ZAPP as connector

the Zine Archive and Publishing Project is moving out of the Richard Hugo House. This is huge. For near-on ten years now, that's been a goal of ZAPP's, at times a casual, "wouldn't it be nice", at others a more pressing concern, but due to a variety of issues, resets, and general struggle I won't get into here (but may later) it hasn't happened til now.

This. Is. Huge.

It is not overestimating it to say that ZAPP has likely been the most important of places in my re-entry into Seattle. In 2009 I started volunteering weekly, while I was still living in Stanwood, working hanging Christmas Lights, at ZAPP's open hours. In 2010 I accepted an internship writing PR (which went through Hugo House) and helping co-ordinate volunteers. This culminated in my Internship Show, Jesus Christ Made Seattle Under Protest, which re-sparked my interest in visual art (an interest that goes through it's own series of languishes and resets.) Many of the new, lasting friendships, artistic collaborations and  I've made have been through ZAPP-- I met Bryan Edenfield, without whom there'd be no book of Filthy Jerry Poems at ZAPP. I was in a writer's group with him, Rainey Warren, and Emily Wittenhagen the latter of whom gave me a job at the Hugo House Bar, which in turn helped me to get my foot in the door in Seattle's bar scene (From the OTHER side of the bar. please.) It's where I met Lindsey Tibbot, who'd go on to marry David Stone (both of whom put me up when a spot I was going to live fell through at the last minute.)If you factor in that employment as an outgrowth of ZAPP, I also met Marty, Brian McGuigan, Paul Nelson and many others not-too-indirectly, through ZAPP.

I'm super stoked to be reading at their Release Party. I'd say more but the Library is closing.

I'll see your "do what you love" and raise you one "that's why they call it work, kid."

So lately a variety of people have posted this article about the culture of unpaid arts and academic work, and while Slate is increasingly becoming about as reliable and readable as Salon, the article (which was originally posted on Jacobin, natch) nicely articulates a lot of frustrations I have with the culture around writing, arts organizing, and "getting involved." The writer does a decent job of balancing practical and philosophical concerns, and while the author (wisely) doesn't propose a practical solution to the free-work/dismissal of labor problem, I like the ways-of-thinking suggestions in the last paragraph.

Because while a lot of the internship/volunteer/lowpay positions came into existence because of economic realities surrounding pursuits of artistic, spiritual, or intangible value, they are increasingly re-enforced by a sorta beatific, pie-in-the-sky mentality truly available to only a few. The human soul needs to be nourished, but folks tend to nourish the body first. So unlike nurses and mousetrap-makers, most people with any type of say, humanities degree, won't always have a market for their work.
I think the do-what-you-love-and-it-isn't-work paradigm ironically creates a self-love/self-loathing hamster wheel for artists, writers, designers, researchers, who don't feel they have any "real" skills, yet also see themselves as elevated by "pursuing their passions" after years of having their professors tell them to. (or you know, years of following the blog of an oil heiress who decided to quit her job and "make a living" selling necklaces made out of chicken feathers while practicing a self-invented form of yoga and tutting disapprovingly at those in the "rat race.")

There's a longer discussion here with regards to ideas about what it means to be "serious about your art" that tends to get caught up in these pinwheels as well.

At this point I've made an evolving, uneasy peace with ways I pursue my art, ways I pursue my livelihood, and how often the two do or don't intersect. Every individual has to do that on their own; I sort of figured on getting a Creative Writing Degree that bartending, or record store working (ha!) was going to figure heavily in my future.
This is why I roll my eyes at the precious snowflackes who complain that they just "aren't being fullfilled" or feel like they "just, you know, want something more. . ." from their work. I mean, if a job sucks, yeah, get outta there, go for the promotion, etc. but sometimes work is just, you know, work. And that's fine.
Necessary, even.

Repost: Barrooms/Community Building.

In this article, Stranger books editor Paul Constant makes a call for a "writer's bar" where the entirety of Seattle's literary community can gather. It's not a bad idea; I think it's healthy for writers of different styles-- entirely different styles, not just different styles of fiction or poetry-- to rub elbows and bounce ideas. Take the ingredients you like from an essayist and put it into your short story. Things like that.
That said, I do wonder if Seattle (and other) literary types get too into "being literary." A good bar where you can talk as pretentiously as possible about whatever you've read or are working on-- that's a rad idea. but it'll always need to be balanced by the good bars where you can people watch, write in solitude or, gasp, places and activities not involving alcohol.

which I could use a bit more of lately.

off in a bit to meet with Brian about Works in Progress, which if I haven't talked about here yet, I'm not unpacking now.

The Mason Jar of Timeliness Says You Just Missed a Guarantee.

Workburrow. Arrived at the Library an hour early (like I usually do) with the intention of listening to music, writing, sending necessary corrospondences (like I usually do.) Network was down. Spent some time with Devils and a maple bar.

Shortly after arriving at my shift, computers flicker back on and the students swarmed. I tend to intend to Write Something, but company time isn't my time and I suppose it's not fair to grump out on a poor student for interrupting a haibun about Concrete or some such thing.

Last night was my first night actually Hosting Hugo House's Works In Progress open mic. We ran it about the same way, save that after 9pm the time limit drops from 5 to 3 minutes and instead of playing a soothing A chord on an instrument of folky troubadors, I clear my throat all growly-like to let people know when they're finished. Some good readers last night and good energy. I thin people tipped Garth more than they did me.

Pics to follow, probably.

It won't be what you want it to be, oh no.

Four things, relevant:
1. That tooth, you know? That tooth?
The one. The wisdom tooth that has been on and off hurting like a motherfucking fuckass hellacious shitcuntfuckfuck for about a god-diddly-damn year, yesterday I went to the dentist I have the poem about and he yanked that horrible, rotted-out pseudo-tooth out of there.
Dr. Jones knew where Swansea was and what division their football team was and the dental assistant was cute with and without her mask and told me good luck with the writing. And now I don't have a toothache.

I do, however, need a root canal on the one right next to it.

Dear Money: I take back what I said. Let me hold you next to me. I love you. I need you.

2.
Tonight and tommorrow, two volunteer shifts at Hugo House. The first one has free food and booze for volunteers, the second lets me sit and read and shelve zines for four hours.

3.
We've gotten far enough on the Lights of Christmas that me taking a day off to attend to things like teeth and writing and going to Seattle is not a problem. Come November we'll be busy again, but right now we've got five people on two-person jobs.

4.
Visiting Grandma gets more difficult as it becomes more necessary.