Osedax Press delights in the poetic, strange, and uncountable. We specialize in small limited-run publications such as zines, chapbooks, and broadsides.
Our upcoming projects include SCRIMSHANDER BOOKS, a series of instructional pamphlets dealing with topics such as heartbreak, nutrition, death, and wallflowery.
In addition to fiction, nonfiction, and poetry, we accept art and proposals for personal projects. Check out our submissions guidelines for details, and submit your best work.
I’m so excited that Jasmine Sawers is joining Osedax Press! (So excited, in fact, it reminded me I have a Tumblr in which I can tell people of my excitement.) Please do check out the submission guidelines linked above and send us your work — we’d love to read it!
“new york craigslist > personals > missed connections” by Megan Falley (x)
And here for centuries, the premier work of man, perhaps, in the whole western world, and it’s without a signature. Chartres. A celebration to God’s glory and to the dignity of man. All that’s left, most artists seem to feel these days, is man. Naked, poor, forked radish. There aren’t any celebrations. Ours, the scientists keep telling us, is a universe which is disposable. You know, it might be just this one anonymous glory, of all things — this rich stone forest, this epic chant, this gaiety, this grand, choiring shout of affirmation — which we choose, when all our cities are dust, to stand intact. To mark where we have been. To testify to what we had it in us to accomplish. Our works in stone, in paint, in print, are spared, some of them, for a few decades or a millennium or two, but everything must finally fall in war, or wear away into the ultimate and universal ash — the triumphs and the frauds, the treasures and the fakes. A fact of life: we’re going to die. ”Be of good heart,” cry the dead artists out of the living past. ”Our songs will all be silenced, but what of it? Go on singing.” Maybe a man’s name doesn’t matter all that much.
— Orson Welles, F for Fake.
SQecial Media is proud to announce the films for this year’s Rosa Goddard International Film Festival:
September 11: L’Atalante/Zéro de conduite (double-feature)
Jean Vigo completed only four films before his death at age 29. L’Atalante, the 1934 masterpiece of French poetic realism, is his only feature length work. Critic Roger Ebert said, “This is the kind of movie you return to like a favorite song, remembering where you were and how it made you feel…” The playful and anarchistic Zéro de conduite, first shown in 1933 and subsequently banned in France until 1946, is a short piece that was a direct influence on, amongst others, Lindsay Anderson’s If…. and Truffaut’s The 400 Blows.
September 18: Black Orpheus (Orfeu Negro)
Set in Rio de Janeiro amidst the excitement of Carnival, Black Orpheus is Marcel Camus’ 1959 gorgeous Technicolor take on the classical Greek Orpheus/Eurydice myth. Based on the play Orfeu da Conceicao by Vinicius de Moraes, the film includes a soundtrack that would introduce the incredible Samba/Bossa Nova compositons of Luiz Bonfa and Antonio Carlos Jobim to an international audience.
September 25: Orphée
Jean Cocteau’s 1950 magical cinematic excursion, Orphée, casts the mythic figure afloat in dream-like cinematography and musings on the darker obsessive side of creativity. Starring Cocteau’s partner Jean Marais and set in Paris’ post-WWII Left Bank, the film includes a stunning array of brilliant, albeit simple, special effects and amazing camera trickery.
The movies will show on Wednesday nights at 7:15 in the Kentucky Theater. Tickets will cost $5. Spread the word!
Posters designed by Ed Franklin.
This is how I spent a large chunk of my July. Where did August go? Have I been mourning Lexington’s lack of canals for that long?