Clara Bingham reading from Witness to the Revolution

Witness to the Revolution: Radicals, Resisters, Vets, Hippies, and the Year America Lost Its Mind and Found Its Soul
9780812993189 – Random House – Hardcover – $30

I interviewed Clara Bingham about her terrific and important book, Witness to the Revolution for Writerscast.  You can listen to that interview here. When she was in the studio, I took the opportunity to ask her to read from her book as well. Here is that terrific selection. Of course if you like what you hear, you can buy the audio book and listen to the whole thing.

And if voices from the sixties is of interest, there is a wealth of such material online. There’s a great collection of interviews with sixties era radicals and activists at Winthrop University, for example, and much, much more to be found and heard.

 

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Clara Bingham: Witness to the Revolution

Witness to the Revolution: Radicals, Resisters, Vets, Hippies, and the Year America Lost Its Mind and Found Its Soul
9780812993189 – Random House – Hardcover – $30 – (ebook versions available at lower prices)

There have been many books written about the politics and culture of the sixties, but I don’t think there has ever been a book quite like this one.

Clara Bingham is a journalist who grew up just a bit too young to join in the festivities of what is now known as “The Sixties.” That term is actually a misnomer, as most of us know, since the decade of turbulence and strife really started in the mid-sixties and ended, more or less, with the close of the Vietnam War in 1975. However it is measured, and measuring time periods in history is never easy or altogether clear, that time was full of energy, social discord, cultural change, political engagement, joy and tragedy.

Ms. Bingham had relatives and family members who were old enough to participate actively in the youth culture explosion of that time, and we are lucky that their experiences inspired her interest in this historically significant era. She took upon herself a seriously daunting task, to try to understand what happened in the culture through the words of some of its key participants. It’s an altogether brilliant, inspiring effort.

She has chosen to focus on a single year to create a lens through which to see America in the throes of cultural upheaval. The book covers the period from August 1969 to August 1970, during which there were nine thousand protests and eighty-four acts of arson or bombings across the country. It was an incredible year, one that included so many key events of the time, both at home and abroad, including the rise of the Weather Underground, the invasion of Cambodia, Woodstock, May Day in New Haven, and the massacre at Kent State – and so much more.

As an active member of the counter culture myself in those halcyon years, this book brought back many memories, and reminded me of some of the things I’d forgotten about, as well as some of the people who were so important to us in those years. There’s so much in this book, there are some events and people I had not even thought about for almost 45 years. The first-hand accounts included in this book are important and powerful. These reminiscences can help us understand an era that is so much with us still – both culturally and politically. This book can help us understand why America is still in the throes of cultural and political upheaval, and is so culturally divided. While there were many failures in the sixties, and many terrible things done in the name of good intentions and beliefs, we are awash in the cultural forces unleashed then. The baby boomers who created the youth culture of the sixties are aging out of the population now, but the effects of that time continue to reverberate today.

There is so much of importance to be found in this book. I was really pleased to have a chance to speak to Clara about Witness to the Revolution. It’s an incredible effort and I hope it will help spur further conversations about the Sixties and what we can learn from that incredible era.

If you want to listen to Clara reading from the book, there’s a short segment over in Author’s Voices.

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David Wilk interviews Lee Klancher of Octane Press

Publishing Talks began as a series of conversations with book industry professionals and others involved in media and technology about the future of publishing, books, and culture. I’ve talked with publishing industry leaders about how publishing has and will continue to evolve and now include conversations that go beyond the future of publishing. I’ve had conversations with editors and publishers who have been innovators and leaders in independent publishing in the past and present. This series of talks continues to explore the ebb and flow of writing, books, and publishing.

For the past several years, I’ve been talking to editors and publishers of independent presses about their work. Many of them have been literary publishers. But there are a number of really excellent independent presses that have achieved success in other subject areas. It usually requires being specialized and knowledgeable about a specialized field, and being integral to a specific community of enthusiasts and readers, to find and sustain success.

Octane Press is one such endeavor. This fine publisher focuses on cars, farm machines, motorsports and motorcycles. This may seem a relatively narrow niche of readers, but it is one that works well for this publisher. Founded by photographer, writer and editor Lee Klancher, Octane Press is an excellent example of how to successfully build a print-based publishing business in the modern era. The company has won an array of awards, and has grown steadily since it began. I am very pleased to have had the opportunity to talk to Lee about his work and the story of Octane Press, and I think listeners interested in contemporary publishing will find his story compelling and his experience valuable.

Lee Klancher has been publishing great stories for more than twenty years. As an editor and publisher, he has worked on some of the most-respected and best-selling books in transportation publishing. He is a prolific author and an excellent photographer, and has contributed content to more than 30 books, as well as dozens of national magazines including Men’s Journal, Draft, and Motorcyclist.

Lee has taught writing and photography at the Minneapolis College of Art and Design. He is best-known for his photography of collectible farm tractors that appears in his books and calendars. Lee lives in Austin, Texas, where Octane Press is located. 

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George Gmelch: Playing With Tigers, A Minor League Chronicle of the Sixties

9780803276819 – University of Nebraska Press – 288 pages – Hardcover – $26.95 (ebook versions available at roughly similar prices)

Today, George Gmelch is a successful anthropologist, with a number of books to his credit. But when he was a young man, he was a very good baseball player, with the typical dreams so many shared of becoming a professional baseball player and making it to the Major Leagues. Growing up in an all-white suburb in California in the late fifties and early sixties, George led a fairly sheltered childhood, playing ball and having fun. In 1965 he signed a contract to play professional baseball with the Detroit Tigers organization and so began a four year period of coming of age, during which George experienced the challenges of life in baseball’s minor leagues.

While learning to be a professional athlete, he also became aware of the realities of race and class; minor league baseball in the nineteen sixties was often played in small towns in the south where segregation was still in effect, despite the advances of the civil rights movement. And as an adolescent on his own with other boys in the cocoon like world of pro sports, he also had his first experiences of sex and romance, living, traveling and playing ball. Somewhat unlike most of his teammates, George paid attention to the events of the era, including the Vietnam War, the rise of the counter culture, and civil rights protests.

Playing with Tigers is a memoir certainly unlike most others written by baseball players. The sixties was a time of turmoil involving young people of all backgrounds and professional baseball was not immune from its disruption. George was likely more socially aware than most of his compatriots, and his direct experience of racial issues ultimately led to the end of his professional baseball career.

To write this book, George relied on the journals he kept as a player, as well as letters from that time, and in addition he used his skills and experience as an anthropologist to interview thirty former teammates, coaches, club officials – and even some former girlfriends. This is a unique story, documenting a socially disrupted period in American history through the lives of many of the young people who lived through it. We get to experience first hand the naivete, frustrations and joys of a young man trying to find his way in a complex time. And clearly, some of the motivation for writing this book was unfinished business, events, relationships with people, his baseball experience, on which George wanted to gain some closure.

I read alot of baseball books, as many listeners know. Among the many I have read the past couple years, I found Playing With Tigers extremely compelling, and one I had fun reading. I very much enjoyed the opportunity to speak with George Gmelch for the second time – in 2013, George and I talked for Writerscast about another of his baseball books, Inside Pitch. In addition to being an intensely personal memoir, Playing With Tigers opens a door to a period in our history that deserves a lot more exploration than it seems to have been given. George has some great stories and a deep understanding and love for the people and places he’s experienced. This is a fine book and you do not need to know anything about baseball to like it.

George Gmelch is a professor of anthropology at the University of San Francisco and at Union College in Schenectady, New York. His books include In the Ballpark: The Working Lives of Baseball People, with J. J. Weiner (Bison Books, 2006), and Inside Pitch: Life in Professional Baseball (Bison Books, 2006). He is the editor of Baseball without Borders: The International Pastime (Nebraska, 2006). His writing has also appeared in the New York Times, the Washington Post, Psychology Today, Society, and Natural History.

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David Wilk interviews Brooke Warner of She Writes Press

Publishing Talks began as a series of conversations with book industry professionals and others involved in media and technology about the future of publishing, books, and culture. As we continue to experience disruption and change in all media businesses, I’ve been talking with some of the people involved in our industry about how publishing might evolve as our culture is affected by technology and the larger context of civilization and economics.

I’ve now expanded the series to include conversations that go beyond the future of publishing. I’ve talked with editors and publishers who have been innovators and leaders in independent publishing in the past and into the present, and will continue to explore the ebb and flow of writing, books, and publishing in all sorts of forms and formats, as change continues to be the one constant we can count on.

I really enjoy talking to the innovators in our industry who are creating new modes of publishing and opportunities for writers. Brooke Warner and Kamy Wicoff founded She Writes Press in 2012 to provide writers with new publishing opportunities. Kamy operated the online community, She Writes, which was created to connect and serve women writers, both established and aspiring, and Brooke came from independent publishing.

Brooke’s first job in publishing was with the renowned North Atlantic Books in Berkeley (founded by Richard Grossinger and Lindy Hough). Subsequently, she was Executive Editor at Seal Press, working there for eight years. Toward the end of her time there, she felt she was witnessing firsthand the contracting publishing environment, where as editor, she was frequently rejecting well-written books, simply because the authors she was working with did not have the kinds of “author platforms” that commercial publishers now virtually require.

Kamy and Brooke envisioned a new kind of publishing company that would enable authors to be invited to publish based on the merit of their writing alone. They wanted to establish a publishing business for women writers that would itself enable the kind of a platform that could launch – and grow – the writing careers of their client authors. In 2014, She Writes Press became part of SparkPoint Studio, LLC., whose CEO is Crystal Patriarche.

She Writes is now a solid publishing partner for authors who might otherwise struggle with self publishing. With a strong editorial effort, traditional book distribution (through Ingram Publisher Services) and an in-house marketing and publicity team (through Patriarche’s publicity company, BookSparks) available to SWP authors, She Writes Press has become successful in the emerging category of “hybrid” publishers.

In this interview, where Brooke explains how She Writes works and the problems it is solving for now more than a hundred writers, and talks about the current and future of trade book publishing.

In addition to being publisher of She Writes Press, Brooke is president of Warner Coaching Inc., and author of Green-light Your Book, What’s Your Book?, How to Sell Your Memoir, and the co-author of Breaking Ground on Your Memoir. She currently sits on the boards of the Independent Book Publishers Association, the Bay Area Book Festival, and the National Association of Memoir Writers. She blogs actively on Huffington Post Books and SheWrites.com. She lives and works in Berkeley, California.

Length alert – we had a good time talking so this interview runs just over 45 minutes.

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Kate Tempest: The Bricks that Built the Houses: A Novel

9781620409015 – Bloomsbury USA – 416 pages – Hardcover – $26 – ebook versions available at lower prices, paperback scheduled for February 2017

I found out about Kate Tempest more or less accidentally, through an odd set of search results one day while fooling around on YouTube, and therefore I must thank the seemingly strange, but often wonderful algorithms of its search tools. What a discovery! After seeing and hearing Kate’s poetry performances, I immediately bought her books and was completely enthralled.

I don’t seem to have too many poetry friends who know about Kate’s work, and that is a shame. She is British, and young, and very modern in affect. But she is an old soul, with a deep and powerful intellect, and her voice is one that I find both compelling and mesmerizing. I think she is simply a great writer, and stands out for the power of the words she marshals as well as the intellection that informs those words.

If you have not heard or seen Kate Tempest, or heard of her work, I’d urge you to visit YouTube now, and spend some time with her work. You might want to start with the incredible poem “Progress” (which you can also read to yourself in her book Hold Your Own). The video of her performing this poem gives you just a taste of what her work is like. It’s a remarkable commentary on religion and meaning. Tempest has got a lot to say and says it powerfully and clearly, with an almost religious (or in this case anti-religious) fervor. It’s totally captivating to listen to her syncopated rapping poetry. She has got the fever.

Kate has expanded her narrative abilities, moving from hip hop poet to playwright and now to novelist, an amazing journey that not very many poets or performers have undertaken. Usually poets are best at short bursts of ideas, or word paintings, they are not often masters of narrative, and while there are certainly poets who have written novels, novelists who write poetry, and songwriters who tell great stories, it’s not am easy thing to move from these genres to the more expansive form a novel takes, and the concentration on detail and complexity of characters as well.

From what Kate told me when we talked, she conceived this story first for one of her rap albums, and then carried the novel around with her while she toured with her band, alchemically transforming the story from poetry to prose, somehow managing to find the time and emotional space to get it down whole whilst on the road (and then later rewrote and rewrote to get it done).

The book is told in flashback from a powerfully lyrical opening scene, and it takes the reader some time to get her bearings and then to figure out who the various major and minor characters are, how they are related, and how they interact. But as the story unfolds, we begin to understand the journey, and these characters become indelible and specific, telling a story that is compelling and intense – and morally ambiguous. This is a modern wrapper around an ancient story, impossible to put down as it moves forward with breathless energy and heart felt imagination.

I really enjoyed talking to Kate about this novel and her work as a writer and performer. We talked in the New York office of her publisher, Bloomsbury USA.

Kate Tempest was born in 1985. She grew up and still lives in South-East London. She started out as a rapper, and a poet, and began writing for theatre in 2012. Her work includes Balance, an album she made with her band Sound of Rum; Everything Speaks in its Own Way, which is a collection of poems published by her own imprint Zingaro; GlassHouse, a forum theatre play for Cardboard Citizens; and the plays Wasted and Hopelessly Devoted both written for Paines Plough theatre and published by Bloomsbury Methuen. Her epic narrative poem Brand New Ancients won the Ted Hughes Award for New Work in Poetry. Everybody Down, her debut solo album, came out on Big Dada Records in 2014, and is the direct precursor to her novel The Bricks that Built the Houses.  Her most recent collection of poems is Hold Your Own; it’s based on the myth of the blind prophet Tiresias (I recommend you find and read this book; the language is fantastic).

“As Tempest’s gorgeous streams of words flow out, they conjure a story so vivid it’s as if you had a state-of-the-art Blu-Ray player stuffed in your brain, projecting image after image that sears itself into your consciousness” – New York Times

From Brand New Ancients:

In the old days,
the myths were the stories we used to explain ourselves

but how can we explain
the way we hate ourselves?

The things we’ve made ourselves into,
the way we break ourselves in two,
the way we overcomplicate ourselves?

But we are still mythical.

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David Wilk interviews Jess Brallier

Publishing Talks began as a series of conversations with book industry professionals and others involved in media and technology about the future of publishing, books, and culture. As we continue to experience disruption and change in all media businesses, I’ve been talking with some of the people involved in our industry about how publishing might evolve as our culture is affected by technology and the larger context of civilization and economics.

I’ve now expanded the series to include conversations that go beyond the future of publishing. I’ve talked with editors and publishers who have been innovators and leaders in independent publishing in the past and into the present, and continue to explore the ebb and flow of writing, books, and publishing in all sorts of forms and formats, as change continues to be the one constant we can count on.

Jess Brallier is one of those interesting, experienced innovators in publishing with whom I enjoy talking about all sorts of book related subjects. He’s worked in adult trade publishing, but has also had significant success with children’s and YA books, has long been involved in digital technologies, and notably was instrumental in the creation of the wildly best selling Diary of a Wimpy Kid by Jeff Kinney. And he is a prolific book writer himself, as well. His vast experience has provided him with a unique perspective about books and publishing, and he is just the kind of person who makes this interview series interesting and fun for me to do.

Here’s the more or less “official” biography Jess sent me: Jess M. Brallier currently serves the publishing industry as a media and revenue agnostic consultant to small, mid, and large publishing houses, and a developer of original IP, both print and animated. His career spans the publishing of books and digital storytelling from brick-and-mortar and the web, to virtual worlds and social media. He had his own children’s imprint, Planet Dexter (Penguin) and used the web to establish and launch newly $800M in original IP (Diary of a Wimpy Kid, Big Nate, Poptropica, Galactic Hot Dogs, etc.)

He also worked closely with, and was essential to causing bestsellers for, Norman Mailer, William Manchester, William Least Heat Moon, Herman Wouk, William Shirer, Bailey White, Anne Morrow Lindbergh, and many others. Brallier is a frequent speaker at both digital and book industry conferences, has served on the faculty of university-based publishing programs, and is the author or co-author of over 30 adult and children’s books.

I hope you enjoy listening to Jess as much as I did.

And not too long at 41 minutes, in case you were wondering.

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Chris Offutt: My Father, the Pornographer: A Memoir

9781501112461 – Atria Books – 272 pages – Hardcover – $26.00 – ebook versions available at lower prices

Chris Offutt’s father, Andrew Offutt, left behind an unusual legacy – a massive quantity of pornography he wrote over a long swatch of his life. Besides being at one time a respected insurance agent, and subsequently a successful but still minor science fiction writer, Andrew Offutt spent years writing pornography, and made himself the “king of twentieth-century smut.”

During the 1970s, after Grove Press and other publishers had helped break down the barriers to legal publishing of pornographic and erotic literature, the floodgates of erotic writing opened up to meet a formerly unreachable demand. Several specialized, but relatively small commercial publishers created a mini-industry to satisfy an emerging market for written pornography and erotica of all kinds. During the height of the popularity of these books, some writers were able to make reasonable livings by turning out massive quantities of what was essentially pornographic pulp fiction.

Andrew Offutt was one of these writers, but unlike so many other high volume writers,  he was singular in his commitment to good writing and real plot lines, among other features of traditional fiction. As one might imagine, Andrew Offutt was an unusual man, and a strange and awkward parent keeping secrets about his work and the toll it took on his psyche.

Chris Offutt therefore grew up in a highly unusual world. His mother was the typist for all his father’s books. The family lived in the Kentucky hills, where most kids grew up hunting and fishing, and learning the pleasures of traditional country woodcraft.

Andrew Offutt was more than a little eccentric, and was a fiery and unpredictable father. When he closed the door to his home office, he demanded silence and to be left alone to concentrate on his writing, terrifying and controlling his family. And Offutt took the entire family with him when he went off to science fiction conventions, where he was a sought after figure, playing the role of the exotic sci fi novelist. In the seventies, Chris’ parents were evidently active swingers at these conventions.

During this time, Andrew Offutt wrote an incredible number of books – in total, more than four hundred novels, including pirate porn, ghost porn, zombie porn, and secret agent porn.

In 2013, after his father died, Chris Offutt returned to help his mother move out of his childhood home. In order to make sense of his father and his own childhood, Chris took on the herculean task of reading and organizing his father’s manuscripts and the vast trove of memorabilia, journals, and letters that accompanied them. It was only through the lens of his father’s writing that he was finally able to bring some closure to his understanding of this difficult and sometimes brilliant man. And at the same time he was able to gain a better understanding of himself as a person, father and of course, his own life as a writer.

This book is a remarkable literary and personal effort of psychic and literary exploration, truly one of the best memoirs I have read. Perhaps because my own father was similarly a writer who made his living through his work with words, this book meant a lot to me.

It was a great pleasure to have the opportunity to speak with Chris Offutt about his courageous and beautifully written memoir, and his own creative work as a writer.

Chris Offutt was born in 1958 in Lexington, Kentucky and grew up in the small town of Haldeman in the same state. He went to Morehead State University, and then to the University of Iowa, where he earned an MFA from the famed Iowa Writers Workshop. His first short story collection was Kentucky Straight, published in 1992. Along with fiction and memoirs, Chris has also written comics and journalism for several magazines and newspapers. In recent years, he has written for television as well (Weeds and True Blood).

Chris has received awards from the Lannan Foundation, the Guggenheim Foundation, the American Academy of Arts and Letters, and the National Endowment for the Arts. He received a Whiting Award in Fiction and Nonfiction.

“Chris Offutt owns one of the finest, surest prose styles around, ready and able to convey the hardest truth without flinching. Now Offutt enters the darkest and most mysterious of places—the cave of a monstrous enigma named Andrew J. Offutt—armed with nothing but his own restless curiosity. Spoiler alert: He makes it out alive, walking into the daylight to bring us a deeper, funnier, more tender and more heartbroken truth—and his masterpiece.” —Michael Chabon

I’m as impressed as Michael Chabon is with this fine book.

And Offutt knows how to give a great interview too.

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David Wilk Interviews Richard Grossinger of North Atlantic Books

Publishing Talks began as a series of conversations with book industry professionals and others involved in media and technology about the future of publishing, books, and culture. As we continue to experience disruption and change in all media businesses, I’ve been talking with some of the people involved in our industry about how publishing might evolve as our culture is affected by technology and the larger context of civilization and economics.

I’ve now expanded the series to include conversations that go beyond the future of publishing. I’ve talked with editors and publishers who have been innovators and leaders in independent publishing in the past and into the present, and will continue to explore the ebb and flow of writing, books, and publishing in all sorts of forms and formats, as change continues to be the one constant we can count on.

It’s my hope that these conversations can help us understand the outlines of what is happening in publishing and writing, and how we might ourselves interact with and influence the future of publishing as it unfolds.

Over the past few years, I’ve talked to a number of independent publishers in an effort to document the extraordinary period of the past 40 years, which has been a sort of golden age of innovation and creativity, as publishing has literally been redefined. The number of great publishers established during this time in almost every category of publishing is pretty incredible.

One of the presses that has had a special impact on my own work is North Atlantic Books, founded by Richard Grossinger and Lindy Hough, as a transformation of their literary journal, Io, which they began together in 1965 as undergraduates at Amherst and Smith Colleges respectively. Richard and Lindy have been important mentors, friends, and colleagues to me for more than forty years, and their influence on my thinking about writing, ideas and books has been profound.

Since both Richard and Lindy are writers and editors with their own individual interests and styles, I thought it would make sense to interview each of them separately for this Publishing Talks series of conversations. Each of these conversations can stand independently or together. They tell two versions of an almost mythologic story, which I hope listeners will find as compelling as it was for me when I spoke to them.

Io is one of a number of influential literary magazines established in the sixties and seventies, publishing poets, film-makers and visual artists, many of whom were related to what has become known as the New American Poets, with influences ranging from Black Mountain College and the New York School to hermeticism and mystical spirituality. Io was singular in that it was most frequently a one-subject magazine, and this led eventually to the establishment of North Atlantic Books, which was incorporated in 1974 as a non-profit literary publisher in California.

Richard Grossinger was born November 3, 1944, and grew up in Manhattan. He graduated from Amherst College in June 1966 with a B.A. in English. That same month he married Lindy Hough, who attended Smith College in Northampton, Massachusetts.

He received a Ph.D. in anthropology from the University of Michigan for an ethnography incorporating economic and ecological studies of fishing communities in Eastern Maine and subsequently taught anthropology and other subjects at the University of Maine and Goddard College.

Io published 23 issues through 1976 before merging with North Atlantic and converting its publications to anthologies thereafter. Richard and Lindy served as the co-publishers of North Atlantic Books from 1974 onward, and Grossinger now functions mainly as acquisitions editor, while the press is run by its staff and board of directors.

Grossinger is the author of many books including Planet Medicine, The Night Sky, Embryogenesis, New Moon, Migraine Auras, On the Integration of Nature, and The Bardo of Waking Life.

This is the “official” description of North Atlantic Books, taken from its website:
North Atlantic Books is a nonprofit publisher committed to an eclectic exploration of the relationships between mind, body, spirit, and nature. Founded in 1974 by Richard Grossinger and Lindy Hough, NAB aims to nurture a holistic view of the arts, sciences, humanities, and healing. Over the decades, it has been at the forefront of publishing a diverse range of books in alternative medicine, ecology, and spirituality. NAB is the publishing program of the Society for the Study of Native Arts and Sciences, a 501(c)(3) nonprofit educational organization that promotes cross-cultural perspectives linking scientific, social, and artistic fields. With more than one thousand books in print, NAB has operated from Berkeley, California, since 1977.

My conversation with Richard Grossinger was recorded in December, 2016. This interview runs 52 minutes.

More about Richard Grossinger here.

Richard’s history of North Atlantic Books is on his website here. Companion interview with co-editor and co-publisher Lindy Hough is here.

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David Wilk interviews Lindy Hough of North Atlantic Books and Io Magazine

Publishing Talks began as a series of conversations with book industry professionals and others involved in media and technology about the future of publishing, books, and culture. As we continue to experience disruption and change in all media businesses, I’ve been talking with some of the people involved in our industry about how publishing might evolve as our culture is affected by technology and the larger context of civilization and economics.

I’ve now expanded the series to include conversations that go beyond the future of publishing. I’ve talked with editors and publishers who have been innovators and leaders in independent publishing in the past and into the present, and will continue to explore the ebb and flow of writing, books, and publishing in all sorts of forms and formats, as change continues to be the one constant we can count on.

It’s my hope that these conversations can help us understand the outlines of what is happening in publishing and writing, and how we might ourselves interact with and influence the future of publishing as it unfolds.

Over the past few years, I’ve talked to several independent publishers in an effort to document the extraordinary period of the past 40 years, which has been a kind of golden age of innovation and creativity as publishing has literally been redefined. The list of great publishers established during this time in almost every category of publishing is amazing.

One of those presses that has had a special impact on my own work is North Atlantic Books, founded by Richard Grossinger and Lindy Hough as an outgrowth of their literary journal called Io, which they began together in 1965 when they were undergraduates at Amherst and Smith Colleges respectively. Richard and Lindy have been mentors, friends, and colleagues of mine for more than forty years, and their influence on my thinking about writing, ideas and books has been profound.

Since both Richard and Lindy are writers and editors with their own individual interests and styles, I thought it would make sense to interview each of them separately for this series of conversations. These two conversations can stand independently or together. They tell two versions of an amazing and almost mythologic story, which I hope listeners will find as compelling as it was for me when I spoke to them.

Io Magazine traveled with Lindy and Richard, moving to Michigan, Maine, Vermont and eventually California. Io is one of a number of influential literary magazines established in the sixties and seventies, publishing poets, film-makers and visual artists, many of whom were related to what has become known as the New American Poets, with influences ranging from Black Mountain College and the New York School to hermeticism and mystical spirituality. Io was singular in that it was most frequently a one-subject magazine, and this led eventually to the establishment of North Atlantic Books, which was incorporated in 1974 as a non-profit literary publisher in California.

North Atlantic Books has become one of the most successful and influential independent presses in America with a strong focus on spirituality and alternative health, while continuing its commitment to literary publishing.

Lindy graduated from Smith College and received an MFA in Creative Writing at Goddard College. She is the author of seven books of poetry, non-fiction, and fiction (including one book I published in 1978, the excellent Outlands & Inlands). She has taught literature and writing in Michigan, Maine, Vermont and California, and is currently finishing a novel.

This is the “official” description of North Atlantic Books, taken from its website:
North Atlantic Books is a nonprofit publisher committed to an eclectic exploration of the relationships between mind, body, spirit, and nature. Founded in 1974 by Richard Grossinger and Lindy Hough, NAB aims to nurture a holistic view of the arts, sciences, humanities, and healing. Over the decades, it has been at the forefront of publishing a diverse range of books in alternative medicine, ecology, and spirituality. NAB is the publishing program of the Society for the Study of Native Arts and Sciences, a 501(c)(3) nonprofit educational organization that promotes cross-cultural perspectives linking scientific, social, and artistic fields. With more than one thousand books in print, NAB has operated from Berkeley, California, since 1977.

Richard and Lindy are now retired from full time work with the press they founded, and each is now actively writing and editing books.

Our conversation was recorded in December, 2016. (55 minutes runtime)

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