Monday, February 20, 2012

TCR Literary Journal Series: Blue Lake Review

The Committee Room continues its Literary Journal Series with a look at Blue Lake Review.  An independent, online publication based in Rochester, New York, Blue Lake Review offers powerful, straightforward fiction, poetry, and essays.


Blue Lake Review was founded in 2010 by Mitchell Waldman and Diana May-Waldman.  Mitchell Waldman is a widely published fiction writer whose work includes the short story collection Petty Offenses and Crimes of the Heart (Wind Publications, 2011) and the novel A Face in the Moon (Writers Club Press, 2000).  May-Waldman is a poet, essayist, and award-winning journalist. Her work includes the poetry volume A Woman's Song (Publish America, 2009). She is an editor at the independent news website Worldwide Hippies. Waldman and May-Waldman co-edited Wounds of War: Poets for Peace (Publish America, 2006) and Hip Poetry 2012 (Wind Publications, forthcoming).

Waldman and May-Waldman recently spoke with The Committee Room.

An Interview with the Editors of Blue Lake Review

Q: Why did you want to start a literary journal when there are already so many?
A: As writers ourselves we started Blue Lake Review to help discover new writers and bring more exposure to good writers both known and unknown.

Q: Why did you call it Blue Lake Review?
A: We live on Lake Ontario and love the water.

Diana May-Waldman
Q: How have you gone about publicizing Blue Lake Review in order to get readers and submissions?
A: We've gotten a lot of following from our Facebook page. We've also received notice from our listing at the Poets and Writers site, other literary review listing sites, Duotrope, other literary journals linking to us, as well as by word of mouth of our contributors and readers.

Q: How many submissions does Blue Lake Review receive in a typical month?
A: We get anywhere from sixty to one-hundred submissions per month.
"Authentic writing is believable, moving, whether based on autobiographical experiences or not. Authentic writing is real or very easily could be. It comes from the writer's heart."

Q: In the guidelines you state that Blue Lake Review is looking for both fiction and poetry that is "authentic." Could you elaborate on that?
A: We are looking for writing that is original, not contrived, not trying to copy the style of other writers. Authentic writing is believable, moving, whether based on autobiographical experiences or not. Authentic writing is real or very easily could be. It comes from the writer's heart.

Q: What happens when a submission is received?
A: We try to read the manuscripts as soon as we can, in the order received. Diana reads poetry submissions. Mitchell reads fiction and essay submissions. Promising submissions are either accepted or held for possible consideration for publication.

Q: How many submissions (fiction, poetry, essays) are rejected after one reading?
A: The majority of submissions are rejected after one reading. Others are held for further consideration.

Q: What are the main reasons why a submission is rejected?
A: Submissions are rejected for the most part because they are not moving. This is our ultimate consideration. Some submissions are rejected as not being well written, for their lack of originality, believability, or for their cliche approach to the subject. Also, a submission that contains a lot of typographical or grammatical errors or misspellings as they indicate that the writer doesn't take pride in his or her work.
"We are much more open, we think, to diverse viewpoints, writing styles, and subjects than are university writing programs."

Mitchell Waldman
Q: Do you have any idea how many people are reading Blue Lake Review?
A: In the past month we had approximately five-thousand unique readers look at our website, and the number appears to be increasing.

Q: What are the advantages and disadvantages of being an independent journal unattached from a university writing program?
A: We are much more open, we think, to diverse viewpoints, writing styles, and subjects than are university writing programs. We are looking for writing from people from all backgrounds and, while not always true, writing from university programs may result in more conservative, cookie-cutter styles of writers. And, we are looking to find and promote unestablished and otherwise unknown but excellent writers who need a forum to display their work.

Q: Do you feel that fiction writers and poets have an obligation to address the social and political issues of their times?
A: No, not necessarily an obligation. We are certainly not focused on writing that addresses such issues but, in some instances, fiction writers and poets have these types of issues in mind or underlying their stories, and express them. We are not, however, looking for heavy-handed stories and poetry in which the words are merely thin vehicles for stories and poems that hit you across the head with "message." The story or poem is the key. If there is political or social issue addressed as an inherent part of the writing, that's fine, too.

Q: Would you agree that contemporary readers are more interested in non-fiction than in fiction and what is the place of an essay in a literary journal?
A: Yes, it's a sad fact that most readers these days are more interested in non-fiction than fiction. The essay sparks thinking among our readers and can more directly address current social and political concerns than say, fiction or poetry.

Q: Any advice for someone thinking of starting a literary journal?
A: It's going to be a lot of work and you have to be dedicated. Approach it like a job. And give the writers a chance. Make sure that your personal beliefs and prejudices are not coming into play in the reading of the work, as there are many viewpoints out there, all seeking to be heard.


Here's further information --

"Author Insides -- Mitchell Waldman." Vagabondage Press Blog. March 13, 2011.

Monday, February 13, 2012

TCR Story of the Month for February: "The Map" by Don Schwartz

The Committee Room proudly presents "The Map" by Don Schwartz as TCR Story of the Month for February.  A thought provoking look at Germany's violent past and thriving present, "The Map" is short fiction that takes on big issues in a fascinatingly imaginative way.

"The Map" was published in The Adirondack Review (Winter 2011) and won that publication's Fulton Prize for excellence in short fiction.

To read "The Map" click here

A Brief Interview with Don Schwartz

Q: How long have you been writing?
A: Most of my life, but I’ve only been writing short stories for a year.

Q: Where did you get the idea for "The Map?"
A: Several years ago I went to Berlin. I had been to the city once before when it was still divided by the Wall. When I got to Berlin on this second trip, I was amazed how much the former East Berlin had changed. After visiting Berlin, I traveled to Poland. I stayed in Warsaw. Then I visited the concentration camps---Auschwitz, Birkenau, and others. The story came from those experiences.

Q: Who are some of your favorite "classic" authors?
A: As a kid I loved A Tale of Two Cities by Dickens. What I loved about the book was the way Dickens foreshadowed the coming French Revolution, how he could take a broken wine barrel and turn it into a portent of blood on the streets.

Q: Who are some of your favorite contemporary authors?
A: I think Gravity’s Rainbow by Thomas Pynchon is an amazing book. Borges, obviously, is an inspiration. And Jose Saramago, while I don’t think much of his politics, had more imagination than most contemporary writers. And Roald Dahl’s children’s stories. Every summer I teach creative writing to kids. I never tire of reading Dahl’s stories to them.

Wednesday, February 8, 2012

Richard Nash on Revaluing the Book

Richard Nash
Flickr photo by jessamyn
"I’m tremendously optimistic about the future of the book as an object. I think the worst years of the book as an object have been the last 50 years," said Richard Nash, founder of the new experimental publishing community Red Lemonade and former head of leading independent publisher Soft Skull Press. In an interview with Matt Runkle for the Boston Review, the provocative Nash explains how new media can offer choices to readers that were impossible under the old corporate publishing model and that the traditional book will remain an option if enough readers want it. Nash asks -- "Why do we think that a person won’t buy a print book because in theory they could read it for free online? What is it that people are buying? What is it that people want? In many respects what people want is to read it on their own terms, so in many cases, people don’t want to have to read it on a screen."

To read the full Boston Review interview with Nash click here

Here's more -- "Richard Nash: Publishers Have Lost Their Way, Becoming Printers and Distributors Rather Than Matchmaker." Nash in video interview with Paul Carr of TechCrunch. June 15th, 2011.

Monday, February 6, 2012

What to Read Next?

Wondering what to read next? Perhaps one of these sites can help.


Here's more --

"The Five Best Book Recommendation Services."  Lifehacker.com (article doesn't include the two sites mentioned above)

Monday, January 30, 2012

TCR Bookselling Series: Blue Bicycle Books of Charleston, South Carolina


Outside Blue Bicycle Books
The Committee Room continues its bookselling series with a look at Blue Bicycle Books of  Charleston, South Carolina.  Located in fascinating, historic and tourist-filled downtown Charleston, Blue Bicycle Books sells new, used, and rare books on a wide variety of topics and is especially strong in Charleston history, military history, Gullah culture, literary fiction, and the work of novelist Pat Conroy.  Established in 1995 as Boomer's Books, Blue Bicycle has been owned and operated since 2007 by writer and former newspaper reporter Jonathan Sanchez and his wife Lauren Sanchez. Blue Bicycle Books hosts numerous in-store events and is involved in an array of community programs including a young adult book festival, a student poetry program, and a summer writing camp for kids.

Jonathan Sanchez recently took time out of his busy schedule to talk with The Committee Room.


Q: Why did you want to take over Boomer's Books?
A: I had worked here [at Boomer's] for eight or nine years, so I knew it was a very strong business and an opportunity I didn't want to miss out on. One sale to another buyer fell through and then I was fortunate enough to jump in.

Purdy, Blue Bicycle Books' bookstore cat
Q: Why did you rename the store Blue Bicycle Books?
A: We didn't have a lot of street presence as Boomer's, so before we chose the new name and hung up our shingle I started stacking books on the bike I locked to the parking meter, to draw attention. We had a name the store contest, threw out about one-hundred cat-related names, and there you go.

Q: How many people work at Blue Bicycle?
A: Two regular part-time people right now, plus a former employee who fills in when she's in town, and helps teach the writing camp. Plus both my parents sometimes, when they are in town. It's a very small staff. I would love to work in an "independent" (new) book store that has fourteen employees, just to find out what they all do. Seriously, I'm sure they all do something,and maybe we need more people doing those things.

Q: Would you agree that selling used and rare books doesn't have much in common with selling new books?
A: New book stores are much closer to publishing, which means you're selling a lot of stuff that may be extremely popular but will seem so lame before long. Case in point, I worked at a Waldenbooks when Don't Sweat the Small Stuff was out. Why was that book so important in 1997? Do we now want to sweat the small stuff? I don't know. Apparently so, because that book is essentially worthless and forgotten. And it happens to "great" books too. Remember Cold Mountain and White Teeth? Will any one like those in twenty years? I don't know. But, that being said, books are books, and we sell new and used along side each other.

Q: Where do you acquire your stock?
A: We get several calls a day from people who want to sell, trade or donate books. I prefer to go out and buy them at book sales and estates, but then I would never have any golf books, because I'm not going to go the trouble to pull out golf books when I'm shopping in, like, Florida.

Blue Bicycle Books
Q: What factors determine the value of a used book?
A: Well, if it's just a reader's copy, like paperback fiction, that's half of cover. However, new book prices have been strangely frozen since about 1997. Pat Conroy's Beach Music that came out in 1995 was a whopping fifty-cents less than Freedom by Jonathan Franzen which appeared in 2010. So we feel like half can be a bit too low sometimes. For things we don't have to research and compare, it ranges from $10 - $50, usually just how nice it is, who wrote it, how many people want it.  This is another advantage used bookstores have over new bookstores, where everything is the same price. You're going to pay a little more for Kerouac than you are for Philip Roth. If it's a rare book we usually compare prices online and make a judgment call based on condition. Sometimes we're lower, sometimes we're higher.

Q: What authors and subjects are most popular with your customers?
A: Murakami, Hemingway, Kerouac, Virginia Woolf, military history, poetry, eastern religion, anything strange and particular (CB slang dictionary, how to be a ninja books), Charleston books, contemporary nonfiction, architecture, hunting and fishing, classics, childrens' picture books (Silverstein, Babar books, Sendak, etc.), YA novels. Things like that. Anything specific, well-written, nice covers, nice bindings.

Q: What defines a "rare" book and are all rare books valuable simply because they are rare?
A: Usually when we say rare we mean rare and desired.  A good example is our first edition, first printing, first state For Whom the Bell Tolls by Hemingway, in the original jacket etc., even that first state jacket, before they added the photographer's credit, I think it had a pretty large print run, but it's still rare because it's so beloved. In other words, the supply isn't THAT limited, but there's a lot of demand too. And keep in mind that a lot of rare books are worthless to most people. We have a $3,000 book in French about palm trees. That one's waiting for a certain buyer and it may wait a long, long time. There needs to be two buyers -- one guy to want it and another (presumed) guy who may want it next, which makes the first guy pay full price, or most of, so he can have it. There's a whole segment of people who feel pressured to buy something because they're afraid it may not available for long. I have no idea how that emotion is engendered in people, but I like to see it in my customers, and not in my wife.

Q: Do you have any formal training in regard to recognizing and handling rare books?
A: I've never taken any formal classes, I don't know that there are any. I worked here for a few years before I bought the store. There's still a lot I don't know. Being young A) you get the benefit of the doubt, and B) you get to make up some of your own rules. We try to be a very user-friendly store and let young people get into collecting, so we don't try and come off as a typical rare book store. No glass cases. If a book is an ex-library book or a book club edition we don't necessarily turn up our noses. The book club edition of Nine Stories by Salinger is still a beautiful book, and it's not something you see every day or every year, even if you look at hundreds of thousands of books a year like I do.

Q: What are some of the "rarest" books Blue Bicycle has sold?
A: A signed The Boo by Pat Conroy. A three volume leather set of Dante, about fourteen inches tall, with contemporary illustrations from the late 1800s. First edition Desolation Angels by Kerouac. Signed Wallace Stegner, signed Midnight in the Garden of Good and Evil, first edition A Moveable Feast by Hemingway. Three volume set of the Excavation of Pompeii, from 1809, with architectural plans and renderings, fold-outs, rebound sometime in the later 1800s in beautiful leather, gilt. Thomas Jefferson owned a copy of that book. That one stung a little.  It was at the time the nicest book that I had ever owned and the entire 50,000 volume collection felt significantly diminished by removing it. Then again the check was nice. We definitely have three or four books which blow all those away sitting on the shelf right now.

Q: What is the bigger part of your overall sales -- new, used or rare?
A: I guess used then new then rare. Depends. I mean, technically any rare book is one that's out of print or worth more than it was when it was in print? So a fifty-cent Edgar Rice Burroughs paperback that we sell for $9.98 is a rare book. Some months over half of our sales are in new books (they are still pricier than used books) and if we do an event, that really tilts the percentage in the new books column.

Q: When and why did Blue Bicycle begin online sales and how important has it become to your business?
A: We started online back in 2000 or so and stopped it when I bought the store. Usually when you say online sales you mean selling on ABE Books, Biblio, Alibris, Amazon, etc., and we don't sell on any of them. When you buy a book on one of those sites, the buyer often starts off with a book in mind and searches for it, whereas people come in to Blue Bicycle Books to shop for books. No one plans to buy a Dandelion Library picture book from the 1970s which has Babar the King on one side and Grimm's Fairy Tales on the reverse. The market online for those is very poor. However we have a book on Geochemical Self-Organization or something, published by Oxford University Press that's very rare, but only someone looking for that book because they needed it for something would pay $700. No one is likely to come across it and say "Oh, I must have this."  So it's very different selling in a store and selling on a computer. We do have about ninety-five books listed on our website which people can browse through. We mostly sell Pat Conroy books on there, tickets to events, the fee for our writing camp, stuff like that. Brad Taylor, our local thriller writer, has a lot of fans all over the country and they buy online from us so they can get signed copies. But it's really just an online catalog, making it slightly easier than just calling us.

Q: How big a factor is Amazon in the used book world?
A: Amazon is obviously beyond huge in online retail. The problem with Amazon, or the major problem, is they don't collect sales tax, which is evil in a classic fairy tale / King George III kind of way, as mom and pop stores like mine are forced to collect higher and higher taxes from the little people (8.5%, just went up in 2011 and, let's be honest, it never goes down).They sell tons and tons of used books, usually through third party sources, just like the aforementioned sites (they own Alibris, I believe.) One of the problems with them is the way they list books and the poor descriptions of their used books, so you don't always know what you're getting. But it is what it is.

Jonathan Sanchez, owner, Blue Bicycle Books
Q: A book can't become used if it never physically existed in the first place.  Will the use of e-readers, therfore, lead to a diminishing supply of used books?
A: Hmm. There are a lot of books out there. I may not have my numbers exactly right, but I'm pretty sure if you were to take all the books currently in existence on the planet, evenly distribute them into stacks, so that there is one stack for each literate person on the planet, and then place said stack on each person's head, each literate person would be driven five to fifteen feet into the earth by the tremendous force (depending, of course, on the softness of the earth where they live). Maybe in like fifty years, if people start using e-readers heavily, we might see a diminished supply. But people seem loathe to throw out real books, no matter how terrible they are. They just keep coming. It's like Newman said on Seinfeld about the mail -- It never stops.

Q: How much does the downtown Charleston location of your store matter to your business?
A: If we were one block north or south or business would be quite different. A lot of our customers are visitors who like to shop and browse while on vacation. Even if they're not looking for Charleston books, it's a nice relaxing thing to do while on holiday. We get a lot of walk-by traffic.

Q: Blue Bicycle specializes in Charleston history and Gullah culture, among other subjects.  How important are well-defined specialties to a bookstore's success?
A: Well, it's important that we know something about Charleston history and especially Gullah culture, as a lot of our better customers --  espcially in the spring and fall, the kind of well-educated people from Wisconsin or New York or California, empty nesters -- are going to take an interest in rice culture, sweetgrass baskets, or want a more erudite multicultural look at Charleston's past as opposed to the hoopskirts and parasols. But we have two feet tops of Gullah material and 1500 feet of books, so...

Blue Bicycle Books
Q: Blue Bicycle hosts many in-store events, including author readings and signings.  How do you get authors to come to the store?
A: We're very lucky that Charleston is a popular destination and writers like coming to stores that are locally-owned, with an affable and bright staff. I'm talking about the staff, not me. I'm grumpy and dull.

Q: In 2011, Blue Bicycle began the YALLFest, a celebration of young adult books.  Could you tell us something about this?
A: YALLFest, YA for Young Adult, YALL for southern. We had thirty writers come last fall (2011).  Planning it was the hardest thing I've ever done but the help and funding we got was tremendous.  The people who came out for it were so excited.  It's almost eerie how well it came off. We'll likely have twice as many panels and writers next year (2012), with signings and a big "YA Smackdown" game at the end of the day.

Q: Any advice on running used and rare book business?
A: Well, I have to say you have to be pretty good at curating, making a nice selection for your customers. If you just pick up a book that's kind of mediocre and think SOMEbody MIGHT like this, you're going to have a lot of mediocre books. For the most part I try and pick up stuff that I like or that I KNOW someone will like. We're very lucky because Charleston is full of creative people, and so we work to draw a connection between writers, writing and books, be it the third grader who writes poems in our writing camp, a self-published author, or a Pat Conroy / Katie Crouch / Billy Collins.  A bookstore that is centered on writing and writers can be the connection between the immediacy of creative writing and the lastingness of the books those pieces of writing can become.

Here's more --

Best Used Bookstore: Boomer's Books. Charleston City Paper, March 7, 2007.
Meet Jonathan Sanchez. Southern Belle View. April 12, 2011.
Writing the Soul of a City, Chronicling a Living History. Re:discover. 2012.


Blue Bicycle Books
420 King Street  Charleston, SC 29403
(843) 722-2666


Wednesday, January 18, 2012

Editing Hemingway

In this fascinating article recently published in Narrative,  author and editor Tom Jenks recalls being a young staffer at Scribner's in the 1980s and being given the task of editing for publication Ernest Hemingway's unfinished novel, The Garden of Eden.

Jenks writes:
"[Charles Scribner, Jr.] gave me two paper grocery sacks filled with manuscripts and enjoined me to read them. That night I schlepped The Garden of Eden home on the subway. Later I got into bed and started reading, determined to put the task behind me. But by morning I was convinced that the mass of material held a story worth publishing. The work was wildly uneven, and much of it was embarrassingly weak, though portions had sustained strength and suggested a new sort of Hemingway, one whom E. L. Doctorow would characterize in his review of the book as reaching for a fuller, more thoughtful, emotional range with a hint of feminine understanding."
To read Jenks' full article click here

More interesting information --

Thursday, January 12, 2012

TCR Story of the Month for January -- "The Woman Who Came for Lunch" by Gene Twaronite

Gene Twaronite
The Committee Room proudly presents Gene Twaronite's "The Woman Who Came for Lunch" as the TCR Story of the Month for January.

This brief and witty story examines aging and illness and raises profound questions about identity itself.

Gene Twaronite is an Arizona based writer of fiction for both adults and young adults. He is the author of the young adult novels The Family That Wasn't (2010) and its sequel My Vacation in Hell (2012). His stories have appeared in The Write Room, Read MagazineHighlights for Children, and the anthologies The Mix Tape (Fast Forward Press, 2010) and In Short: How to Teach the Young Adult Short Story (Heinemann, 2005).  Gene is also the author of two collections of essays -- Letter to a Mountain (1977) and Nature's School (1985).

"The Woman Who Came for Lunch" was originally published in Avatar Review (No. 13, Summer 2011).

To read "The Woman Who Came for Lunch" click here.



TCR Chats with Gene Twaronite

Q: How long have you been writing?
A: I started keeping a journal just after college (1970)—a habit that I have tried cultivating since then with only infrequent periods of success.

Q:What gave you the idea for "The Woman Who Came for Lunch?"
A: The idea was inspired by my late mother, who at the time of her death at age ninety was diagnosed with dementia. As I witnessed her gradual decline and submergence into a world of diminished cognition, I became obsessed with the question of what happens to that person I knew and loved—where did she go? Does she still live out her dreams in some hidden fantasy world known only to her? Does she still have adventures based on her long term memories? And as I watched my dad struggle to care for her at home, I idly wondered what might happen if a husband and wife both suffered from dementia and no one else knew.  That is essentially the setup for the story.  While the premise is a bit absurd—that such a couple could go on living together at home undetected by others—I was attracted by the “what if?” aspect of the story.  Mainly I just put the two characters on a stage and let their dialogue unfold and tell the story, while weaving in little details from my own life (like the panic I once briefly experienced upon getting momentarily turned around in a familiar neighborhood) as well as things I remember about my mother (such as her habit of hiding away things in ever smaller nesting boxes).

Q: You write for young readers (middle grades) as well as for adults.  What are some of the things you keep in mind when writing for kids?
A: The most important thing is not to “write down” to them or to preach to them.  I always try to write for the kid inside me, whether that kid is ten or as in my case going on sixty-four, and I think that helps keep me from writing something phony. And I try to put a little absurdity into most of my stories, for kids just love the absurd.  And so do adults for that matter, at least those who have not lost touch with their inner kid. As the late Shel Silverstein wrote in one of his poems, “Put something silly in the world/Thatain’t been there before.” That’s great advice for any writer.  We tend to take ourselves too seriously.  There is nothing that will turn me off faster to a story than a complete lack of humor in the writer. And whether writing for younger or older readers, whether the words or plots are simple or complex, the story’s the thing. Tell a good story and it really doesn’t matter what age group you’re writing for.

Q: Who are some of your favorite "classic" writers?
A: The writers to whom I am most indebted as a source of both writing inspiration and reading joy include (not necessarily in order) Mark Twain, Kurt Vonnegut, Ray Bradbury, Carl Sagan, Albert Camus, Eugene Ionesco, Henry David Thoreau, Franz KafkaJames Thurber, E.B. White, Roald Dahl, Eleanor Cameron, Will Cuppy, Woody Allen, Edward Abbey, H.P. Lovecraft and J.R.R. Tolkien. I could go on, but I think this gives you a pretty idea of where I’m coming from.

Q: Who are some of your favorite contemporary writers?
A: One of my favorite authors is Magnus Mills, who writes these funny little novels filled with magic and mayhem. I have read his Three to See the King three times now and it gets better with each reading. His The Scheme for Full Employment is also an absurd treat that offers poignant insights into the human condition.  I just finished reading the novel Martin Dressler: The Tale of an American Dreamer by Steven Millhauser and was blown away by how the author recreated the streets of early New York and the big dreams of its inhabitants. Millhauser's short story collection The Knife Thrower and Other Stories is one of my favorite anthologies. His edgy title story takes you to the brink of suspense—will he do it?  And in his story “The Visit,” he proves himself as skilled an absurdist as Kafka.  I also enjoy the short stories of Rick Bass, especially those in his anthology The Lives of Rocks.