy Farrow, and many more.

Music and spoken word were recorded in New York with UK Jazz Album of the Year winner, author and ex-Israeli Gilad Atzmon. A US-based jazz and spoken word tour is scheduled for July 2015.

The type design and hardcover book are created by the eminent London-based designer Rian Hughes (2000 AD, Vertigo, Dan Dare), who includes an afterward about the collaborative design process. E-book production, incorporating Madefire animations, audio and additional animation, were provided by Chameleon Publishing in Southern California.

Due to the inclusion of video, audio and animations, and fine type design, it is playable only on Apple devices, and available only through the iBooks store. The hardcover (without music, spoken word or animationAdvance Review pdf of IS SHE AVAILABLE_Page_20s) will be published July 15, 2015.

Other “enhanced e-books” have been produced with budgets of $100,000 or more, and few have sold well. The “wisdom” is: poetry doesn’t sell. Enhanced e-books don’t sell. Most jazz doesn’t sell, either. Comic and graphic novel artists struggle to show their fine art to the public. And what publisher would take on a completely unknown poet whose claim to fame was selling fancy comic books to grown-ups and co-founding a big comic/media/scantily-clad women-fest like Comic-Con?Advance Review pdf of IS SHE AVAILABLE_Page_39

Twenty percent of North Americans regularly buy and read books. Nearly a hundred percent can read. Chameleon’s mission is to make books for everyone, not just a selected few.

Is SHE Available? Yes.

by Bill Sienkiewicz and Rian Hughes   ©2014

by Bill Sienkiewicz and Rian Hughes ©2014

Published April 1, 2015, in honor of National Poetry Month.

 

-END-

For more information and to obtain a copy of Is SHE Available? eBook for review (EPUB3 only on iOS devices – iPad, iPhone and Apple computers) or an advance reading copy of the hardcover edition contact the publisher:

Amy Sterling Casil

Chameleon Publishing Inc


FOLLOW ME AND I WILL FOLLOW YOU IF YOU FOLLOW ME I CAN FOLLOW YOU


Yes, Available.https://twitter.com/ISSHEAVAILABLERaven and Woman Branch pencil


THE DARK CLOUD by Igor Goldkind; illustration by Bill Sienkiewicz; music by Gilad Atzmon; Motion by Madefire.com


Deviant Art

Motion Book

ORDER YOUR COPY SHORTY @ WEBSITE:  IS SHE AVAILABLE?     $24.95
IS SHE AVAILABLE? Cover.logo copy 2


PLATO’S RETREAT by Igor Goldkind; Illustration by Rian Hughes


Plato’s RetreatPLATO'S RETREAT IGOR'S BOOK FLAT

I want to be just like Socrates,


Grow a long beard and

Do what I please.


And be asking you allot of questions….

For a living.

I want to be just like Socrates

And not know for sure
 If I’m really real

or merely an altar In Plato’s temple.

I want to be just like Socrates,


And stand in the forum all day.


In the blazing sun that surrounds us,

Under the azure Athenian skies.

And philosophize,

To anyone who bothers to listen….

For a living.

I want to be just like Socrates

Corrupting my own youth in a hemlock cocktail

Every Friday night,
 2, 4 1 before 7 ….

For a living.

I want to be just like Socrates,

On a Saturday night
…

Asking, “hey you, at the bar”:

What is justice?

And where can I score some tonight?

After hours
..

Long after the widening sliver

Of your mind’s eternal dawn.


Image

IS SHE AVAILABLE..? by Igor Goldkind A Collection of Poetry, Art, Music and Motion in eBook, Hardcover and CD Spoken Word Editions COMING FOR THIS XMAS!!!


THIS IS THE HOLDING PAGE FOR THE OFFICIAL IS-SHE-AVAILABLE.COM WEB-HUB LAUNCHING DECEMBER 6, 2014

On this page you will be able to order the book directly in time for Xmas; Download the eBook; pre-order the Wall Print Portfolio and the Music CD IS SHE?  

BOOK MARK THIS PAGE AND GET SPECIAL DISCOUNTS FOR BLOG-FOLLOWERS AND FACEBOOK FANS

CHECK OUT SAMPLE FROM THE EBOOK AT MADEFIRE.COM   HERE

THIS IS THE COVER ILLUSTRATION FOR THE BOOK AND THE POEM THE DARK CLOUD

by BILL SIENKIEWICZ  © 2014Copyright Bill Sienkiewicz 2014 for the collection IS SHE AVAILABLE? by Igor GoldkindI

am

the

Darkness.

I

am

the

Darkness.

I

am

Oblivion.

I

am

the

MeaningDK4

of

Meaning,

Which

is

Nothing!

I

am

contempt

incarnate

I

am

the

self-loathing,

the

wriggling,

The

squirming

of

your

soul

I

am

the

reason

you

are

suffering

Because

IDK1

enjoy

the

show.

I

am

the

Darkness.

I

am

the

Darkness.

I

am

Oblivion.

I

am

the

Meaning

of

Meaning,

Which

is

Nothing!

I

am

the

dropped

eyes

and

fallen

smile

of

your

mother

When

she

realizes

what

a

little,

masturbating

shit

you

really

are!DK2

I

am

sickness.

I

am

despair.

I

am

the

hope

you

hide

behind,

Strangled in thin air.

am

the

Darkness.

am

the Darkness.

am 

Oblivion.

am

the Meaning

of

Meaning,

Which is

Nothing!

You

are

the

particle,

I

am

the physics

You think

you matter?

Am the Matter,

Dark Matter!

I

am

where

all

energy

goes.

Entropy is my mistress

and

fuck her every day!

DK4

I

am

Where

you

come

from

Where

everything

comes

from…

am what comes to you all.

I

am

where

you

go

when

you

don’t

really

know,

When

you

can’t

recall

Who you are anymore.

am the Darkness.

am the Darkness.

am Oblivion.

am the Meaning of meaning,

Which is Nothing!

Stop

talking

now.

Stop

thinking

now.

Stop loving and living and dying.

Come with me now.

Come with me now.Raven and Woman Branch

Come with me now.

There’s

no

denying

what

you

already

know,

What you’ve known all along.

I am the Darkness.

I am the Darkness.

I am Oblivion.

I am the Meaning of Meaning,

Which is Nothing!

There’s

no

You.

There never was.

It was always

Me.

YouMan pulls cloud are just trick of the

lights that

own.

You are nothing,

You are the 

                                                                 Nothing

You are me

You belong to

ME.

Now come quietly now,

Come take my hand, now.

Out of the darkness,

Out of the darkness,

Out of the darkness,

Out of the darkness,

Where you belonged.

Out of oblivion,

Out of the Meaning of Meaning,

Out of the darkness,

into your Light

And come

Home.


SHE’S COMING . . . HE’S WAITING . . .


IS SHE AVAILABLE?…………………………………………………………………………………Even the Truth is For Salecropped-10689672_732000606836698_9129833884739632966_n-1.jpg

405706_294992087204221_1568855981_n

HE’S WAITING . . .

340428_314648051905291_1879620096_o

461169_345102268859869_704018313_oIS SHE AVAILABLE?  

Chameleon Business Plan May 1 2014_Page_01The New Debut Collection of Poetry, Illustration, Music and Animation

by Igor Goldkind and 20 other Artists461511_335891136447649_1992636895_o

COMING THIS XMAS TO AN AMAZON TAB NEAR YOU

 This Christmas Make Your Gift Poetry.

IS SHE AVAILABLE ?  1601138_732002420169850_8147971876015536004_nEven the Truth is For Sale


LIAM SHARP: MAN, GOD or GOAT?


LIAM SHARP: MAN, GOD or GOAT?

I first met Liam Sharp in the editorial offices of 2000AD when he was a young jobbing artist. He had hair back then. He also had a journeyman’s attitude that stood out and distinguished him from the parade of amateur portfolio-ed artists who regularly hung out in the 3 floor reception of Greater London House, in the Camden of early 1990’s North London, where comics were being published.495

(We all worked in the neighborhood that Amy Winehouse grew up, sang and died in.)

Liam made his debut in the late 1980s drawing Judge Dredd for 2000AD, where I was working as the marketing manager in order to promote 2000AD and launch 3 new comics titles onto the newsstand market.   These were the days that a comic like 2000 AD sold 100,000 copies A WEEK. (80% newsstand sales!) I met many of the young guns at the time like Liam who later, established a deservedly high reputation in US comics.     At the time, I had the fortunate vantage point of being a “suit” that actually valued the artistry and narrative of the work being produced for a mass-market audience.

When Liam came to Greater London House, both Richard Burton, the then editor of 200AD and Alan Mackenzie, his deputy would meet him at reception, usher him in and introduce Liam to others and myself. This was, I observed at the time, special treatment I only saw on display for Grant Morrison on his frequent visits and Alan Moore on his less frequent ones.   So I knew that editorially, Liam was a VIP and it was when Richard gloated to me about Liam’s apprenticeship with the British comics industry version of Jack Kirby: Don Lawrence that immediately drew my attention to Liam.

Liam copyWhen I met and had a pint with him, (an essential communications tool in Britain: the pint), I discovered a young, working class man with a gift for art who had won both placement and scholarship in a reputable middle class school; and who had then chosen to askew an equally merited University placement in order to work instead, as an apprentice to Don Lawrence.

Don Lawrence was admittedly considered the finest British comics artist of the time, but still! This was not so much radically different as radically traditional. Liam chose his own path as a student and as an artist.   Regardless, one thing was crystal clear to me: Liam Sharp had balls.Old_Dredd_pin_up_by_LiamSharp

Liam later moved to Marvel UK, where he drew the best-selling Marvel UK title ever, Death’s Head II. Liam then was at the crest of the wave of British artists and writers invading the offices and comic book shelves of the US comics industry with books as diverse as the X-Men, the Hulk, Spider-Man, Venom, Man-Thing (for Marvel Comics), Superman, Batman, and The Possessed (for DC Comics and Wildstorm), Spawn: The Dark Ages (for Todd McFarlane and Image) and Red Sonja for Dynamite comics.

The pre-comics-fame Liam I met was a young, muscular Northerner from Derbyshire with a broader-voweled accent than his southern, countrymen. Liam and his ilk (English people from anywhere north of Birmingham; or as we used to call, the rest of the country) had a different style, a different way about them. More plain spoken, self-modest and more eager to share a laugh, than their southern counterparts, the Northern British seemed to have crossed a border from another country, sitting in the reception area of Greater London House on Euston Road.

It was a different time:

Alan Moore was still talking to people; Neil Gaiman was in perpetual leather-jacketed, Lou Reed mode,  Grant Morrison was shy and Warren Ellis actually seemed scary to me. And everybody seemed to be on the same side: you were either publishing comics or you were writing or drawing (or both) comics.

Hard to describe to comics fans these days. Comics writing, drawing, publishing, selling, collecting has always been about

LiamSharp1 money. But in London, because of it’s New York-density, spread out over the land area of an LA; everything wound up affecting everything else. Comics did become the new rock and roll. Comics’ design and styles infiltrated the print media. Comics characters costumes, the street fashion scene, comics stories (Halo Jones, Watchmen, Judge Dredd) were injecting the music scene and this was 10 year before the comic book movies.

I first met Liam in the wake of what seemed, to all of us at the time, a unique cultural explosion. Comics had infiltrated every corner of popular fashion. Just as in the 60’s, London record companies were overwhelmed by young English songwriters and bands; the office of British comics companies in the at least the first long train journeys from Newcastle, Glasgow, Birmingham and of course Derby hoping for a commission.   It was in the middle of this flurry of excitement, 3 new weekly and monthly comics being launched and work was on offer. It was the comics equivalent of a gold rush.   The impact was also felt in the aesthetic migration of artists from all media to the sequential, to the narrative textures of images.

Painters like Simon Bisley and mixed media artists such as Dave McKean were pushing the envelope on what was considered acceptable art for comics. I remember pages of artwork that were so densely painted or mixed up with objects that the printer could literally not bend the page around the drum needed to shoot the film. Layers of film had to be shot to turn these new, thickly, painted canvasses into comics pages. Experiments were being tried and barriers were being broken.

But 20 odd years later, Liam is still a working artist. More importantly, he has mutated into that essential modern mold, that survivalist camouflage, of entrepreneur. The smart businessman/artist/producer, all artists working in the popular arts, (not just comics), need to be in order to earn a living with their craft.

Liam Sharp is again at the crest of a new wave of artists who understand the entire cycle of creation, production and dissemination of a creative product to a market.

With the founding of Madefire.com in Berkeley, California, in 2011, Liam took his Northern English, working class creative drive to the edge of the medium again. Motion books are moving narratives, in both senses of the term and Liam continues to further his artistry both visually as an artist and producer, but also as a writer in his current ground-breaking Motion Book for Madefire.com “Captain Stone is Missing” written with his wife Christina McCormack.Capt. Stone and the Tyrany of the Ant Women (color)

Liam’s critically acclaimed first novel GOD KILLERS: MACHIVARIUS POINT & OTHER TALES was published in 2008 with a second edition in 2009.

Liam Aliens graphic novella Aliens: Fast Track to Heaven for Dark Horse, which he both wrote and illustrated, has been critically acclaimed.

Liam Sharp is not just a successful artist, producer and now publisher, he uses his expertise and now sizeable experience to not just accumulate money (and rare bourbons), but to generate new work, to create value that engages; which is after all, the duty of an artist, is it not?

If it is an artist’s duty to advance the medium they craft in, then Ladies and Gentleman I present Liam with my imaginary, CGI Medal of Valor beyond the call of duty in the field of creative endeavor.

“For Chrissakes, Liam! Keep your helmet on; that’s live ammo they’re using out there!”

LiamSharp2


CYNICAL-MARKETING-PLOY


My work in the late 80’sand 90’s in the British publishing industry led to the engineering and successful marketing  of the Graphic Novel genre; a new format of  hardcover and trade paperbacks of graphic fiction that bookstores would stack on their shelves.  It was my job at Titan Books to do so, for which I was paid some £7,500 a year by my employer Nick Landau, to do.

After I was given a raise by Titan Books to £8K per annum , I learnt solely by chance, that my work had increased the revenue for my employer by some 7 figure sums and that the rest of the publishing industry were all cashing in on the work I was doing in promoting 9-5, the new publishing category.   Cashing in, but not adhering to  to the implicit quality standards the likes of Moore, Gaiman, Morrison, Speigelman and other auteurs were actively pursuing.

The Medium, as we used to call it back then, had failed to live up to its own promise.

So I got out; for that and personal reasons.

Now when I read the interviews with my former partners in CYNICAL-MARKETING-PLOY crime in the press complaining that the industry had failed and that the term Graphic Novel  was just a manipulative tool wielded by the Moloch of Comics Publishing932f83ea7108237da3f82c1b8ec82261

(Batman in MOLOCH!  Wonderwoman in MOLOCH!  The Avengers, the Guardians of the Galazy, Superman and the Xmen are all drowning in the vomit of MOLOCH!)   

Which I believe, the premise of the new cross over series written for DC by Grant Morrison.Tree-Man-A-1000x1000

The most admired (and crafted), writer in comics ever, in particular; (someone I worked with closely with on the presentation of his seminal forensic crucification of the American superhero genre to a mainstream audience, refrains from even addressing me by name in print when he lambasts the CYNICAL-MARKETING-PLOY that still pays him a living), has repeatedly condemned the  publishing category Graphci Novel, as  effectively, just another  CYNICAL-MARKETING-PLOY from the publishign industry.

I have news for the revered scribe:  you may have relegated me to the dark side, but take a look in the mirror, man: you’ve been here with me all along.

[Added 9.18 for context], I realise now that the above might be interpreted as some kind of opening volley against the distinguished author.  Far be it.  I will always both  personally  and publically assert that Mr. Moore was the change in comics back in the late 80’s.  No single other artist in the medium at the time was so intelligently treating the medium like a literary and artistic platform for expression.  Most craftsmen (and women), I met at the time were desperaely trying to hustle their next wok commission.  Not Mr. Moore.  His posture was different:  he related to editors, collaborators and others  as an auteur sans pretension.  Intelligent, articulate and demanding of  ones wit and focus.   And from I observed, never intimidated or swayed  by the money or more often, the promise of money from publishers.

Just to make absolutely clear about my statements regarding this author:  I learned everything I know about comics by just listening to him, during interviews, casual conversations and direct discussions.  A the time, this man was a walking sandwich board for the the new comics,  the Graphic Novels, chiefly because it was only his writing (and that of a handful of there), that even came close to qualifyng as a novel or even literature.   I never was nor have ever been a Comics Fan (Senator and members of the committee), but I have always been a fan of literature, drawn or undrawn.    Which is why I cntinue to read, enjoy and learn from Mr. Moore’s work.

Although I do take exception (mildly, not really that seriously), to his most recent public damnations of the Graphic Novel, and it’s origins; it’s not that I object to his opinion as much as I question the accuracy of his recollection of events and of the times that he was actually there.    I don’t take issue either with Mr. Moore’s take on the industry  and publishing in general; in fact the more experience I gain the more my views align with his.

But regardless of the vocabulary used (or the fact that I was being paid a paltry wage at the time), I accomplished my task to his and his collaborator’s direct professional and financial benefit.  Not to mention the real world benefits: the successfull dissemination of the term Graphic Novel into the mainstream brought to literally thousands of other free lances in the form of royalty checks for the graphic novel edition of their work; a  now standard of the comics industry throughout the world.

I do not benefit from the use of the term of from the money generated by its use.

Bird-With-Letter-A1-1000x1000But I do not regret not hiring that CYNICAL-MARKETING-PLOY lawyer that would have secured my trademark on the use of the term and perhaps a penny off of every new Graphic Novel sale; which is what the business side of the industry tells me I shoudl have done.

I did not “create” the term graphic novel; as an outsider to the industry, I found the term on the back of a Will Eisner book and used it as the keystone of a campaign to bring new comics, well written, adventuerously drawn comics.    But yes, I coined the term Graphic Novel; having borrowed it from the back of a low print-run Will Eisner compilation of The Spirit.  His clever NYC publisher was struggling to get Eisner’s work into the bookshops too and had tried the term connotating Literary fiction: a novel.   My use of the term was different as messieurs Gaiman and Moore can both attest to; Grant got it about the same time but more remotely, in Glasgow.  Graphic Novel  was meant to mean  NEW Graphics, new graphic literature, new comics.

Coining, (in the sense of creating common usefulness; IOW: monetizing a vocabulary term into the common currency of language of transactional communication).  It derives from the coining of money by stamping metal with a die. Coins (also variously spelled coynes, coigns, coignes or quoins), were the blank, usually circular, disks from which money was minted. This usage derived from an earlier 14th century meaning of coin, which meant wedge. The wedge-shaped dies which were used to stamp the blanks were called coins and the metal blanks and the subsequent ‘coined’ money took their name from them.

{Coining later began to be associated with inventiveness in language. In the 16th century the ‘coining’ of words and phrases was often referred to. By that time the monetary coinage was often debased or counterfeit and the coining of words was often associated with spurious linguistic inventions; for example, in George Puttenham’s The arte of English poesie, 1589:

“Young schollers not halfe well studied… will seeme to coigne fine wordes out of the Latin.”

Shakespeare, the greatest coiner of them all, also referred to the coining of language in Coriolanus, 1607:

“So shall my Lungs Coine words till their decay.”}coin a phrase

Tree-Man-A-1000x1000

The NEW comics of the late 80’s and early 90’s that derived from Moore’s early work for DC, Spielgelman’s dabbling at biography in NYC, Miller’s pushing the edges out on Dare Devil and most of all (for me), Bill Sienkiewicz’s explosive rendering of ELEKTRA ASSASIN!  I had never seen anyone take the convnetions of comcis illustration like Faugere Egg and take a sledge hammer to it the way Siekiewicz did, literally splattering the edges of the pages and frames with the remnants of comics conventions.  Sienkiewicz brought commercial  art and later fine art sensibilities to Graphic Novels, something his admirer and pioneer in his own right Dave McKean would further in his career just like in a real popular arts medium.

These were the Makers of New Works.  I’ve forgotten everyone:  Brendan McCarthy, Jamie Delano, Pete Milligan, Frank Miller, Joe Sacco, Harvey Peckar, Gilbert and Jamie Hernandez . . . .  they all were making, new different work outside the stulpifying conventions aesthetic conventions.  So like superheros, they need a new name and Guardians of the Galaxy was taken, so instead you got Graphic Novelists.

I resent nothing.

It was my own fault for being more naive and less carnivorous than my employers.

So instead I have to work for a living; for which I have no complaint as at least I have work to do.

I did learn something valuable (whenever someone fails, they  always say that they learnt something valuble),  and that is to sell a product whatever it might be, you have to create a place in people’s minds and desires where they want that product.  The most intimate and subjective of products: the books we read, the music we listen to , the films we watch: you must give people a reason for looking an understanding for what they may see.

That is why a coded term like Graphic Novel works; it’s a cut through, short cut signifier that puts anyone who wants to know or needs to know in the picture immediately: you know what you know and now you know what it is.

In the case of Poetry, we have a different problem.

Everyone knows what  Poetry is, right ? It’s that stuff you had to memorize in school and  analyze with Mrs. Humphries who always crossed the naughty words out like ‘sweat’ and ‘blood’ and ‘toil’ with a thick, black, fascist marker pen.38_image_v2

Or it’s what you penned to your wife when you were courting her; or received form your husband, your boyfriend, you lover.  Anyone one of those people in your life who felt such passion, such ardour for you that they could not tell you, they had to find words from some magic place to convince you, to persuade you, to seduce you into the beauty of the passion they could see in you.

Perhaps a Poem was the only form your shattered thoughts could take at the loss of someone so precious to you that you would choose the pian of being hewn by swords than endure the truth of their permanent absence from this world.

Perhaps you have nearly gone mad and found Poems, like steps out of the abyss of self-loathing into the stark light of realisation and hope for your self.

There is no greater hope to lose than the Hope for Yourself.

So Poetry has a signifier, a pretty universal one; unfortunately it doesn’t point towards anything like what Poetry actually is.

Poetry is an art form, not a craft.

Poetry an aspiration to derive music and pattern from our deepest thoughts, the language of our dreams and the whispering, the lamenting, the singing, the moaning and the laughter of our souls.

Poetry is Liberation.  The words will set you free.

I am a Poet and to sell my ware  (my GRAPHIC POEMS ;~),   I must show people what it is that I do, that others do that is so far removed from the common currency of the term Poetry.   So this is not only a CYNICAL-MARKETING-PLOY, but a sinister sales strategy as well!   To get you to read my words, I must first who you what they are ouside the barriers of  your preconceptions.

So, come to a picnic and hear what Poetry is and the vital importance it has always played in our social and political lives.

*Poster for Marathon Rimbaud-100-THOUSAND-POETS-4-CHANGE-by-Henrik-Aeshna

September 27th, 1 pm Balboa Park, World Beat Centre/ El Centro Cultural de la Raza

Come One and All, Come All in One, Come to the 100,000 Poets-for-Change Marathon!  (Picnic & Reading)

79-penseefasciste-mauriziocattelan-fotopedia

It’s your duty ;~)