Lucky Goat Archive: journal

Aug 27 2010

Who knew that being interviewed could actually be enjoyable?

Words Not Bombs rocks.

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Feb 28 2010

a few reasons why self-publishing fucken rawks.

by michelle green and lisa b

creative autonomy

there’s no pressure to compromise, downsize or otherwise bend your words to fit someone elses’s idea of suitability i.e. marketability. you’ve only gotta please that toughest of editors – yourself.
self publishing waits for no one’s permission. it does not sit meekly at the back of the room/end of the line/ bottom of the pile, hopinghopinghoping for approval from those on high.

community

friends get a chance to demonstrate their support for you and your art by coming over for folding and stapling parties in your living room.
(…and that chapbook you left in a little bookshop on a little island a little while ago gets picked up by a girl on an adventure – she takes it home, halfway round the world, and reads your words and thoughts and incitement and excitement to a whole roomful of open eared people. years later, you get to meet that girl and those open eared people while on an adventure of your own, and the conversations continue…)

exploding the artificial constructs of time

self-publishing happens now. not penciled in to the 5 year plan of a risk-averse publisher that moves at the speed of schedules – other people’s schedules, that is.
you write to a pace that skips or slides to a scale of time that doesn’t divide evenly by 12, april to april? self-publishing, please step forward.

sex appeal

homegrown, handsewn individual touches on copies of limited edition runs of 200 or less are hot.

accessibility

it’s diy. that means do it yourself – not waiting around for prince(ss) charming to arrive on white steed with publishing contract tucked safely in saddlebag. no.
there is no recommended retail price, no barcode, no middle man. you decide how you want to value your work – whether it’s a gift, 2 for a tenner, or something you barter for someone else’s handmade creation.
self-publishing does not require that you force your creative impulses into one single direction. self-publishing is a format for painters who take photographs, singers who sew, graphic designers who write.
self-publishing raises a middle finger to dominant notions of what art is, what art is for, what art is worth, and who makes art.

Feb 14 2010

the games begin

There are those who enjoy mass demonstrations and rallies. Some people find them empowering, they say “solidarity” and mean it – they’re changing the world. For some it’s also an artistic outlet, fuel for creative collaboration on a truly awesome salmon puppet – I respect all of these people. But, I confess I’m not really them. And then there are those who like to shout, who have a lot of anger, at the state, or in general: alpha male behind a bullhorn, instead of in the boardroom. I tolerate these people, but I tend to think of them as inarticulate assholes. I really don’t like loud noises.

I also dislike breathing clouds of marijuana or tobacco smoke; I get headaches and nausea. But. Being comfortable is not the point of a demonstration, and I do attend on occasion, willingly if not enthusiastically, and especially when they tell us we can’t. Can’t protest outside of the designated zone, can’t carry an anti-Olympic sign – at these times, it becomes necessary.

I wanted to feel good about disrupting the route of the torch, and that we accomplished that without any violence. But I had a distinctly creepy experience walking towards the VAG last Friday. You know when you cross the border into the States and not much has visibly changed except from kilometers to miles, but then you realize that there are flags everywhere, and even though you know to expect it, it still evokes this kinda amused/incredulous/weird creeped-out feeling?

I had that exact feeling, in canada, last Friday. Walking past hundreds and hundreds of Olympic fans with Olympic scarves pins hats & backpacks, carrying and wearing canadian flags, with the maple leaf temporarily tattooed on cheeks and forehead – this in particular gets to me, by the way, because I can remember when maple was the trees I climbed whenever I had the chance, and an annual autumn display of a hundred glorious shades of red, yellow, orange and deep deep purple-maroon in southern Ontario, not this particular branding of what is somehow passing as patriotism. I almost expected one of them to accuse me of not supporting the troops. I’d thought my cynicism was thick enough to protect me, I thought I was past the point of disappointment. I thought I had accepted the fact that, to a lot ordinary canadians, the Olympics are a fun party to attend or just watch on TV, and they are pointedly disinterested in the compellingly obvious connections between things like Olympic corporate funders and environmental destruction, the tar sands and genocide, growing poverty and the social control industry, a crushing public debt and the cost of fake snow…but apparently there’s still room for shock in me.

In fact, if I were inclined to speak of a country as a person, instead of a collectively agreed upon narrative created by arbitrary lines on a map, I might say that canada hurt my feelings last Friday, and it made me so, so angry. Before I knew it, I had just about become one of those inarticulate assholes, staring back at red-leaf-decorated zombies attending the games…all I could think to say was Grow A Brain. Grow A Fucken Brain.

Jan 1 2010

on the injuries done by bad teachers

I’ve been reading Pat Schneider’s book, Writing Alone and With Others. Like most other books on the topic of writing and creativity, it addresses the redressing of the injury done by bad teachers. She goes a step further to list qualities and methods of excellent teachers – including humility and kindness! For more, check out her book, and/or visit her online: www.patschneider.com. She is fabulous.

She also makes the point that we all have to suffer some bad teachers, and that we have much to learn from them, too: what not to do. Interesting indeed…

Eight Steps To Leading A Memorably Awful Writing and Performance Workshop

1. Make little to no initial gestures at establishing a safe, supportive atmosphere, while requiring that participants make themselves vulnerable. Imply that failure to step up to the Creative Risk plate indicates cowardice, an unwillingness to fully commit to Art, or a lack of depth. (Note: doling out ego strokes to a few select workshop participants runs no risk of generating a sense of safety throughout the group; go for it!)

2. Make generalizations about participants’ work, despite your unfamiliarity with it.

3. Here’s a no-brainer: offer unconstructive criticism, i.e., damning and vague – possibly even humiliating. If you offer positive comments, keep them nonspecific. (“That was…good…” is great.)

4. Allot plenty of time for monologuing on your personal strengths as a performer, your own creative process – you can even make reference to your sex life if you like. It’s your workshop!

5. Recommend that performers medicate stage fright with alcohol.

6. Express strongly felt ideas and grand-sounding concepts while remaining hazy about actual details.

7. Do not, at any time during or afterwards, solicit feedback on your approach or methods. If people are upset, it’s only because they’ve been challenged and provoked.

8. Teach and direct from a place of bitterness and burnout.