We've got it all right here, folks! Everything that's ever been written up, photographed, and discussed on the Sad Mag website. Enjoy browsing our archives!



Party Tricks by Elliat Albrecht. Press play and begin. 


 

He lit up like a used car lot. Like an amusement park. Like a chandelier shop. Like an exit sign. Like an incoming call. Like a homecoming crowd. Like a fifty year smoker. Like a birthday cake. We had one week.

 

Photo Courtesy of Elliat Albrecht

Wednesday. He collected other people’s letters from thrift stores and kept them in boxes by his bed where he read them when he couldn’t sleep. His insomnia depended not at all on the earth’s rotation or what he ate, but entirely on the content of the news on the radio on the way home from work. Each time a broadcaster announced a tragedy without really hearing what they were saying, he sighed and one more tiny wrinkle appeared above his brow.

 

Monday. He liked to go for breakfast in the middle of the night. I looked at him across the table. He took a sip of water.
“My mother though,” he said, finally, “is an interesting story. She had me late in life and worked until she was old.”
“Where?” I asked.
“Mostly in restaurants, basement bars and at a factory outside of Detroit. That’s where she met my dad.” He didn’t offer more on the subject.
The table was chipped and sticky with syrup. I watched him fold and unfold his hands.
“What kind of factory?”
“They produced a certain type of drainage system used on pleasure yachts. Something for the
plumbing in the galley I think. It was all shipped to the coast.”
I told him that my grandparents had a sailboat that slowly circled a different Great Lake each summer.
“We grew up across the border from one another,” I said. “In different decades though, I guess.
Maybe that explains why we speak so similarly.”
“Do we?” he asked. “I hadn’t noticed. It seems like the only place where you hear regional accents anymore are cable talk shows.”

 

Saturday. I met him at a dinner party for the employees of a sleep clinic. The hosts were friends of my parents to whom I was introduced by e-mail before I left home that summer. He sat next to me in the dining room. He wore a white shirt and told me that nightmares account for six percent of dreams for those with normal vision, but twenty-five percent of the dreams of the blind. I dropped my fork on the floor and he passed me his. The generation gap closed when our hands touched. I told him the story of the Russian royals in hiding. He had a sister named Anastasia. Someone turned up dance music on the stereo down the hall. The guests wanted to stay up all night.

 

Tuesday. We lay on my bed flipping through a teen magazine talking about pop-feminism.
“The problems of Miley Cyrus pale in comparison to those of the women who make her clothes,” I said. He nodded and said he was dismayed that young people had already forgotten the revolution.
“Which revolution?” I asked dumbly. He looked over at me and launched into a tirade about the inevitable failure of inflated regimes. Something about Rome. Something about America. He performed his monologue on self destruction with good rhythm. I swear some of it rhymed.
Sometimes his anger was almost a sonnet. I zoned out.
When he finished, I told him that failure was the most fertile circumstance for possibility. Just after the moment of collapse, I pointed out, new realities are forced to life.
“There’s no organization in that,” he said.
“Does there have to be?”
“Always,” he said. “Humankind is a collection of impulses and habits and requires systems of arrangement to sustain.”
“William Blake said he must create a system or be enslaved by another man’s,” I answered. “Don’t you think life without risk is boring?”
“Tomb follows womb,” he said, and flipped the page. “It’s all the same in the end.”

 

Friday. He had an audacious hobby of writing personal ads for other people whom he thought were lonely. Sometimes the descriptions were grossly exaggerated, sometimes slightly undersold and sometimes right on the money. Once in a while, he’d open the paragraph with a revealing factoid or trait that would ultimately prove to be the most important part of a relationship.
“Jean gives up an average of forty-two minutes into an argument. She retreats into the bedroom where she would prefer to be left alone while you microwave your dinner. Early forties, loves to hike and try new things.”
He sent them to the local paper with photos attached of his beloved lonely hearts (and he really did do it out of love, he cared for them like kids alone at recess) taken at New Years Eve parties where a heavy flash startled their features but evened complexions in a flattering way.

 

Thursday. Once before I fell asleep, I left the door unlocked. He arrived with Pop Rocks, put them on his tongue and kissed me. I thought that was what fireworks tasted like. Sugary, blue.

 

Saturday. He was probably a genius but had a limited repertoire of moves. After he invited me to the amusement park, he forgot and took someone else. I wasn’t jealous, just mildly surprised by his laziness. I forgave it for the time that he told me his party trick was sitting at the piano at the end of the night, very drunk, a cigarette dangling from his mouth but I can’t remember the rest. Maybe something about sliding the keys. He pointed out that the figs in the backyard were ripe the last time I saw him. I sent him home with a box of four or five juicy fruits wrapped in paper. He told me later that they burst on the way home.


Figs courtesy of Elliat Albrecht. Music: We Move Lightly by Dustin O’Halloran.

Anders Nilsen is the Minneapolis-based cartoonist responsible for publishing a universally adored series of mini comics called Big Questions that features tiny birds with really deep thoughts on life.  His newest book, Poetry is Useless, is a collection of images and doodles from the last several years of his personal sketchbooks. There are no birds in Poetry is Useless, but there are a lot of big questions—about art, why we make art, how we value it, and what it means to be an artist. Marc Bell is a Canadian cartoonist and fine artist who is perhaps most well-known for blurring the line between fine art and doodling. After four years of working in the art world, he’s made what everyone (who knows anything) is calling a “triumphant” return to the world of graphic narrative by publishing Stroppy—a madcap adventure tale about a song writing contest gone wrong. Stroppy also has thoughts on poetry.

andersnilsen
Anders Nilsen by Anders Nilsen, Courtesy of Anders Nilsen
BELLMselfportrait
Marc Bell by Marc Bell, Courtesy of Marc Bell

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Nilsen and Bell are at Lucky’s Comics in Vancouver on July 17th at 7:00 pm to launch their respective books. Shannon Tien from Sad Mag had the chance to talk to them about authenticity, capitalism, and self-help for writers, among other things. The best of their lengthy phone call is what follows:

Shannon Tien: Something that I think ties both of your books together is thinking about the process of creating art, or poetry specifically. How do your philosophies cross over or differ on this subject?

Anders Nilsen: Boy, that’s a tough one.

ST: It’s a heavy question to start with. I’m sorry.

AN: [laughing] I don’t know if I could do a capsule description of Marc’s philosophy. What do you think Marc?

Marc Bell: Well we made our books independently, but somehow they both ended up referencing poetry.

AN: That’s true.

MB: We did a tour together a few years ago so this is like a reunion tour…I don’t know how to answer that question either [laughing].

AN: I mean I think we both have a little off-the-cuff playfulness in our work. And probably a little—I don’t know how to put this—a little snottiness or something?

MB: Yeah we’re both sarcastic when we reference poetry.

I like writing poetry if I know it doesn’t have to be good. So for example I wrote Clancy the Poet’s poetry and that was super fun because I could do whatever I wanted and I didn’t have to worry if it was good or not. I could write reams and reams of Clancy’s poetry.

ST: But I love Clancy’s poetry!

MB: Right? It’s pretty good, in it’s way.

AN: I think it’s actually extremely deep.

But I think we’re both artists and we’ve both planted ourselves in that existence, but we’re both a little sceptical and like to make fun of ourselves…and the potential for being pretentious.

MB: Yeah and then I can’t exactly knock poetry so much because I do all these drawings and they have random text in them. They’re sort of poetry. Like my stuff is not that far from poetry really.

AN: Yeah, so I think we’re both sort of making fun of the thing we’re also actually doing.

MB: [laughing] Yeah, you got it.

AN: I actually sort of think of my book as my poetry collection, if there is such a thing, you know, making comics.

STROPPY_pg28
Clancy Recites a Poem from Stroppy by Marc Bell

ST: Ok. I guess I was thinking that Clancy, he’s a poet, and all his poetry ends up doing for him is…

MB: He’s sort of co-opted by the Schnauzers.

ST: Right. So it’s like the opposite of the idea that poetry can save you.

MB: He was against the song contest idea. He was against all of it. But I don’t want to ruin the end! There’s a twist to the story.

AN: Basically, poetry is a tool of the oppressor and we’re both in revolutionary mode against the aggressor. Right Marc?

MB: That’s it, exactly.

AN: Capitalism.

MB: Society!

Refer to Clancy’s poem called “Society”.

ST: Okay so this is more a question for Anders, but your book is fragments of your old sketchbooks. What ties the fragments together?

AN: Really the only thing that ties the fragments together is the fact that they all were in my sketchbooks. They were all just things that either kind of happened or ideas I had that were worth putting down but not worth turning into an actual book.

POETRY_37
Poetry is Useless by Anders Nilsen

ST: And how many years back does it stretch?

AN: I think the oldest pieces in the book are probably from 2008. There are 22 or 24 books. There’s a funny thing about sketchbook collections because you know that they’re sort of bullshit a little. You know the artist is editing a little and not showing you the really crappy pages, which I’m not showing you either.  So each of those notebooks, there’s maybe 6, 7, 8, or maybe 10 pages from each of them.

MB: We did a couple crappy pages in one of them.

AN: Yeah last time we went on tour together we made some crappy pages together and I didn’t show those. We promise to be better on this tour.

ST: Speaking of editing, what’s the point of leaving your editorial marks in the published version of your sketchbook?

AN: I try to maintain readability. So if there’s so much crossing out that it feels like it’s going to make it hard for the reader to understand what I’m writing, then I clean it up a little with Photoshop. But in general, it is my sketchbook so part of what may be appealing about it is the fact that it’s a record of me kind of thinking out loud, on the page. So the mistakes are an important part of that.

Also, part of that work is me responding to my own process. So as I’m doing a drawing and then it turns to shit, I sort of have this idea that I want to still turn that page into an interesting page if I can. So if it goes in a weird direction, I want to try to work within the stakes of those unexpected failures.

ST: One of your stick figures in the book asks how to maintain authenticity after the death of the author. Does this sketchbook have anything to do with that question?

AN: [laughing] Ah, you’re probably calling me out for not being as smart as I pretend to be.

POETRY_12
Poetry is Useless by Anders Nilsen

ST: But it’s a good thing to think about.

AN: I mean, I sort of don’t believe in authenticity and, you know, the sketchbook has a sort of fake authenticity, as I was saying…you always wonder what’s getting edited out and you’re always getting this sort of idealized view of the artist’s supposed candid moments, which is partly why I’m showing the whole spread of the sketchbook, to show that I’m not picking and choosing the little bits, but the truth is I am. I am not showing the crappy pages. It is work for a finished book. So yeah I think authenticity is highly overrated.

ST: What gave you the idea to draw the back of people’s heads for their portraits? Are they people you know?

AN: Some of them are people I know, but a lot of times when I’m in an audience, like at a poetry reading [laughing], or other events with live speakers, I just want something for my eyes and my hands to do, so I’m drawing them. And also when I’m in public, I don’t always want people to notice, so it’s easier if they’re turned away from me a little bit. I guess I’m a little bit of a coward.

MB: A poet and a coward.

AN: All poets are cowards.

It’s sort of funny. People’s hairdos are really fascinating to draw, as are ears.

ST: I think because you can’t look at the back of your own head, it’s like the most vulnerable part of your appearance.

AN: Yeah sure. That’s a nice idea.

ST: So if poetry is dead, comics are…

AN: Um…stupid?

Actually comics are fucking awesome.

ST: What would you say Marc?

MB: STUPID!

ST: How was the transition moving back to narrative, Marc, after working in the art world for a while?

MB: It was difficult. I’ve mentioned this in a few interviews I think, but I was kind of scared and I started reading self-help books. The equivalent of a writer’s self-help, or if someone wants to get into the film or TV industry, this is the equivalent of self-help books, like books about writing screenplays. They sort of helped, I think.

ST: Do you mind me asking which ones?

MB: I wish I could remember the titles. One I looked at, it was very basic. It was just about the 20 different kinds of stories people tell.

AN: Which number is Stroppy?

MB: Oh man. I don’t even know if Stroppy…

AN: Maybe it’s 22.

MB: Maybe it’s 23. I made a new form of story for Stroppy.

AN: By the way my new graphic novel is going to be number 16, so…

STROPPYcover300
Stroppy by Marc Bell

ST: Oh yeah? Is this book called STORY? Because I feel like I was reading the exact same book earlier this year when I was trying to write a novel.

MB: That could be it. Was it an orange book?

AN: Marc doesn’t care about titles. He only remembers the colours of books.

MB: Not interested in titles!

ST: No, mine was purple.

MB: Maybe it was a different edition! They were like the orange one didn’t sell so let’s throw purple on there. People LOVE purple.

Did it help you with your novel?

ST: No, not really.

MB: Well I actually wanted to try and find a formula to follow, but I couldn’t quite figure out how to do that.

AN: I’m trying to find a formula too. And I was thinking of inserting one of Hans Christen Andersen’s tales into my new graphic novel.

ST: Oh yeah! That would be great. He’s a weirdo. So the formula didn’t work out for you Marc. Did any other self-help books help you with building narrative?

MB: Oh no. There was one I was supposed to read…

AN: The Bible?

MB: [laughing] No. I never got around to reading the one I was supposed to read. I just started.

ST: Well, I think it turned out well. I like Stroppy.

MB: Thank you!

 

This interview has been edited and condensed.

Throughout April, bookstores, libraries and publishers in BC are encouraging the public to “Read Local, Buy Local, Think Global” as part of a three-week campaign. Launched by The Association of Book Publishers of British Columbia (ABPBC), Read Local BC features more than 25 free events with local authors throughout the province, including nine fiction, poetry, non-fiction and children’s readings in Vancouver.

In the spirit of Read Local BC, and the sharing of stories, ideas and histories that are bound to transpire between Vancouverites, Megan Jones sat down with Poetry is Dead editor, Can’t Lit podcaster and Davie Street Translations author Daniel Zomparelli to discuss local books, literary events, and why he still chooses to live and write in Vancouver.

dzomp
Photo by Rob Seebacher

Megan Jones: So many dedicated, award-winning writers call Vancouver home, and many choose to publish locally. Our writing community is stronger and more supportive than ever, it seems. But for someone who’s not a writer or publishing industry expert, it doesn’t always feel that way—readings and book launches have the reputation of being exclusive and even intimidating. How can we involve and include the non-writing public more in Vancouver’s literary scene? Does it even matter?

Daniel Zomparelli: Yes, it does matter. It’s always nice to have people outside the literary community at events, and I’m interested in how to make that happen. For example, we try to create Poetry Is Dead events that get everyone interested [such as the well-attended “Humour Issue” launch, with performances from poets and local comedians]. Does it always work? No, but when it does, it’s a great event. There’s always ways to make readings less intimidating for people outside of the literary community, such as: host it at an interesting venue and have a cash bar. Also, maybe avoid words like “ontological” in your event info.

MJ: Vancouver-born authors often choose to relocate to Toronto or Montreal, where there’s proximity to New York, and comparably cheaper rent (and beer and wine, which is perhaps just as important). Why have you decided to stay in Vancouver?

DZ: I stick to Vancouver for several reasons, but the main reasons are my family and my anxiety. As you’ve pointed out, there’s a great community in this city, and as a result I have a strong support system. Rent and food might be expensive and I might constantly play chicken with my credit card bill, but there is something about being close to the ocean that keeps me calm. Like, at any point if I wanted to, I could just walk out to the ocean and keep going (I basically want to reverse TheLittle Mermaid myself). My friend Alicia Tobin said it best with “I missed my bus stop & got off at the ocean & let the waves of a million years of losses and victories wash over my tired body. Sorry I am late.” (Quote thanks to Rebecca Slaven).

MJ: How does the province of BC – its wilderness, people and cities – inform your work?

DZ: People and how they relate to each other and to nature and the city inspires and informs my work. I’m concerned specifically with happiness in my work, and considering how Vancouverites are sometimes conceived of as “cold,” there’s a lot to work with here. For this reason, I’m looking forward to the Read Local BC event, Roughing It in the Bush, because a lot of the readings will deal with BC’s landscape in unexpected ways. Plus some of the writers are major influences on my own poetics. I’m very excited about this event, which I happen to be hosting!

MJ: What’s one thing about BC’s publishing industry that you love, and what’s one aspect you’d love to see changed?

DZ: I love that work composed and produced in BC is not afraid of specificity. I love writing that explores small town histories, writing unafraid of locating a reader. Small presses within BC make this possible.

If I’m going to be honest about what I’d love to see changed, it would be the choice of author photos in books.

MJ: What local book are you currently reading? What’s your favourite BC book ever?

DZ: I’m reading Leah Horlick’s For Your Own Good. I just finished Matt Rader’s What I Want To Tell Goes Like This. I have said it before and I will say it again: Artificial Cherry by Billeh Nickerson is a fucking delight. If you haven’t purchased a poetry book before, give that one a try. One poem has the word “anal” more times than I’ve said it my entire life, and I’m anal-retentive.

MJ: What’s been your favourite literary event in Vancouver in the past year?

DZ: So far, my favourites are events put on by the Real Vancouver Writers’ Series. I’m obviously biased, since I’ve been a reader, but they always choose a great space and host so many amazing writers, and their events are always jam-packed. Plus, hosts and dreamboats Dina Del Bucchia and Sean Cranbury let me (and others, too) read whatever I want. The audience is always receptive.

I’m also looking forward to the Read Local BC events. Basically all of my favourite writers are reading this month for the campaign, so I’m excited to see what happens at the events, especially An Evolving City with literary super duo Wayde Compton and George Bowering on April 9 at Pulp Fiction.

 

Read Local BC Events in Vancouver

Writing About First Nations with Jean Barman, Paige Raibmon and Jennifer Kramer
Tuesday, April 7 at 7 pm: Book Warehouse, 4118 Main Street

Three celebrated UBC Press authors discuss their discoveries in research, how writing about First Nations people has changed over time, and the challenges and successes of the process.

An Evolving City: Writing Vancouver’s Past, Present & Future with George Bowering and Wayde Compton
Thursday, April 9 at 7:30 pm: Pulp Fiction, 2422 Main Street, Vancouver

Join two of Canada’s literary heavyweights for a conversation exploring Vancouver’s vast networks of people, streets, and change over time. From the storied streets of East Vancouver in the 1960s to a haunting, speculative vision of the city of glass, these two renowned authors reveal their probing impressions of a beloved yet flawed city.

Roughing it in the Bush Revisited with Jordan Abel, Ryan Fitzpatrick, Evelyn Lau, Daphne Marlatt, W.H. New and George Stanley

Wednesday, April 15th at 7:30 pm: Artspeak Gallery, 233 Carrall Street, Vancouver

As big industry and increased construction continues Vancouver’s sprawl into nature, do we give thought to how we invade and modify our own natures through technology? Or to what happens when wilderness creeps back in, reclaiming the crack of a sidewalk or the corner of an abandoned lot? Five Vancouver poets explore the ever-evolving representation of urban and rural spaces in Canadian art. Hosted by poet and Poetry Is Dead editor Daniel Zomparelli.

Secrets, Booze & Rebellion: Vancouver’s Unknown History with Eve Lazarus, Daniel Francis, and Aaron Chapman
Wednesday, April 15 at 7 pm, Lynn Valley Public Library, 1277 Lynn Valley Road

Discover the historical underworld of Vancouver and the adventures that took place in many of the buildings and streets still standing today. Three of the city’s finest historians share its rollicking history, from cops turned robbers, to rum-running entrepreneurs during prohibition, and the glamourous yet naughty history of one of the city’s oldest nightclubs.

Read Local BC Children’s Readings
April 13-18 with various authors and locations

 

In terms of bold, new Canadian voices, art-lit mag Subterrain is a goldmine, and you might be their next big lode. The call for entries in the 12th Annual Lush Triumphant Literary Awards Competition is now open.

Subterrain is accepting entries in three categories: fiction, poetry, and creative non-fiction.

There are cash prizes for winners, and all entrants receive a subscription to the magazine.

Deadline is May 15. What are you waiting for?