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SUMMER 2003 (VOL. IV, NO. 2)

People have been pestering me for years to write a book. I have yet to accomplish this. That is not to say that I haven’t written reams of things that could probably fill many books. However, collecting enough singular thoughts or trains of thoughts into a book-sized collection of pages seems beyond me.


No one in their right mind wants to write a book, but EVERYONE I have ever met wants to have written a book; these two things are completely dissimilar. Writing a book is a painful laborious process of putting one word in front of the other and rewriting until your brain bleeds, but having written a book is like a runner’s high (or so I am told). Unfortunately you have to work very hard to get high. I am lazy. I don’t run; I poke along enjoying the view.

Why do people feel the need to have their name on a book jacket? It can’t be just the name on the jacket, hell, gimme PhotoShop 7 and an Epson printer and I can have your mug smirking out from a back flap before you can say “Jackie Collins.” But that doesn’t seem to be enough. And you can’t get by with writing anything else. You can write bits and pieces for magazines and newsletters and even assemble entire issues of magazines, but unless your name is on a real genuine book, it doesn’t earn the same appreciation.


There is an entire economy out there revolving around and benefiting from this urge to expose ourselves in public: schools, guides, manuals, magazines, seminars, software. (I have this theory, about reading about how to write being a form of mental masturbation that allows you to think you are actually being productive, when in reality you should be writing–but it’s just a theory.)


Whenever you get a published writer in a room full of wannabes you inevitably get questions about the actual process of writing, regardless of the fact that each person has their own unique methods that probably won’t work for anyone else. This always amuses me. If you are asking how to write, you aren’t one. (I know this because dwelling in the in-between world I get to lurk ambivalently on the sidelines.) Writers write.


I never asked how to be a writer, before I was one, I didn’t want or expect to be one, and most days still don’t. First you write something here and then you write something there and then someone pays you to do it and sure enough you become addicted to the act of trading words for money. It also doesn’t hurt that you never have to make yourself presentable anymore.

Perhaps it is the illusion of immortality? The masses believe their words will live forever once it’s bound inside several thousand copies. But booksellers know this is another untruth. How many nothing books by no-name authors do we discard when burrowing through a box looking for just one that might have still retained some value. Too many. More books are written and forgotten within the year than anyone ever remembers.


But still people try and after having plugged away and produced 189 precious pages it starts logging air miles being mailed it to some very busy people in New York. And after it’s been rejected by publishing houses that are already busy churning out unreadables that they actually paid money for, the authors can invest their own money into the dreaded ‘self-publish’ previously known as the ‘vanity press.’ One of the unspeakables no one ever utters to someone who is full of pride at their investment is the invariable fact that self-published books suck. Even self-published items by authors who became well known are never as good as their later professional works. Doubt me? Go do some research, come back and we’ll talk.


Another myth is that writing a book will solve all your financial woes. Trust me, another pipe dream. The average writer in this country, Steven King included, makes 8 G’s a year. That’s it, 8 G’s. If Steven King and Anne Rice are making megabucks, some of us are well, writing for free. This part is true. (I have seen it said only 5 thou but I wanted to be hopeful.) There’s a local writer in these parts, by local I mean he lives here, not that he only writes about local matters, who has had 2 books published by Crown in the last 3 years. He and his son still live in his brother’s side of a duplex. So much for retiring early.


Regardless, I still walk through Barnes & Noble on a Sunday night, running my fingers across the covers of the new books, and it just reinforces my belief that 90% of them are crap. The covers are great, I mean really great, worlds away from what they were 20 years ago, even 10 years ago. But still they are just delicately molded Easter chocolate; all foil wrapper on the outside and big fat hairy nothing inside. Why do I still feel like a slacker cause my name isn’t on one of them?


Joyce Godsey

 

In August 2001 the FBI appeared in Arundel Books’ Los Angeles store with a US Justice Department subpoena demanding 6-1/2 years of customer records from our entire company. We fought John Ashcroft, Robert Mueller, and the US Government. We won. Two weeks ago I paid off the last of the legal fees, and celebrated by publishing a poetry magazine (more about that below).


You can read more about this case on-line by searching sites like that of the New York Times, Washington Post, Seattle Times, Los Angeles Times, etc. (CNN did a special on this, but access is a problem, and Roll Call, the Congressional journal, has a site index I have not mastered).


But if you run a bookstore I will try to give you the stuff you need to know. Disclaimer: I’m a bookstore guy, not a lawyer. But this is what worked for me.


First things first. If you own a bookstore you need a privacy agreement. Here is ours:

Privacy Policy: Arundel Books will NEVER sell, trade, or otherwise disclose ANY information regarding our customers to any person, organization, or government entity, unless fraud is involved.


A privacy policy like this gives you an advantage when dealing with privacy fights. Make sure your staff understands and honors it, and you will find it also protects your confidential business info as well.


Second, do not keep info about your customers, their interests or preferences (yes, the subpoena will ask for this), if it would embarrass your customers. If your customers think that their reading habits will not be private they will not read controversial books (this is called the “chilling effect”).


Second: Join or send some money to ABFFE (American Bookseller’s Foundation for Free Expression). Trust me, you’ll be happy you did, because these are the folks who’ll help when you need it. Visit http://www.abffe.com for more info.


If the FBI or officers of any government agency including local police, come to your door:


1. Be respectful and polite. Odds are the people you meet are not the ones who thought this one up. Tell them that you will comply with “any lawful subpoena” (which you will be fighting) but that it will take some time. Be aware: the Feds have served fake ‘supoenas’ before (in the Tattered Cover case). Make sure your staff knows who (you) is the only person who can handle this stuff.


2. Call your lawyer.


3. Judges do not review subpoenas before they are issued. Federal and local prosecutors frequently over-write them (making them so broad that they are unlawful) figuring that you will negotiate. DON’T NEGOTIATE. The more absurd they are, the easier they are to fight.


4. Call ABFFE, your local ACLU chapter, and Judith Krug at the American Library Association.


5. Draft a press release and send it out. Local, state, and national. Stress universal themes (not your own issues), and how this situation threatens not just Constitutional rights but the liberties and freedoms that are our inheritance from the Founding Fathers by way of the blood, sacrifice and patriotism of our forefathers.


6. Make it politely clear to all the Government types that this is going the distance and that this will NOT be the case that gets them promoted.


7. Be smart, keep your nerve, get the help you need, and WIN.


8. Pay the bills.


And then, when the bills are paid, do something to celebrate. My celebration was to be the guest editor of a Special Issue of “Spread” magazine: the “Democracy” issue.


There’s nothing like a little oppression to focus your patriotic commitment to democracy and free speech. I was able to get some Pulitzer Prize and National Book Award winners to join in: Philip Levine, W. D. Snodgrass, Charles Bukowski (unpublished work courtesy of the estate), Robinson Jeffers (courtesy of the estate), and a long list of others. The cover art is by DeLoss McGraw, whose Alice in Wonderland (Harpercollins), won the 2001 Gold Medal from the New York Society of Illustrators.


$5 mailed gets you one from orders@arundelbooks.com.


You’ll notice that I have not mentioned the “USA Patriot Act.” The portions that pertain to bookstores have not been reviewed or upheld by a court and, as I personally believe they will be held to be unconstitutional, Arundel Books would act accordingly. Hint.


I believe that this period of difficulty offers all Americans an opportunity to rediscover the history of our great nation, and of the true meaning of the rights and liberties handed down through generations from the Founding Fathers themselves.


Press Release (reprinted) Spread: The special Democracy issue

Spread: The Monthly Journal of Poetry has just released its Democracy issue, guest edited by Phillip Bevis, and underwritten by Arundel Books of Seattle and Los Angeles.


This special issue of Spread is dedicated to Democracy and to the rich traditions of Liberty and Freedom of Speech which are the birthrights of all Americans. This issue includes celebrated names who have won the Pulitzer Prize, the National Book Award, or who have been on the cover of Time Magazine, as well as emerging voices who we hope will reach equal fame one day. Authors include: Philip Levine, W.D. Snodgrass, Charles Bukowski, Robinson Jeffers, Jose Montoya, Holly Prado, et.al. Cover art (Alice in Wonderland and the Bombing of Innocence) is by DeLoss McGraw. Local Seattle writers represented include Michael P. Smith, Ira Parnes, Eli Richardson, Lawrence Coffin, Nicole Sarocco, and Harvey Goldner.


The poems in this issue speak passionately of the freedom and rights of the individual, of the blessings and responsibilities of Democracy, and of the pride and heartbreak of being American. Collectively these works offer a tribute to the heritage and traditions of a great nation.


This issue was underwritten by Arundel Books. Arundel Books is one of the few booksellers in America to oppose successfully John Ashcroft’s Justice Department during one of its many crude attempts to trample constitutionally-protected rights.


To reach the Guest Editor for comment or information, contact Phillip Bevis, c/o Arundel Books at (206)624.4442 or mrarundel@arundelbooks.com .

Spread: The Monthly Journal of Poetry was founded in 2000 and is edited and published in Seattle, Washington by Chris Dusterhoff. Contact info:

Spankstra Press P.O. Box 224 Seattle, WA 98111. E-mail to: spankstra@hotmail.com .

Please note: While Spread is free, there is a $3 (or $5 by mail) suggested donation for this issue.


By: Phillip Bevis of Arundel Books mrarundel@arundelbooks.com

 

The collecting of books on bullfighting is surprisingly organized. While not as popular as it was during the 1950’s and 60’s, whatever the field lacks in numbers of collectors it makes up in their aficion (love of the activity, nearly to madness). There are collecting clubs in Spain, Mexico, France, Sweden, Great Britain, and the United States (see, Taurine Bibliophiles of America, my home club, easily found through Google) and probably more throughout the world that I have yet to discover.


Bullfighting itself has, of course been around since Ur or before and is found today in different forms in Spain, Portugal, Mexico, Guatemala, Peru, Colombia, and to a lesser extent in some other Latin American countries, as well as such relatively unknown areas as Korea. “Bloodless” bullfighting (with Velcro where the only blood shed is that of the toreros) may be viewed in California and Arizona and Portuguese style, where the bull is not killed, may be found in California as well.


Some of the fictional highlights of an English language collection should probably include: Frank Harris, Montes the Matador and Other Stories, Grant Richards, 1900; Vicente Blasco Ibanez, Blood and Sand, Simpkin Marshall, 1913; Henry de Montherlant, The Bullfighters, Jonathan Cape, 1928; Luis Spota,The Wounds of Hunger, Houghton Mifflin, 1957; and of course Ernest Hemingway, Fiesta (The Sun also Rises in the US), Jonathan Cape, 1927. A non-fiction collection should certainly contain Ernest Hemingway, Death in the Afternoon, Jonathan Cape, 1932; Vincent J.R, Kehoe, Aficionado!, Hastings House 1960; Kenneth Tynan, Bull Fever, Longmans Green, 1955; Barnaby Conrad, Death of a Matador, Michael Joseph, 1952 and my own favorite by Conrad (and his as well), How to Fight a Bull, Doubleday, 1968; Robert Daley, The Swords of Spain, Dial, 1960; and Angus McNab, The Bulls of Iberia, Heinemann, 1957.


Any area of collectible material seems to be dominated by fads and momentary hot items. In bullfighting it is usually the rapid rise of a star. El Juli is a present example. The death of a prominent figure may increase demand. John Fulton is a sad example of that. Year in and year out certain areas seem to retain popularity, usually the unusual or odd subject. Examples are U.S. or British bullfighters, women, African or Asian bullfighters. What I think of as crossover subjects also seem to hold interest, bullfighting in the Old West or anthropological studies of a taurine interest would be two examples, or the bullfight in fine art.


I can’t really recommend the field for investment purposes, but then I don’t believe in collectibles of any kind as investment. The prices have remained the same or, more usually, dropped over the past 15 years. As an area filled with great writing, great art and photography, and still discoverable obscure or unknown items, it has other rewards. For those fanaticos I do highly recommend the area. For those interested in mere monetary gain, I would suggest collecting certificates of deposit instead.



Lynn DeWeese-Parkinson

For books on Latin America & the Caribbean

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