Friday, August 17, 2018

12 or 20 (second series) questions with Megan Ross


Megan Ross was born in Johannesburg in 1989. She is the author of a book of poems called Milk Fever (uHlanga), and several short stories which have been runners up for and won numerous awards, including the Short Story Day Africa Award in 2016, Brittle Paper Award for Fiction in 2017. Megan is also an Iceland Writers Retreat Alum, and currently lives in East London with her partner and son. She is working on her first novel and a collection of short stories.  

1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?

I have just launched my first book, a collection of poetry, and already I feel a sense of relief. I recently returned from the first leg of my book tour, and am excited to get stuck into writing again. Launching Milk Fever helped me realize that I write because I love to write – not for the part that comes after, which is helpful to know given that I have two manuscripts I have promised to finish for my agent. So far, it has been an enormously rewarding experience in bringing my poetry a standard fit for publishing, especially because it is my first serious foray back into poetry in many years. Poetry collections are a notoriously hard sell, especially in South Africa, where I am from, and so I am excited to have got this far with my own.

Insofar as it feels different to my previous work, I have only ever published poems in anthologies, and mostly write short fiction. In that way, it has been interesting to explore another genre, and experience the contractions and expansions that occur when moving from short fiction to poetry and vice versa. I feel that when writing short fiction, one is tasked with creating a universe from scratch, and giving it to the reader. Writing a poem, however, feels as if one is setting the Big Bang in motion, and then watching as readers experience the beginning of their own new worlds.  

2 - How did you come to poetry first, as opposed to, say, fiction or non-fiction?

I write fiction and work as a journalist as well. I have never found it awfully difficult to switch from one genre to another, and I enjoy the way each form influences the other, and how I can grow as a writer of poetry or fiction when writing one or the other.

I began writing poetry when I was a teenager. It felt like an accessible medium; the obvious choice, really, given that I had no idea how to begin a short story or anything longer. Returning to it after fifteen years is exciting. I think that young girl who won awards for writing and performing her poetry as a child, would be really excited to know she would one day write a whole book of it

3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?

It depends on the project. My poetry collection began as a single word a couple days after my son was born. This word seemed to draw more words to it, and a poem formed, and before I knew it, I was writing a collection. So from start to publication it was two and a half years. I don’t think that’s a very long time, but I think the impetus was there: I had this fervent desire to prove that I could do it, and the poetry collection became to me as much a means of survival, of writing myself – my voice and my life outside of motherhood – back into existence. When I look back on those first drafts, however, I’m quite glad that I returned to the manuscript over and over again.

My other writing projects are taking longer. I’m sitting on years of drafts, now. My novel, for instance, needs me to stew for much longer periods than poems. Short stories less so, but much more than the poetry. I read somewhere that short fiction is a really accessible form for mothers of small children because one is able to write in the stolen hours when baby is sleeping or at school. Most times, however, the period between the initial idea and beginning writing it is very brief; it’s the layers, of text, of meaning, of editing and extrapolating, that take longer. I often write what feels like a complete idea, in that the grain of truth that appeared in a dream or in thought-form, and then the story forms around this. Often the endings write themselves, as if they were always meant to happen that way.

4 - Where does a poem or work of fiction usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?

I think there are multiple things going on when I write. On one hand, I really respect the singularity of one poem, or one short story, and I like to write so that these individual pieces can stand alone. However, it’s always exciting when writing a collection, and each individual piece begins to speak to other stories, and create links and reveal hidden depths that then inform the way one rewrites or edits other stories. The collection becomes more than the sum of its parts, in a way. Entirely new, and other; I think, actually, quite like the feeling of being a parent, looking at one’s child who is, biologically speaking, the result of your and another’s DNA coming together. And yet, they’re not you and their other parent. They’re the first of their kind, their only. There’s something magical in this.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?

I don’t live in a very literary town. In fact, there aren’t even very many book stores so readings are not something I have the opportunity to do very often at all, other than when I am invited to attend literary festivals in other cities. I am hoping to move back to Johannesburg soon, where I was born, and hopefully then I’ll be able to do more readings. That said, I really, really love literary events and festivals, and thoroughly enjoy reading my poetry. It feels like performance, well, it is performance, and I enjoy the different energy that is given to the poems when they are read aloud, and in front of the audience. There is nothing quite like the feeling of looking up from the page to see a room of people looking at you, and listening.

6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?
I am writing the answers to questions I have wanted to ask, or have silently asked, or might one day realize I have always been asking. Questions like: do I matter. If I matter, as a woman, as a queer woman, as a mother, then why have I been hurt in the ways I have been. Why is there institutional violence. Why is their sexism. I write to make sense of the violences acted upon my body, and my psyche, and the private joys inherent in freedoms I allow my characters, and in a sense, myself. The best writers I have ever read – all women, I’d like to add – have not only given me access to, but created, rooms and worlds and universes that I can walk into, and reach out to others both like and unlike myself, to gain understanding. I hope that in my own writing I am able to create this place for my readers, spaces where meeting, contemplation, healing, joy, understanding can be found. Mine is a feminist project. I hope that by bringing into the world what has been inside of me, turning myself inside out, I can help more young women feel able to do the same.

7 – What do you see the current role of the writer being in larger culture? Does s/he even have one? What do you think the role of the writer should be?

The greatest freedom some people find will be in the books they read. I’m not sure that I agree with a writer having a role outside that of storyteller, because that is in itself an important role. Storytellers remember and record and reveal truths and lies and things we’d rather not think about; storytellers create: often from the fabric of those around them. Giving readers the opportunity to see themselves and feel seen, or learn, or grow, is incredibly important.

8 - Do you find the process of working with an outside editor difficult or essential (or both)?

I have loved almost all of my experiences with editors so far. In South Africa, we’re very lucky in that there is incredible generosity in the various literary communities, and I have found almost all the editors I’ve worked with to be sensitive, intuitive and wise.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?

This is a piece of advice I live by and it’s advice I always give to new writers: sit on your chair, and build a body of work.

10 - How easy has it been for you to move between genres (poetry to fiction to journalism)? What do you see as the appeal? [I think I already answered this in question 2?]

11 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?

For the last three years I have tried to write every day, but lately work has really taken off (I’m self employed) and so I’m writing less and less during the week. On a good day, my boyfriend wakes up my son and I, and once we’ve eaten breakfast and I’ve got him to school, I have a coffee with my dad at this coffee shop in my suburb that overlooks the bay at Gonubie Beach. I usually reply to emails and attend to urgent work for an hour or two, then head home to work. If I am lucky, and work is a little quiet, I can squeeze in an hour of writing in a morning. Sometimes more. In the afternoons I usually focus on design work, and I write in my breaks. Sometimes I’ll write in the evenings, but I’m usually too tired, so any writing I’m doing on my novel and short fiction right now is being done on Saturday afternoons.

12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?

I never panic. If I’m stalling, I put it down to boredom and go do something else. Usually a cappuccino and reading for a couple minutes will jog the urge to write and I’ll go back to it. Lately I really don’t feel like writing and that’s OK, I’ve just finished a book so I’m giving myself a break from my laptop. I’ll spend this time journaling and sketching and watching TV, and read for pleasure. It always comes back. Being a mom also forces me to make the best possible use of any free time, so I usually am quite disciplined when I have a deadline. That said, I never ever want to write the joy out of my words, or lose the joy of writing. I write because I love the process of writing, not for anything that comes after.  

13 - What fragrance reminds you of home?

The smell of ocean mist rolling into my mother’s garden. Braai smoke. Sunblock.

14 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?

Music, especially old records and cassette tapes I dig up. I used to make mixes for my friends. Film! My current favourite director is Luca Guadagnino, who directed the Desire series (most recently, Call Me By Your Name). My favourite film of his, however, is I Am Love. Nature. The ocean. History. Science, especially chemistry (the idea of it; I was an average student). Biological processes in the body: currently, Microchimeras, breast milk.

15 - What other writers or writings are important for your work, or simply your life outside of your work?

Alice Walker, Sandra Cisneros and Toni Morrison are my literary Goddesses. Their books are my holy works. Akwaeke Emezi, Ocean Vuong, Danez Smith are big influences now, as are my contemporaries, Efemia Chela, Sibongile Fisher and Mapule Mohulatsi. My new favourite poet is Sindiswa Busuku-Mathese, who just won the Ingrid Jonker Prize for her collection, Loud Yellow Laughter. I am focused on reading African writers – from the continent and diaspora – right now. I’m judging a national writing competition and guest editing fiction for an African literary journal, and it’s making me so excited about the talent here, and the bridges that are being formed between continental Africans and writers in the diaspora. There’s this lovely conversation that’s happening right now, and I’m excited to be a part of it. I’ve also recently discovered the poetry of deceased Southern African poets Phillip Zhuwao and Wopko Jensma. I’m haunted by their words.

16 - What would you like to do that you haven't yet done?
Go back to Paris and this time, with a warm enough coat and enough money to enjoy the city. Finish my novel. Dye my hair platinum blonde. Get a new piercing. Sky dive. Get a bar tending gig on an island called Koh Lipe in Thailand. Throw away all my things. Start again. Learn to rock climb.

17 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?

I always wanted to be a healer. In another lifetime, I might have prioritized having fun over working so hard. I still do, sometimes, but being a writer requires a little self-xxxx. If I could throw in the towel now, and magically acquire an EU passport, I’d become a tour guide in Europe.

18 - What made you write, as opposed to doing something else?
It was an impulse more than anything else. I’ve always really wanted to write. Even while I was studying journalism and English literature at university, I secretly hoped that I would crack it as a writer of fiction one day. I knew that I would need to find a job in media and that writing would not offer me financial stability. I was right, and I’m grateful that I’ve had a career to finance the time I take off to write. Since there are very few, if any funding opportunities for South African writers, it’s almost unheard of for writers here to write fulltime unless they have a well-off partner or someone is happy to shoulder their finances.

19 - What was the last great book you read? What was the last great film?
Giovanni’s Room by James Baldwin. I’m currently reading I’m hooked on rewatching the three films in Luca Guadagnino’s ‘Desire’ series: Call Me By Your Name, A Bigger Splash and I Am Love, which might be my new favourite film.

20 - What are you currently working on?
Two books: a yet-to-be-named novel and a collection of short stories called Delicious Monsters.



Thursday, August 16, 2018

Erika Meitner, Holy Moly Carry Me



II. (WHO IS ON A JOURNEY TO A HOLY PLACE)

In the 16th century, pilgrims on wanderings
were identified by fixed attributes:
the staff, the shoulder bag, the badges
on their broad-brimmed hats. I am not
a wanderer, but I ride on a lot of airplanes.
I do not usually recline my seat.
The aisle makes me feel less claustrophobic.
When I drive home from the airport
over the mountains in the evening there’s
fog again through headlights, more like gauze,
as if the entire town has been bandaged.
When I return home, I often think estuary
or why aren’t the curtains closed since
it’s night? When I return this time,
the pumpkins have collapsed in on themselves
on the porch and it’s raining. Like any
passing stranger, I can see clearly
into my own house. (“Peregrinus”)

Virginia poet Erika Meitner’s fifth full-length poetry collection—after Inventory at the All-night Drugstore (Anhinga Press, 2003), idEAL CiTiES (HarperPerennial, 2010), Makeshift Instructions for Vigilant Girls (Anhinga Press, 2011) and Copia (BOA Editions, 2014)—is Holy Moly Carry Me (Rochester NY: BOA Editions, 2018), a book that opens with a curious and meditative poetic prose-exploration of “Holy Moly” that includes “There are things I will never know. There are stories that are past telling. // no matter how much testimony we gather. No matter how many details we proclaim.” As her prose-exploration begins:

In The Odyssey there’s mention of a plant called moly, which is sacred and harvested only by the gods.

The gods are vengeful but they are also good to us, though we have given up sacrifices and burnt offerings.

With regard to burnt offerings, the following is a concise statement of the Levitical law: these were wholly animal, and the victims were wholly consumed.

The Animal Gang was a marauding group of hooligans who used potatoes studded with razor blades during pitched battles on the streets of Dublin in the 1930s.

Which is to say that the moley was an ordinary potato, its surface jagged with metal edges.

“Holy moley!” was Captain Marvel’s characteristic exclamation of surprise.

Because the oath might have been offensive to some, “Holy Moly” was used in the late 1920s as a jocular euphemism for “Holy Moses.”

Holy Moses is also a German thrash metal band, known for its lead singer Sabina Classen—one of the first and only women to use a death growl.

Moses demanded the release of the Israelites from slavery, and led them out of Egypt and across the Red Sea. After 40 years of wandering in the desert, he died within sight of the promised land.

In A Dictionary of the Underworld, ‘moley’ is preceeded by ‘mokker’—Yiddish for maker. (“HolyMolyLand”)

The poems in Holy Moly Carry Me are a combination of commentary and exaltation, critique and joyous celebration. As the back cover informs, her poems “take readers into the heart of southern Appalachia […],” and work through strains of deeply-set racism, small town diners, neighbours, children, religion and gun violence. Rich and vibrant, her poems revel in heart and impulse, and there is no detail too small to slip past her attention, such as the travel-notes of “On the Road,” that opens: “We are trying to get pregnant / so everything makes me weep:[.]” Her poems are long, lyric, and expansive, composed as declarations and field notes, reportage and deeply held beliefs. Her poems are heartfelt, broken and ragged, seeking redemption and even salvation (or at least a salve) where none might be possible; writing narrative stretches that attempt both understanding and redemption across the dark shades of the American canvas of gun violence, as she writes in the poem “Our Holiday Letter”: “Dear / friends. This year / has dragged like / a broken tailpipe, // all scrapes and sparks, / but I’m telling you, / though we’ve been // tested and tested, / most days, we still / feel blessed, and // wish you peace / in spite of our / hardships, and // maybe joy, / though yesterday / twenty children // were gunned down / in an elementary / school, and is there // anyone who isn’t / thinking about / every same weekday // morning—we wave / to the dark squares / of yellow bus windows // our only child rides / to a place where they / sing songs he’s never // heard.”



Wednesday, August 15, 2018

12 or 20 (small press) questions with Tony Nesca on Screamin' Skull Press


Tony Nesca was born in Torino, Italy in 1965 and moved to Canada at the age of three. He was raised in Winnipeg but relocated back to Italy several times until finally settling in Winnipeg in 1980. He taught himself how to play guitar and formed an original rock band playing the local bars for several years. At the age of twenty-seven he traded his guitar for a Commodore 64 and started writing seriously. He has published six chapbooks of stories and poems (which he used to sell straight out of his knapsack at local dives and bookstores), six novels, four books of poetry, a short story collection and has been an active contributor to the underground lit scene for ten years, being published in innumerable magazines both online and in print. He currently resides in Winnipeg.

Tony Nesca and his wife, Nicole-Isabella Nesca, are the co-owners of the underground publishing company Screamin' Skull Press.

1 – When did Screamin' Skull Press first start? How have your original goals as a publisher shifted since you started, if at all? And what have you learned through the process?

Screamin' Skull Press started in 1994 as a vehicle to publish my own books - I had already in just a few short years of submitting my writing grown tired of the merry-go-round, grown tired of waiting 6 months just to be rejected. I knew that I would grow old and die waiting for to see my writing in print, and I was also aware that a lot of the great writers in history were self-publishers, so I decided to do it. The only change in my original goals in publishing have been that instead of simply publishing my own work, I now publish my wife's work as well - Nicole Nesca, who joined Screamin' Skull Press in 2008. And in over 20 years of doing this the only thing I have learned is that mass-production, and appealing to the lowest common denominator, will always outsell quality writing.

2 – What first brought you to publishing?

I think #1 answers this -

3 – What do you consider the role and responsibilities, if any, of small publishing?

More than ever, I give great importance to small publishers - we live in a time of cultural bankruptcy, a time where mass production, easy-entertainment, and selling out have become the norm, hell, not just the norm - you see words like "masterpiece", "classic", "unforgettable", "mesmerizing" attached to superhero movies, zombie novels, action books and video games. Genre, nerd-culture, as they call it, has devoured all things artistic and meaningful. Everything real is gone. Writing, and film, music, culture in general, has become plastic and sanitized and made as easy to swallow as possible. It is thus the absolute responsibility of the small publishers/writers, artists of any kind, to rebel and to work in opposition to this gluttony of infantilism. The poetic, the real, the artistic, the rebellious, the deviant and transgressive, has to come from us - we can't join the mainstream and write genre books just like they do, even if, like myself, pop culture HAS influenced our writing, we have to oppose and give another version of reality to the world. We have to remind them that there was a time when a great writer like Hemingway WAS the big seller, a time when art and culture and quality pervaded, and the vapid smoke and mirrors of today was the minority. And let me be clear, I am not saying that pop culture sucks, I am saying that contemporary pop culture sucks.
It really is a bullshit time we're living in, isn't it?

4 – What do you see your press doing that no one else is?

I see us as a medley of pop culture from the 60's and 70's and high art and literature. Even with our staunch allegiance to literature and poetry, we do not discount that we are 70's children, we grew up in the time of TV dinners with us cross-legged in front of the television. Not to mention the gigantic influence that rock and roll (music in general) has had on our lives and writing. Now, seeing that rock and roll is associated with pop culture (though we do not entirely agree with that sentiment), we could never talk complete shit about it. You will see the literary in our writing, it is right there in front as we want it, but right beside it the influences of Tom Waits, Lou Reed, Bob Dylan, Patti Smith, John Lennon, Joe Strummer, Led Zeppelin, The Stones, et al, are obvious. The rebellious in our writing and publishing sets us apart, our love for the literary outlaws, the bad-boys and girls, the mad, bad and dangerous to know. And the way it blends with the romantic, the comedic, and the street-lyric, that's our thing here at Screamin' Skull Press.


5 – What do you see as the most effective way to get new books out into the world?

That's easy - social media. Even though I'm not a big fan, and I find it a chore more than anything else, you'd be an idiot to not take advantage of free, global advertising. - unless you are the type of writer that is happy with just a handful of people reading your work, which we are not. If I ever quit writing, or become so successful that my books sell themselves and  pay for my entire living, I would drop social media without hesitation.

6 – How involved an editor are you? Do you dig deep into line edits, or do you prefer more of a light touch?

 - Don't think this question really applies to us. As you know there are two of us here at Screamin' Skull Press, myself, and Nicole, my wife. We edit our own work, not each other's, and would never allow anyone else to do so. I write in a quasi-spontaneous mode, I don't plan much, I don't have outlines, I think about a certain thing, a certain feeling, an episode of my life, and I let it go - spontaneously, without checks and balances. When it's done, I give it my one-rewrite-method, and I do not touch it again for fear it will lose its spontaneous and "live" feel. Now, I am not a slave to my style, I have written in other methods, and will continue to experiment, as I always have, but this is the predominant method I use. Keeping that in mind, how could anyone else possibly edit a style of writing that is so personalized, so in tune with the author's own rhythm and personality?

7 – How do your books get distributed? What are your usual print runs?

We distribute our books in different ways - ourselves through our web site when going directly to readers, and through Ingram Distribution for stores. We use POD printing because our runs are usually small, but can go quite high in individual print runs, as high as 200 at a time.

8 – How many other people are involved with editing or production? Do you work with other editors, and if so, how effective do you find it? What are the benefits, drawbacks?

Sorry, this question does not apply to us.

9– How has being an editor/publisher changed the way you think about your own writing?

It has only reconfirmed my belief that writing is personal, there is no need for someone else to "improve your work". Does a painter have an editor? No, the work sinks or swims on the artist's merit alone. I read an interview with Ingmar Bergman where he was stating disbelief that in American Cinema it's normal practice for the producers to edit the filmmaker's movies, while this isn't done in Europe, or not usually, anyway. My writing has, over 20 years plus, developed into something that is entirely my own. This is for good or bad. Would you tell someone like Lou Reed to get a lead singer for his band because he can't sing, which, technically speaking, he can't? Think of all the great "singing", the great music, that Reed has put out down through the years. Think of how goddamn awful those songs would have sounded if he gave into criticism and got himself a "good and proper" singer hitting all the notes on the musical scale perfectly. Wasn't Bon Dylan also attacked for the same thing? Bob, you can write, but you can't sing. Is there anyone with even the slightest musical acumen that would want anyone but Dylan singing his songs?

10– How do you approach the idea of publishing your own writing? Some, such as Gary Geddes when he still ran Cormorant, refused such, yet various Coach House Press’ editors had titles during their tenures as editors for the press, including Victor Coleman and bpNichol. What do you think of the arguments for or against, or do you see the whole question as irrelevant?

I've never seen self-publishing as something artistically invalid. Many great writers have self-published, all it means is that what you're doing isn't readily understandable to the mainstream public, which, let's face it, aren't the brightest bunch, arnyway. It also shows gumption, it shows resolve and ingenuity, it shows that you've got some balls on ya, know what I mean? You are not going to accept that the machine is geared to work against you. Even with all the jabs that I take at today's culture, I firmly believe that there are a ton of people wanting art, wanting poetry, wanting literature and real good rock and roll, they are there, they will always be there. Just have to find them, that's all.

11– How do you see Screamin' Skull Press evolving?

Just continuing to publish our own work, with the occasional anthology of other writers. It's our writing that will evolve, not so much our publishing, we want to continually experiment and try new things while still sticking to our guns.

12– What, as a publisher, are you most proud of accomplishing? What do you think people have overlooked about your publications? What is your biggest frustration?

Well, proudest of my longevity and what I believe to be quality of work. I wrote and published my first book in 1994 and have written and published continually since then. If you count my first 6 chapbooks, which are out of print, I have written and published 18 books of stories, novels and poetry. Even if they were all shit, it at least proves that I have a commitment to my craft.

13– Who were your early publishing models when starting out?

Didn't have any - when I first published, it was pre-wide-spread internet use, you had to go to the library to use it, or to internet cafes. I was only vaguely aware of what it was, and didn't care much. So my first 6 books were all published old-school - bring manuscript to printer, tell them how you want it to look, pay the dude, and wait for god knows how long to get your books. Then, I would go to the library or a bookstore and flip through the magazines ads looking for places to send my chapbooks for reviews. Most of the time I didn't have two lousy cents in my pocket, so I would just write the addresses in my notebook. I would then sell my books, give away mostly, on the street and at corner bar-dives right out of my backpack. Very happy days.

14– How does Screamin' Skull Press work to engage with your immediate literary community, and community at large? What journals or presses do you seeScreamin' Skull Press in dialogue with? How important do you see those dialogues, those conversations?

We don't engage with our local writing community very much and that's because the local scene is comprised of mainstream writers, traditionally published writers, local presses that publish writing we aren't very interested in - even though Winnipeg is definitely an arts and culture type of city, we either can't find an underground writing scene, or it doesn't exist. We have done quite a few books signings, and sold our share of books, but it goes no further than that initial burst. We have solicited the local media over and over for years on end with very little response or interest on their part. There's a great band scene here, but I don't see much in way of writers, underground writers. I'm sure they exist, but there's no venue for them, there's no avenue for them to get the word out. The literary world in Winnipeg isn't interested in promoting unknown, transgressive, rebellious writing. So, we decided to go international with the web. We do engage with other presses, internationally, and have made some solid, long-distance friendships, as well as working with them on our latest anthology publication, Howls From The Underground.

15– Do you hold regular or occasional readings or launches? How important do you see public readings and other events?
  
 - I believe I answered this above -

16– How do you utilize the internet, if at all, to further your goals?

Everything we do, all the promotion we do, 95% of our book sales, the writing and publishing contacts and friendships we have made, are all internet-based. Without it, we have nothing.

17– Do you take submissions? If so, what aren’t you looking for?

No, we do not take submissions - the only work we have ever published with outside writers, is the anthology we just released, and our writing is in there as well. Besides that, Screamin' Skull Press is made to publish mine and my wife's work. But yes, we will publish another anthology soon, but we will be in it as writers, as well as publishers. We won't publish books that don't include at least one of us as a writer.

18– Tell me about three of your most recent titles, and why they’re special.

Our latest three releases are thus - we believe the descriptions describe how unique they are.

Last Stop To Saskatoon by Tony Nesca
One Book. One epic poem. An unadulterated, uncensored, stream-of-consciousness protest against the state of the world.

Let It Bleed by Nicole I. Nesca

This isn’t just a book of prose and poetry but a beautiful streetwise and lyrical telling of a life in pursuit of truth, sex, love, youth-lost and experience. With an alternating rhythm of long free-flowing sentences and short, minimalist statements, Let It Bleed is an original urban street-hymn that hearkens to writers of yesterday like Sylvia Plath and also the more modern rock and roll writings of Patti Smith, but always and forever original and unique.

HOWLS FROM THE UNDERGROUND –
AN ANTHOLOGY-

Poetry, Short Stories, Novel Excerpts, Essays, Artwork -
11 writers and poets, 1 artist – Eclectic, experimental, groundbreaking-
CS Fuqua – Laura Kerr – Ali Kinteh – Scott Laudati – Ted Prokash- Stephen Moran – GH Neal – Nicole Nesca – Tony Nesca – Chrissi Sepe – Thom Young – And the artwork of Drew Ennis –