Busboys and Poets is a community where racial and cultural connections are consciously uplifted...a place to take a deliberate pause and feed your mind, body and soul...a space for art, culture and politics to intentionally collide...we believe that by creating such a space we can inspire social change and begin to transform our community and the world.
Bridge Street Books has been independently owned and operated since 1980. We sell new books and specialize in the Humanities, though we carry books on all subjects.
"It's never been a movement. This has nothing to do with a bunch of--what do you want to call us?—rednecks, white trash, working poor... None of us likes any of these terms." He explains how it has to do with the availability of higher education. At the end of WWII, people could afford to go to school under the GI Bill. "This is now ending, however," he says. "With the defunding of state colleges and universities, tuition is no longer affordable for working-class kids. If I were eighteen today, I'd have to stay a construction worker. ... The era, about fifty years, of the working-class novel, the working-class writer or artist of any sort, will be over when my generation dies."
It's an insightful and interesting interview, well worth the read whether you are into the genre (? movement?) or not.
Also in this issue are contest winners Jeremy Collins (nonfiction) and Alexander Weinsten (fiction) as well as work from Stephanie Powell Watts, Tori Malcangio, Michael Noll, Bipin Aurora, Jessica Piazza, Okla Elliot, and more.
Fiction Contest Winner
Leslie Kirk Campbell: "Thunder in Illinois"
"He's not a gambler but he's made his own secret bet. If he wins, he won't need to go back to Bangkok. If he loses, well, his bag is still packed.
'What did you say, Lenny?'
'I said I can die as soon as I get more points that you, dear. And I'm a hair's breadth away from that moment.'"
Nonfiction Contest Winner
JLSchneider: "Call Me T
Photos from artist Micah Bloom's Codex project ("involves film, photography, and installation") is included in Ruminate's Spring 2014 issue. I encourage you to take a look as his artwork will hit the souls of any writer or reader. " In an artist's note he writes about how growing up, his family instilled in him a certain respect for books: "In our home, books were elevated in the hierarchy of objects; in their nature, deemed closer to humans than furniture, knickknacks, or clothing. Under these impressions I was forced into this relatinship with displaced books." His work uses the books that were "strewn in streets, across roadways, along railroad tracks" after the Souris River ravaged Minot, North Dakota in June of 2011. "These books were vessels—surrogates of human soul, these shelters—housing our heritage—displaced, now driven over by boomtown commuters and shredded by oil tankers on their way from the Bakken oil fields. It was this surreal situation that stirred me to alter the fate of these books."
And although I truly wish more information about the actual art rendering was including, it's a pleasure just to flip through the pages. You can find a little more information by watching their (already funded) kickstart video.
Poetastic is a project created by Harrod J Suarez, Assistant Professor of English at Oberlin College, but in terms of this project, it "is best understood as a category comprised of a legion of collaborators, contributors, and co-conspirators." Submissions are accepted on a rolling deadline.
Poetastic provides guidelines for recording as well as resources for finding poems to read and record. Participants must be at least 18 years old.