Caryn Wille's Design Portfolio

pg. 72

doomsday times vol. 10

2012

“The end of the Mayan Calendar, the end of the world.”

Are you aware that a Shift in human consciousness is occurring even as you read these words that employs celestial triggers such as supernovas and Earth’s alignment with Galactic Center in the years leading up to 2012 to trigger the evolution of our species?

The Maya had an understanding of mathematics and understood the value of zero long before its discovery in the Eastern parts of the world. Their understanding of numbers and astronomy gave us the Mayan calendars of the Long and Short Counts. So why

does this calendar attract so much attention now? The Mayan calendar ends on the Gregorian calendar date of December 21, 2012, which most people believe is the total end of civilization, as we know it, while others believe it is simply a change of enlightenment in this current time. Many theories have sprung up about this end date, ranging from the laughable, to the religious, to the scientific.There are actually three Mayan calendar systems, the 365-day Solar year, the 260-day Ritual year, and the 5,128 years of the World Time calendar. The Haab

or Solar year was broken down into an 18 month plus five days cycle. 18 months of 20 days and the 5 soulless days which were thought to be of ill omen, kind of like 5 days of Friday the 13th. The Tzolkin or Sacred Round was the 260-day ritual calendar was broken down by days, not months. This religious calendar was the basis on how the people, singly and collectively, went on with their day-to-day lives according to destiny.

December 21

pg. 72

doomsday times vol. 10

2012

“The end of the Mayan Calendar, the end of the world.”

Are you aware that a Shift in human consciousness is occurring even as you read these words that employs celestial triggers such as supernovas and Earth’s alignment with Galactic Center in the years leading up to 2012 to trigger the evolution of our species?

The Maya had an understanding of mathematics and understood the value of zero long before its discovery in the Eastern parts of the world. Their understanding of numbers and astronomy gave us the Mayan calendars of the Long and Short Counts. So why

does this calendar attract so much attention now? The Mayan calendar ends on the Gregorian calendar date of December 21, 2012, which most people believe is the total end of civilization, as we know it, while others believe it is simply a change of enlightenment in this current time. Many theories have sprung up about this end date, ranging from the laughable, to the religious, to the scientific.There are actually three Mayan calendar systems, the 365-day Solar year, the 260-day Ritual year, and the 5,128 years of the World Time calendar. The Haab

or Solar year was broken down into an 18 month plus five days cycle. 18 months of 20 days and the 5 soulless days which were thought to be of ill omen, kind of like 5 days of Friday the 13th. The Tzolkin or Sacred Round was the 260-day ritual calendar was broken down by days, not months. This religious calendar was the basis on how the people, singly and collectively, went on with their day-to-day lives according to destiny.

December 21

Magazine spread Mockup for fictional Doomsday Times

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Advertisement in The London Review of Books

Interview with Publisher and CEO of Milkweed EditionsDaniel Slagerinterview with

Texas based writer and teacher Alex Lemon is a master of lighthearted heaviness and dark candor. Through his poems he grants readers passage to a visceral world of death, cynicism, and disjointed vignettes that shuffle through time and space—not to bring his audience down, but rather to show how much hope there is to gain. He is the author of Happy: A Memoir (Scribner) and several poetry collections, most recently Fancy Beasts from Minneapolis publisher Milkweed Editions.

PD: You have said that you felt “pretty clueless about writing” before you entered the MFA program at the University of Minnesota. Though you’ve stated that you do not believe in defining poetry, can you describe the experience of finding confidence in your poetic voice?

AL: I’m not sure confidence is the right word. At some point I started to realize that there was no real “right” way to write —that it was about learning to be OK with the many failings that are needed to reach a decent poem. I guess the more I write, the more comfortable I get inside my words—but that comfort comes and goes depending on what I’m working on. It’s always a huge and varied mix of feelings for me. Pick your poison: wild and fun and scary and sad and beautiful and horrific and over-thinking and not-thinking and undercooked and rotten and then a dash of ambrosia.

PD: Does your poetry come to you with immediacy, or is your writing process more labored?

AL: It’s pretty labored. I revise endlessly, sometimes to the point of killing a poem. I’m continuously trying to get better at harnessing a certain energy and making sure it stays

alive while I revise. It’s always a push-pull but mostly it’s like working in a mine. Digging out revisions as the mine collapses—only to wake up in the rubble and start digging again. Sometimes 50 revisions. It’s like Sisyphus with an enormous wordboulder. Or Groundhog Day.

PD: Illness is a major theme in your writing. When reading literature about sickness, what is your gut reaction? Who writes about illness well?

AL: My gut is both elated and slightly sick. Elated because writing about sickness can be incredibly powerful—it’s often potent, visceral and reading it, for me, combats some of the loneliness that can be created by sickness. I guess it often feels like a lot is at stake for the author. But it also makes me a bit seasick and sorrowful. I would make a terrible nurse.

PD: Aside from providing subject matter, how has your disability shaped your writing?

AL: I’ve been thinking about this a lot lately. My visual disability (nystagmus and diplopia) destabilizes the world. I see two of everything and it’s all shaking, all of the time. Around me, the world is vibrant, sometimes painfully

so, but it’s also boundary-less and active. It didn’t create a fluidness of perception and imagination in me but it helped cultivate a sense of springing life. I didn’t have to do the work of breaking down or through whatever sorts of limits my “normal” “healthy” perception had solidified in me because my medical issues took all of that away from me.

PD: Would you recommend readers check out your nonfiction writing to gain some context for your poetry?

AL: Sure, why not? I think a certain context that might not be clear in some of the poems can be found in Happy, but I’m allergic to the easy, clean answer. I’m interested in the muck of it. I’m pretty sure my poems and nonfiction are often in conversation—and so the widening panorama is sure to fill in some blind spots (both ways).

PD: How is publishing a book with Milkweed Editions* different than with other publishers?

AL: I’ve been fortunate to have great experiences with all my publishers, but Milkweed has been amazing. Great people who have an intimate connection to the stellar books they publish—I feel lucky to publish with them. They work incredibly hard and deeply care about the books they publish. I could go on and on about how different publishing with a non-profit publisher (Milkweed) is from a large publishing house (Scribner) but the core of my experiences has been the same—I’ve had good experiences in publishing because I’ve worked closely and often befriended, hilarious, big-hearted people.

“the more i write, the more comfortable i get inside my words.”

Paper Darts: Can you briefly describe your role as the editor of Grand Street Literary Magazine and how that shaped you as an editor and publisher for Milkweed Editions?

Daniel Slager: I worked for Grand Street for years—reading and translating on a freelance basis, while I was in graduate school at NYU—before taking the position as editor. And the entire experience was very formative for me. We had the resources we needed to make a stunning piece of art several times each year, and to publish the work of many of the most interesting writers and artists from around the world. This meant working with more writers than would have been the case were I working in book publishing at the time, albeit with shorter pieces of work. Taken along with a series of connections I made while I was there—connections with writers, artists, and editors that are still important for my work—the experience was invaluable. And, I should add, a very good time. It was a great group of extremely interesting people.

PD: Where do you feel literary magazines sit within the publishing world today? Do you read literary magazines now? What are some of your favorites? As a publisher, where are you looking for new talent?

DS: As has been the case for a good long time now, I love literary magazines, and I read a good number of them regularly. I do like some of the established magazines—The Paris Review, Granta, Poetry, The Believer, The Literary Review—but I also read Pleiades religiously, along with Fence and A Public Space. I have found a number of writers I later published in magazines, and they’re still a great source in that sense. But I also simply like the notion of a vision—artistic, editorial,

what have you—being given expression in a collection of diverse work that is published periodically.

PD: If you could move Milkweed to any other city in the world where would you take it? Why?

DS: Honestly, I can hardly imagine Milkweed being in another city. Yes, we publish writers from around the world, and in many ways we could be anywhere. But so much of our community—from writers to readers to donors and so on—is here, and our community has been astoundingly supportive over the years. There is simply no doubt about the fact that Milkweed would not be what it is today without having been in Minnesota over the past few decades. So much so that even the thought of a move feels a bit like a betrayal to me, actually.

PD: Do you have a list of favorite poets?

DS: Not really. I don’t keep a list. My interest in poetry is relatively eclectic, and I find myself drawn to widely various work. If I have an aversion of any kind it would be to what is commonly, and often mistakenly, called “confessional” poetry. But for me this

aversion carries over to all literary work; put most simply, I find incuriosity beyond the self to be distasteful and boring. Other than that one generalization, I would add that I began working in publishing as a translator, and I’m particularly interested in German-language literature, including poetry. But I read fairly widely, and try to keep up with the vast and endlessly fascinating world that is contemporary American poetry.

PD: What is your personal philosophy on editing poetry? Are you very “hands on”?

DS: For me editing books, whether they be collections of poems or fiction or what have you, is very much case-by-case, and I find it hard to generalize. I’ve published collections of poems that were close in every sense to the manuscript accepted at the outset of the process, but I’ve also worked with poets to take apart and reassemble a collection, and I often engage deeply on the level of language, line, and form. I was told this morning—by a writer we’re publishing, in fact—that I have a reputation in the industry for a heavy hand, but I’m also very deferential to writers’ wishes in the end. As I always say to them, I just try to give them my best in every sense, and to do what is right, or what feels right, in each individual case.

PD: Which one of Alex Lemon’s pieces resonated with you the most when you first read his manuscript? Have your favorites of his work shifted since you had the chance to work with him?

DS: Rather than identifying individual poems, let me just say that while I do find his work dazzling and almost pyrotechnical (to use two of the more apt adjectives I’ve seen often in reviews), I think the effect of the dazzle can lead to an underestimation of Alex’s intelligence and perceptiveness. I often like poems that give expression to critique of some kind, be it social, societal, or what have you. And on a personal level, I admire him most when the personal and the public—the political, really—intersect in his work.

ALEX LEMON Milkweed Editions Publisher and CEO, Daniel Slager, migrated from New York City to Minneapolis in 2005. While living on the East Coast Slager honed his eye for new talent and built his editorial repuation by editing, reading, and translating for Grand Street Magazine and Harcourt Trade Publishers before bringing his extensive experience to the Twin Cities.He recently worked with writer Alex Lemon on Fancy Beasts, a haunting collection of poetry published by Milkweed in 2010.

“I can hardly imagine Milkweed being in another city.”

Interview with Publisher and CEO of Milkweed EditionsDaniel Slagerinterview with

Texas based writer and teacher Alex Lemon is a master of lighthearted heaviness and dark candor. Through his poems he grants readers passage to a visceral world of death, cynicism, and disjointed vignettes that shuffle through time and space—not to bring his audience down, but rather to show how much hope there is to gain. He is the author of Happy: A Memoir (Scribner) and several poetry collections, most recently Fancy Beasts from Minneapolis publisher Milkweed Editions.

PD: You have said that you felt “pretty clueless about writing” before you entered the MFA program at the University of Minnesota. Though you’ve stated that you do not believe in defining poetry, can you describe the experience of finding confidence in your poetic voice?

AL: I’m not sure confidence is the right word. At some point I started to realize that there was no real “right” way to write —that it was about learning to be OK with the many failings that are needed to reach a decent poem. I guess the more I write, the more comfortable I get inside my words—but that comfort comes and goes depending on what I’m working on. It’s always a huge and varied mix of feelings for me. Pick your poison: wild and fun and scary and sad and beautiful and horrific and over-thinking and not-thinking and undercooked and rotten and then a dash of ambrosia.

PD: Does your poetry come to you with immediacy, or is your writing process more labored?

AL: It’s pretty labored. I revise endlessly, sometimes to the point of killing a poem. I’m continuously trying to get better at harnessing a certain energy and making sure it stays

alive while I revise. It’s always a push-pull but mostly it’s like working in a mine. Digging out revisions as the mine collapses—only to wake up in the rubble and start digging again. Sometimes 50 revisions. It’s like Sisyphus with an enormous wordboulder. Or Groundhog Day.

PD: Illness is a major theme in your writing. When reading literature about sickness, what is your gut reaction? Who writes about illness well?

AL: My gut is both elated and slightly sick. Elated because writing about sickness can be incredibly powerful—it’s often potent, visceral and reading it, for me, combats some of the loneliness that can be created by sickness. I guess it often feels like a lot is at stake for the author. But it also makes me a bit seasick and sorrowful. I would make a terrible nurse.

PD: Aside from providing subject matter, how has your disability shaped your writing?

AL: I’ve been thinking about this a lot lately. My visual disability (nystagmus and diplopia) destabilizes the world. I see two of everything and it’s all shaking, all of the time. Around me, the world is vibrant, sometimes painfully

so, but it’s also boundary-less and active. It didn’t create a fluidness of perception and imagination in me but it helped cultivate a sense of springing life. I didn’t have to do the work of breaking down or through whatever sorts of limits my “normal” “healthy” perception had solidified in me because my medical issues took all of that away from me.

PD: Would you recommend readers check out your nonfiction writing to gain some context for your poetry?

AL: Sure, why not? I think a certain context that might not be clear in some of the poems can be found in Happy, but I’m allergic to the easy, clean answer. I’m interested in the muck of it. I’m pretty sure my poems and nonfiction are often in conversation—and so the widening panorama is sure to fill in some blind spots (both ways).

PD: How is publishing a book with Milkweed Editions* different than with other publishers?

AL: I’ve been fortunate to have great experiences with all my publishers, but Milkweed has been amazing. Great people who have an intimate connection to the stellar books they publish—I feel lucky to publish with them. They work incredibly hard and deeply care about the books they publish. I could go on and on about how different publishing with a non-profit publisher (Milkweed) is from a large publishing house (Scribner) but the core of my experiences has been the same—I’ve had good experiences in publishing because I’ve worked closely and often befriended, hilarious, big-hearted people.

“the more i write, the more comfortable i get inside my words.”

Paper Darts: Can you briefly describe your role as the editor of Grand Street Literary Magazine and how that shaped you as an editor and publisher for Milkweed Editions?

Daniel Slager: I worked for Grand Street for years—reading and translating on a freelance basis, while I was in graduate school at NYU—before taking the position as editor. And the entire experience was very formative for me. We had the resources we needed to make a stunning piece of art several times each year, and to publish the work of many of the most interesting writers and artists from around the world. This meant working with more writers than would have been the case were I working in book publishing at the time, albeit with shorter pieces of work. Taken along with a series of connections I made while I was there—connections with writers, artists, and editors that are still important for my work—the experience was invaluable. And, I should add, a very good time. It was a great group of extremely interesting people.

PD: Where do you feel literary magazines sit within the publishing world today? Do you read literary magazines now? What are some of your favorites? As a publisher, where are you looking for new talent?

DS: As has been the case for a good long time now, I love literary magazines, and I read a good number of them regularly. I do like some of the established magazines—The Paris Review, Granta, Poetry, The Believer, The Literary Review—but I also read Pleiades religiously, along with Fence and A Public Space. I have found a number of writers I later published in magazines, and they’re still a great source in that sense. But I also simply like the notion of a vision—artistic, editorial,

what have you—being given expression in a collection of diverse work that is published periodically.

PD: If you could move Milkweed to any other city in the world where would you take it? Why?

DS: Honestly, I can hardly imagine Milkweed being in another city. Yes, we publish writers from around the world, and in many ways we could be anywhere. But so much of our community—from writers to readers to donors and so on—is here, and our community has been astoundingly supportive over the years. There is simply no doubt about the fact that Milkweed would not be what it is today without having been in Minnesota over the past few decades. So much so that even the thought of a move feels a bit like a betrayal to me, actually.

PD: Do you have a list of favorite poets?

DS: Not really. I don’t keep a list. My interest in poetry is relatively eclectic, and I find myself drawn to widely various work. If I have an aversion of any kind it would be to what is commonly, and often mistakenly, called “confessional” poetry. But for me this

aversion carries over to all literary work; put most simply, I find incuriosity beyond the self to be distasteful and boring. Other than that one generalization, I would add that I began working in publishing as a translator, and I’m particularly interested in German-language literature, including poetry. But I read fairly widely, and try to keep up with the vast and endlessly fascinating world that is contemporary American poetry.

PD: What is your personal philosophy on editing poetry? Are you very “hands on”?

DS: For me editing books, whether they be collections of poems or fiction or what have you, is very much case-by-case, and I find it hard to generalize. I’ve published collections of poems that were close in every sense to the manuscript accepted at the outset of the process, but I’ve also worked with poets to take apart and reassemble a collection, and I often engage deeply on the level of language, line, and form. I was told this morning—by a writer we’re publishing, in fact—that I have a reputation in the industry for a heavy hand, but I’m also very deferential to writers’ wishes in the end. As I always say to them, I just try to give them my best in every sense, and to do what is right, or what feels right, in each individual case.

PD: Which one of Alex Lemon’s pieces resonated with you the most when you first read his manuscript? Have your favorites of his work shifted since you had the chance to work with him?

DS: Rather than identifying individual poems, let me just say that while I do find his work dazzling and almost pyrotechnical (to use two of the more apt adjectives I’ve seen often in reviews), I think the effect of the dazzle can lead to an underestimation of Alex’s intelligence and perceptiveness. I often like poems that give expression to critique of some kind, be it social, societal, or what have you. And on a personal level, I admire him most when the personal and the public—the political, really—intersect in his work.

ALEX LEMON Milkweed Editions Publisher and CEO, Daniel Slager, migrated from New York City to Minneapolis in 2005. While living on the East Coast Slager honed his eye for new talent and built his editorial repuation by editing, reading, and translating for Grand Street Magazine and Harcourt Trade Publishers before bringing his extensive experience to the Twin Cities.He recently worked with writer Alex Lemon on Fancy Beasts, a haunting collection of poetry published by Milkweed in 2010.

“I can hardly imagine Milkweed being in another city.”

Spread featured in Paper Darts, a Minneapolis Art and LIterature Magazine

Paper Darts: Can you explain more about your own individual musical backgrounds?

Cole Lewis: I was in a rock band in high school and played trumpet in the school

band. I have had a few years of guitar lessons, but I am mostly self-taught.

Dani Lewis: I had piano lessons on and off since I was six and went to college for opera, so I had lots of formal training in voice. I never had a ukulele lesson unless you count Alligator Bob’s Ukulele Hut (it’s an online tutor, he is first rate).

Angie Krube: I have to say it all started when I learned to play the piano at age five. From there I played flute in middle school orchestra. The bells and melodica were self-taught.

PD: How did Cole’s addition to the band come about and how has it affected the dynamic?

DL: We had a recent recording project that Cole played guitar on and it sounded so good that we asked him to join the band.

AK: It’s nice to have more variety. Cole also keeps Dani and me focused on music, because we can get distracted easily.

PD: Dani, you have commented that the popularity of using ukulele as a primary instrument tends to be cyclical. Where

do you think it stands in the local music scene right now and what bands/artists are doing it right?

DL: I think the ukulele is making another comeback, locally and nationally. I don’t think you can hear a commercial without a ukulele in it. I really like Bethany DeLine’s music a lot and know there are a ton of great uke players in the Twin Cities.

PD: You recently worked with Rapid Water Media on your debut music video for the song “Our Leader.” Can you talk a little bit about the process and what it was like to perform on such elaborate sets? How do you feel having those visuals enhances the listeners’ experience? Who developed the concept for the shoot?

AK: Dani and I built the paper forest scene (it’s a lot harder to hang a ten foot tall paper sky than you think). It was a long process, but the boys that we worked with made it so easy.

Dani Lewis and Angie Krube, the lovely duo behind Minneapolis band The Chord and the Fawn, are a duo no longer. Dani’s younger brother Cole recently added his percussion to the group and rounded out the local gem into a full-force family trio (Krube is Dani and Cole’s cousin). With Dani’s powerful, classically trained vibrato and Angie’s mastery of an eclectic variety of instruments anchoring the band, The Chord and the Fawn have managed to stand out among a sea of small local groups trying to break through into the scene. Their first full-length album, M-I-S-S-I-S-S-I-P-P-I, was self-released in late 2009 and has garnered attention from publications like City Pages and deadjournalist.com among others.

The Middle East as a pair of pants, undone.Coming in third on Arabian Poet we have

Woman in Burka Who Has a Name. A plan for pants undone, revealing a sexy Jewish

midriff dancing on the ship of state.Marauders are so hungry, bless their hearts.

Plato’s ventriloquist said the city was only for pretend after we got all charged-

up about sharing around our breastmilk.Yes, certainly we did—those beautiful boys

in full bloom fingering their AK-47son Yemen’s Poetry Hour. Being a model

city, Jerusalem has no need for a zipperon its fly. It exists only in the minds of Lego

store designers. “Look, Daddy, lookat all the little colonies. Can I have one?

I want I want!” Being on a budgetwe bought an I ♥ Israel shirt instead.

Certainly we could see some panties, butif you explain sexiness to children early

they’re less likely to be drunks late. Lookat France. Look at Kabul. It was a classic

American love story, the taciturn lonerriding in and shooting blanks all over

the place. Only some of them weren’t blanks. Only some of it wasn’t love.

arafat returnsBY alex chambers

CL: The video is so colorful, and every scene was so different. So many elements went into it. I like the fact that there was more than just a band standing and playing.

DL: Alex, the director, and Ben, the DP, came up with the concept. They are really creative. I love the split screen too. Genius!

PD: Where do you hope to see The Chord and the Fawn in two years? Would you like to keep expanding the band’s sound and adding more members or would you prefer to stick with the core duo?

DL: We are a trio now for sure, and I would like to stick with that for a while. Cole has been doing percussion and guitar and it really fills out our sound.

AK: In two years I would love for us to be touring! Maybe even around the world.

interview with

Paper Darts: Can you explain more about your own individual musical backgrounds?

Cole Lewis: I was in a rock band in high school and played trumpet in the school

band. I have had a few years of guitar lessons, but I am mostly self-taught.

Dani Lewis: I had piano lessons on and off since I was six and went to college for opera, so I had lots of formal training in voice. I never had a ukulele lesson unless you count Alligator Bob’s Ukulele Hut (it’s an online tutor, he is first rate).

Angie Krube: I have to say it all started when I learned to play the piano at age five. From there I played flute in middle school orchestra. The bells and melodica were self-taught.

PD: How did Cole’s addition to the band come about and how has it affected the dynamic?

DL: We had a recent recording project that Cole played guitar on and it sounded so good that we asked him to join the band.

AK: It’s nice to have more variety. Cole also keeps Dani and me focused on music, because we can get distracted easily.

PD: Dani, you have commented that the popularity of using ukulele as a primary instrument tends to be cyclical. Where

do you think it stands in the local music scene right now and what bands/artists are doing it right?

DL: I think the ukulele is making another comeback, locally and nationally. I don’t think you can hear a commercial without a ukulele in it. I really like Bethany DeLine’s music a lot and know there are a ton of great uke players in the Twin Cities.

PD: You recently worked with Rapid Water Media on your debut music video for the song “Our Leader.” Can you talk a little bit about the process and what it was like to perform on such elaborate sets? How do you feel having those visuals enhances the listeners’ experience? Who developed the concept for the shoot?

AK: Dani and I built the paper forest scene (it’s a lot harder to hang a ten foot tall paper sky than you think). It was a long process, but the boys that we worked with made it so easy.

Dani Lewis and Angie Krube, the lovely duo behind Minneapolis band The Chord and the Fawn, are a duo no longer. Dani’s younger brother Cole recently added his percussion to the group and rounded out the local gem into a full-force family trio (Krube is Dani and Cole’s cousin). With Dani’s powerful, classically trained vibrato and Angie’s mastery of an eclectic variety of instruments anchoring the band, The Chord and the Fawn have managed to stand out among a sea of small local groups trying to break through into the scene. Their first full-length album, M-I-S-S-I-S-S-I-P-P-I, was self-released in late 2009 and has garnered attention from publications like City Pages and deadjournalist.com among others.

The Middle East as a pair of pants, undone.Coming in third on Arabian Poet we have

Woman in Burka Who Has a Name. A plan for pants undone, revealing a sexy Jewish

midriff dancing on the ship of state.Marauders are so hungry, bless their hearts.

Plato’s ventriloquist said the city was only for pretend after we got all charged-

up about sharing around our breastmilk.Yes, certainly we did—those beautiful boys

in full bloom fingering their AK-47son Yemen’s Poetry Hour. Being a model

city, Jerusalem has no need for a zipperon its fly. It exists only in the minds of Lego

store designers. “Look, Daddy, lookat all the little colonies. Can I have one?

I want I want!” Being on a budgetwe bought an I ♥ Israel shirt instead.

Certainly we could see some panties, butif you explain sexiness to children early

they’re less likely to be drunks late. Lookat France. Look at Kabul. It was a classic

American love story, the taciturn lonerriding in and shooting blanks all over

the place. Only some of them weren’t blanks. Only some of it wasn’t love.

arafat returnsBY alex chambers

CL: The video is so colorful, and every scene was so different. So many elements went into it. I like the fact that there was more than just a band standing and playing.

DL: Alex, the director, and Ben, the DP, came up with the concept. They are really creative. I love the split screen too. Genius!

PD: Where do you hope to see The Chord and the Fawn in two years? Would you like to keep expanding the band’s sound and adding more members or would you prefer to stick with the core duo?

DL: We are a trio now for sure, and I would like to stick with that for a while. Cole has been doing percussion and guitar and it really fills out our sound.

AK: In two years I would love for us to be touring! Maybe even around the world.

interview with

Spread featured in Paper Darts, a Minneapolis Art and LIterature Magazine

N E W F R O M G R AY WO L F P R E S S

“Dyer’s writing does what the best critical writing always does, encouraging us to view, read, or listen closely to art, literature, and music as well as to pay close attention to various cultural forms and their impact on our personal lives.”

— PUBLISHERS WEEKLY

from the author ofJeff in Venice, Death in Varanasi

www.graywol fpress .org

An instinct for great books since 1974 | www.graywolfpress.org

Forthcoming in 2011Nathacha Appanah, Deborah Baker, Geoff Dyer,

Percival Everett, Nick Flynn, Tess Gallagher, David Rivard, Tom Sleigh, Tracy K. Smith, Binyavanga

Wainaina, Jeffrey Yang, and more!

A Banner Year in 2010

GRAYWOLF PRESS

National Book Critics Circle Award in Criticism • The New Yorker’s “20 Under

40” (Salvatore Scibona) • The Believer Book Award • Jackson Poetry Prize of

Poets & Writers, Inc. • The Guardian First Book Award (Shortlist) • Hurston/

Wright Legacy Award • National Book Foundation’s “5 Under 35” (Tiphanie

Yanique) • Center for Fiction Flaherty-Dunnan First Novel Prize (Shortlist) •

Frank O’Connor International Short Story Award (Shortlist)

(both) Advertisements in The Paris Review

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With Two Standard Attractions

169.99SUPREME ULTIMATE EXTREME

15.99

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Each additional guest

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229.99SUPREME ULTIMATE EXTREME

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P R I C I N G

All of our Packages include:+ Our specially trained party host who will organize all of your birthday party activities and serve your guests’ every need.+ 2 attractions—mix and match our premium laser tag and go-kart or our standard mini-bowling and black light golf.+ 20 game credits for the birthday child and 10 game credits for each guest.+ A private party room for 1 hour and 45 minutes.+ A WEB t-shirt for the birthday child.

We have 3 packages: The SUPREME—Includes all the above.

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+ Double the game credits

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THE WEB extreme entertainment7172 Cincinnati-Dayton Rd.

West Chester, OH 45069

www.FunAtTheWeb.com513-860-2882

Get caught in the Fun!

Outside of Brochure for The WEB Entertainment Complex

Take a break from the action to refuel with one of our delicious

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THE WEB Extreme Entertainment is the Tri-State’s newest and most exciting entertainment center! THE WEB offers fun activities, featuring two premium attractions—Laser Web Laser Tag and Inside Track Go-Karts—and two standard attractions—Jurassic Par Black-light Golf and Hang Ten Mini-Bowling—as well as an extensive arcade and prize center. THE WEB also offers fresh pizzas and subs at Noble Roman’s and Aglamesis Brothers’ ice cream at The Sweet Spot.

Join us weekdays at THE WEB for one of our outstanding specials: + BOGO MONDAYS: Get two rounds of any attraction for the price of one! + TOKEN TUESDAYS: Get $5 in free tokens for every $5 purchased! + COMBO WEDNESDAYS: Enjoy one premium and one standard attraction, 10 tokens, a personal pizza or sub, and a fountain drink for only $12! + LASER WEB THURSDAYS: Play laser tag all day for just $15!

THE WEB is ideal for affordable family and group entertainment, including birthday parties, corporate teambuilding events, and school, church, youth group, or athletic team gatherings. Our spacious party rooms and venue can comfortably accommodate small and large parties, from 10 to 600 guests. No matter what the occasion, let THE WEB staff create an out-of-this-world experience tailored to your group!

Challenge yourself to a game of laser tag in the Tri-State’s largest and most advanced arena. Players work their way through a maze of obstacles and opponents in quest of the top score!

Get your race on with over 500 feet of grand prix-style track! Both single and double g0-karts let drivers and riders of all ages experience the rush of competition.

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Premium AttractionsInside Track Go-Karts or Laser Web Laser Tagsingle pass $8 / double $14 / triple $18

Standard AttractionsJurassic Par Black-light Golf or

Hang Ten Mini-Bowlingsingle pass $4 / double $7 / triple $9p

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GENERAL INFORMATION

dAILY SPECIALS

GROUPSfa

mily

pack

ages Family Fun Package

$49 Everyday ($58 value)4 Premium AND 4 Standard Passes AND 40 Game Credits

Family Frenzy Package $89 Everyday ($116 value)

8 Premium AND 8 Standard Passes AND 80 Game CreditsA

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(Minimum—7 years old)

(Minumum to drive—10 years old and 56” tall)

Inside of Brochure for The WEB Entertainment Complex

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