Reading Frenzy ~ An Independent Press Emporium

Consignment Update! Expanded Drop Off Hours!

Dear Local Publishers,

After a year of playing catch up with consignment and working out the kinks in our new computerized system, we're ready to expand our drop-off hours! From here on out you can come by during our regular business hours*, fill out a drop-off form, and leave your title(s). Drop-offs will be entered in the computer system within 3-5 days of receipt and you'll receive a confirmation email at that time.

The new drop-off only hours are:

  • Monday - Friday 11am-7pm
  • Sunday 12pm-6pm

Hours for pick up and and returns remain the same:

  • Thursday - Saturday 11am-7pm

If you've received a reminder that your consignment period has expired and you can't make it to the store during consignment hours, you can call or email Harlan -- harlan(at)readingfrenzy(dot)com -- to make special arrangements for pick up. He will issue you a check and place your items for pick up in our hold basket, so that you can come by at any time during our regular business hours. These arrangements must be made in advance with Harlan -- no one else on staff can prepare your payment and/or returns.

We've limited consignment hours for two main reasons: So that one person can be in charge in order to cut down on confusion and errors, and to ensure that there is time during the week when we can focus on other important aspects of running the store. With over 600 consignors that was proving very difficult. We appreciate your understanding and cooperation.

*We do not conduct consignment business on First Thursdays, 6pm-9pm or during other store events, which typically begin at 7pm.

Print Fancy!

April 11, 2012:

Reading Frenzy is pleased to announce the launch of an ongoing celebration of self-publishing called Print Fancy! Every month or two we'll select a handful of our favorite recently self-published titles and host a group release party and self-publisher social!

Everyone -- self-publishers and their enthusiasts -- are welcome! While the readers are pre-selected, all self-publishers are invited to consign new releases before 7pm on the evening of the event. All titles will be on special display for the evening, written up for our blog, and announced at the event!

Join us on Thursday, April 12th, 7pm for the first ever Print Fancy! featuring:

  • Michael Heald, the publisher of Perfect Day Publishing. His debut collection of non-fiction, SMALL, will be out this winter on Perfect Day. You can find him Monday afternoons at the IPRC and Monday evenings on his front porch.

  • Jazz McGinnis, is a queer trans guy living the dream. He used to write a zine called Camojacket as a teenager. He's now a queer activist, an advocate for women's reproductive health, and a serial OkCupid dater, all while managing his mental health. He's currently working toward going to nursing school. Dear Shane, I tried to kill myself, is a zine about his most recent severe depressive episode and includes practical tips on navigating the psychiatric system.

  • Karen Giezyng is the publisher of American Scooterist, the Vespa Club of America Magazine and Bumpstart: The Pacific Northwest Scooter Zine. She enjoys Vernors' Ginger Ale and long scooter rides. Bumpstart #6/7 is a double-issue documenting the 2010 Scooter Cannonball Run, during which Karen rode her Vespa cross-country from Vancouver, B.C. to Portland, Maine in ten days. What makes a sane person want to ride a scooter 3,500 miles cross-country? Read all about this once in a lifetime scooter adventure in Bumpstart #6/7.

  • In addition to his work on The Field Guide to the Aliens of Star Trek: The Next Generation, Zach is the co-author of Miami, You've Got Style: A Little Golden Girls Book, and author of Love is Not Constantly Wondering if You are Making the Biggest Mistake of Your Life. The first issue of The Field Guide... was written from the perspective of an eleven year old boy in the year 1990 who has become fixated on Lieutenant Commander Data as a way of coping with the panic attacks and outbursts of his mother. Each issue moves things forward one season of the show and one year in the life of the author. 

  • With an emphasis on personal stories, When Language Runs Dry publishes writings about how persistent pain impacts people's lives, relationships, and the way that they inhabit their bodies and communities, including articles on self care, support, and caregiving helpful for those not currently struggling with pain or illness of their own. Co-editor Meredith Butner will present an excerpt from When Language Runs Dry #4.

  • Katherina Audley is a writer, adventurer, online communications specialist, life coach, yoga teacher, professional viking and artist.Whoosh #3: the Zine for Whale Lovers inclused A Visit to Blue Whale Mecca, Orcasm in Argentina, Dirty Whale Jobs, Whale Trivia, Book Reviews, Two Dream Whale Expeditions Demystified, Whale Art, and Funny Dog Pictures.

New & Notable! March 2012

BOOKS, ART & PHOTOGRAPHY

  • Garbage Pail Kids by Topps Company (hardcover with bonus stickers!)

  • Hidden Treasure: The National Library of Medicine by Michael Sappol

  • Holy Cards by Barbara Calamari and Sandra DiPasqua

  • Just Kids by Patti Smith

  • Typography Sketchbooks edited by Steven Heller and Lita Talarico

BOOKS, FICTION

BOOKS, NON-FICTION

  • Add Toner by Aaron Cometbus
  • D.I.Y. Magic by Anthony Alvarado (Reading and signing on April 25th!)

  • The Enlightened Cyclist by BikeSnobNYC, a.k.a., Eben Weiss

  • Making the Future by Noam Chomsky

  • On Bicycles: 50 Ways the New Bike Culture Can Change Your Life edited by Amy Walker

  • Ritual America ~ Secret Brotherhoods And Their Influence On American Society: A Visual Guide by Adam Parfrey and Craig Heimbichner

COMICS/GRAPHIC NOVELS

  • The Art of Daniel Clowes -- Modern Cartoonist by Alvin Buenaventura

  • Cinema Panopticum by Thomas Ott
  • Injury #3 by Ted May

  • Love & Rockets: New Stories, Vol. 4 by The Hernandez Brothers
  • My Friend Dahmer by Derf Backderf

  • Nature of the Beast by Adam Mansbach, Douglas McGowan, and Owen Brozman
  • The Three Paradoxes by Paul Hornschemeier

MAGAZINES/ZINES

  • The 415th Time by Michael Heald

  • Algeria -- Notes on an Unfamiliar Place by Delphine Bedient

  • Bikenomics -- How Cycling Will Save the World by Elly Blue

  • Bumpstart #6 & #7 by Karen Giezyng

  • The Conium Review #1
  • Dear Shane, I tried to kill myself  by Jazz McGinnis

  • Doris #29 by Cindy Crabb
  • Filling the Void -- Interviews About Quitting Drinking and Using

  • It's Down to This: reflections, stories, experiences, critiques and ideas on community collective response to sexual violence, abuse and accountability

  • Lucky Peach Vol. 1 No. 3

  • The Ride Journal #6

  • Skinned Heart #3

  • Truckface #15

  • When Language Runs Dry #1-#3: A Zine for People with Chronic Pain and Their Allies

  • Wholphin #15: DVD Magazine from McSweeney's

  • Xtra Tuff #5.5 (CD) by Moe Bowstern

ARTIST'S ZINES

KID'S STUFF

  • Anorak #22: The Happy Mag for Kids Food Issue

  • Donald Boxed Set: Donald and the ... & Donald Has a Difficulty by Edward Gorey (hardcover, boxed set)

  • Little Fur Family by Margaret Wise Brown

  • The Magic of Reality by Richard Dawkins, illustrated Dave McKean

  • Make Your Own Robot by eBoy, David Shrigley, Donna Wilson, Bubi au Yeung, Roman Klonek, Ben Newman, Genevieve Gauckler, Malota, Hvass & Hannibal, Airside, Jon Burgerman, and Shin Tanaka

  • Press Here by Herve Tullet

  • Wave by Suzy Lee

MISCELLANEOUS

  • Let it Rain (CD) by PDX Pop Now

  • Wonder: Mini Eco-Journal Set by Nikki McClure

  • Zombie: 30 Temporary Tattoos by Mitch O'Connell

Taking The Piss: Conclusion

Original post here.

Long story short: Banksy didn't steal from me. He didn't plagiarize that quote on advertising. Ten years ago, he was careless, the opposite of sneaky. What's more, I was also careless.

Here's what's become clear: Around 2002-2003, Banksy included my words in Cut It Out, a self-published collection of his drawings and stencils. Banksy shortened the end paragraphs of my essay and changed it from first- to second-person perspective (for example, "they never asked for my permission" became "they never asked for your permission.") He then added Crap Hound to a list of credits in the back of the book, along with other sources and photo credits.

The problem: The pages in Cut It Out lacked page numbers, meaning the end credits were nonspecific. In the year Banksy made that decision, someone reading the passage would likely have had the book in their hand. Twitter, Tumblr, and Facebook didn't exist. Quotes and jpeg memes were distributed far less often and widely.

In my original post, I said that issues of attribution aside, all this could have been avoided had Banksy simply let me know that he'd used my essay.

The reality: In 2002, Banksy mailed an explanatory letter and a copy of his book to the address printed in Crap Hound. I never received it, most likely because beginning in 2001 I spent three years moving back and forth across the US. The PO box I'd used for years was eventually closed due to new postal rules after 9-11. From 2001 to 2004, mail was sporadic and plenty was undoubtedly returned to sender or lost in transit.

My main objection in all this -- that my words were credited wrongly (much worse than appearing uncredited, in my view) -- began when some random blogger recently took the quote, added "--Banksy" (reasonably), and posted it.

Choices made in the past (Banksy's choice to not use page numbers or on-page attributions, and my choice to void the mailing address used in Crap Hound while having no website or announced email) set things up for the current confusion.

Other complications: First, viral posts can spread and fade within a week. I felt if I didn't act fast to correct the record, there'd be no point once the Internet's attention had moved on. Second, Banksy's anonymity meant I had no way to confidently contact him. You can blame this situation on Banksy, but remember he encountered a comparable situation when he'd tried to contact me a decade earlier. Third, Crap Hound is filled with copyrighted vintage commercial art, used without permission. Because of what I use and write in my zine, Banksy assumed (correctly) that more so than most people, I wouldn't object to my own work being used, altered, without explicit permission. Again: My complaints were that the quote was misattributed, not unattributed, and that I'd never been informed afterwards.

I realize "Banksy stole the quote!" is much more dramatic and satisfying than "Banksy made a poor stylistic choice in his book layout, causing confusion years later! He attempted to inform me but had the wrong address!" The man's not an imbecile. This would have been an absurdly clumsy and doomed attempt at plagiarism. I will also say that in my recent, limited contact with Banksy, he's gone out of his way to be clear, kind, and genuine, in every way the exact opposite of a twat.

I'm very grateful to everyone who wrote, posted, and tweeted about this. The quote will remain out there with Banksy's name on it, but the source is now established online (and in future reprints) for anyone who looks deeper. Likewise, no matter what your opinion of Banksy, it's important and fair to establish that this was not a case of plagiarism. Lack of foresight, yes. Fraud, no.

Sean Tejaratchi, March 18, 2012

craphoundzine@gmail.com

@ShittingtonUK on twitter

Taking the Piss

Please read update here.

Chances are pretty good you've recently seen the "Banksy on Advertising" quote that begins, "People are taking the piss out of you everyday." The passage is from Banksy's 2004 book Cut It Out, and it presents the idea that if advertisers are going to fill your world with ads, you have every right to "take, re-arrange and re-use" those images without permission. The quote has been posted widely on Facebook, Tumblr, and Twitter, which is where I found it.

Here's the interesting part:

Most of it is swiped directly from an essay I wrote in 1999, in the "Death, Phones, Scissors" issue of my zine Crap Hound. The first paragraph is more or less original, but the rest is mine, right down to the same words and phrases.

See for yourself. Here's the Banksy quote followed by the relevant part of my essay as it appeared in Crap Hound. (The full essay is linked at the end of this post.) Pink indicates indirect references, and yellow shows the direct swipes.

Click to see full-size version here.

It's hard to know how to feel about this. My first thought was, "Hey, Banksy reads Crap Hound!" Then, "What the fuck is going on?" Then, "Am I a real person? Am I actually happening?" And finally, "Am I a beautiful flower angel sent from heaven to inspire Banksy?"

As problems go, it's a pretty nice one to have. I like Banksy's art and ideas. I'm flattered he liked my writing and my sentiments, and I'm happy others liked the quote enough to post and forward. I've seen forums where people are debating the passage, including rebuttals from ad-agency twats. It's on wikiquotes and a hundred blogs. My essay never would have had that impact on its own.

The downside is that Banksy's name is always on it. Seeing my writing credited to someone else makes it a little less magical. Same with knowing that one day (maybe soon, since the issue in question is being reprinted), I'll get to hear how I ripped off Banksy.

The fact that he's an "elusive mystery artist" doesn't leave me many options. I found contact info online, but so far I've only received bounced messages. 

My goal is to set the record straight online. There will be no lawyers or threats of legal action. I've tried not to jump to conclusions, or angrily denounce Banksy, or the Internet, or the terrible unfairness of the universe. Maybe a ghostwriter was responsible for lifting it. Maybe an attribution was lost in layout. (On the other hand, my words were rearranged and tweaked. How does that happen accidentally?)

Banksy, if you're reading this, I accept your apology for the mix-up! I have a Crap Hound book coming out next year, and I'll be sure to make it up to me by signing your name to a really enthusiastic jacket blurb.

Sean Tejaratchi, March 10, 2012

craphoundzine@gmail.com

@ShittingtonUK on twitter

P.S.: Two important things for clarity's sake:

My zine, Crap Hound, is full of "swiped" vintage advertising from 1920-1970 that was drawn by anonymous commercial artists. The crucial difference: I don't pass those images off as my own. When writing appears without attribution in Banksy's book, the natural assumption is that he wrote it.

Also, sooner or later someone might fart, "How brilliantly ironic, such classic Banksy! Swiping something about swiping, then complaining that it's been swiped!" For the record, I'm not a fan of telescoping, self-referential irony. It's a tiresome, lazy circle jerk that confuses ideas with actual life. I've seen people wondering if Banksy's Exit Through the Gift Shop was staged, so I'll be clear: This is a little baffling and irritating, but it's not a conceptual gag. 

The full Reciprocity essay is here, and the passage as it appeared in Cut It Out is here.

Note from Chloe: This has come to light while we're (Reading Frenzy/Show & Tell Press) in the middle of a Kickstarter campaign to fund a reprint of Crap Hound #6: Death, Telephones & Scissors. The campaign has been planned for months (and was posted on March 4th, four days before Sean found the Banksy quote). Some may consider the timing a happy accident, but this is a straightforward issue of giving credit where it's due. You can read about, pledge to, or share our project here.