Tagged books

Dispatch from the Education Front: An Interview with Kaycee Eckhardt

December 28, 2015 — by Elly Blue

Katrina’s Sandcastles packs a lot of book into 192 pages—it’s a personal memoir of learning to become a teacher, an—at times hopeful, at times critical—portrait of the charter school education system, and a recent history of New Orleans in the decade since the city was devastated by Hurricane Katrina and the botched governmental response, and a compelling look inside the lives and prospects of some of the most underpriveleged kids in the US. So when I finally met its author, Kaycee Eckhardt, it didn’t surprise me that she’s doing eight things at once—making tea, tending her dogs, talking about big ideas, and planning the details of her day—all at a mile a minute without even looking particularly frazzled. I sent her a few questions over email, and she miraculously found some time to answer them.

1. The end of Katrina’s Sandcastles sees you leaving the New Orleans charter school of which you’d been a founding faculty member and planning to pursue non-classroom work. What have you been up to since then? Where are you right now?

I have a lot of gratitude for the work that I am able to do now. As a teacher, I had a great impact on the students in my room and school, and while I miss that work terribly, my current work allows me to share what I have learned and to work for education reform on a national scale. I run a summer institute for experienced teachers, where we learn about the real causes of the literacy gap and how to combat them with students in high needs schools. I also work directly with some K-2 teachers and classrooms on their early literacy instruction, and with some early career teachers in Nashville on curriculum preparation. All of my work is focused on high standards and high expectations for students, as well as pushing for equity in schools and districts. We are in the middle of a sea change in education right now, and it’s an exciting time to be doing good work for kids.

2. The charter school that you describe in the book had a militaristic approach to discipline and structuring the students’ (and teachers’) activities. What are your thoughts about the benefits and drawbacks of that model?

We need to take a close look at what we are asking from students, and why. Students do need a high level of structure when they first enter a school – they need to understand the culture and what is expected. The purpose of initial compliance is to create an environment in which students can learn. However, often teachers and schools end up focusing on compliance instead of remembering that structure should be a means to an end = student’s learning. And often developmentally appropriate learning doesn’t look like students sitting quietly while the teacher presents, or until she involves them. It’s often messy and loud—it involves debate and discussion, group work and also a lot of time to think critique and contemplate. Teachers need to get out of the way and allow students to do the work—this means allowing some rule-breaking in place of academic experimentation. Ultimately, we need to ask ourselves constantly if the rules we impose on students—and teachers!—are a means to an end, or if they stifle the creativity and freedom of thought we want to foster in children.

3. A lot of the book is about your struggle to maintain your health and personal life in the midst of an all-consuming and high-stress job. That’s something a lot of readers in many fields can relate to—can you offer any life advice for your fellow committed-but-overwhelmed workers?

I don’t know if I have any advice, given that this is an ongoing struggle for me, as it is with many of us. But I do know that sometimes we forget that our relationships, families, and our bodies are jobs as well—they take effort, consideration, attention and a lot responsibility. Too often we allow our “work” to consume us and we allow that to be an excuse for investing less in what actually, in the long run, matters more. If I had any advice, it would be to ask yourself if you allow your “job” to give you a reason not to attend to other important things—yoga class, a bike ride with your partner, a dog walk, sitting down to dinner that you prepare, calling your grandmother, painting that wall in your house a joyful orange. Caring for yourself and what sustains you is your most important job.

4. If you were to sit down with the president tomorrow, what three policy proposals for education would you recommend?

If I could wave a magic wand, and address three issues in education today, it would first be to put a great teacher in front of every child, regardless of that child’s neighborhood, city, socioeconomic status, race, or age. Great teaching is the number one indicator of academic success in students: a student with a great teacher can generate 5-6 months more learning in a single year than a poor performing teacher. But poor school leadership, low pay, and lack of support and training drive many of our best and developing teachers from the classroom. Retention of our best teachers need to be a major focus—and this includes the removal of teachers who are not up to par.

I would also ask for a significant focus on early education. A child’s reading level by third grade is one of the most consistent predictors of success or failure. A child who can’t read on grade level by 3rd grade is four times less likely to graduate by age 19 than a child who does read proficiently by that time. Add poverty to the mix, and a student is 13 times less likely to graduate on time than his or her proficient, wealthier peer. This should call our attention to what is happening before third grade—not after. A greater focus on knowledge-building, vocabulary, read alouds, and literacy in all content areas would shore up some of this—and there are some great programs, like Core Knowledge (which is free!) to do this.

Finally, I believe strongly that the adoption of the Common Core State Standards was the right move for our country. Contrary to the white noise of the media and a few loud, uneducated people, the standards do not mandate curriculum—they simply outline what student should know at the end of each grade. We are falling further and further behind other first world countries and this, in great part, has been due to the fact that we have been teaching to low standards, or erratic standards that changed from state to state. I encourage anyone who’s skeptical to go read them—they outline a clear, rigorous progression of what a student needs to do to be a competitive critical thinker by the end of high school. The shifts for Literacy and Math called for by the Common Core call for powerful changes in our classroom practice and changes that, if we stay the course, could increase equity in our schools, as well as drastically improve the quality of instruction.

This is part of a series of interviews with Microcosm authors. The most recent one was with another New Orleans writer, Urban Revolutions author Emilie Bahr.

Railroad Semantics Box Set

December 20, 2015

Devoted to train-hopping, graffiti, and railroad culture, Aaron Dactyl’s Railroad Semantics zines describe the sights, sounds, successes, and defeats of exploring the western U.S. by freight train.

The first four Railroad Semantics zines were made into books, and are all together in this box set. You’ll find epic, hidden works of art, read up on rail lore and riding tips, meet rail workers and fellow adventurers, and experience the perils and glories of life in rail yards, train cars, small towns, and encampments.

Urban Revolutionary: An interview with Emilie Bahr

December 14, 2015 — by Elly Blue

Urban Revolutions from Micheal Boedigheimer on Vimeo.

urban revolutions book cover Emilie Bahr’s new book Urban Revolutions: A Woman’s Guide to Two-Wheeled Transportation just turned up from the printer, to the delight of everyone at the office. So much hard work and love went into this book. Emilie fully deployed her chops as a journalist and urban planner, her hard-won knowledge of urban transportation bicycling, and her love and knowledge of her home city of New Orleans (we’re pretty sure this is the only book out there with advice about biking during Mardi Gras!). Pretty much everyone at Microcosm worked hard on this book, and our graphic designer Meggyn actually started biking while laying it out. She’d been wanting to ride for a while and reports that this book “answered a lot of my questions… that I didn’t want to ask!” With a pre-publication track record like that, we have high hopes for the rest of this book’s life!

In honor of the book’s existence (it officially comes out on April 12th, and is available directly via Microcosm until then), we sent the author some questions about how and why the book came to be, New Orleans’s surprising rise to bicycling prominence, as well as (feeding a longstanding fascination of mine) the role of bicycles during and after Katrina. Read through to the end for an extra surprise!

1. Congrats on your new book, Urban Revolutions! What’s the origin story of the book—what gave you the idea to write it?

Although I haven’t always known how to define it, as a longtime fan and observer of cities, I’ve always been interested in how the shape of our environments affects opportunity: everything from transportation options to health to access to jobs (all of which, in the end, are fundamentally related). At a very basic level, the book was inspired by forging connections over the years between these ideas. It’s also inspired by my own experience as a pretty typical, car-dependent American who was woken up to another way of getting around not all that long ago and who suddenly felt (at the risk of sounding melodramatic) as though a veil had been lifted from my eyes. As I started using my bike more and more to get around, I realized that there were lots of other people out there like me – and yet also many more people, including many of my friends, for whom the idea of using the bike as a means of transport was as foreign a concept as it had once been for me. I was especially interested in this latter group and what it was exactly that kept them out of the saddle, and that became the basis for my graduate school research. I also noticed that among my friends who didn’t bike or who didn’t bike regularly (most of them women), many were intrigued by the idea of biking, but were held back by various obstacles, and a number of them really had no idea where to begin. I wanted to create a tool to help them overcome those barriers by really honing in on their specific concerns.

2. The book’s subtitle is “A Woman’s Guide to Two-Wheeled Transportation.” Why that subtitle? Is the book only for women?

It turns out the resistance to bicycling among women isn’t unique to my friend circle. Nationally, only about a quarter of transportation bicyclists are female, a phenomenon that is not universal in the developed world and likely relates to a whole variety of factors, from social policies and norms that place more of the burden for household and childcare duties on women to very valid concerns in our car-centric environments about vulnerability to traffic crashes and crime to the fact that women are simply not as exposed to the practice, which means many of us don’t even consider it as a possibility. This book started out as a how-to guide designed to address concerns that are specific to women, though many of these concerns are also shared by men too. And I would say it turned out to be much more than a how-to guide. In the end, it’s really an exploration of the state of the American transportation landscape, how it’s changing, and what this means for everyone. I think this book should appeal to anyone who is interested in urban environments, how people get around, and who might want to brush up on how to ride and maintain a bike.

3. Two chapters of the book are devoted to your home city of New Orleans, which is one of the best unsung bike cities in the US. What makes cycling work there? What makes it different?

I said earlier that my own experience helped inspire this book, and that experience is inextricably tied to New Orleans. I write in the introduction to Urban Revolutions about hearing about what then sounded to me like a crazy plan to begin installing bike infrastructure in New Orleans. I was working as a reporter and decided to write a story about this, in part because I wanted to find out what insane people would dare ride a bike in my city. What I didn’t realize at the time was that New Orleans already had a strong bicycling culture – it had just been sailing under my radar.

In terms of what makes New Orleans different, this city has a number of inherent advantages over many other American cities, and particularly many other southern cities, when it comes to bicycling. We developed before the rise of the car, and we’ve retained a lot of the street connectivity, intermixing of land uses, and pedestrian-scale development patterns that come with that that really facilitate bicycling. It also helps that we’re flat. Moreover, we’ve seen pretty substantial infrastructure investments here in recent years that I would say have helped to advertise the bicycling possibilities that have long existed and helped make many more people feel comfortable bicycling here.

emilie and trailer What’s also important to note about New Orleans is that we’re a poor city. Our poverty rate is significantly higher than the national average and a large proportion of people don’t have access to cars, so there are a number of people who get around by bike and have for many years before the infrastructure was installed because they have no other option. I would say that our bicycling community is very racially and economically diverse, which is increasingly true across the country, but New Orleans bicyclists really defy the stereotype of bicyclist as wealthy, white male. More and more, I notice a whole lot of women biking here too.

Another thing that I think really helps to set New Orleans apart from much of the rest of the world is that we have these massive street celebrations here several times a year, the most famous and massive of them, of course, being Mardi Gras. At Mardi Gras, our streets are essentially shut down to automobile traffic for days at a time, and residents are forced to reconsider our relationship with the streets, even if for a finite period. I would say that Mardi Gras and some of our other major festivals are what introduce a lot of people to the possibility of biking and help us to think about the streets as being something other than channels for moving cars as quickly as possible.

4. There’s been a lot of focus in the news lately around the 10 year anniversary of Katrina. Were you in the city during Katrina? Did bikes play a role in disaster relief or recovery? Or did the hurricane pave the way for bike infrastructure and culture in some sense?

In August 2005, I was splitting my time between New Orleans, where my boyfriend at the time lived, and Thibodaux, a small town about an hour’s drive from the city where I was working for the local newspaper. Before the storm, I evacuated from New Orleans to Baton Rouge, where my dad lives, and spent a long night until the power went out desperately trying to figure out what was going on in the city, the extent of which wouldn’t become clear to us for some time after the rest of the world knew.

So much can be and has been said about Katrina and its aftermath, but one of the things the storm revealed was just how cut off a modern society becomes when electricity and gasoline lines are severed. I sneaked back into the city about a week after the storm, and even in places that didn’t flood, it resembled something out of a post-apocalyptic novel: there was no power, no gas, military people marched in the streets. And the people who refused to leave had to rethink how they got around. You might say they resorted to old-fashioned means, using canoes, bikes, their own two feet. For many people, getting in to see their homes, especially in flooded areas, required using a bike, and some of the most powerful early footage of the damage from the storm was shot by people riding around on bike.

In the recovery from the storm, one of the silver linings has been that it’s allowed us to reconsider how we do things here. I wouldn’t say we’ve fully taken advantage of these opportunities, but one area in which it’s really caused a shifting in the public consciousness is transportation, and this is in part because the city suddenly got a lot of federal rebuilding money to redo its streets after the storm. Starting in 2008, thanks to the advocacy and creativity of a number of folks here, many of the streets that were being resurfaced were striped with bikeways for the first time. A few years later, a local city councilwoman who cares a lot about transportation beyond just moving people in cars successfully won passage of citywide policy requiring that all users – pedestrians, bicyclists, transit riders, people with physical disabilities, and drivers – be considered in rebuilding our streets. At the same time that this new infrastructure continues to take shape, we’ve experienced a surge in new people moving to New Orleans post-Katrina. Many of them come from cities with strong bicycling traditions and they have continued to spread the gospel in their adopted home, even if it’s just by example. There was a time not all that long ago when a bike commuter would have seemed like an exotic species here. Today that is definitely no longer the case.

5. Anything else I ought to ask you about?

Well, I guess I could mention that I’m six months pregnant. I write in the book about parenthood as one of the obstacles many women face in getting on the bike, and I’m interested to see how pregnancy and motherhood affect my own bicycling patterns. I’m determined to continue biking but this will definitely require tweaking my routines. Already, I’ve found myself opting for my upright, Dutch-style bike over the speedier model I typically ride because it more readily accommodates my rapidly-changing figure. That said, I’m excited about the challenges and the new perspective parenthood will provide. And I’m looking forward to having a reason to invest in some of those adorable contraptions for toting around kids on bike.

This interview with Urban Revolutions author Emilie Bahr is part of a series. The last interview was with Alexander Barrett. The next one is with Kaycee Eckhardt, author of Katrina’s Sandcastles.

Book Review: God, Forgive these Bastards

December 02, 2015 — by Natalie Petrellis

god, forgive these bastards book and lp set We ask each of our interns to review one of our books before they go. Natalie heads home to Australia next week, and left us with these thoughts on our first and (until April 2016) only work of fiction…or is it fiction? To tell the truth, we’re not totally sure.

I originally overlooked this book when I read the title on its spine—I was feeling a little lazy that day and so I was looking for something that had a more ‘familiar’ title. But after flicking through a whole lot of DIY books, I began to crave something with a solid narrative, and that’s when I reached for God, Forgive These Bastards: Stories from the Forgotten Life of Georgia Tech Pitcher Henry Turner.

Being from Australia, I don’t really know much about baseball or anybody named Henry Turner. After I read this book, I honestly don’t know what I learnt from it at all. I realised quite quickly that these stories weren’t really all that much about baseball. In fact, to me at least, it felt like they were more about America and the strange things that can happen to you here.

God, Forgive These Bastards begins with Rob Morton meeting Henry for the first time, at a bus stop in Portland, Oregon. Beginning in an ordinary biographical kind-of-way, the stories then take you into a direction that’s a little less predictable. Kind of like when you accidentally catch the wrong bus and end up in an unfamiliar neighbourhood. Some of Henry’s stories are violent and sad, and it was hard to know if they were true or not—and while I was reading them, I really didn’t want to know the truth.

The whole concept of the book reminds me of when I ride the buses and see all of the other regular commuters. I try and imagine stories about what their lives were like before they ended up riding the same buses as I do—and unless they approach me to tell a story about themselves, I’ve usually been too shy to strike up a conversation.

I guess what I’m trying to say is, even though I’m sure that there are so many different things that you could take away from these stories, I feel like this book helped me examine how we perceive and contribute to our own ideas of ‘culture’. Like the way it feels as though we’re too absorbed in our own lives, and just too afraid of each other to talk and trade stories.

I did find that a couple parts of the book were hard to believe because it felt like there were missing details that I would’ve liked to know; nevertheless it was a good read. My favourite line from the book was in my least favourite chapter—my least favourite because all of the things that happen are just so dark and horrible. Henry explains how he is feeling at a time when he feels incredibly vulnerable: enry‘It was the kind of panic that I imagine the devil would make you feel if he walked over to the bed where you slept, lied down next to you, and wrapped his arms around your body.’ And I like this line the best because it describes exactly how I felt reading that chapter.

Morton also uses this book to talk about how down-and-out people like Henry are left unforgiven and hated. I don’t know if he’s really saying that we should forgive people for making us feel intense pain or for committing horrible crimes—it does come across that way—but Morton does explain that people shouldn’t be defined by the bad things that they’ve done, and I suppose that just listening to others to learn from their mistakes can be a good thing to do.

Henry’s stories are told with an honest voice, which makes the unbelievable, believable. These stories are crazy, and mean, and probably everything that you don’t want to imagine your life to ever be. God, Forgive These Bastards is definitely a book that I would read again, and the soundtrack by Mortons’s band, The Taxpayers, is equally as thrilling.

If you want to read the book while playing the soundtrack on vinyl, we’re doing another pressing, and it’ll be available again in 2016!

Love Letters to Cities: An interview with Alexander Barrett

November 03, 2015 — by Microcosm

alexander barrett with puppy Alexander Barrett had only lived in our city for a year when he wrote and illustrated one of our most charming books, This is Portland: The City You’ve Heard You Should Like, telling the real story of just how weird things are here…much weirder than as shown on the television show Portlandia, thank you very much. Later, he moved to China for a short time, and the result is the just-as-charming book about a very different place: This is Shanghai: What it’s Like to Live in the World’s Most Populous City (which, by the way, comes out this month!). He took a minute to answer some questions about his work and plans and where he’s at right now in San Francisco. Readers of This is Shanghai will recognize one important theme from that book which has stayed with him…as illustrated in the photos here.

1. Where are you *right now* and what is the most important thing to know about what’s going on around you there?

Right this second, I’m in a sunny edit suite in San Francisco, working on a short documentary about a street sign and getting ready for Beer Feelings, a show of illustrations I do in San Diego every November. But most importantly, I’m hanging out with a super chill puppy.

2. I know it’s crass to ask, but when you aren’t making charming illustrated books about places you’re getting to know, what exactly do you do for a living?

I used to know, I think. I used to be a copywriter at ad agencies. Now I’m kind of a copywriter and mostly a regular writer at YouTube. I guess I’m trying to put okay things into the world for a living.

3. What’s your favorite book that you’ve read this year?

This year I finally finished Raymond Chandler’s oeuvre. And that’s the first time I’ve ever typed “oeuvre.” I wish I could say I read The Long Goodbye this year, but I have to be honest and say Farewell, My Lovely, which is also incredible.

4. What’s next for you? Will there be a This is San Francisco? And finally, the question on everyone’s mind: Where will you live next?

With Portland and Shanghai, it took a year to realize I had enough stories to put a book together. I’ll see if that happens with SF. For the first time in a while, I’m not thinking about where I’ll go next. In between the Portland and Shanghai books, I lived in three cities. Three cities that didn’t inspire books. I’m really excited about being in one place for a while. One place with super chill puppies.

alexander barrett with people and puppies in china

This is the latest in our series of author interviews. The previous interview was with Our Bodies, Our Bikes contributor, Bikeyface.

Now Kickstarting: Feminist steampunk bike racing action!

October 30, 2015 — by Elly Blue

When I joined Microcosm at the beginning of this year, I brought along a lot of contracts for books that nobody quite knew what to make of. Several of them have come out since, including the feminist bicycle science fiction volume Pedal Zombies, which was met with quite a bit of skepticism—Microcosm has never published a straight up work of fiction before, much less science fiction. Would we be able to pull it off? Well, one successful Kickstarter campaign and a steady stream of kick-ass reviews later, it looks like it’s working for us.

And not a moment too soon. Today we launched a Kickstarter project for our second science fiction book: The Velocipede Races is Emily June Street’s steampunky YA tale of a young woman’s liberation, a comedy of manners combined with edge-of-your seat racing scenes.

It’s an exciting, page-turning read. Cherie Priest, New York Times Bestselling author of Boneshaker, says that it’s “Tense, thoughtful, and truly thrilling; The Velocipede Races is a marvelous fantasy of manners and machinery.” We hope you like it as much as we do: To learn more, check out the video below, and please consider backing the project before it ends on November 28th.

Call for Submissions: Journal of Bicycle Feminism on Money and Class

October 20, 2015 — by Elly Blue

How does bicycling fit into your personal economy? Your social standing? How do your choices when it comes to bicycling relate to your income, and how do they relate to your attitudes towards money? Did your bike cost a lot or a little, and how do you feel about that? Have you done economic research or reporting on bicycle issues? What are your observations about the costs and benefits of cycling?

The first volume of the Journal of Bicycle Feminism, Cycletherapy, was about feelings: joy, grief, and healing. The second volume is about money, status, and wealth, whatever those topics mean to you.

A wide variety of submissions are sought, particularly from underrepresented perspectives. Personal narratives, essays, and reporting will be the bulk of the volume—lengths between 1,000 and 3,000 words are ideal, but if a piece needs more words we can talk. Illustrations and photographs are sought as well. I’d like to include one piece of fiction, and one very short (around 500 words) and funny piece for the end of the book.

The submission deadline is February 1, 2016. Email questions, queries, or submissions to elly at microcosmpublishing dot com.

America’s #1 Bike Cartoonist: An interview with Bikeyface

September 24, 2015 — by Elly Blue

cartoon of bikeyface on a bike Of the fifty-plus contributors to our brand-new book Our Bodies, Our Bikes, few are as renowned as the artist known as Bikeyface. From her secret bunker in the Boston area, she’s been alternately delighting and enraging anyone who types a bicycle-related question into google for years now with her series of ongoing web comics that provide wry commentary on everything from safety to sweat to driver behavior to that giant, unladylike smile that gets plastered to your face when you spend a lot of time on your bike.

I’ve long been curious about Bikeyface’s bike comics career, and she kindly agreed to answer a few questions over email.

1. Tell us a story… how did you become America’s #1 Bikey Cartoonist?

I didn’t plan to be a bike cartoonist, it was something that happened when a lot of things in my life intersected. I was an artist who had just moved to Boston, started a new job, and started biking everywhere. I didn’t know many people in Boston and making art can often be solitary. But I wondered if getting involved with the local bike community would be a better way to meet people. I didn’t know much about the bike community and I was a real newbie. But I muddled through volunteering at a couple events, went to some workshops, and tried joining an organized ride—but it was harder than I expected to find my niche. (Note to new bicyclists: do not pick the Ride of Silence as your first “organized ride.”)

In the midst of this trial and error of finding community I also decided to start a blog on a community bike site, bostonbiker.org. It was the middle of the night, and a half-baked idea I assumed I would abandon very quickly. I did it anonymously at first—I had read the comments section before. In the beginning it was quick anecdotes, photos, thoughts, even recipes. But because I’m an artist by nature I started throwing cartoons in there too. After a few compliments I started doing more cartoons. Suddenly I found myself getting web traffic from around the country. So I went all in and that’s when I started Bikeyface. And eventually I did meet some other people who bike in Boston too.

2. Many of your comics have included a feminist critique of parts of bicycle culture. Your comic in Our Bodies, Our Bikes depicts a woman going into a bike shop and not having the greatest experience. Have you seen changes for the better/worse/neutral in bike culture in the time that you’ve been riding? What would you like to see happen next?

I’m not really sure how much has changed for women in bicycling industry—or if I’ve changed more? I struggled a lot in the beginning and had many awkward interactions in bike shops. I couldn’t tell if it was lack of knowledge about bikes, having limited bike experience, or being a woman. I was definitely aware I didn’t know anything about bikes but I also didn’t know much about gender issues in cycling aside from the “girl” bikes always having flowers on them (yuck.) I wouldn’t have called myself a feminist then, either. But somewhere along the way as I got more experience with biking it brought me to feminism. I notice much more of the nonsense than I did before so in some ways it seems worse. I think there is a heightened awareness overall and desire to call the industry out on it. I’ve also seen two women-owned bike shops open in my neighborhood, so that is a measure of progress (and luxury). I’d like to see more women-friendly bike shops around the country as well as more robust product lines that appeal to women.

cartoon of bikeyface and her two bikes and gear 3. What’s your favorite comic that you’ve drawn? What (if it’s different) has been the most popular one?

My favorite cartoons are ones that make me crack up so much while I’m drawing them that I have difficulty drawing a straight line—like So Ladies. The most popular was Not Asking For It which was a surprise to me—it definitely made the rounds more than I anticipated.

4. Do you get to make art for a living? Any advice for other comics artists who want to do something similar?

I don’t make art for a living. Sometimes I wish I did—but most of the time I’m really glad I do not. If I were paid for making art everyday it would become another job and I wouldn’t be drawing the things I personally enjoy (like Bikeyface.) I occasionally take freelance jobs that are interesting to me but full time freelance can be a roller coaster—I learned early on that I’m too much of an anxious person to go on that ride. I have an office job because I’m more creative when I have stability (and regular food). So I work during the day and draw in the limited evenings and weekend hours. This means I go to very few social events but that’s okay for an introvert. The only downside to this system is that I often run out of time and can’t do everything I would like to.

I recommend other comic artists think about their own style and personality and find an art/life/money balance that works for them. The internet is a great way to find an audience and build it. However, it’s not a great way to make money. So that means you have to have a day job or a willingness to embrace the struggle to build the business side of your art.

This is one of a series of interviews with Microcosm contributors. The previous interview was with vegan chef Joshua Ploeg. The next interview is with Alexander Barrett, who writes illustrated love letters to cities in book form.

Slip of the Tongue

August 12, 2015 — by Hayley Salmon

We ask each of our interns to choose a book from our catalog and review it. Hayley chose Katie Haegele’sSlip of the Tongue: Talking About Language.

Slip of the tongue book cover I knew I was going to enjoy Slip of the Tongue from the moment I held the skinny teal book in my hands. The bookish-English-major-nerd within me was immediately taken with Katie Haegele’s collection of essays, which attempt to make sense of the world through our collective and individual use of language. What I hadn’t anticipated was just how captivating I was going to find the author and her book.

Haegele’s memoir is intelligent without being unapproachable, particularly considering its focus on something as academic as linguistics. This is in part due to her distinctively personal voice. Her short essays, insightful and clearly articulated, are utterly conversational – creating an intimacy with the reader, but with a surprising sense of informality.

Reading this book truly felt like a conversation you fall into with someone you didn’t previously know so well, but somehow become instant best friends with; staying up all night fervently discussing life, without realizing the sun has left and come back again.

Underlying the entire work is Haegele’s love of language. It radiates from each page, seeping into every story told—whether articulating the peculiar history of graffiti in Philadelphia or expressing the sharp pang she feels at the glimpse of her father’s coffee mug that reads “Pizzazz,” the single surviving relic of him following his death. I really enjoyed her various observations on language because, despite her reverence for it, she is never precious about it. Haegele isn’t as concerned with preserving language as she is with observing the ways it has transformed. Old ways of communicating aren’t necessarily superior to current forms. She doesn’t mind the formation of so-called ungraceful words like “chocoholic” or the decline of cursive. Language isn’t stagnate, it effortlessly morphs and changes with time. But for Haegele, this malleability makes language all the more important. Words are arbitrary—they’re random sounds we’ve assigned specific meaning to—yet, significantly, they’re formed out of an essential human need to communicate. I love this idea, that language could be haphazardly formed while at the same time shaped for a distinctly human purpose.

I was particularly drawn to the essay “Another Word for Lonely,” which reflected on a few almost-synonyms of the word nostalgia found in different languages and cultures throughout the world. From a young age, I was fascinated with the past. I set out to find fossils in my backyard or begged my mother to buy me yet another twenty-five cent Victorian glass figurine. I loved these objects, and I would often dream of experiencing an older, grander time. They made me feel closer to a past I deeply longed for—admittedly a fictional, highly romanticized version of the past. But it was real to me, and I often feel that yearning still.

So when this essay explored different words that varyingly express this nostalgia, I was immediately captivated. There was some comfort found in reading the definitions of saudade, kaiho, hiraeth, and sehnsecht. Sure, the word saudade doesn’t diminish my romanticism and kaiho doesn’t make me feel any less lonely, but having the language to more easily describe that indefinable yet universal “hypochondria of the heart” at least makes me feel a little more understood. It’s nice to know I’m not alone in feeling or striving to describe these nostalgic sentiments.

And that is what is so great about Slip of the Tongue: it is so very human. In analyzing language Haegele is attempting to understand her own humanity, and she invites the reader into her life to make their own self-discoveries. It is so much more than a book about language; it is a book about life.

Call for submissions: Bikes in Space 4: Utopia / Dystopia

July 27, 2015 — by Elly Blue

Announcing…. a call for submissions for the fourth annual Bikes in Space anthology.

Our 2016 theme is: Utopia / Dystopia

Bicycle transportation is often seen as a means towards a utopian project. The joy of cycling, the environmental and health benefits, and so on, are spoken of almost evangelically, and many riders and advocates have lain awake imagining a world where the bicycle reigns supreme, or at least roams free. Some of the political backlash against cycling is a reaction to this dream of a bicycling future; a dystopian fantasy of a society where cars are outlawed and the freedoms they represent to many are curtailed. Yet others love bicycling but question dominant visions that often seems exclusionary and class-divided.

For the fourth volume of Bikes in Space, Microcosm’s Elly Blue Publishing invites you to imagine, write, and submit short stories and art on the theme of bicycling and utopias, with a feminist perspective. Golden visions of feminist pedal powered communities vs patriarchal auto-dystopias are fine. But even better are tales that complicate the idea of a fully perfect or fully terrible society, show unexpected viewpoints, and are fun to read.

Bikes in Space is an outlet for speculative fiction (or related genres) short stories with a feminist perspective that incorporate bicycling or bicycles in some way. What these things mean vary, and we seek a wide range of styles and viewpoints.

Most stories we publish are approximately 2,500 words. Some are much shorter, a few are slightly longer. In general, make your story the length it needs to be.

We especially seek stories that convey perspectives that have not traditionally been seen and heard in science fiction, and encourage people who don’t see themselves as fitting into any sort of science fiction establishment to submit stories.

Please email submissions to elly at microcosmpublishing dot com. The deadline for submissions is Nov 1, 2015.

To get a sense for the types of stories we publish, check out the original Bikes in Space zine, the second book, and of course volume 3, Pedal Zombies (the best way to get it before August 4, 2015 is via our Kickstarter project).

Big thanks to contributor Aaron M. Wilson (he has a story in the first volume, and wrote a series of bicycle sci-fi reviews for Pedal Zombies) for the idea, inspired by this year being the 100th anniversary of the original publication of Charlotte Perkins Gilman’s story Herland.