If you’re digging what we’re doing here with the pretty print stuff, you might want to do yourself a favor and check out TRNSFR, a lit mag/print artifact out of Grand Rapids Michigan. The mailman brought me a few copies last week and I’ve been rubbing them against my face.

I love TRNSFR’s format of whole-heartedly embracing the idea of doing things in print you can’t do online: a pullout cover, post card stock inserts, flip book movies on the margins, all the things that make print lovers like me drool with delight.

Not to mention they publish some of my favorite writers including Brandi Wells, Amber Sparks, Roxne Gay, Catherine Lacy, J.A. Tyler, Blake butler, Ryan Bradley, Matthew Simmons, Shya Scanlon and on and on.

These lo res camera phone photos don’t do it justice, it’s really a sharp mag with some very cool experimental print things happening alongside some vital writing.

Big thanks to editor Alban Fischer for sending me these. Go check TRNSFR out!

If you’re like me, a surge of happiness washes over you like a floodlight every time you come across a beautiful book cover. If you’re like me, you’re going to love 300KS, a collection of stunning book covers writer Dev Aujla has collected from his travels to used bookstores all over the world. Prepare to get lost in the wonder.

If you’re like me, you like to immerse yourself in an interesting idea, person, or thing to the point you feel a bit queasy and off, not unlike a post-Halloween candy binge. Hopefully, our announcement of Annalemma Issue Nine: India, has  left you wanting to familiarize yourself with Indian writing and publications. If so, check out Helter Skelter, and online independent mag with focus on alternative Indian culture.

Favorites from  this latest issue include Suroshree Dasgupta’s account of Metallica’s recent cancellation of their first concert in India and the resulting fallout, Sanchari Sur’s dissection of the ambiguities of parental boundaries imposed on young Hindu women, and Chandni Singh’s quiet and compelling vignette of a small village plagued by a dysfunctional government meal program.

Also worth checking out is Ack!, a comic series focusing its irreverent lens on everything from Hinduism, current events and Jersey Shore.

Go check it out!

Big ups to Issue Six: Sacrifice contributors Anne Valente and Jim Ruland for snagging a “Notable” mention in Best American Nonrequired Reading 2011. Anne got the hat-tip for her story “A Very Compassionate Baby” and Jim was recognized for his story “Fight Songs”. Both Anne and Jim are fantastic writers and these are great stories. Click here to check out Issue Six where the stories first appeared.

You probably already know about BANR, but if you don’t, I highly suggest picking up a copy. Significantly less dry and stodgy than its series forebears Best American Short Stories and Best American Essays, BANR attempts and often succeeds in showcasing writing equal parts provocative, energetic, inspiring and downright fun. Congrats to Anne and Jim for getting recognized by what is clearly a committee with a keen taste for quality and talent. And thanks to the BANR committee for giving it a read!

If you’re looking for a new lit mag that will stoke the fires of your brain check out Cousin Corinne’s Reminder.

It’s a powerhouse of a lit mag, serving up everything you might possibly be interested in, from big names like Jhumpa Lahiri, Nick Flynn and Jonathan Lethem to internet superstars like Emma Straub and Rachel Glaser.

Not to mention the visual quality is fantastic, a commendable effort of the idea of the book as an artifact, something to be treasured: full color, superb attention to design and layout, and extensive coverage of contemporary fine artists and photographers.

And they have comics! The whole idea feels like a throwback to an arts almanac, a big ass book with plenty of information and stimulation to tide you over for a long winter on the farm. Click on over to their site to check them out, I heard they just reduced their prices, take advantage!

Orlando creative stalwart Doug Rhodehamel’s new project was a show all about bacon. Found objects, sculptures, portraits, interactive installations, drinks. All bacon.

Here we have used paper towels from a local coffee shop that resemble bacons.

An interactive piece where the viewer is encouraged to manipulate the sand to best create a bacon-like image, the sand representing the marbled fat of a piece of bacon.

Bacon bits made of cardboard. The viewer is encouraged to take one and bring the experience home. In the US, bacon usually comes from pork belly, often cured then cut into strips and pan fried. Bacon has garnered a lot of attention in American culture lately in what many have deemed “bacon mania” leading to an influx of bacon related and flavored products.

Bacon sculptures hanging from rafters. Due to bacon’s high fat and salt content, the meat is considered very tasty. However, it should be noted that high consumption of bacon could lead to a variety of health problems including, but not limited to, chronic obstructive pulmonary disease.

I had some bacon flavored vodka at this show. My girlfriend is a vegetarian. She smelled my breath after I took a few sips. She advised that if I wanted to kiss her in the future it would be in my best interests to discontinue use of the bacon flavored vodka. It kind of smelled like artificially flavored bacon that is often used for pet foods. I made the decision to put the drink down.

If you’re in the Seattle area this weekend, head on over to the G. Gibson Gallery where Issue #4 contributor and cover boy Justin Gibbens is showing new work from his series Spiderland. Justin focuses his fantastical lens in on a horrifically beautiful new series of Dr. Moreau-esque creatures that seem to be the hybrid of bird, mammal and arachnid. Thanks for the nightmares, Justin. For real though, Gibbens is an amazing talent and you’re going to want to check out his artistry in person.

My dear friends Ryan and Hays Holladay make music together under the name Bluebrain. They’ve been doing this for a few years now. What they’ve also been doing in addition to making music is making weird, technology/music hybrid projects like the one they just released today called Listen to the Light. It’s the second in a series of “location-aware” albums wherein you download an app to your smart phone, plug in your headphones and walk around Central Park. The interesting part is the phone’s built in GPS triggers different pieces of music depending on what area of the park you’re in. They also did one for the National Mall in DC.

Listen to the Light just got released today and I’m very psyched about it. Check it out if you’re interested in music and technology, which, if you’re on an art/literature blog right now, is safe to assume you might be.

Video teaser…

‘Making of’ documentary….

{Image by Walter Green, excerpted from the story “Golem” appearing in Annalemma Issue Eight: Creation}

Out of the blue, I got an email from Walter Green earlier this year requesting to work with Annalemma. I clicked over to his site to check out his work and immediately recognized some of the images. His work has made an impact as of late in our world of literary small press publishing, most notably at The Rumpus, McSweeneys (where he works as a designer) and the new food quarterly, Lucky Peach. I dig the overall vibe of enthusiasm, delight and unpretentious excitement permeating Walter’s work.

I had a chance to speak with Walter over Gchat about his work, where he gleans inspiration from and the perils of working in an office with x-acto knives and water coolers.

Annalemma: So how’s your day going? Can you talk about what you’re working on?

Walter Green: Sure, my day’s going well! I’m a designer at Mcsweeney’s publishing in San Francisco, and there are a lot of little branches that go along with that and a lot of different hats to wear, etc. So today, I’m working on designs for a few of our magazine/quarterly type projects, mainly this thing called Lucky Peach, which is our new food quarterly with David Chang. Besides that, I do interior design of books, book covers sometimes, book ads, press releases, and lots of little things. But today, mostly editorial design for this food magazine. Also, I am the DJ.

A: That’s amazing. So how’d you land this job?

WG: Well, I interned there a while ago, and never really did a lot of design stuff. I had the desire to do design but no experience really. So I did some things for free for my friend’s bands or their business ideas and what have you, and kind of amassed a little portfolio. Then I moved to New York for a while and helped out at a small but fertile design studio and made my portfolio a little stronger. And when I eventually moved back to San Francisco, I started doing some freelance design and that seemed to work out okay for us all. So after a while they asked me to be a junior designer and I quickly said yes!

A: That’s rad, I have to say I’m really jealous.

WG: Well, it’s fun but often really tough and exhausting.

A: About five years ago I was obsessed with McSweeneys.

WG: Then what happened!

A: I started getting more and more involved with the publishing world, started digging deeper, seeing what was out there, seeing all the presses that were doing cool stuff. I still love what y’all do, but my focus is spread out so far now.

WG: Sure, of course!

A: I thought McSweeneys was the only game in town worth a shit, for a long time.

WG: How long has Annalemma been going on for?

A: We’ve been putting stuff out for four years. But I always looked to McSweeneys for design inspiration, so when I heard you were a designer there I was immediately curious about what that’s like.

WG: Well, it’s fun and exhausting as I said. It’s a two-person design team, essentially. There’s me (I think I’ve dropped the junior from my title now) and an amazing art director named Brian Mcmullen. So we do the bulk of the work, with other people helping out when they need to. Everyone here has some idea of how to work indesign/photoshop/what-have-you.

A: I’ve always been blown away by the ambition and scope of the design work. Where does the driving force come from to make things look so good?

WG: Well, I can’t say for sure for everybody else here. We’ve never sat down and had a real conversation about why we make things look the way we look. Why not put some effort in to make something look good if you can? I guess you could also say that we like to make our things look the way they do in hopes that people will buy them, read them, keep them, etc.

Also, just on a personal level, I think we’re all very interested in trying out new things and new ways to present content, just to keep things fun for us. By the way, the design of your magazine is incredible. The clarity of design is really inspiring. KUDOS, is all!

A: Thanks man, I wish I could take credit for that, it’s all my designer Jen O’Malley, she’s really talented. She comes up with a lot of the ideas, I’m more of the philosophy guy in the background trying to make sure that nothing looks like it’s a part of disposable culture, trying to make it something that people will want to keep around for a long time.

But enough about me, how long have you been drawing?

WG: Since I was a small child, I guess. Though there are always long periods of inactivity–even today–when I don’t draw for the longest time and end up sort of completely forgetting how it’s supposed to be done.

Yeah, it’s tough to talk about drawing. I’m not very good at it, but it’s somehow become a part of what I do, just because I’m so interested in it. I wish I could be the kind of person where my brain and my hand are totally connected and I can draw whatever I can imagine. But it’s probably just not in the cards for me, so in my illustrations that I work on today, I don’t rely on the regular stuff that actual talented artists use. I’m kind of just grabbing whatever is around and throwing it all together and hoping that something sticks I’d say I’m more of a DESIGNER-ILLUSTRATOR than a straight-up-drawing-dude.

A: I like how you incorporate your drawings into your design work though. I’m cruising around on your site here and all your work at first glance just looks like it’s a lot of fun. Like fun to read, fun to work on.

WG: Yeah, I guess being even slightly talented at illustration is a huge boon to the kind of design work that I want to do, so I’m able to fill in holes where necessary in my design and it’s good to not have to rely on an illustrator.

A: What are some design resources that pump you up? What are the daily places you go to that are doing good work?

WG: Hey, hold on a second!!! “BRB”

A: k

WG: SORRY! people are looking for x-acto knives.

A: No problem.

WG: I like to visit that site 50watts.com for a lot of incredible vintage/classic/bizarre/whatever design work. I like to visit the sites of other designers I like. but mostly I like going into Dog Eared Books near my office here and obnoxiously browsing their covers! And a lot of inspiration comes from the people I worked with/have worked with/the work they’ve done.

A: Who are the designers you’re a fan of?

WG: I’ll forget people but some of my favorites are: Paul Sahre, Leanne Shapton, Rodrigo Corral, Paul Buckley, John Gall, and the aforementioned Brian McMullen.

There are a lot more who have sites that I’ll check out, but it probably means something that those are the first names I think of when asked about designers I like.

A: Yeah, first impulses are usually the best. Like I was saying before, I’m really digging the work on your site cause it all looks fun, how do you maintain that attitude? My designer and I can work on something for days and weeks and sometimes it can be hard to keep fresh eyes about it. I guess I’m asking what drives you, what do you want the audience to feel most of the time?

{pause}

WG: Hey sorry I was absent, I was changing the water cooler

A: Sounds busy there today : )

WG: I guess as a designer/illustrator I am going on a project-by-project basis. Some things that are, you know, more light-hearted and fun can be appropriate for some silly colorful hand-lettering, while other projects call for a more serious illustration/type treatment/design treatment/what- have-you.

Mostly, I’m hoping that the design can reflect the content in some way. That’s when it comes to editorial design/cover design/illustration and stuff. As for, how to maintain a happy and fun feeling while designing, I’m not sure that it’s possible all the time.

There’s definitely a large part of what you were saying earlier in what I do, where I’ll start a project and think it’s the greatest thing in the world. You know, ten weeks later, it’s hell. And I hate the whole thing, and I still have to carry on the fun feeling.

A: Haha, yeah when the excitement wears off.

WG: Yeah, definitely. But, I guess I’m lucky in that the littlest things are able to bring me design-excitement, something as simple as just changing one color to a design I’m “tired” of can make me love the project all over again, sometimes. And it’s also good that at my job, I have a wide range of things I can work on, so I can put projects down, and pick them up later and my hatred for them has died down.

A: Haha

WG: And I start to remember them fondly. And even miss them a little bit.

A: I hear that, I keep trying to do that, look at things from a different perspective in order to see it in a new way. I do that a lot with writing, like a story might not be working at all and it’s complete shit in my mind but something will click, like I need to change the perspective from third to first and everything will come together. I love it when those breakthroughs happen.

WG: Yeah, of course, little things like that that bring a clarity to the whole thing and can sort of show you the light at the end of the tunnel are the greatest.

A: So what’s the next release we should look out for? What’s good on the McSweeneys roster?

WG: Welp, I’ve been doing a little more editorial illustration work for a few different clients and that’s been fun. I do a weekly illustrated column for the bay citizen (a nice journalistic website focusing on the bay area) where I review different events that happen. So tomorrow I’ll be going to some sort of yard sale and then drawing the people I see there.

Beyond that, I’m mostly focusing on this food quarterly thing here that is shaping up to be great. This is the second issue, so we’re gonna be able to tighten up everything a bit from the slightly loose style we established in the first issue. And that’s fun because I’m able to do hand-lettering, or type design, or chalk drawings, or vector illustrations–just whatever the articles call for.

A: That’s cool.

WG: Yeah, beyond that, I’m not sure if I’m allowed to give the secret scoop on whatever stuff Mcsweeney’s is doing. But I can say that whatever it is, we’ll be trying to make it look nice!

A: Awesome, well, I can’t wait to see it whatever it is. Thanks for talking to me, Walter.

WG:  Hey thanks for thanks for letting me do some work for your recent issue! I loved that story.

A: I’ll get that mag out to you soon, I spilled a big cup of water on a stack of personalized thank-you letters to contributors I was sending out with mags and I’ve been putting off rewriting them so I think that’s why you haven’t got yours yet.

WG: Gotta hate those big cups of water! No worriez!

A: Cool man, well thanks again and I’ll be in touch.

WG: NICE! Talk to you later bud! We’re CHAT-PALS NOW!

A: Haha, indeed we are, talk to you soon.

Click here to check out Walter’s work appearing in Annalemma Issue Eight: Creation.

Check out illustrator and Issue Eight: Creation contributor, Jon MacNair. Jon provided some beautiful illustrations for the story “City” by Paul Kavanagh, wherein a couple moves away from the city to the country and brings all their city folk problems with them and, boy, does badness ensue.

MacNair’s got a fanciful style, imbuing his work with tons of heart and soul. And it looks like he’s having a great time doing it too. Also, check out his blog where he’s recently posted some images of Issue Eight along with big versions of his work appearing in the issue. Thanks Jon!