Door TourPage:So, where, when, why did
it all start, Cross+Roads Press...your decision to become a small
press publisher of literary works?
Norbert
Blei: Ellison Bay (the Coop), late, 1994, though I carried the
idea around with me a long time, as far back as my Chicago life as
a writer, freelancing profiles and articles for the major Chicago
newspapers and magazines, but also writing and publishing fiction
and poetry in obscure literary magazines called Little Mags.
I have always held that the little magazine and the small press in
particular remain the true literary conscience of America. It's where
the real writing is, always was. It's where they/we all began, including
those who mayor may not make it 'big', from the earliest writers in
our county (any country) to Hawthorne, Whitman, Hemingway...to 'regionalists'
from every region in the country...to contemporary writers who have
made an entire career writing and publishing in little mags alone,
like Charles Bukowski...to the little known (nationally speaking)
writers I've published...Mariann Ritzer, Pedro Villarreal, DyAnne
Korda, Donna Balfe, Phil Bryant, Michael Koehler, Jackie Langetieg,
Paul Schroeder, among them. Including some writers of considerable
publishing history and reputation such as Tom Montag, Don Skiles,
and Dave Etter.
When I can, I publish artists as well, specially those who employ
both the literal and the visual. I've always had a fondness for writers
who paint, and painters who write...who mix it up the way Kenneth
Patchen did. A few years ago I discovered the fascinating sketchbooks
of Emmett Johns (of Fish Creek and New Mexico) and knew I had to build
a book around them (they were too precious, beautiful, thought provoking
not to) and did: I THOUGHT YOU WERE THE PICTURE (1996), one of my
favorite books. Years ago I came across Bill Stipe's unique 'Xerox'
art. Stipe is the Marcel Duchamp of the Midwest - only no one knows
it. I shouldn't bother myself with any of this. I have enough of my
own work to do, but I do it anyway. It's a pleasure and a passion.
And I will keep doing it until I lose the desire or run out of money,
because I think it's important.
It's a way of life-Iiterary and real. And some of us who got started
that way...got our first work printed in some obscure little magazine
somewhere in the country and received one or two copies of the magazine
in payment...feel a responsibility in honoring that tradition. In
today's world of corporate publishing, which pretty much manufactures
bestsellers, we are a different breed, an old, old tribe. Almost but
not quite extinct. Something akin to the lace makers. We continue
to make art and spread the good word (our own private vision/version)
any way we can. Occasionally bigger publishers pick us up. Sometimes
we may even achieve a modicum of celebrity and financial success.
But we're in it to be read. But it all takes TIME and MONEY to run
a small press. And writers, in particular, have very little of either.
D.T.P.And just how does your press help
other writers get started? N.B. You mean how do I run Cross+Roads Press? I try to keep
it as simple as possible. It's a 500 pound bear that will eat you
alive if you let it. Sometimes the bear eats you. Sometimes you teach
him to dance. You've got to learn to dance with the bear.
D.T.P.And you've taught the bear to dance?
N.B. Sometimes. I try by strictly controlling manuscript submission.
I'm a unique publisher in that way--both admired and cursed. Some
call the process unfair, but I haven't come up with a better way to
control the bear from eating me alive. The bottom line is this: I
go to the writer, the writer does not come to me. I accept NO unsolicited
manuscripts. I have no time to read a plethora of submissions from
bad to brilliant. Granted, I miss some good stuff. But granted, I'm
doing what works for me and, judging by positive reader reaction,
for others as well. If you mail a manuscript to me, you're not going
to get it back. If you send one to me over the net, I'm not going
to read it. But, if you inquire about the press, if you are looking
to buy one or more of 15 CR+Press books published to date, if you
want to get on the mailing list, or you would like to become a patron
(insuring a signed and numbered copy of each book, plus your name
printed on the Patron List of the book(s) your supporting -- all for
only 10 bucks (or more if you can see it in your heart to support
good writing) you'll get a response from me.
D.T.P.What kind of manuscripts do you
publish and how do you do it?
N.B. I publish small chap books, a time-honored form, paperback,
stapled binding, 5 1/2x 9 1/2 inches. I use good cover art, good art
on the inside too, when I can. It all depends on the material, the
nature of the book, and how I envision that book looking to celebrate
the material on the pages. I give each work as much loving attention
as possible to make it a quality publication. I been told the books
I do are little gems. I publish fiction, poetry, essays, art...you
name it. I'm looking for anything alive and forever searching for
something different. I both find and encourage work that I would like
to read, that maybe hasn't been done before, or done in a way I would
like to do it. I print poetry, fiction, and essays...writing I feel
others would enjoy. I try to control production costs by limiting
the print run (usually only 300 copies of each chap book--$6 a book,
plus postage) and by encouraging patrons to contribute a few extra
dollars or more in advance of publication.
D.T.P.But just how do you find the manuscripts,
the books you want to publish if the writer does not come to you?
N.B. Instinct. And, I know and I hear of a lot of writers out
there. I read a lot of them in various little mags. I read two poems
just the other night by a black woman in John Judson’s exceptional
and long standing little mag, NORTHEAST, coming out of LaCrosse, WI,
and my immediate thought was: If she doesn’t have a first book,
I’d like to publish a chapbook of her work. Next step: find her.
Connect. And see where or if we go from there. That’s one way
I find the books I want to do, Recently I saw some great photos over
the internet, with some text, by a photographer who lives in Iceland.
I’ve been wanting to do a book of exception photos, by a photographer
who can write, for some time. So, there’s a note on my desk.
`Connect with the guy in Iceland and see if we can come up with something.:
Then there’s a poet from Australia whom I’ve read and enjoyed
in little mags for many years. For some time now I’ve been thinking:
I want to do a book by this guy. I finally have his address. And one
of these days soon, I’ll get hold of him. The truth of the matter
is, I’m never what an idea, a plan, a book project in progress.
I’ve just finished BACK BEAT and "Little Bits of Truth",
which I’ll tell you more about later, and I already have the
next two projects in mind for this year—which is probably all
I’ll be able to do this year, Time and Money being the usual
bind. But I could easily come up with 10 exciting publishing projects
for next year. If I get two, possibly three of those done, I’ll
consider myself lucky. Mission accomplished. It’s a long but
engaging process. Next to writing and painting, I absolutely love
publishing. I could probably become pretty $ucce$$ul at it, if I made
it my life—and were situated in either New York or San Francisco.
Location helps. As we all know, the Midwest is nowhere. But I kind
of prefer living and writing (and publishing) out of nowhere.
D.T.P.Do you make any money on this?
N.B. My goal is to break even, cover my printing and mailing
costs. Sometimes I do, sometimes I bite it, big time. However, I have
such faith in every book I do I know that sooner or later the small
run of 300 copies (or in a few cases, 500 copies) will sell-out. Many
do. Even when titles go out-of-print, I always have a few stashed
in the archives that I may or may not be willing to let go--at a 'negotiable'
price. Since I'm a book collector myself, and since I own many small
press magazines and books of limited editions (including some by writers
who have developed into major American and/or European writers), I'm
aware that my $6 Cross+Press books could also increase in value with
time. In fact, a few hard-to- find titles, Evening on Mildred Street,
Blue Island, The James Dean Jacket Story, and Tangletown have already
sold for $25 to $30 because it’s slowly becoming known among
readers, other writers, and collectors that these are good books by
good writers, and there will never be more than 300 copies of this
Cross+Roads edition of each book.
It should be noted that each Cross+Road Press writer upon publication
receives a one-time royalty payment of half the press run (150 copies)
to do with as he or she see fit: sell them at readings for full cover
price, sell them to friends, give them away to friends and family,
or just plain keep them forever. Sometimes I run out of my 150, as
I did with The Last Housewife in America, and have to buy back extra
copies from the author, if she has them. A 150 books at $6 a copy
is a better royalty than some writers receive from larger publishers.
I keep my 150 copies to fill advanced orders, sell to both bookstores
that call me for special orders (Barnes & Noble, Amazon, independents),
and university libraries, some of whom are collectors of small press
publications. There is quite a network out there, for even the smallest
of good books, the smallest of quality presses. It's no way to get
rich, but it is one tried and true way to encourage good writers and
good writing. If I break even, I'm happy. If I make a few bucks beyond,
I plow that right back and into the next publication. I don't reprint
any of the books, even when they sell-out. I would rather help another
writer with another new book. Every writer owns the copyright to his
or her book and is free to reprint it elsewhere.
D.T.P. Do you have any help?
N.B. This is entirely a one-man operation with the exception
of a neighbor, Jan Mielke, who helps me layout the design I envision
for each book, prepare and even deliver it by hand to my printer in
Green Bay. She is an enormously talented graphics artist in her own
right, and has both the super computer and the super talent to make
almost anything possible visually. Believe me, I get some wild ideas
for book designs, cover art, fonts, etc. But she makes it all happen.
Jan has been with me from the beginning, and I am extremely grateful
and fortunate to be able to tap into her expertise, artistry, and
guidance on each production. Her husband, Bruce Mielke, is a photographer,
a math/computer professor, an author of computer books, a high-tech
wizard in his own right, whom I am also damn lucky to have at hand
when there is a technical glitch or some kind of mountain to move
or access.
D.T.P.Tell me about the latest book.
N.B. Hot of the press: BACK BEAT by Al DeGenova and Charlie
Rossiter plus the broadside, "Little Bits of Truth (Woman of
the Beat)" by Susan O’Leary. There are a lot of `firsts’
with this project. The first time I worked with and published more
than one writer at the same time. This is the first perfect-bound
book (a spine, no staples) I’ve ever done, and the longest—over
100 pages. And, this is the first broadside (one long sheet of paper,
folded) I have published. I like the broadside idea so much that I
will do more of them in the future. Something spontaneous and in-your-face
about it, and an important part of the Beat Generation (which is what
BAK BEAT and the broadside are all about). I’m thinking of doing
a broadside with each new chapbook I do. They are fun and a visual
challenge to publish. And I can sell them for a $1 each, which is
a real bargain, considering the quality of work I can present and
the production. And if they’re exceptionally good (like "Little
Bits of Truth") they sell like hot cakes.
D.T.P.Why a book on the Beats?
N.B. For lot of reasons. It’s an incredible period of
American literature which has never received all the attention it
deserves, and because, in my estimation, the Beat is alive and well
and an intrinsic part of American writing today. It just won’t
go away. And never will. So, that was my premise for the book: acknowledge
the past—and present. Which is what I try to do in the introduction
I wrote for this book " Be It Beat"--also a first. I’ve
never written an introduction to any if the CR+Press books before.
The heart of the book, however, centers on two contemporary Beat writers,
poets/ musicians from the Chicago area, Al DeGenova and Charlie Rossiter.
Each has his story to tell—and his poetry to `illustrate’
his life of being `Beat’ and alive today. It’s a very unique
book, in my humble estimation. And the fact that we heard the other
day from Ferlinghetti, himself, (one of the great Beat icons) and
he likes the book! Well, hell, The gods of Beat are shining and singing
down upon us.
The broadside by Susan O’Leary is yet another beautiful part
of this whole production. What, we may wonder…certainly the contemporary
woman writer/artist may wonder…what was the woman’s role
in the Beat movement? Merely a hanger on, a witness, a love object?
What did they have to say? And did they reach the same audience, achieve
as much fame? How were they treated by Kerouac, Cassady, Jones and
company? How and why should do we acknowledge them today? Well, Susan
puts down the words and feelings precisely in a beautifully honed
essay that is a little work of art in itself and belongs in the best
anthologies of Beat writing and history, where someday it just might
find its proper place. You can have it now, alone, for one buck. Better
yet, the total package :$10 for BACK BEAT, $1 for "Little Bits
of Truth" Check your favorite independent bookstore and have
them special order it. Check the web. Or order directly from CROSS+ROADS
PRESS, PO Box 33, Ellison Bay, WI 54210. And throw in a buck and a
half for postage.
D.T.P. That’s it?
N.B. Yep, but for this: I saw Kerouac the other night. Drinking
at the A.C. Tap. Reading BACK BEAT and Little Bits of Truth. (T-shirt
coming.)
Norbert
Blei: Ellison Bay (the Coop), late, 1994, though I carried the
idea around with me a long time, as far back as my Chicago life as
a writer, freelancing profiles and articles for the major Chicago
newspapers and magazines, but also writing and publishing fiction
and poetry in obscure literary magazines called Little Mags.