The Clearing is an animated short that recently achieved Oscar nomination eligibility. It is the brainchild of Daniel Robert Hope who wrote, directed, and animated this devilishly good character study. If you are a fan of Wallace & Gromit, then you’ll enjoy this dark and spooky character study. It was my pleasure to chat with him for a bit about this intriguing new short work.
You will be able to see The Clearing for yourself beginning on December 9th as part of The New Yorker Screening Roomseries.
Bill is a wildly delusional sad case. He thinks of himself at the head honcho of the family but he neglects his wife and son at every turn. It’s only a matter of time before he gets his comeuppance and then some. Deb is his partner and she’s pretty much had it. Perhaps some unexpected development will set things straight.
Bill and Deb are played by legendary comedy talents, the husband and wife team of Julian Barratt and Julia Davis. Hope conjures up a riveting morality play spiked with wonderful dry wit that is fully brought to life by the voices of Barratt and Davis.
Silly and sad in equal measure, Hope’s surreal comedy would fit right into a vintage episode of The Twilight Zone. Hope was joined in his efforts by producer Johannes Schubert, who was named Austria’s Producer on the Move at the Cannes Film Festival in 2022 and was featured on the Forbes 30 Under 30 list.
The Clearing is the latest of a host of outstanding animations to come out of the U.K.’s prestigious National Film and Television School, including Wallace & Gromit, The Hill Farm, Head Over Heels, The Bigger Picture, and many more.
Anna Haifisch is one of our great artist-cartoonists with an impressive portfolio already in her young career. You may know her from The Artist comic strip series that appeared on Vice.com. In this interview, we chat about her latest book, Schappi, published by Fantagraphics. It was a pleasure to review this book recently for The Comics Journal. You can read my review here.
An artist out for a light snack.
So, the goal here was simply to have a pleasant conversation and perhaps scratch the surface a bit on the whole subject of comics as fine art. At this point, I believe there can be little doubt over comics being a true art form, just as entitled as paintings to be displayed in a museum. The fact is that the comics medium fits right in with other established forms and uniquely inhabits the art world space. Comics, as an artwork, can be shown in original form; is easily blown up to cover a wall space; and is tailor-made for any kind of book or digital format. The future is indeed very bright for comics in galleries and museums.
That said, it is a nice treat to be able to discuss this subject with a cartoonist of the caliber of Haifisch, who can lay claim to her own show of her work at a major museum, the MdbK in Leipzig. As Haifisch pointed out during our talk, museums are still coming around to comics. Unless you’re a figure of the magnitude of an R. Crumb or a Chris Ware, cartoonists are still edging their way into the higher strata of the art world. Well, that is steadily changing.
Comicfestival Hamburg, MOM Art Space, 2021
That steady change will quicken each time that cartoonists manage to take control of the narrative. All one needs to do is observe the work that Art Spiegelman has done on behalf of cartoonists, including himself, in making inroads into academic and museum circles. It doesn’t happen overnight but it does happen. In the case of Haifisch, she is making strides in a very natural way. The whole idea of dedicating time and effort on the museum catalog is utterly priceless! We discuss at length Chez Schnabel, the publication that resulted from the art show at MdbK. There’s your key to progress: a book about the artistic process with content made exclusively for the book. Talk about controlling the narrative! It’s quite informative and a delight to read. For example, I had to ask Haifisch about the drawings she did in connection with The Peabody Hotel. Did she go to Memphis and draw the famous ducks on parade? Well, no. As it turns out the idea of creating illustrations about hotel ducks was just too hard to resist and so she used that to add some color to a relatively dry interview with some museum dignitaries discussing Haifisch’s work. And it did the job just fine.
Happiness, Where Are You?
Learn more about Anna Haifisch by visiting her website right here.
“The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.”
— Robert Frost
We’re in Virginia Beach so let’s walk across First Landing State Park on the Cape Henry Trail and do some nature hike sketching. It’s time for this urban sketcher to get back to nature!
This is the state park that I walked across. It’s a nice workout!
I’ve been meaning to share with you again some of my art-making adventures. This is something that’s been in the works for a while. Bit by bit, I gathered up the will and motivation to tackle my new local state park. I’d been venturing forth a little at a time, getting used to it and then, finally, I decided to go from one end of it to the other! Now, it doesn’t seem that 6 miles is so bad at all. And, since I live near it, it’s about time.
Virginia Beach Seagull by Henry Chamberlain
I put this video together of some of the best moments from some of my visits leading up to my longest hike, from one end of the Cape Henry Trail to the other. If there are any natives reading this, I’d be curious to read about your own experiences with the park and if you too have walked the length of this trail.
Green Snake by Henry Chamberlain
A word of caution: Keep an eye out for snakes. I have no plans of getting too close to any snakes. As they say, the snakes are more afraid of you than you are of them, even the poisonous ones. So far, I’ve come across a green grass snake (non-venomous) and a Copperhead (venomous). It turns out that Copperheads are the most common venomous snake in Virginia, found in all regions. Snakebites are supposed to be rare. It helps if you stay away from them!
Forest Surrounding Sun by Henry Chamberlain
So, go in there mindful of your surroundings. Aside from safety concerns, if you’re really looking closely enough, you’re bound to see some amazing sights. It may take a minute but you’re bound to reach some scenic gems. In this case, you’ve really got a surf and turf panorama before you: world class beaches and a first-rate state park.
You can learn more about First Landing State Park right here.
Contact artist Henry Chamberlain for art sales, commissions, etc.
It is a little hard to believe that World War 3 Illustrated, now nearly half a century in the struggle for challenging art and social change, seems so fresh. Sometimes, the “fresh” is fresh blood, at least as much as fresh-growing plants or humans in their increasingly inhumane environments. WW3 can be grim and means to be grim, here and there in the pages, some lavishly drawn in color. The editors insist that the book is intended to “repair the world, and ourselves,” even bearing a gardening theme that pops up a couple times. The splendid experimentation in comic art offers, in any case, a way forward and a hope.
Per usual, the variety of work defies any easy generalization. Where else would pages by Ben Katchor, sometime New Yorker illustrator, be found alongside those of Sabrina Jones, Kevin Pyle, Sandy Jimenez, Seth Tobocman and a host of young artists making what is likely their first appearance in print, or something close to their first? WW3 is, by intent, not only a political expression of radical ideas but a school for learning and development, an outlet for young idealists to try out their work in just about any form. Some of the results are inevitably stronger than others. But again and again, the intensity of the effort comes through, sometimes along with a surprising personal candor.
Thus we find the notoriously excitable Seth Tobocman explore himself, his own life, in “Rage,” rooted in family experiences but realizing itself in social struggles where anger helps and hurts, is at once either justifiable or inexplicably self-destructive. He has drawn on various subjects so often, we naturally respond to his multi-general family saga beginning in the Cleveland of his childhood, and the grandparents’ bodega (aka “Candy Store”). The more prosperous side of the family can relax and enjoy upward mobility; the less prosperous carries a rage and resentment at what happened to Jews in the twentieth century. Both sides unite, so to speak, in the drive for children to achieve and advance, whether they want to or not.
Thus Milwaukee’s own Sue Simenski Bietila, a school nurse by profession, who lays out the tales of Street Medics from the 1960s to now, volunteers who are threatened, sometimes beaten or arrested by cops, for providing aid and sanction. Thus in 2020, in Kenosha, Wisconsin, Bietila shows us street medic Gaige Grosskreutz, who tried to stop a high school right-winger from murdering a protester, but was murdered in turn (Fox News glorified the shooter, who was acquitted.) Bietila knows the issues and the moments of struggle as no outsider could. She’s an artist on the job, the unpaid job.
Thus the artist calling herself “Fly” delivers seven jarring pages on George Floyd. Christopher Cardinale describes the use of masks in New York (forbidden on the streets from 1845, then mandated in 2020, albeit with occasional police assaults against anyone who urges them to put on masks) in political and personal terms.
Thus artist Kevin C. Pyle takes us to the Sonoran Desert in southern Arizona, where the building of The Fence and the misuse of an aquifer in the building process only begin to accelerate the degradation of ecosystem and the Tohono O’odom Nation, on site for centuries. Against this background or creating a background is philosopher Walter Benjamin, his quotes effectively explaining the deep and terrifying logic of “progress” as destruction laying the basis for more destruction.
Gianluca Constantini and Elettra Stamboulis take us to Bergamo, Lombardia, in Northern Italy, where the health system was said to be among the best in the world. Come Covid, the reality of a continuing privatization was revealed. Bodies piled high and the artist trapped in his studio struggled to grasp the moment. “Doctors became heroes for a while. But we need…continuing social justice, not just heroes for a day.”
I’m drawn, so to speak,to the pages of Sandy Jimenez, Bronx educator who loses his job after fifteen years, finding himself in middle age without any certainly what he will do or even who he has become. He works it out, partly by elaborating a friend’s saga, the erstwhile Vietnam Vet who looks back with horror at the killing, and gains self by coming out. Jimenez ends by embracing his younger friends, poor Latin Americans or Eastern Europeans who find their way to the Bronx. They show him that he has a role beyond working for a living: it is quite a gift.
I am also drawn to the familiar touch of Sabrina Jones, seen here recovering the familiar bunny (source of “Br’er Rabbit” in Southern folklore exploited by Disney but very real nonetheless as the weak animal who has historically outwitted the more powerful animals including humans) but now faces all-destructive “development.” Lawns, fences, pesticides ruin what could still be recuperated as a healthy environment for Mr. Rabbit and his animal friends, birds and frogs to butterflies. Message: let your land re-wild itself with native habitat!
More should be said about the color work of Paula Hewitt Amram, the occasional color page by Kate Gerhart or the rightly renowned Eric Drooker. And the black and white full page drawings by Tom Keough of James Baldwin, Harriet Tubman and others less famous. More could be said about so much more in these pages. But I leave them for readers to discover.
Paul Buhle’s latest collaboration is ¡BRIGADISTAS!, a story of the Spanish Civil War; his next ones include a pirate comic and an adaptation of W.E. B. Du Bois’s Souls of Black Folk.
‘Good Eggs’ by Hurricane Nancy. Color by Henry Chamberlain.
Hurricane Nancy shares with us a little tribute to those folks we can rely upon and who bring a ray of sunshine into our lives. Here’s her piece, Good Eggs. Nancy’s work is done in her own iconic black-and-white style. That’s just the way a lot of underground artists worked; and it is still created that way today by artists who prefer to keep to ink and paper and not use color. But Nancy has given me permission to add color to her work if I choose to. So, here’s another contribution with my added color.
Nancy’s work goes back to the East Village Other, circa 1966. Trailblazer Trina Robbins names Nancy as an inspiration to move forward with her Wimmen’s Comix movement. In fact, Nancy was a founding member of Robbin’s all-women comic book series, It Ain’t Me, Babe, which began in 1970. Sixty-five pieces of Nancy’s cartoon art are in The Billy Ireland Cartoon Library and Museum at Ohio State University. Nancy currently produces cartoons influenced by the oddities of current life and more. Visit her at hurricanenancy.com.
It was over an egg cream, or two, that I concluded, or finally admitted, that I was indeed a treasure trove of knowledge, insight and overall sensibility regarding a whole rat’s nest of pop culture and various related concoctions. It is all stored in my mind, still whirling away, processing and extrapolating. I couldn’t just assume that what I knew was something that everyone else knew. Ah, and then, conversely, I couldn’t dismiss what I knew as something other people would not be interested in. Well, I knew this all along–isn’t that what led me to this blog? Yeah, and it led me to this diner, this gloriously runny egg and pancake and this most banal yet delectable egg cream! There are many folks out there who still admire, love and can’t resist a good egg cream. It doesn’t matter how many of a younger generation might act as if they don’t care. Forgive these dewy-eyed naysayers for they know not what they do. Because, given a chance, they would reveal that they care very much.
“Isn’t that exactly how it was for you?” I asked my young friend, Nelson here, the guy I was told would give me a tour and help me set up my Ghost Busters mission. They promised me an all-expenses-paid residency and all I had to do was make heads or tails out of the ghost in the attic, or the staircase, or just out of view each night from an upper window. I was told that my unique background was very attractive for this assignment. I’d pleaded that I was nothing more than an over-rated dilettante at best. But the foundation, the whole board, agreed that I possessed a certain sensitivity to matters, esoteric, cerebral and ephemeral, that they just couldn’t resist at least giving it a try. So, maybe I was an unconventional choice, but, what the hell, you only live once, right? Everyone said I was a pop culture sensitive! And it took someone like me to draw out the ghost, given that it was such a fanciful creature of pulp and the fantastic. It was often called “the ultimate figment of the imagination.” I wasn’t sure what that implied or what exactly a “figment” was supposed to be. Truth be told, I have more than a passing connection with the supernatural.
“So, anyway, given the chance, you’re as charmed by an egg cream as I am, right?” I knew what he’d say. Finally, letting out a sigh, “Of course! Henry, I think I love egg creams almost as much as you do, even if I’m the last person who would have tried one out. I’m more of a beer guy.”
“Well, beer is a whole other subject but it definitely has its own quirky history, like an egg cream.” I gave him an empathetic smile. I think, only recently, did he get this gig involving a haunted house. Was he more a real estate guy or more of a spooky ghost and goblin guy? I wasn’t sure. It took me a while to understand that maybe his most important purpose was simply to rally me into action and get this whole thing off the ground.
The magic of an egg cream.
“Everything has a history.”
My head was spinning, just a bit, but I wanted to press forward. It had been a wild ride thus far. Only a few hours ago I had been in Seattle. Here I was crisscrossing all over Manhattan. It was a lucky turn that led us to Landmark Coffee Shop, deep in the Bowery, one of the great haunts of so many happy souls, lost or otherwise.
“I mean a history that you could turn into a novel, that kind of history, with twists and turns, romance, mystery.”
“What is it about an egg cream that grabs you most?”
“The humanity of it all. No one knows, for sure, how the egg cream came to be but it’s very likely a case of simply making do with limited resources. A little sugar, or syrup, a little milk, and a little fizzy water. That’s all you need and you’ve got an egg cream.”
“Yeah, well, I’d prefer a Coke.”
“Exactly. Coke, and other soft drinks, paved the way for the demise of the egg cream. It’s a relic of another time. But those with heart and soul will seek it out, keep it alive and well.”
“Okay then, that’s why they hired you for this ghost whisperer gig. You love a good ghost story. You want to dance with ghosts. And then there’s that book you wrote about that ghost . . . but maybe I’m getting ahead of myself.”
“Yeah, we can discuss that later on. I’m glad we managed to at least initally agree on the qualities of the noble egg cream. I’m telling you, it’s an excellent portal into the past! Perhaps in ways . . . beyond the scope of this convivial little conversation . . . I’m talking about ancient rites . . .”
“You know what I really like, a good root beer float! That’s sort of like an egg cream, isn’t it?”
“Pretty close but not really.”
–to be continued.
Enjoy the video where I show you how to make an egg cream and give you a mini-tour of a classic New York diner that serves egg creams. If you find this interesting, you may also want to check out my book, Sometimes You Just Want an Egg Cream, available thru the Comics Grinder store.
In my video, there’s a demo on how to make your own egg cream. The beauty of the egg cream is how versatile this little treat is. You can get fancy and order an artisan version of it or you probably have the ingredients you need right in your own kitchen. For this demo, I used the Brooklyn Seltzer Boys Egg Cream Kit. So, you don’t have to live in or near New York or Brooklyn to get the real deal. You can order this kit and have yourself quite an authentic experience. The second video gives you a tour of Brooklyn Seltzer Boys, the remaining source for true authentic seltzer.
It’s the most wonderful time of the year for many indie comics fans making their way to Short Run Comix & Arts Festival in Seattle. This Saturday it’s the place to be to meet up with old friends, survey recent comix offerings and nab some items making their debut, like Brandon Lehmann’s WOMP WOMP #3. Are you already a Brandon Lehmann fan, or have you been waiting for a friendly nudge? Well, here goes. Let’s take a peek at this new title, a fine example of what you can find at Short Run.
WOMP WOMP #3 is Brandon Lehman’s new 28-page full color book debuting at Short Run.
What happens in the pages of WOMP WOMP stays in WOMP WOMP. All the more reason to seek it out. Seriously, these kind of books don’t read themselves. But if this book could, it would have hilarious tales to tell like the first story in this collection, “The Time Machine.” Yeah, you read that right. Lehmann goes on an all-out time travel trope bender to give the reader masterfully crafted satire. Lehmann keeps perfecting what he does to the point of it being just a sheer joy to read. I think he’s developed a highly original universe of deadpan humor that, like Frankenstein’s monster, is a beast moving under its own power. Ah, but don’t aim a pitchfork at this guy. Read. Enjoy. I think Lehmann is having a great time with his work and that’s a reward onto itself. And yet, it’s not too much to ask for more. With each year, more fans emerge, more ideas take shape for more comics. I see that Lehmann has some amazing prints of stand-alone art to sell along with his comics. I hope to maybe even see some animation down the road. Whatever he does, it’s finely-crafted and worth your attention.
Page excerpt from “The Time Machine”
So, in closing, I say, “Womp! Womp!” to all of you! “Womp! Womp!” Say it out loud. Fascinating how it instantly amuses. Well, it sounds like that sound you hear on game shows when the contestant gives the wrong answer, right? It’s a funny and weird sound and, hey, it can be a quick tonic for so much that we have to put up with in life. It sure is. I’m not gonna lie! I’m not gonna lie! Oh, how I hate that phrase. Have you ever heard anything more vacuous and phoney?! Well, . . . of course, you have! We put up with so much. All the wretched counter-intuitive contortions we must endure. And for what? As a sign that we’re a team player and totally and utterly sane? No, it’s madness, I tell you. Sheer and total bonkers. So, yeah, you make some time for yourself. A little (or a lot!) of ME time and yell it out proudly, scream it out unabashedly, “Womp! Womp!”
Big Red. Jerome Charyn. Liveright. New York. 2022. 304pp. Hardcover. $28
Orson Welles was a magician in the truest sense of the word. He loved to dazzle an audience. And he was utterly fascinated with the process in which to dazzle. Many an entertainer and creative loves magic. To excel in this conjuring art form requires skill, passion, and no small amount of ego. And so it makes sense that such an inquistive novelist as Jerome Charyn, one who loves magic and is intrigued by magicians, not to mention movies, should pick Orson upon which to build a novel. Add to that the fact that Welles was married to one of the most beautiful and enigmatic of movie stars, Rita Hayworth, and you have the perfect framework for a tale about Old Hollywood.
Orson Welles portrait by Irving Penn, for Vogue 1945
Throughout the novel, Orson Welles is called, “The Boy Wonder,” as much in honor of his genius as a dig at his excess. Welles was, in many respects, one of a kind, an outsized force of nature, untamed and undisciplined, and therefore an imperfect maestro. He was a masterful filmmaker, creating unique imagery, capturing compelling performances from his fellow actors, but prone to missteps in his lavish storytelling. He was also sloppy in his personal relationships, as Rita Hayworth, aka “Big Red,” could attest. However, as Charyn comes back to again and again, there was no director quite like him. This is a novel about art colliding with life and vice versa. Orson Welles seemed to be able to better tolerate the burden of celebrity than his spouse, Rita Hayworth. But even The Boy Wonder had his limits. Charyn plays with these dynamics, these contradictions, repeatedly bringing home the fact that a big, flat footed and insecure man, no matter how talented, was perpetually bending to the pressures of being a Boy Wonder. And if the pressure should prove too much for someone as flamboyant as Welles, then how must it have been for someone so shy and demure as Rita Hayworth?
The true nature of one Rita Hayworth, with her own nickname, both a tribute and a put down, gets to the crux of the matter. Charyn brings out the fact that the real person behind the name wears the name of Big Red like an albatross around her neck. In a moment of passion, the nickname can praise just as quickly as it can cut. Who can live up to all the larger-than-life expectations? Not Rita, or Margarita, the girl who lost her childhood to a father who exploited and abused her, making her his dancing partner by age twelve, the two of them working as a duo in casinos, treating her as if she were his lover. The abuse had left her with little of a voice, a life of depression and despair, even though she had honed the skills, from an early age, of a great entertainer. Charyn provides the reader with a portrait of a formidable beauty with the soul of a frightened child.
Rita Hayworth in 1946’s Gilda.
Orson Welles and Rita Hayworth were married from 1943 to 1947. Much of the novel focuses on the dynamics of this mismatched couple. It was in star power that Hayworth held her own, and even eclipsed Welles for a time. But her shyness seemed to cancel out her extraordinary beauty. Charyn places a unique character, Rusty Redburn, right in the middle of the action, someone who manages to navigate her way between the two and provide special insight on them. Rusty is a young aspiring writer who stumbles into work on the Columbia lot and, by a set of circumstances, ends up working as a private secretary to Rita Hayworth while also serving as spy for studio boss Harry Cohn. Rusty learns it’s important to keep a close eye on Big Red, as well as Welles, but she does as she wants and maintains her loyalty to Rita and Orsie. Over the course of the novel, with Rusty’s vantage point, a rollicking story unfolds tracing the trajectory of two of the strangest and most magnificent of Hollywood icons.
Rita Hayworth and Orson Welles
Mise-en-Scène or Depth of Field technique in CITIZEN KANE
As true to form as ever, Jerome Charyn tackles the man behind the celebrated cinematic masterpiece, Citizen Kane, and his power to fascinate an audience as well as hurt those he was supposed to love. Charyn, a great fan and scholar of cinema, with a journalist’s instinct for a great story, has made the most of his subject for his latest novel, filled with his signature use of imagery and metaphor. Charyn, the magician with words, delivers various breathtaking moments once all the chess pieces to his tale are in play. One of the greatest is when Orson Welles, at loose ends and in need of an adrenaline rush, mounts a full-scale circus in the middle of Hollywood. It is one of the most surreal and entertaining tributes to Hollywood and unfettered creativity you will ever read. It may seem a pity that Welles, the man, was unable to live up to the myth. It was a legend he himself helped to perpetuate and which choked him at every turn. Of course, no one, not even a magician, would ever have survived unscathed from all the bright lights, noise, and hype. Charyn brings home the point that it is this grand illusion that will forever fascinate and captivate, prone to ensnare an audience and actor alike.
Matthew Richter is one of the great champions of the arts in Seattle. When I first moved to Seattle, back in 1993, I quickly went about getting a foothold, any kind of foothold, into the art scene. Over time, I ran a gallery space in the coveted arts district of Capitol Hill. It was, in fact, nothing more than a diner–but it had walls to showcase art upon. I did this for a number of years. Some of the artists, who I provided with their very first art show, went on to bigger and better things. I did a number of other things too, including my ongoing freelance journalism and getting picked up by a publisher. I have a book out next year which you’ll hear more about soon enough. There were plenty of ups and downs over the years. I never ever stopped creating art of one kind or another. I never expected anyone to step in and advance my efforts. In fact, I preferred to develop on my own, as I saw fit. But I did crave community. And I did value walls upon which to present one’s work.
Consolidated Works ( 500 Boren Avenue North location, 2002 – 2006)
I kept up with various art people and Matthew was one of them. I’d read his work in our local alt-weekly, The Stranger. Later, I’d attend shows at his outrageously wonderful multi-disciplinary art center, Consolidated Works, where it seemed that anything could happen. Con Works was a veritable convention space/circus arena collecting various spaces that focused on one art form or another. It began as a brash semi-temporary entity, one of the original pop-ups but on a grand scale; established itself in the South Lake Union area, home to a bubbling stew of creative activity; and then, one day, it was gone, it was no more. Fast forward to the present, Matthew has been developing this concept of art spaces into “cultural spaces,” a means of supporting emerging artists, particularly BIPOC individuals who may not find an opportunity to gather and show art in a real estate market that has priced out the traditional art spaces of yesteryear.
Cultural Space Agency
The Cultural Space Agency is born. Matthew Richter developed his concept of cultural spaces during his time working for the City of Seattle’s arts department. This activity led to the city chartering Cultural Space Agency as a real estate development company, its goal being to seek out, purchase, and establish “cultural spaces.” Will cultural spaces help Seattle to flourish and withstand the headwinds of out-of-control growth? Ah, now all this seemed to me to add up to an interesting conversation. That is my goal with this interview: to explore the urban landscape. That requires looking at things from as many angles as possible, the good and the bad; asking tough questions, and allowing room for fumbling about for answers.
The main thing here is to support the goodwill out there to make any community a better place. That is what Cultural Space Agency is all about and it appears to be off to a good start with Matthew Richter having laid out the foundation. As he has made clear, he is only interim Executive Director for a little bit longer and then he will pass on the baton. There are also other positions to fill and numerous opportunities within this new organization. If you would like to help in any way or get involved, be sure to visit them.
AFTER FOUR ISSUES, KITCHEN TABLE MAGAZINE is leveling up—more pages, more stories, and more gorgeous art and photography—with #5: THE ROOTS ISSUE. And dig this groovy cover by the super talented artist and illustrator, Dorothy Siemens!
KITCHEN TABLE MAGAZINE: THE ROOTS ISSUE!
“Root Hog or Die!” Farmers down on their luck would yell that, along with a hope and prayer, confident that their pigs would find a way to survive. That’s the indie spirit! And so it is with this one tenacious publication, Kitchen Table magazine. Now, right now, is the time to lend a hand and keep this unique voice alive and well. Go to the campaign on Crowdfundr, ending on September 25th, and pitch in whatever you can.
From the campaign:
INSIDE THE ROOTS ISSUE
INSIDE THESE PAGES you’ll find stories, art, and ideas that explore the beautiful, flawed, and interconnected web of our food system, including:
A Black-owned BBQ enterprise that binds multiple generations
Reflections on the bittersweet nostalgia of Jell-O salads
Kitschy vintage cookies and red velvet skull cupcakes
A Mother’s Day gone awkwardly wrong
Sauce-makers answer Life’s mysterious questions
A Navajo food podcaster
Agriculture’s modern wave of intrepid and creative female farmers.
WHY WE NEED YOU
PRINT PUBLISHING HAS NEVER BEEN CHEAP. With the paradigm-shifting chaos that the covid has brought down upon us all—the disrupted supply chains; and everything from printing to shipping to bank fees costing more, plus 40 more pages [from 80 pages to 120 pages] for you to nosh on—we’ve had to raise the price of the magazine. We see no way to continue without doing so.
WHEN YOU BACK THE ROOTS ISSUE, you are joining the larger food community and helping us pay world-class creators, without whom KITCHEN TABLE doesn’t exist. And you’re also helping us shine a luminous light on the small farmers and independent producers, and the movers and shakers and doers and makers who make the food world turn—real people doing righteous things, in a time when we need more real people doing righteous things. People like Josh Winegarner, who produced our bitchin’ campaign video, and Kendl Winter who provided the music. (Thanks, Josh and Kendl.)
120 full-color pages, 7.5″ x 9.5″
Printed on luxurious matte paper stock
A coffee table keepsake
REWARDS: ALL YOU CAN EAT
WE HAVE SOME SERIOUSLY TASTY REWARDS. Read more on each Reward page.
KITCHEN TABLE #5: THE ROOTS ISSUE. The most coolest food magazine in the world. (Bold, right?!)
THE DIGITAL EDITION. For those who prefer to dine digitally.
FINE ART PRINTS. We have three of our favorite pieces of art from the issue available.
THE FULL MEAL DEAL. The first four issues, two of which are almost out of print.
THE SAUCE CLUB. Gift-packs of Portland’s tastiest sauces, in six Collections.
FOOD & LIBATIONS. Two stellar Portland-based spots offering an exceptional dining experience.
RETAILERS MATTER TOO. We’re offering a sweet package for our retail friends.
A CELEBRATION OF FOOD AND COMMUNITY
KITCHEN TABLE CONNECTS INQUISITIVE COOKS, enthusiastic eaters, and imaginative creators in a fresh and tasty publication that investigates not only the how-tos but the whys of eating. Through a mix of personal storytelling and delectable illustration and photography, our magazine endeavors to be an inclusive celebration of food and community.
WE ARE A VOICE FOR INCLUSIVE FOOD CULTURE, sustainability, our relationship with place, and our ability to be present in a world of digital distraction. Our contributors, our feature subjects, and our readers represent a wide range of age, race, nationality, and genders. Our contributors are overwhelmingly female, by a two-to-one margin, and we actively work with and fully support our BIPOC and LGBTQ+ communities.
THANK YOU! Your generosity is most appreciated. Visit it us!