Date: March 31, 2015 at 21:38:22 PDT
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.
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.
Is 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 illustrations 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 animations) 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?
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.
Published April 1, 2015, in honor of National Poetry Month.
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
I am posting this to announce the official publishing of my book IS SHE AVAILABLE? On April 1st, 2015. the ebook will be available for download on a variety of commercial websites; not least of which is the official website http://is-she-available.com where you will be able to both download the book and pre-order the hardcover edition.
Please, tell your Friends.
“Friends”: how strange that word now seems to me given the dilation of its meaning over the past what 5, 10 years? I recall using the word in reference to a small circle of familiar intimacies; varied in nature and personality but common in values and how we choose to pass our time.
Of course now my Facebook tally shows that I have somewhere near 2,000 such Friends, comprised mainly of people I have never met, with whom I have exchanged a few words at best; and yet in that exchange of Words, have widened the circle of that meaning: Friendship.
Which is why I have come to not so much to write poetry (I started when I was 13), as to publish it. In a form that suits it’s purpose: to reach out to as many people as I can, the Friends of my Friends (and their Friends too), through the channels that will reach them across this sea of data, signs and meanings our attention now spans.
But even the word ‘book’ now seems to have acquired a fluidity of meaning that transcends its original reference. My work is a tangible, page-turning book designed by maestro Rian Hughes; an electronic book with music and animation, a CD of 15 music tracks by the musical enfant adorable Gilad Atzmon; a portfolio of art prints and a selection of Poet-T-Shirts, bearing a selection of fine art images and illustrations from my dozen collaborators on this book.
This ‘Book’ is also a live spoken word/jazz music tour in the US this coming this early summer and a UK tour this Autumn.
I apologise to my Friends who have been hanging on, hearing fragments of news, awaiting the date they can hear less about it and more what it says. I confess, like many things,
it was all my fault.
The inception of this project dates back nearly a year to March 2014, when the author/publisher Amy Sterling, after a long dialogue about writing on Facebook, suggested that her nascent publishing company CHAMELEON Publishing Inc. would be interested in publishing my work. Chameleon Publishing Inc. was a new, next-generation publishing company based in Southern California that’s opening new market channels for books with new readers, mainly for and about women. When I first mentioned my sole discrepancy in this area, Amy replied casually with the second greatest compliment a woman has ever paid me: “But your sensibility fits”.
And I’m thankful that it has, because without the efforts of the women who have supported this project, it would not have come to be. From Eleanor Brooks my firm, caring editor, to my daughter Olivia Goldkind-Brooks, to Addie Kaplan my business manager, this vehicle is powered by a uniquely feminine drive. Since the start gun fired, I have been on an unimaginable roller coaster ride of magical serendipity, dazzling disappointments and a severe lack of funds. Don’t let anyone ever tell you that the career of a writer or any artist is easy; sure you have more freedom, but freedom costs what money can’t buy: time, effort and persistence.
I had hoped to announce the publication before Christmas, then the New Year. But the practical demands and hurdles involved in this kind of innovation and creation (thank you, Adobe!), persists with its own priorities, own issues to resolve. I also encumbered myself with the urgency of my mother’s impending demise late last year. I had to unburden myself of the notion that I needed to place a copy of my book in her hand before she passed. It wasn’t practical it wasn’t possible and in the end, it wasn’t necessary.
The personal is always constrained by the impersonal.
Now we are resolved.
My persistence on this project, (some would add, against all reason), is about to see fruit. Whether the fruit is sweet or bitter (or both) will soon be for others to determine. What I can tell you is that I have put all of myself into this this deeply confessional, personal work. All of my sweat, all of my anger, all of my love, all of my hatred, all of my blood, sinew and bone into the making of this creation. My intent is to connect with you, with your emotions, your experiences and your sense of your self by sharing the most personal in the most universal way I can. I believe, at the depth of our selves, in our own most solitary, private existences is where we find each other gathered, maybe huddled, in the same exact corner.
It will not be to everyone’s tastes, I’m sure. But if you care to take a look you will find a work that endeavors not to entertain, nor offer safe refuge from harsh truths; but rather to be that truth in Word, in Image, in Music and in Movement.
Because . . .
When you stare into the Abyss long enough,
the abyss will stare back at you;
and if your gaze remains unflinching,
the Abyss will speak to you
And this is what it says . . .
HE’S WAITING . . .
COMING THIS XMAS TO AN AMAZON TAB NEAR YOU
This Christmas Make Your Gift Poetry.
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.
(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.
When 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.
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
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.
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!”