The Heyday Blog

Going Digital: From Paper to Kindle

Susan Noh was a Sales and Marketing Intern at Heyday from the fall of 2011 through the spring of 2012.

When I was in elementary school, I was always that kid that people knew of, rather than knew. Everyone has one of those kids in the classroom. The sharp-but-quiet student who skirted around the corners of playgrounds drawing in the dirt, collecting pebbles, or making “homes” for the faeries. That one girl who would have rather drawn and quartered herself before playing soccer or kickball with the rest of her fellow classmates. The one who enthusiastically (perhaps too enthusiastically) brandishes a book menacingly to any vaguely threatening social entity, keeping them at bay with a well worn spine of a book. The one who would either become some psychopathic lunatic or an introverted intellectual who has nothing more to offer the world than her half-sketched visions and stories. (It’s always the quiet ones….) Yeah, that kid.

For that kid, terror didn’t reside in the form of giant flesh eating primates or rampaging psychopaths with cleaver in hand, but the cute boy she sat next to asking, “hey what’s up?” My mouth would feel like it was filled with cotton, my mind would reel. Oh god, what kind of answer did he want? Something charming? A clever quip? An answer worthy of my infinite wit and developed sense of ironic humor that would reveal wisdom beyond my years? Come on, fool! Think of something quick!

“I…I…n-n-n…NOTHING!”

Yes, I was painfully timid and kept the jewel of social awkwardness well guarded during those years. My behavior occasionally baffled my parents and other perfectly developed social beings. They constantly offered pearls of wisdom such as “Just say hi and smile!” or even better, “if you don’t have friends, you will die!..socially.” This lead me from becoming a skittish asocialite to a smiling mannequin that probably freaked some of my earlier friends out before they got to know me. For those individuals who have 600+ friends on Facebook, go to social events like one would go to the restroom, and sleep each night knowing that they’re fully loved, then believe me when I say, it is difficult, if not impossible, to relate to “that one kid.”

Beginning with my elementary school years, between bouts of social disappointment and embarrassment, or when the thought of spending another lunch time alone because of a peeved group of friends became excruciating, the school library became a safe haven for me. As cliché as it sounds, when immersing myself into the world of literature, I realized that I had worlds in my hands. Entire continents of uncharted territory that I could experience and devour, and still I wanted to know more. I could still remember the feel of the worn spines, the yellowed pages of text and that peculiar slightly musty, but altogether not unpleasant scent that rose from these tomes. These books had character, an aura that comforted me. There was a comfortable density when I held them in my hands. Were they thin and the pages wispy, filled with charming, adventurous heroines? Were they thick and heavy with the didactic discourse of philosophers?

I could associate each book with a person that I could see in my mind’s eye. When friends and other social entities fell short, books kept me occupied for hours and days on end. I would excuse my loneliness with a haughty sniff. Let those other children chase a ball on the blacktop like mice on speed, I would partake in none of that.

That was then.

As I was cruising over to a Barnes and Noble to kill some time a few days ago, I caught sight of something truly atrocious. I literally backtracked a few steps. On top of a large stack of books there was a sleek, sexy contraption whose glistening screen winked at me flirtatiously beckoning me to come hither. I took a few steps towards it, uncertain. A large sign next to it said, “New Books Available on Kindle.” I touched it, still a bit hesitant. What part of this thing was like a book? The “pages” did not have new-book-smell to it that I loved. I couldn’t hear the sound of paper rubbing against paper as I flip each page. I couldn’t balance the spine in my palms if the spine didn’t exist. That particular weight of a book that I took comfort in was no longer there. Instead, what took its place was an object that looked to me, like an overgrown ipod, devoid of pages, spine, density, and (dare I say it?) soul. If someone was trying to fool me into thinking this was a book, they were doing an awful job at it.

Perhaps I am merely a purist in this particular arena, but there seems to be something inherently more sacrilegious when forcing a book to fit the confines of technology than when you decide to put your CD collection into your ipod. What is at stake seems to be higher. Now don’t get me wrong. I’m not hatin’ on technology. I love my HD blu-ray DVD player and tiny breath-mint sized ipod as much as the next person. I don’t condemn technological advancements to be the workings of Satan and his minions. These little gadgets are convenient.

But when does the desire for convenience override the necessity to maintain the dignity and aura of objects that have symbolized knowledge and enlightenment for centuries? What is the sacrifice that one has to make in order to relieve a pound or two off your back at the airport or the classroom?

Well, sure, you might say, but the content inside is still the same, right? So what’s the big deal? When have external attributes and internal attributes been independent of one another? I’d say never, at least in practice. Physical utility and internal substance have almost always affected one another to a certain extent. In some future dystopian universe, which I hope that I will never live to witness, I can see digitalized books falling into the insidious clutches of The Man, forever filtering and altering the passage of knowledge a la Orwell. Crazy? Maybe. Impossible? I wouldn’t say so. After all, digital media has always been more subject to manipulation than almost any other form of media. What would Wikipedia be if not for a collection of snippets of information formed by the hands of an entirely different, perhaps unknowledgeable individual that may or may not be talking directly out of his ass?

Maybe I am overreacting, but if there was anything worth fighting for, then I think that something can be found within in the sturdy hardcover or your portable paperback resting on your shelf. If not for the future of our universe and the livelihood of our women and children, brotherhood and nation, then at least for that one kid in the corner who is too shy and apathetic to her peers; the one who finds solace between the covers of a book, balancing its spine within her tiny hands, devouring universes when nobody is looking.

Ten Lions opens its door with a roar

CALIFORNIA HISTORICAL SOCIETY and HEYDAY introduce

 TEN LIONS: A community space and bookstore 

San Francisco, CA (February 26, 2012) – The California Historical Society (CHS) and Heyday today launched Ten Lions, a new bookstore and community space at CHS in San Francisco. Ten Lions features key Heyday titles that focus on California’s myriad stories as well as locally crafted items from Bay Area artisans. The partnership will also include curated monthly events and discussions on topics as diverse as the literary history of the Bay Area, Civil Liberties and Social Justice, and the emergence and development of the Silicon Valley.

The two organizations have had a close working relationship for over twenty years, including cofounding the California Historical Society Press, copublishing books such as Only What We Could Carry: The Japanese American Internment Experience, now in its seventh printing, and co-operating on several exhibits such as At Work: The Art of California Labor, and co-hosting a number of public events.

Anthea Hartig and Malcolm Margolin

Anthea Hartig and Malcolm Margolin

When first envisioning the space, Heyday’s publisher and executive director Malcolm Margolin said, “The physical space should be high quality, artistic, alive, intelligent, with a sense of fun and beauty…I want someone walking into it to feel excited, stimulated, and alive.”

The CHS/Heyday partnership and launch of Ten Lions comes in conjunction with large-scale remodeling of the building, a rebranding process, and the opening of “A Wild Flight of the Imagination: The Story of the Golden Gate Bridge,” in celebration of the 75th anniversary of the completion of the iconic orange span.

On naming the space Ten Lions, CHS Executive Director Anthea Hartig remarks, “In Ancient Greece, the figure of the lion protome was the traditional guardian of the dwellings and belongings of both the living and the dead. Ten lions now guard our building, our archives, our people, our history, our future, and our community store at 678 Mission Street in San Francisco.”

 

 

Ten Lions store hours and information can be found at www.californiahistoricalsociety.org, by emailing info@calhist.org, or by calling 415-357-1848.

A “national treasure”: Malcolm Margolin honored by National Endowment for the Humanities

Malcolm MargolinNational Endowment for the Humanities to honor Heyday publisher Malcolm Margolin with Chairman’s Commendation

Award presented by Chairman Jim Leach to celebrate forty years of contributions to California history and culture

San Francisco, CA (March 28, 2012) – The National Endowment for the Humanities (NEH) will honor longtime Berkeley publisher Malcolm Margolin with the Chairman’s Commendation, a national award to be presented by Chairman Jim Leach this Thursday, March 29, 2012, at a private ceremony at The Athenaeum in Pasadena, CA.

The National Endowment for the Humanities Chairman’s Commendation is given to Americans who have made extraordinary contributions to their communities through leadership in bridging cultures, preserving our human legacy, or in other fields of humanistic endeavor, including history, literature, religion, philosophy, jurisprudence and specialized areas of the social sciences. The only other such recipient was scholar and historian Philip Lampi in 2012.

Ralph Lewin, president and CEO of Cal Humanities, commented on Margolin’s receipt of the Commendation, “Malcolm Margolin deserves this national recognition for his extraordinary vision, commitment and passion for deepening our awareness of what it means to be Californian, American and, ultimately, what it means to be human. Margolin brings a serious and jubilant lifelong commitment to publishing that has shaped our fundamental understanding of the people and places that make up California. He is a national treasure and it is good to see him recognized as such.”

Ralph Lewin, Malcolm Margolin, Jim Leach

Malcolm Margolin is executive director of Heyday, an independent nonprofit publisher and unique cultural institution founded in 1974, when Margolin wrote, typeset, designed, and distributed The East Bay Out, an affectionate guide to the natural history of the hills and bayshore around Berkeley and Oakland. Today Heyday publishes about twenty-five books a year that help preserve and celebrate a knowledge of a deep, authentic, soulful California, sharing stories that might not otherwise be heard.

While some of Heyday’s authors are world-renowned (Gary Snyder, Robert Hass, Rebecca Solnit, Ursula LeGuin, Wallace Stegner, et al.), Margolin has always believed that a primary purpose of the press is to provide a platform for voices that would otherwise go unheard, hence seeking out a mix of books that explore California history, natural history, literature, art, and ethnic diversity from perspectives found nowhere else.

Margolin himself is the author of several books, including The Ohlone Way: Indian Life in the San Francisco–Monterey Bay Area, named by the San Francisco Chronicle as one of the hundred most important books of the twentieth century by a western writer. He has received dozens of prestigious awards, including the Cultural Freedom Award from the Lannan Foundation.

Recent literary developments at Heyday

The past two years have been especially fruitful for the Berkeley publisher. In a renewed dedication to bringing lesser-known literary voices to light, Heyday created the James D. Houston Award in 2011 to honor the legacy of the California writer, known both for his mastery of fiction and nonfiction genres and for his dedication as a teacher and passionate promoter of emerging authors. The award supports publication of books by writers who reflect Jim’s humane values, his thoughtful engagement with life, and his literary exploration of California, Hawai‘i, and the West. The first award winner will be Mariah K. Young’s Masha’allah and Other Stories, to be released November 2012.

Also in 2011, Margolin developed a new annual literary anthology entitled New California Writing with the help of acquisitions and editorial director Gayle Wattawa and longtime sales consultant George Young. New California Writing aims to collect fresh and thought-provoking writing about California published in the previous year, culled from magazines, blogs, zines, and books, from both major and small publishers. The second installment is due out next month and will feature work by established writers—including Jon Carroll, T. Coraghessan Boyle, Caitlin Flanagan, Michael Pollan, Maxine Hong Kingston, and Francesca Lia Block—standing alongside that of emerging writers—among them Eric Puchner, Daniel Olivas, Rebecca K. O’Connor, and Manuel Muñoz. Launch parties are scheduled for Los Angeles and San Francisco, at Libros Schmibros in Boyle Heights and the California Historical society respectively.

Community outreach, events, and a new bookstore

In addition to publishing books, Heyday sponsors over two hundred outreach events throughout the state, offers educational programs on California culture, history, art, and nature, and works with museums to create exhibits based on the books. With an emphasis on collaboration, Heyday publishes books with many of California’s most significant cultural institutions, among them UC Berkeley’s Bancroft Library, the Cal Humanities, the California Academy of Sciences, and Audubon.

Heyday recently announced the launch of Ten Lions, a new bookstore and community space developed in partnership with the California Historical Society at their newly refurbished building, located at 678 Mission Street in San Francisco. The two organizations have had a close working relationship for over twenty years, including cofounding the California Historical Society Press; copublishing books such as Only What We Could Carry: The Japanese American Internment Experience, now in its seventh printing; cooperating on several exhibits, such as At Work: The Art of California Labor; and cohosting a number of public events.

California Indian Publishing Program

One of Margolin’s goals has been to preserve and celebrate California Indian culture. Heyday has published more than forty books on California Indian culture and history and, since 1987, has also published a quarterly magazine, News from Native California, which is read avidly on Indian reservations and in universities alike, prompting the Los Angeles Times to characterize it as probably having “the widest literacy range of any periodical in the Western Hemisphere.”

About the National Endowment for the Humanities (NEH)

NEH is an independent grant-making agency of the United States government dedicated to supporting research, education, preservation, and public programs in the humanities. For more information visit www.neh.gov.

About Heyday

Heyday is an independent, nonprofit publisher and unique cultural institution that promotes widespread awareness and celebration of California’s many cultures, landscapes, and boundary-breaking ideas. Heyday publishes about 25 new books a year, sponsors over 200 events, and participates vigorously in the cultural life of California. For more information visit www.heydaybooks.com..

For images and more information, please contact Natalie Mulford at natalie@heydaybooks.com, or by phone at (510) 549-3564, ext. 309.

Q&A with Carlos E. Cortés, author of “Rose Hill”

Carlos Cortes

Photo by Michael Elderman

A poignant memoirist, Carlos E. Cortés brings his past to life in Rose Hill: An Intermarriage before its Time, portraying multiracial relationships and the impact they had on the development of his identity. Sometimes hilarious and at times tragic, this powerful narrative takes the reader on a journey of self-realization that speaks to us on both personal and universal levels.

Let’s start at the beginning.  Why did you write your memoir?

Actually, it started as a gift to my family.  I simply wanted to chronicle family stories and personal recollections in a roughly chronological format, with the hope that others in the family would later add their own stories.  I wasn’t thinking about publishing it.

So, what is the intended audience for Rose Hill

My intended audience?  Anyone.  Everyone.  I think Rose Hill has something to offer for just about any reader.

It’s a book for people who like reading personal stories that also shed light on twentieth-century America.  It’s for those interested in gaining more insight into the mystery and dynamics of family, ethnicity, religion, and intermarriage.  Based on my experience with [my play] “A Conversation with Alana,” I think it has special meaning for those who are involved in or are the products of intermarriage.  And when I say intermarriage, I mean in its many dimensions.  For my folks, this meant tensions and clashes of ethnicity, religion, class, culture, and language.

Do you think your personal experience speaks to a larger audience, not just those involved in intermarriage?

Absolutely.  I think just about everyone can discover personal connections in Rose Hill: family; heritage; conflict; joys; disappointments; fun; irony; mystery; clashing perceptions; cross-cultural tensions; youthful rites of passage.  And, on top of that, I hope they find the book to be good reading and good storytelling.

Speaking of storytelling, I found your narrative voice to be very distinctive and poignant.  Where did that come from? 

I’m not exactly sure.  My voice is probably a blend of my Jewish grandmother’s gift of inventive story-telling and my Mexican father’s ironic vision of the world.  Maybe add to that my experience doing lots of public speaking and workshops, in which I incorporate narrative and anecdotes.

So when I wrote Rose Hill, I did what came naturally.  I tried to tell my story as simply, concisely, and vividly as possible, always trying to place myself in the moment when things were actually happening.  I try to follow Michelangelo’s advice: “I saw the angel in the marble and I carved until I set him free.”  When I write, I carve, trying to eliminate unnecessary verbiage.

Was there a particular process that aided you in this endeavor?

I focused on telling stories: personal stories; interesting stories; sad stories; funny stories; joyous stories; and painful stories.  I tried to let the stories themselves provide the deeper revelations, rather than my loading them down with overly detailed analysis and labored pontification.

For example, rather than writing lengthy descriptions of my parents and grandparents, I tried to illuminate them through revealing vignettes.  In that way, when readers encounter family tensions and social conflicts, I hope they think and care about my family as real, complex, feeling people: my unlettered grandmother struggling to read to me about King Arthur; my grandfather frustrated while trying to interest me in his construction business; my dad’s delusional attempt to become a polo player; and my mom’s bitter clashes over her singing.

Did you draw on many family documents?

Not really.  You’ve read the book, so you know that, at certain points, the discovery of family documents plays an important role in my journey.  But for the most part, I wrote from memory, not from documents.  In fact, I see Rose Hill as kind of a mystery story of conflicting memories: the way that family members, including me, preserved, revised, and relayed their memories.  In moments of conflict, this was their main way of defending their versions of truth and, in some respects, maintaining their self-respect.

Do you feel that your book is more of a reinterpretation of your past than a recording of your experiences?

 Absolutely.  When I began writing for my family, I may have thought of it as chronicling my experiences and family stories.  But it quickly turned into a process of reinterpretation, particularly as I tried to respect the perspectives, including conflicting perspectives, of different family members.  And the writing process also caused me to reflect more deeply about the vital strands and forces of my life, especially my family life, and how these have contributed to the critical decisions I have made and directions I have taken.

Let me change the subject.  Multiracial and culturally mixed families are much more common now than while you were growing up.  Do you think it’s still just as difficult for a child to negotiate a mixed cultural background?

I hope not.  I think not.  My mixed-identity experience of growing up was set in a particular time and place: racially-segregated, religiously-divided, class conscious early post-World War II Kansas City, Missouri.

I’ve interacted with lots of young people, including high school students, who have seen “A Conversation with Alana.”  Those interactions have made it clear to me that having a mixed background can still involve special challenges.  However, America today is much more open to “mixed” people.

Do you believe there is something to be gained from occupying the in-between, nuanced space between two cultures?

Growing up in categorically-rigid Kansas City, I detested being of mixed background because fitting in was so important and I couldn’t.  Looking back, I wouldn’t trade that experience.  I think it has helped me develop a natural multiple-perspective way of viewing the world and an edge in understanding the nuances of cross-cultural contact.  Beyond that, now I actually enjoy being marginal.

Is your memoir posing an answer to the dilemma of multiple identities? 

Not really.  At least I didn’t consciously try to provide answers to complex social issues.  Maybe Rose Hill celebrates personal multiplicity, although I didn’t set out to do that.  I just wanted to tell an engaging story about what, in retrospect, may have been a rather unique life, although I didn’t think of it that way as I lived it or even when I began writing it.

If Rose Hill helps people on their own personal journeys, fine.  If it helps them unravel their own personal mysteries, great.  If it contributes to better intergroup understanding, particularly about intermarriage and its ramifications, wonderful.  If it inspires people to write their own stories so they can pass them on to their families, terrific.  But most of all, I want people to enjoy the experience of accompanying me on my tortuous journey of family, society, mystery, conflicting memoires, and, yes, redemption.

Q&A with “All of Us or None” author Lincoln Cushing

Following the controversial history of protest art, Lincoln Cushing presents a powerfully engaging narrative celebrating the sociopolitical energy and sense of immediacy that is unique to this particular art form. With an astounding collection of over 24,000 posters, All of Us or None depicts the evolution of the genre and relates it back to our still-relevant present.    

How does the poster art movement from the 1960s onwards define itself as art in contemporary times? How does it simultaneously straddle the line between a medium solely geared towards political message and “art,” if there is such a boundary?

Although some of the creators of these works did, and do, see themselves as artists in the conventional sense, many more see themselves as participants in a group process with a long term goal. This book is about the story of that bigger picture, the shops that made the work happen and the process by which these posters were integrated in the difficult challenge of creating social change. Many of these works were “anonymous,” partly – and deliberately – as a way to avoid the “star” system that capitalism uses to sustain the illusion of upward mobility.  

As your book illustrates, the rebellions that were fueled by these posters were virtually everywhere in the Bay area. What is your personal experience with the poster movement in the bay area and how has it shaped your vision of this book and the future?

I was making political posters as a teenager in Washington, D.C, then as a college student in San Diego. When visiting the Bay Area I would always make a beeline for La Raza Graphics, or Modern Times Bookstore, or La Peña, or any one of a number of movement hotspots. One of the main reasons I moved here in the early 1980s was specifically because of the amazing poster production, and I got a job working with the community print shop Inkworks Press. In doing the research on this and other books I’ve come to learn how much more we need to learn about these movements and these posters, we’ve just scratched the surface.

Do you find the spirit of poster art and protest movement being rekindled with all of the recent political and economic tumult? How does this book related to today’s situation, especially within the Bay Area? How is it different?

Anyone observing postermaking at the recent Occupy encampments could see that the lines for people to get a poster were as long as the lines for food. This is still a very vital medium. This book will hopefully provide examples of previous design strategies used to influence public opinion and mobilize grassroots energy.  

Poster art seems to be a movement that is primarily run and supported by youth and minorities; however, many of the examples shown in this collection are now over 40 years old. Is this age/minority-inclusiveness still the case?

To be accurate, there have always been older white people making social justice posters. It’s just that the heart of these movements is fueled by spirit and authenticity, and much of that fire comes from youth and people of color. In print making, just as in jazz, or dance, or any other vibrant cultural form, the goal is a synthesis of the skills and experience of the elders and the energy of the young. Many young people are hungry for the images and lessons of previous activist artists.  

Structurally, your book is divided into time periods and social and ethnographic groups, yet all of these different facets are combined to make this one collection. What would you say is the overarching similarity that binds all of these movements and minorities together? Is this still applicable to today’s protest movement culture?

The commonality is resistance to domination, be that personal, corporate, or governmental. But this does not mean some sort of “Tea Party” reactionary analysis; it generally is based on a utopian vision of shared resources and appreciation of things different than one’s own culture.  

Who was your primary target audience when creating this book? Has that changed or does it still remain constant?

This book seeks to reach multiple audiences; art history scholars, social movement historians, and activist artists. The paired exhibition at the Oakland Museum of California, and their expanding online catalog of this collection, will reach many audiences I’d never dreamed of.  

This is not the first book that you have organized and written; how does this book relate and/or differ from your previous works?

Although all my previous books have covered political poster movements and producers (such as the Chinese cultural revolution, Cuban revolution, American labor movement, the output of one single Bay Area political print shop) this is the first time I’ve really drilled down into what makes this area so special. That’s not to brag, it’s to examine that enormous fount of output and try to understand what makes for a thriving, rich community. We all benefit from that.

 Is there a poster/graphic artist that resonates with you more strongly than others?

There are so many, all of them powerful in their own way.  One that I think is remarkable is a poster made during the 1970 Berkeley workshops by Jeff Kramm [figure 3.43 in book], using a distinctly and disturbingly erotic image to question the role of university military training (ROTC) in an unpopular war. The artist was afraid to put his name on it for fear of reprisal by ROTC students, and it was only recently that my research revealed his name. It brilliantly meshes arresting original art with clever, satiric, and provocative text. <http://www.docspopuli.org/AOUONcat/detail.np/detail-16.html>  

Were there any significant struggles in accessing the information that you’ve collected for this book? What was the process of making this book happen?

This was easy and hard. The easy part was starting off with the incredible collection built by my friend and colleague Michael Rossman, and the preliminary research he’d done on them over the years. It’s impossible to begin to undertake this sort of work without having the raw materials, and after I had shot all of them I was ready to roll. The hard part was the hard part in any nonfiction work – tracking participants down, interviewing them, corroborating their stories (and often meshing multiple, opposing versions of reality), and figuring out a framework that made sense to share them. I have learned something almost every day working with this collection.  

Political posters, protests, and movements seem to have strayed a bit from the physical poster and have moved onto more globally accessible mediums, such as the internet, and Facebook and Youtube now seem to have become more viable modes of reaching out to the public. How does this affect the production and evolution of social justice posters and what role will they play in the future?

Posters are not threatened by newer social media. One thing to bear in mind is that, among younger people, there is a resurgent hunger for craft. “DIY” (“do it yourself”) is leading many artists to the thrill of handmade objects, including posters. The web has enhanced, not limited, opportunities for research, sharing, and dissemination. And the posters are far more permanent than even the coolest YouTube post.

Finished?: The book building process

Each season, Heyday’s interns write thoughtful blog posts on their experiences as insiders in the book publishing industry. This January, Anna Zeemont came to us from Oberlin College for a 30-day full-time intensive internship in Sales and Marketing. Here are her thoughts.

During my time at Heyday, I tried to gain an expansive view of the publishing process. So I talked with a variety of staff members here, people who work in editorial, production and marketing aspects of publishing.

What struck me most was how much thought goes into the smallest details that to a reader could seem invisible. Gayle, Heyday’s Editorial Director, described how things like font choice, the presence or lack of prefatory (table of contents, title page(s), introductions, etc.) or end material (footnotes, indexes, acknowledgements, etc.) and comma usage are in fact thought through quite purposefully. Heyday’s Production Director, Diane, thinks about the layout and physicality of a book, including minute facets like what kind of paper to use. Thicker paper is more expensive, but thin paper can show images from the page on the reverse side. And whether paper is glossy or matte drastically changes the way it looks and how ostentatious and flashy the book comes off. Natalie, Marketing and Publicity Director explained that blurbs from book reviews that show up on back covers are in fact quite deliberately chosen for various reasons.

Here’s an example of a more subtle detail I’d never considered. Books are made up of small sections called signatures, each of which are only a few pages long. In the bookbinding process, the edge of each signature is attached to the binding:

So the number of signatures determines a book’s length. How tightly the binding holds the signatures together dictates how “flexible” a book is, in other words, whether the pages will lay flat in front of you with no effort or you’ll have to hold them down to keep the book open. Further, as Gayle and Diane explained to me, publishers have the option to print one signature on different paper, with color, or in an otherwise different way than the rest of the book. It’s more expensive to print pages in color, on nicer paper, so producers and editors can choose to have one signature in the middle of the book printed in color. I’d noticed plenty of books in the past with only color sections in the middle and I’d always wondered why. I just sort of accepted them as they were. Now, I realize that it resulted from choices made during the publishing process.

Because there are so many facets that create the final product of a book, there are infinite directions publishers can take a book. Malcolm (Heyday’s founder and publisher) told me about a book called 1 Book/5 Ways, which follows one manuscript taken on by five different publishers. Despite the fact that the original text was identical, each manuscript turned into an entirely different book—all because of different small decisions that, when added together, made entirely distinct products.

When I look at a book, it seems like it’s in a final, perfect form and all of the decisions and details are invisible to me. But this is one of the most exciting discoveries I’ve made during my time at Heyday: that beneath a seemingly perfect form lies a multitude of choices and details and a rich story behind how the book was made.

2011 Los Angeles Times Book Prize finalists announced

Linda Norton (former Heyday board member and senior editor at the Bancroft Library’s Regional Oral History Office) was just nominated for a Los Angeles Book Prize for poetry.

Read Carolyn Kellog’s LA TIMES article from February 21, 2012 below:

What do Michael Ondaatje, Manning Marable and Stephen King have in common? They’re all in the running for 2011 Los Angeles Times Book Prizes. The finalists — five each, in 10 categories — were announced Tuesday. The 32nd annual prizes will be awarded at a public ceremony April 20 at USC’s Bovard Auditorium.

The Robert Kirsch Award for significant contribution to American letters will be presented to Rudolfo Anaya, it was also announced. Anaya’s 1972 bestselling coming-of-age story, “Bless Me, Ultima,” is a seminal work of Chicano literature; in 2002, for this and subsequent books, he was awarded the National Medal of Arts.

Figment, a collaborative digital writing community for teens, will receive the third Innovator’s Award. Its previous winners are writer and publisher Dave Eggers and Powell’s Books.

Awards will be presented in current interest, fiction, first fiction, biography, history, mystery-thriller, science and technology, graphic novel, poetry and young adult literature. King’s book about time travel and the JFK assassination, “11/22/63,” is in the running in the mystery-thriller category. His competition includes A.D. Miller’s “Snowdrops,” which was shortlisted for the Man Booker Prize.

Two National Book Award finalists are competing in the fiction category: Julie Otsuka’s “The Buddha in the Attic” and Edith Pearlman’s short story collection, “Binocular Vision.” Among the books they’ll be facing is Michael Ondaatje’s “The Cat’s Table.”

For the second year in a row, veteran author Jim Woodring is a finalist in the graphic novel category. Woodring is the only graphic novelist to be a two-time finalist for the award, now in its third year.

The young adult category boasts 2004 National Book Award winner Pete Hautman for his latest, “The Big Crunch,” and Printz Award winner Libba Bray, for the book “Beauty Queens.”

The finalists for biography include Manning Marable, who died just days before his long-awaited “Malcolm X: A Life of Reinvention” was published, and Alexandra Styron, who in “Reading My Father: A Memoir,” writes of her father William, best known for “Sophie’s Choice.”

Other notable finalists include Bruce Smith in poetry, James Gleick in science and technology, Ioan Grillo in current interest, Adam Hochschild in history and Chad Harbach for first fiction. The complete list of finalists is after the jump.

The L.A. Times Book Prizes are awarded the night before the weekend’s Festival of Books, which will take place at USC. Tickets for the Book Prizes ceremony will be available for purchase on March 26; check the Festival of Books website for details.

2011 LA Times Book Prize Finalists

Biography
“Clarence Darrow: Attorney for the Damned” by John A. Farrell (Doubleday)
“Malcolm X: A Life of Reinvention” by Manning Marable (Viking)
“Catherine the Great: Portrait of a Woman” by Robert K. Massie (Random House)
“Reading My Father: A Memoir” by Alexandra Styron (Scribner)
“My Long Trip Home” by Mark Whitaker (Simon & Schuster)

Current Interest
“Is That a Fish in Your Ear? Translation and the Meaning of Everything” by David Bellos (Faber & Faber/Farrar, Straus & Giroux)
“El Narco: Inside Mexico’s Criminal Insurgency” by Ioan Grillo (Bloomsbury Press)
“Thinking Fast and Slow” by Daniel Kahneman (Farrar, Straus & Giroux)
“Pakistan: A Hard Country” by Anatol Lieven (PublicAffairs)
“The Panic Virus: A True Story of Medicine, Science and Fear” by Seth Mnookin (Simon & Schuster)

Fiction
“Ghost Light” by Joseph O’Connor (Frances Coady Book/Farrar, Straus & Giroux)
“The Cat’s Table” by Michael Ondaatje (Knopf)
“The Buddha in the Attic” by Julie Otsuka (Knopf)
“Binocular Vision: New & Selected Stories” by Edith Pearlman (Lookout Books/University of North Carolina Wilmington)
“Luminarium” by Alex Shakar (SoHo Press)

The Art Seidenbaum Award for First Fiction
“The Art of Fielding” by Chad Harbach (Little, Brown)
“Ten Thousand Saints” by Eleanor Henderson (Ecco/HarperCollins)
“Leaving the Atocha Station” by Ben Lerner (Coffee House Press)
“Shards” by Ismet Prcic (Grove Press, Black Cat)
“The Arriviste” by James Wallenstein (Milkweed Editions)

Graphic Novel
“I Will Bite You! And Other Stories” by Joseph Lambert (Secret Acres)
“Celluloid” by Dave McKean (Fantagraphics)
“Finder: Voice” by Carla Speed McNeil (Dark Horse)
“Congress of the Animals” by Jim Woodring (Fantagraphics)
“Garden” by Yuichi Yokoyama (PictureBox)

History
“The Anatomy of a Moment: Thirty-Five Minutes in History and Imagination” by Javier Cercas (Bloomsbury Press)
“1861: The Civil War Awakening” by Adam Goodheart (Knopf)
“To End All Wars: A Story of Loyalty and Rebellion, 1914-1918” by Adam Hochschild (Houghton Mifflin Harcourt)
“Molotov’s Magic Lantern: A Journey in Russian History” by Rachel Polonsky (Farrar, Straus & Giroux)
“Railroaded: The Transcontinentals and the Making of Modern America” by Richard White (W.W. Norton)

Mystery-Thriller
“Started Early, Took My Dog” by Kate Atkinson (Reagan Arthur Books/Hachette Book Group)
“Plugged” by Eoin Colfer (Overlook Press)
“11/22/63” by Stephen King (Scribner)
“Snowdrops: A Novel” by A.D. Miller (Doubleday)
“The End of Wasp Season” by Denise Mina (Reagan Arthur Books/Hachette Book Group)

Poetry
“Songs of Unreason” by Jim Harrison (Copper Canyon Press)
“Discipline” by Dawn Lundy Martin (Nightboat Books)
“The Public Gardens” by Linda Norton (Pressed Wafer)
“Double Shadow: Poems” by Carl Phillips (Farrar, Straus & Giroux)
“Devotions” by Bruce Smith (University of Chicago Press)

Science & Technology
“A Hole at the Bottom of the Sea: The Race to Kill the BP Oil Gusher” by Joel Achenbach (Simon & Schuster)
“The Information: A History, A Theory, A Flood” by James Gleick (Pantheon)
“Unnatural Selection: Choosing Boys Over Girls, and the Consequences of a World Full of Men” by Mara Hvistendahl (PublicAffairs)
“Grand Pursuit: The Story of Economic Genius” by Sylvia Nasar (Simon & Schuster)
“Blood Work: A Tale of Medicine and Murder in the Scientific Revolution” by Holly Tucker (W.W. Norton)

Young Adult Literature
“Beauty Queens” by Libba Bray (Scholastic Press)
“The Big Crunch” by Pete Hautman (Scholastic Press)
“A Monster Calls: Inspired by an idea from Siobhan Dowd” by Patrick Ness (Candlewick Press)
“Life: An Exploded Diagram” by Mal Peet (Candlewick Press)
“The Scorpio Races” by Maggie Stiefvater (Scholastic Press)

The Robert Kirsch Award
Rudolfo Anaya

The Innovator’s Award
Figment

Q & A with “Take Me to the River” editors Joell and Coke Hallowell

For ten years, Coke Hallowell and her daughter Joell asked people with deep connections to the San Joaquin, “What was your life like along the river?” With candor and enthusiasm, people responded. Take Me to the River recounts the many trials—damming, overpopulation, climate change—and triumphs that a river undergoes in our times.

What was it like to hear all these amazing stories from folks with deep connections with the river?

History truly comes alive when it is particular and personal. It was impossible not to be enthralled by these tales as they were told to us with such genuine enthusiasm and gusto. The storytellers’ exuberance was so palpable that we think it remains apparent in the written form, even after the inevitable cutting and rearranging that happened in the editing process. Most of the storytellers, after having lived so many years by the river, were still excited about its riches and rewards—the fishing expeditions, canoe trips, the wildflowers that continue to blossom each spring. We couldn’t help but be swept up by these energetic anecdotes. The hours zipped by and it was always a disappointment when our time was up. Often, just as we were packing up our camera to leave, a stack of family photo albums would be brought out for our viewing. That was always a particularly exciting moment and one that was hard to walk away from. Precious, though often yellowed and tattered, many of the photos had been passed down through several generations. These photos are a big part of what inspired us to turn our video interviews into a book. They are truly remarkable.

If readers could get just one thing out of your book, what would it be?
We observed one major commonality in all of our narrators, even those who were not activists or environmentalists. They all had incredible reverence for the earth, a great respect for the land they grew up on and for their current plot of ground, whether big or small, owned or leased. Each storyteller seemed to have a sharp sense of what was surrounding them, and an acute understanding and curiosity for what had been there before. They would inevitably point out a new bloom, the sound of a bird nesting nearby, or the remnants of a past dwelling. If readers are inspired to look more closely at the world around them—to take note of what flies past their homes, from which direction the clouds blow in, how the full moon lights their bedroom—that would mark a wonderful triumph for us, and would carry on the legacy of our storytellers.

The forces of this earth are ever powerful. It seems that even when all odds are at work against nature, it has a way of taking back its strength—especially when a group of people put their minds together to help. The citizens of Fresno and Madera counties saw a river neglected, they saw looming threats to its survival, and they have begun to help the river regain its strength. People with passion are ever powerful. It was wonderful to meet so many of the individuals who have worked so hard to protect the San Joaquin River and set it back on its natural course.

Anything surprising happen that you did not expect?
Sometimes, though we’d shown up to hear stories of life on the San Joaquin River, we would suddenly be transported to the Midwestern plains, the vineyards of France, a cyclone fence factory in Oakland. The human story is innately tangential, our lives are full of varied encounters and diversions—and one story always leads to another. Our goal was to try to stay focused and collect stories of the San Joaquin River, but the diversions were always a welcome bonus. A story that begins at the river doesn’t always stop there.

What challenges did you encounter?
The process of collecting first-person stories was not as easy as we’d imagined. We wanted to make sure that the storytellers were able to tell their stories in their own ways, in their own voices. We had to learn to be a very particular kind of interviewer. We had to be active listeners and to follow every nuance while not interfering with the natural course of the story. So as not to leave any detail unturned, we’d attempt to keep track of where we’d been confused and which elements seemed to be missing, but we’d try to wait to ask our questions until after the narrator’s trajectory had come to its natural conclusion.

We found that rather than coming with a predetermined set of questions, we just needed to say, “Tell us about your experiences on the river.” People are usually very good at telling their own tales, though sometimes our narrators would first give us a quick ten-minute wrap-up of their stories. They’d already told their stories a million times—their families had heard them over and over—and they imagined that we wouldn’t want to hear all the many fine points and particulars. We had to assure them that we were eager to hear it all, and that’s when the fun began. I think this was an enjoyable experience for most of our interviewees, too. We were a fresh audience. When we got to what appeared to be the end of each story, we always asked, “Is there anything else you’d like to tell us?” Invariably there was another story, sometimes the best yet.

It was often difficult not to join in. We both knew many of the characters that showed up in the stories, we’d been to many of the locations along the river, and we’d heard similar details in other interviews. It was a challenge not to say, “Oh yes, we’ve been there. We know him, too. Yes, it was wonderful, wasn’t it?” We tried our best to let every story stand on its own, and to keep our own feelings and experiences out of the way. That may have been the biggest challenge of all. We both love the stories of the San Joaquin River.

 

Q & A with “Turned Round in My Boots” author Bruce Patterson

Upon returning to American soil after the Vietnam War, Patterson has only one rule: “Never take a job you couldn’t quit.” And so begins his formidable journey of learning how to re-adapt to civilian life. Told with remarkable honesty, Turned Round in My Boots is a powerful and engaging tale about hard work, true love, and surviving the aftereffects of war.

What was your worst job ever?
Hands down, my worst civilian job was hosing out henhouses. Each house held about twenty thousand cages and I cleaned a few. The job was so bad it was funny and I wrote a little about it in my new book. Like so many of my other jobs in agriculture, the best that can be said for it is that it only lasted for a few days.

What job was the best?
There’s something deeply satisfying about bringing in a harvest, no matter what the crop or how hard the labor. Then, horses are charming animals and I always loved being around and working with them. I especially enjoyed watching newborn foals, with a little nudging from their mothers, gathering their legs under them and wobbling to their feet, and then, in the coming days and weeks, watching them doubling and redoubling in size while learning how to be horses. But in terms of danger and adventure, thrills and spills and flat-out fun, felling big tree timber was my best job. There’s nothing like it. All I can compare it to is jumping out of airplanes and even that’s a stretch.

What writers have inspired you?
After the war I spent eight years living without electricity and during that time I devoured books. Since, as a present to myself, I quit school on my sixteenth birthday, you might say I was making up for lost time. History and philosophy fascinated me and I took a self-guided tour through world literature, enough of a tour to get a taste of some of its flavors. But I’m an American who has never doubted the wisdom of the Melting Pot; I love my people and it’s always been American history, philosophy, and literature that have been my wellsprings. Not because I think Americans are special. I’ve passed through enough foreign countries to know that all people are created equal, not the least because all people think they’re special. If I had to choose the one writer who has most inspired me, it’d have to be Twain.

Did your book turn out differently than you intended?
Since I set out to write a prequel to Walking Tractor that would, among other things, explain how I wound up a longhaired greenhorn logging the redwoods, the story was pre-existing and I just needed to remember how I was back when I was twenty-two years old and wintering in the loft of a teetering barn. I knew I was a messed-up combat vet, of course, but I’d forgotten how messed up and how it colored my thoughts and actions. War changes a person forever and it doesn’t matter who you are. War poisons the soul. So being a vet became a much bigger part of my book than I intended.

What was most difficult about writing your book?
Sometimes the worst part of surviving a war is coming home. Reliving some of my troubles and knowing how typical I was of vets, not just of my generation but of all generations, soured my mood some, given current events and all. Yet I couldn’t be honest without it and it motivated me to be honest with the young vets now wearing my boots the way I once wore the boots of my fathers.

If readers could get just one thing out of your book, what would it be?
That nature is the great healer.

Any advice for young vets returning from today’s wars?
When I was growing up, one of my favorite “uncles” had landed in Normandy with the 82nd Airborne on D-Day. He never said a word about his experiences because he couldn’t bring himself to think about them. About twenty-five years ago I was working in the woods with an old dog-faced bulldozer operator. I must have said something wrong because, his voice fierce, he declared that he’d hiked from Omaha Beach to the Rhine River stepping on human corpses. We locked eyes, I saw his foxhole gaze, and I’ll be damned if the old coot wasn’t a teenager again.

As for advice, I hesitate to offer any, since my own “readjustment” hasn’t exactly been a model of success. But I do know that, at least until you’re ready to fly the nest, it’s crucially important to stay in contact with people who have gone through what you’ve gone through. Also it doesn’t hurt to remember that it isn’t foot soldiers that start wars and to learn to forgive. You survived for a reason and, if you give yourself a chance, you’ll find it soon enough.

Finally, tell me about your new story blog? What’s up with that?
After writing two books in four years, I have no desire to start another. Not yet, anyway. Still, my head is filled with stories. In my new book I wrote a little about my childhood and—surprise—I enjoyed it. Ten years ago I couldn’t have made such material entertaining, but now I can. As we say Out West, my childhood is a rich vein and so why not mine it? Since I also like writing about travel, beauty, making people laugh, and free-styling with my prose, why not start a story blog? Because military-style discipline has never been my strong suit, why not commit myself to posting three original stories per month for one full year? I still don’t know what “writer’s block” feels like, so maybe now I’ll find out. Maybe I’ll gain an audience, sell some books, and find my way to my next one. No doubt it’ll be fun.

Q & A with “Cityscapes” author John King

An outgrowth of “Cityscape,” a weekly column that debuted in the San Francisco Chronicle in 2009, Cityscapes is part history, part guidebook, and part architectural primer. John King is the San Francisco Chronicle’s urban design critic. He joined the paper in 1992 and has been in his current post since 2001. His writing on architecture and urban design has been honored by groups including the California Preservation Foundation, the Society of Professional Journalists, and the California chapters of the American Institute of Architects and the American Planning Association. He was a finalist for the Pulitzer Prize for Criticism in 2002 and 2003.

What are the first three things you look for when looking at a building?
How it meets the street is essential, because that sets the tone from the start. The quality of execution counts more for me than style; if a building has clarity and snap, looks are secondary. And then there’s the challenge of context. Does the building fit into its surroundings, even if the fit is provocative? Or is it just a lump unto itself? The latter is too often the norm.

What were your favorite places as a kid?
Growing up in Walnut Creek, a pal and I used to head into “The City” every quarter or so. We’d take BART, ride the cable car to the Cannery, explore North Beach, have lunch in Chinatown and then meander back towards BART. I quickly realized that, say, Grant Avenue was different than, say, Sunvalley Mall in Concord. And that I preferred the former.

What is the most notable trend right now in architecture? 
I’m really excited at how, after decades of talk, transit-oriented development is taking root in the suburbs as well as older cities such as Oakland and Berkeley. The frustrating thing is, most of it isn’t very good in any sort of urbanistic way. The quantity and location is laudable; now we need developers and architects who genuinely strive to make places where people will want to be, not simply structures that are convenient.

Is there an architectural style that suits cities best? 
No. If a building is well-proportioned, with good details and an inviting sidewalk presence, it doesn’t matter whether the details are classical or modern, gothic or high-tech, flat-topped or crowned with a spire.

If readers could take one thing away from Cityscapes what would it be?
Buildings aren’t simply objects. They’re parts of a whole—and the whole is in a state of constant flux. Change is a fact of life in cities, and we should relish chances to learn from the shifting perspectives around us.

Any advice for aspiring architects?
Pay attention to the details and whatever you do, do it with conviction. When architecture becomes a business, where a building has no more nobility than a to-do list, we all lose out.

Did you study architecture in college?
Nope. That’s the beauty of journalism—you get to follow your passions, and learn on the job.