This simplified invitation was designed for everyone’s convenient E-mailing use. It does not list artists names, for that, there is the printed version of the invitation featured 3 posts just below. Unfortunately, the names of artists, Kent Bash, Dean Fleming and Dwayne Vance are missing from the printed invitation since they joined Carnivora only in the last two weeks, after the invitation was already printed.
While preparing the forthcoming Scapegoat Publishing edition of Circus Parade I was able to purchase a copy of Ladies in the Parlor, one of the more scarce Tully novels. Since most of the copies available start at $400 (abebooks and amazon.com), I’ve produced a low priced paperback edition.
164 pages, 6″ x 9″, perfect binding, cream interior paper (60# weight), black and white interior ink, white exterior paper (100# weight), full-color exterior ink.
The paperback is available for $15 (plus shipping) from lulu.com or from Scapegoat Publishing’s official online seller Reptilian Records (link up soon). It will also be available from a few select retailers. I may or may not make it available through Amazon.com in the future.
The cover features model Amy Feline, from a shoot by CatFight! Photography.
This is not a facsimile edition, the entire book has been retypeset and designed. Samples of the title page and the first page of Chapter 1 are below:
Copy from the back cover:
This is the saga of Madame Rosenbloom’s fashionable establishment in Chicago and of the ladies in her domain. And here is the Jim Tully of “Circus Parade”—the forthright Tully whose language is as frank as life itself. Tully does not pull his punches. The big men and the little ladies for whom Madame Rosenbloom’s house is a social center are portrayed with vigor and honesty. The novel is crammed with incident and penetrating word pictures. It is not a story for the squeamish. But if life itself, —that robust, lusty segment of life that is here so honestly and brilliantly depicted—does not frighten or shock you, this novel will hold your deepest interest.
Upon initial printing of this book in 1935, copies were seized from the publisher and destroyed by police based on allegations that the material was obscene and blasphemous. It is unknown how many copies survived. This is the first printing since that time.
We’ve just started feeding posts from our individual book blogs into this one. The purpose of this is to save us from having to copy and paste the same stuff on multiple blogs. We won’t be posting EVERYTHING from our book blogs, but we will funnel all the important stuff here to ScapegoatPublishing.com
We’re also automatically sending blog updates to our myspace page, so everything that pops up here will go over there as well.
So, expect more frequent updates on our projects as they roll along!
CARNIVORA – The Dark Art of Automobiles
May 3 – June 14, 2008
GRAND OPENING RECEPTION
Saturday, May 3rd, 2008 at 7pm
L’IMAGERIE GALLERY
10555 Victory Boulevard • North Hollywood, CA 91606 • 818-762-8488
L’IMAGERIE GALLERY proudly invites you to join in celebrating its inaugural exhibition at its spacious new location with a gala star-studded grand opening reception. The LA presentation of this incredible sampling of the world’s most notorious artistic renegades coincides with the official publication release of the book. L’IMAGERIE will have on hand for sale the first exclusive West Coast copies of the edition, a truly significant chronicle and commentary on arguably the most critically defining icon of modern civilization.
In addition to the 62 artists exhibited at Detroit’s ©POP Gallery, Carnivora book artists Eduard Anikonov, Steve Cerio, Chris Conte, Cam deLeon, Mike Diana, Brian Horton, Travis Louie, Eric Joyner, Craig LaRotonda, Shag, Greg “Stainboy” Reinel, Jeral Tidwell, Keith Weesner, and Robert Williams will join the exhibit at L’Imagerie Gallery, plus new original works are being produced for the show by Guy Aitchison, William B. Hand, David Trulli, Brian Viveros and Kenneth Williams.
Four excellent artists who came to our attention after the book went to press are creating new Carnivora paintings for the L’Imagerie Gallery exhibition: Ken Keirns, Chris Peters, Bart Powers and Charles Wish. If there will be a 2nd edition of Carnivora – The Dark Art of Automobiles, their paintings are certain to be added.
Gay and Lesbian Times
http://www.gaylesbiantimes.com/?id=11280
In an article on the downturn of GLBT book sales (“In a bind: GLBT publishing’s back is breaking, but it’s still got spine”), Jack Malebranche’s Androphilia: A Manifesto: Rejecting the Gay Identity, Reclaiming Masculinity is mentioned as a strong seller by Obelisk’s manager Mark Hernandez…
Emerging non-fiction titles can also be good sellers. “Every once in awhile there is something new and fresh that comes along, like … Androphilia [Jack Malebranche]. The author is putting out the idea that loving other men doesn’t necessarily have anything to do with the gay subculture. So his book has been getting a lot of attention.”
Visit the page at : http://mcv.e-p.net.au/features/in-pursuit-of-manhood-2798-3.html
Wednesday, 19 March 2008
The argument for a new gay identity is examined by S.V. Koumakis.
‘Gay is dead.’
So begins Androphilia: a Manifesto by Jack Malebranche, in which the American author expounds his uncompromising views of modern gay identity; and his vision of a masculine ideal of excellence that recalls the warrior ethos of ancient
“The word ‘gay’ describes a whole cultural and political movement that promotes anti-male feminism, victim mentality, and leftist politics,” says Malebranche, who advocates use of the term ‘androphilia’ to express ‘a sexual love and appreciation for men as it is experienced by males’. He also uses the word ‘androphile’ to identify men who desire other men.
The first print run of Androphilia was almost sold out less than a year after its release. Readers’ feedback on Malebranche’s website describes how the book resonated with them. Yet the author has also met with criticism; even accused of homophobia.
“To accept homosexuality in oneself is now equated with accepting an intrinsic effeminacy, and any denial of this is widely believed to be symptomatic of ‘internalised homophobia’ … The real ‘internalised homophobia’ is the belief that you can’t truly be a man simply because you love other men,” Malebranche argues in his manifesto.
The author, who describes himself as “an unrepentant masculinist,” also admits to having once been a go-go dancer in
“I’ve challenged gender constructs. I’ve done drag. I talked the talk and fagged out with the best of them,” he says. “My critique of gay culture doesn’t come from an outsider’s ignorance; it comes from an insider’s knowledge.”
Malebranche, who speaks in his book of his decade-long relationship with his male lover, whom he acknowledges as the most important person in his life, is far from the ‘perfectly vile queer’ his detractors would present him to be. His views, though blunt, are candid and to the point, and his depth of vision is exceptional.
Feminists might claim that Androphilia: a Manifesto encourages men to become misogynists. How would you respond to this?
Androphilia is often labelled ‘misogynist’ because it does not serve a radical feminist agenda. Androphilia does not in any way advocate the abuse of women or hatred of women, and it takes no position on the role of women in society. It is a book written by a man specifically for men.
Carlos Batts shares this issue with Coop (featured in our upcoming book Carnivora).
“Chivalry” as an exaggerated respect paid to womanhood is a distinctly Western “notion” as are many other qualities still gathering dust in our mental attics in boxes labeled “honor.” Sportsmanship and fair play, for instance, are likewise Western in provenance…”This passage is also important:
It is seen as being–as in many ways it is–anti-feminist, anti-egalitarian, hypocritical and an incitement to violence. It is also by definition exclusionary and therefore uncompassionate–if only because it must include the possibility of shame and disgrace.This, however, is most important:
Yet if honor, unlike morality, is by its very nature relative to a particular social context, it does not seem to be the case that it varies randomly from group to group. Some groups at some times may value some qualities more than others, but at its most basic, that to which we pay honor–or, to use the synonym in more common use today, respect–is remarkably consistent. Moreover, in spite of the discrediting that honor has undergone, the basic honor of the savage–bravery for men, chastity for women–is still recognizable beneath the surfaces of the popular culture that has done so much to efface it. If you doubt it, try calling a man a wimp or a woman a slut.I would actually exchange “bravery” with “strength” in this passage, because strength is more of a root concept than bravery. He almost implies this by using the word “wimp” instead of “coward.” A wimp is not merely afraid, but, it is assumed, weak and deficient. Bravery is proof of strength, proof of self-assurance and confidence in a man’s strength. One is brave because one either believes he has a chance in Hell of winning, or because he is disciplined and determined enough to sacrifice himself for a cause.
