{"id":258,"date":"2012-12-20T02:33:21","date_gmt":"2012-12-20T02:33:21","guid":{"rendered":"http:\/\/www.fullofcrow.com\/prate\/?p=258"},"modified":"2017-09-03T04:36:08","modified_gmt":"2017-09-03T04:36:08","slug":"leah-angstman","status":"publish","type":"post","link":"https:\/\/www.fullofcrow.com\/prate\/2012\/12\/leah-angstman\/","title":{"rendered":"Leah Angstman"},"content":{"rendered":"

\"\"<\/a>(From 2012)
\nLeah Angstman has been at this for years, producing books and spaces and relationships between writers and artists. Some of the answers cover things you know, and some might just surprise you. We threw Leah a few curve balls because we knew that she would rise to the challenge. Interviewed by Elynn Alexander, for Full Of Crow, December 2012.\u00a0<\/em><\/p>\n

LA: I\u2019m sure many people want to know, in your words: Why do you want to be part of the small press?<\/em><\/p>\n

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Leah: It\u2019s clich\u00e9 to say it feels like family, but the small press is this all-encompassing entity that functions like its own little village.\u00a0 It has the town criers, the town gossip hens, the angry, the depressed, the incarcerated, the good, the bad, and the ugly.\u00a0 I can open a small-press publication and read a fresh, new author right alongside 94-year-old poet laureate Ed Galing, and it doesn\u2019t feel forced or out of place.\u00a0 The playing field is leveled; the authors are all different and quirky\u2014but eternally grateful; and, while a lot of the writing is daring, all<\/em> of it is honest because the writers don\u2019t hide behind extensive contracts, big paychecks, and high expectations.\u00a0 They are self-aware and write for the love of it, knowing they may never make a buck.<\/p>\n

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LA: What are the rewards? \u00a0Challenges?<\/em><\/p>\n

Leah: For me as an editor and\/or publisher, the reward is in the finished product.\u00a0 I won\u2019t lie and say the process is any fun, because it isn\u2019t.\u00a0 Work is work, and I don\u2019t think very many people who compile books just sit at home with smiles on their faces saying, \u201cMicrosoft crashed for the third time today; Powerpoint keeps messing up this transparent background; I can\u2019t possibly align a sentence this long to fit within the margins.\u00a0 Oh my, I am having so much fun!\u00a0 Isn\u2019t this rad <interrobang> <interrobang>\u201d\u00a0 And yes, some people still say rad<\/em>.\u00a0 But no, they don\u2019t say it when laying out manuscripts.\u00a0 So that\u2019s a downside.\u00a0 But then, when the product is finished, and you\u2019re holding this brand-spanking-new chapbook in your hands, it\u2019s like giving birth\u2014not that I\u2019ve ever done that, but I imagine\u2014, as soon as you are holding the little baby, you forget entirely the sixteen hours of labor, pain, and drugs that were involved to get the baby there.\u00a0 So that\u2019s the reward.\u00a0 You get a new baby.\u00a0 Knowing that the new baby is going out into the world to bring people joy, change people\u2019s minds, make people think, argue people\u2019s convictions, well \u2026 that\u2019s pretty rewarding.<\/p>\n

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There are, of course, challenges.\u00a0 The mental mindset to keep going, for one.\u00a0 As a writer, I get lots of feedback.\u00a0 When people like something I\u2019ve written, they want<\/em> to tell me.\u00a0 As an editor and publisher, however, the feedback is static.\u00a0 The majority of the feedback dialogue is with writers who are telling you what is wrong with the product, what needs to be fixed, how the end result differs from their initial concept, what expectations of timeframe or constant communication they have or consistently require. \u00a0The majority of that feedback demands a mindset that will not be easily deterred by negativity.\u00a0 In addition, as the publisher, I mail books to new customers, and very rarely do I get any feedback for how well those books were received by the customer.\u00a0 It\u2019s just a side effect of the beast when you are the middleman, but you have to constantly be of the mindset that positive feedback is overrated and allow yourself to move on, or you\u2019ll get down on yourself for things beyond your control.<\/p>\n

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LA: Where do you see both Propaganda Press and your own writing objectives in the context of today\u2019s independent press?<\/em><\/p>\n

Leah: Propaganda Press has stood pretty solid since nineteen ninety-three.\u00a0 I\u2019d say a lot of people in the small press know the name, and that means a tremendous amount to me.\u00a0 I\u2019ve kept plugging away at it over the years in hopes that, while the world goes digital, something of the poet generation might get left behind among the concrete cracks to leave an impression for someone else down the line.\u00a0 The small press is a big whale of a thing, however, and it spans the world, and there is no solid way to connect us all, no one solitary voice that unites us all.\u00a0 So how do I fit into the context of that?\u00a0 Well, I\u2019m just one more small fish in the belly of a whale.\u00a0 Once, when I was eighteen and being interrogated by the FBI for things that I wrote and winning court battles over copyright disputes, I thought I might possibly rule the world someday.\u00a0 I\u2019m all right now if I don\u2019t.\u00a0 I just want to reach as many people as I can reach in the time I\u2019m allotted and leave something behind for others to enjoy in the future.\u00a0 Of course, I\u2019m still loud and I\u2019m still rowdy and I\u2019m still pushin\u2019 and shovin\u2019, so who knows \u2026 I may rule the world yet.\u00a0 I\u2019d be okay with that, too.<\/p>\n

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As for my own writing objectives: If we are talking about my poetry in the small press, I\u2019m an even smaller fish in the whale\u2019s belly.\u00a0 I\u2019m a meticulous writer who pores over every word, averaging maybe twenty poems a year on the high end.\u00a0 That\u2019s not really going to change the world or stop the presses, now, is it?\u00a0 I usually compile enough for a chapbook every other year, so my poetic contribution to the small press is small potatoes.\u00a0 I also write full-length historical-fiction novels, and with those books, I go the mainstream route, sending them to literary agents to go through major publishing houses.\u00a0 The novels, therefore, don\u2019t help the small press at all, excepting if one were to take off as a bestseller someday while my fingers were madly crossed, and that phenomenon were to direct people to check out the other work I\u2019d done, leading to Propaganda Press.\u00a0 That could be pretty cool.\u00a0 I\u2019ll cross my fingers for that.<\/p>\n

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LA: How does Propaganda Press fit into your view of the big picture, the community? \u00a0Are there aspects that feel different to you, in what you are trying to achieve?<\/em><\/p>\n

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Leah: I think Propaganda Press fits into the big picture the same way any independent press does.\u00a0 Word of mouth pushes us along, little by little, book by book, bit by bit; and we gain new audiences every day.\u00a0 I work primarily alone on this endeavor, so there is a limit to what I am physically able to do, and that will always keep the size of the press in check.\u00a0 While I overstretch from time to time, I am never physically capable of getting too big for my britches.\u00a0 That keeps me on the straight and narrow.\u00a0 I try not to get into the politics of the small press; there\u2019s a lot of immature name-calling, and it gets tedious and old.\u00a0 So I stay out of it, keep my head above water, dig myself out of holes, and just keep rolling along.<\/p>\n

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LA: How does your press tie into Alternating Current, and can you share a little bit about the arts cooperative, such as your model or vision?<\/em><\/p>\n

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Leah: I get this question a lot, as people mix up Propaganda Press and Alternating Current Arts Co-op as interchangeable things when they aren\u2019t.\u00a0 AC^2 is my arts co-op that encompasses the press imprint of Propaganda Press, the record label Not Really Records, an online zine library called Izla, a small-time historical project that I conduct called History Deletes Itself, a theater company called That Other Theater Co., a burgeoning handmade arts and crafts marketplace, and my own personal writing endeavors.\u00a0 There is a fledgling website that tries to sort out the entire hullabaloo, but it\u2019s still in its infancy: http:\/\/alternatingcurrentarts.blogspot.com<\/a>.\u00a0 The idea of the arts cooperative is simply to provide an outlet for artists of all kinds to showcase their works.\u00a0 As a historical-fiction\/non-fiction writer who went to school for musical theater, I have a diverse arts background of history, literature, music, theater, film, and fine\/visual art.\u00a0 It was important to me, as a renaissance lady of multiple art forms, to have an outlet where all of those fields were prominently showcased.<\/p>\n

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LA: I know some of your passions, and I have seen you perform in both Toledo and Oakland. Theater, history, comics, animals, etc. come to mind. \u00a0But what can you tell us about your passions and interests that many of us probably don\u2019t know?<\/em><\/p>\n

Leah: You nailed the first three right out the gate.\u00a0 History and musical theater are my first loves, foremost above all other things.\u00a0 I am happiest in two places on earth: Times Square, New York, and standing on any ground where something magnificently historical happened.\u00a0 When I lived in Boston, I would walk the Freedom Trail often and stand in front of Paul Revere\u2019s house, just to stand there.\u00a0 Right before I moved from Boston, I traced that route almost daily, knowing I wouldn\u2019t get to do it again.\u00a0 I geek out about history of any little mundane thing hundreds of times a day, which is one of the truly rewarding things about writing historical fiction: the minutiae.\u00a0 And the second passion is not just theater, but more specifically musical<\/em> theater.\u00a0 I have hundreds of musical CDs and know the words to all of them, have directed dozens of plays and musicals, and pretty much stalk Brian d\u2019Arcy James, Terrance Mann, Ra\u00fal Esparza, and James Barbour.\u00a0 If you don\u2019t know who those people are, and you\u2019d like to see how truly deep my musical obsession goes, then it\u2019s time you got acquainted with my Top 20 Tony Awards Performances of My Lifetime<\/em> countdown here<\/a>.
\n<\/strong><\/a><\/p>\n

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There are some other passions and interests: I have a passion for photography, one of my projects-in-the-works being photographing old buildings and historical markers\/landmarks and documenting them for posterity in our ever-changing world.\u00a0 That\u2019s part of the idea behind History Deletes Itself.\u00a0 I am an avid Wikipedia-holic, and I spend hours daily partaking in one of my self-appointed duties on this earth: cleaning up grammar, misspellings, and poorly structured sentences on Wikipedia.\u00a0 I have a passion for Bruce Springsteen, my all-time fave.\u00a0 I\u2019ve seen him on every major tour since I was a little kid (over 20 times now), own all his albums and ungodly amounts of bootlegs, can sing you every song ever<\/em>, and yes, Darkness on the Edge of Town<\/strong> is my favorite album.\u00a0 I also sing (operatic training from a young age); play harmonica, bass, guitar, and piano; draw with charcoal and pencil; paint with acrylics; collect comic-related paraphernalia; make my own tea; and collect quirky things: porcelain and ceramic Victorian-era figurines, souvenir pressed pennies; ceramic Wade figurines from the boxes of Rose Tea; Peter Pan and comic-book character ornaments for my Xmas tree; Playbill Broadway season collector cards.\u00a0 I am absolutely obsessed with old, large, wooden ships of many sails and often dream about sailors.\u00a0 I would eat every doughnut in the world, and that is also a passion.<\/p>\n

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LA: Can you tell us something about the more private side of who you are, something that many of us might not see?<\/em><\/p>\n

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Leah: You might be surprised to learn that I don\u2019t actually like poetry.\u00a0 It\u2019s true.\u00a0 I am an avid reader, but I don\u2019t enjoy reading poetry, unless they are epic or historical pieces.\u00a0 What do I enjoy reading?\u00a0 Cowboy romance novels, either historical about the Wild West, or contemporary about the trials and tribulations of modern ranch life when a delicious, tough cowboy and a stubborn damsel go head to head and \u2026 yeah, you get it.\u00a0 I seriously love those.\u00a0 I have over five hundred of them on my Kindle (aptly named Mr. Darcy), waiting to be devoured.\u00a0 A glimpse at the private me?\u00a0 I\u2019m actually shy, although I\u2019m talkative.\u00a0 I don\u2019t leave the house unless I\u2019m dragged out of it, and if I\u2019m dragged where there are other people I haven\u2019t met, I am a wallflower.\u00a0 I\u2019m partially deaf, fluent in American Sign Language, an atheist, a problematic insomniac, and a frequent starter of new ideas who rarely closes on a single one.\u00a0 I write my life out on little scraps of paper that litter my desk, and all of my books on my shelves are arranged in order of shortest binding to tallest binding.\u00a0 I have every unnecessary form, bill, letter, or paper I\u2019ve ever received filed neatly in my filing cabinet, but I can never find my house keys.\u00a0 When I\u2019m stressed, I bite my nails down until there is nothing left, and my drinks of choice are Manhattans straight up with Buffalo Trace and a splash of grenadine, or a milky, chocolaty, smoky, or dark-fruit porter.<\/p>\n

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LA: Many producers of printed books, such as poetry, find the economics to be challenging. (Some might say that is an understatement!) As a person who has hung in there, what contributes to that success? How is \u201csuccess\u201d measured, from your point of view?<\/em><\/p>\n

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Leah: Well, if \u201cchallenging\u201d is an understatement, then \u201csuccess\u201d is an overstatement.\u00a0 What works with my model, though, is that I invested in getting in-house printing materials a long time ago so that I was not reliant on huge overhead.\u00a0 What that means is that I print all of my materials in my office only<\/em> when they\u2019ve sold, so I never have any overage or warehousing to worry about.\u00a0 An author can sell a hundred books, or he can sell one; it\u2019s really a crapshoot in this day and age.\u00a0 But from my side of it: If the author sells a hundred books, I print a hundred books.\u00a0 If he only sells one, I only print one.\u00a0 I have a set minimum price, and the author can choose a royalty on top of that, which means I get paid what I need, and the author gets paid what he wants.\u00a0 It really works out well for everyone and minimizes loss on both ends.<\/p>\n

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LA: Many of us feel overextended, with too many directions and too few hours. How do you find balance?<\/em><\/p>\n

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Leah: I don\u2019t.\u00a0 I absolutely do not find balance.\u00a0 I am constantly sink-or-swim, torn in a hundred different directions at once, and it\u2019s become the only way that I know how to live.\u00a0 I cannot relax.\u00a0 I cannot be \u201cbored.\u201d\u00a0 If I step foot into a calming bubble bath, I am out five minutes later.\u00a0 There is no balance.\u00a0 I hover on the edge constantly, and my only sanity comes from knowing that I<\/em> am the one in charge.\u00a0 If I need to take a week to work on a chapter of my own book, then everyone just has to wait a week.\u00a0 Once these novels start rolling out, the press will be on hiatus for whatever time I need it to be, indefinitely.\u00a0 Even if there\u2019s no balance, there must still be a modicum of sanity.<\/p>\n

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LA: We all have special interests that we won\u2019t give up, no matter how busy we become. Where do you indulge?<\/em><\/p>\n

Leah: For a lot of years, my own writing was on the backburner while I worked on everyone else\u2019s books.\u00a0 That is changing, and finally, my mood is lightening a bit with that change.\u00a0 The time has come for me really to get my own work out there, so that is where I am indulging right now.\u00a0 If something strikes me with my own writing\u2014whether it\u2019s making a new outline for a new idea, writing a chapter, combing over unpublished drafts, working with literary agents, you name it\u2014, then all of the work with the press just has to wait.\u00a0 The people I work with are all writers, and for the most part, they understand their own desire to get their work out there and don\u2019t push me.\u00a0 If they get ornery, well, they shoot off their own feet because I don\u2019t market as hard for assholes, and I certainly won\u2019t take any more of their manuscripts or submissions in the future.<\/p>\n

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Other indulgences I have are spending my time on Facebook, Twitter, Amazon, the like; reading tons of books, whether for pleasure or historical research (usually for both at the same time); my morning coffee; hiking through the Redwoods with my White German Shepherd, Barf!, on the weekends; and going on trips, namely home to Michigan with the folks, where I have a strict policy of no work (my own writing excluded, as sometimes, that\u2019s<\/em> the purpose of the trip!).\u00a0 When I am in a musical\/theater show or directing one, I also get tunnel vision, and I don\u2019t let anything deter me from that.<\/p>\n

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LA: I remember that one of your dreams involves theater- productions, perhaps. I have the impression that this is something that nags at you and won\u2019t go away, a persistent vision, that will be part of your future in addition to your writing and press work. We see elements of theater in your performances. Does it come out in other ways, and do you find that you can integrate many of your passions together often enough?<\/em><\/p>\n

Leah: Ah, the big question with the loaded answer.\u00a0 I went to school for theater, and for many, many years, it was not only my first love; it was my only<\/em> love.\u00a0 I built a theater in Michigan, and I had a hand in every facet of every theater show I could possibly find: lighting, stage tech, costumes, hair\/make-up, scenic design, sound design, directing, assisting, pit orchestra, choreography, scriptwriting, and the acting, itself.\u00a0 It doesn\u2019t go away, but it is a younger man\u2019s game.\u00a0 Acting is the hardest job I have ever had, and not only because nothing is certain from week to week, but because the demands that it takes on your body physically and mentally are as taxing as they are exhilarating.\u00a0 Don\u2019t ever look at stage actors and think they are lesser-than in any way because they are only actors<\/em>, as if it were some kind of non-job job.\u00a0 Because the fact of the matter is they get up at five a.m., possibly work two or three other jobs to make ends meet, and bust ass in life and on stage in the most physically-demanding ways for measly parts waiting to get big breaks, then crawl home at one a.m. to do it all over again the next day.\u00a0 It\u2019s tough.\u00a0 It\u2019s backbreaking.\u00a0 And if you aren\u2019t going to get behind it 100% every day of your life, then give it up, because no big break happens to the dude who wishes<\/em> he were on stage while he\u2019s sweeping floors.<\/p>\n

So, two things about that.\u00a0 One: Let\u2019s go back for a minute to that shyness in front of strangers that I mentioned earlier.\u00a0 Once I get a part in a show, I can walk on stage and be that character and get over any jitters in the first few lines of the first act.\u00a0 I let the character take me over, and I love changing the outer skin and the inner guts to match the part I\u2019m given.\u00a0 But before<\/em> I get a part, I have to audition for it.\u00a0 And few things traumatize me more in my life than auditions.\u00a0 The nervousness is literally stifling for weeks leading up to an audition, and I can\u2019t function in a normal life when auditioning creeps into every corner of my anxious mind.\u00a0 And two: My deafness.\u00a0 While it is not apparent to most people because I have worked hard my entire life to make it that way, it is a hindrance to me if I\u2019m on stage, trying to hear cues while the sound is bouncing all over a wide-open auditorium.\u00a0 I was always afraid I\u2019d miss something and become the person on the stage the other actors couldn\u2019t trust to deliver.\u00a0 So I understand these limitations, and I have a hand in acting, writing, and directing productions when and where I can, but it\u2019s no longer my career<\/em>.<\/p>\n

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And on that mark, yes, it\u2019s a sore spot.\u00a0 I wanted to be a stage actor.\u00a0 I still do.\u00a0 And there is no other substitute or other outlet for it, no matter how many times I choreograph moves around the living room while belting \u201cOn the Street Where You Live\u201d from My Fair Lady<\/strong>.\u00a0 But one of the most remarkable things about us as humans, unlike my cat who still tries to walk through the sliding glass door daily, is that we have the ability to learn when things just aren\u2019t going to happen for us, and we can choose to move on.\u00a0 I do still write plays, and I do have a very realistic goal that I could still write a play that gets performed on or Off Broadway and that I might be asked to take part in its direction in some way, or maybe even win a Tony as a playwright instead of as an actor.\u00a0 Who knows?\u00a0 I\u2019d take that.<\/p>\n

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LA: Are there parts of you that are still waiting for their time and place, to emerge?<\/em><\/p>\n

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Leah: My historical-fiction writing.\u00a0 It\u2019s just seeing its very first peek at dawn.\u00a0 My novels are how I would like to be defined in this next decade, far more than with my work at Propaganda Press.<\/p>\n

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LA: I recall that we were both featured in LiteraryMary\u2019s Don\u2019t Call Me Plath<\/strong> project. Do you think that there are generalizations about female poets and their content?<\/em><\/p>\n

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Leah: You know what, I don\u2019t find that true.\u00a0 I\u2019m all for equal rights of all people, and yeah, I wear jeans, but I am not a feminist.\u00a0 I cringe at the word.\u00a0 I think if there are generalizations about female poets, then those generalizations are probably there for good cause, whether we like them or not (I\u2019d need specifics to better combat this with specifics), because the women allow themselves to fall into stereotypes by focusing on those stereotypes too much.\u00a0 People can easily break away from stereotypes by simply writing better stuff. \u00a0I have to be honest: I read as much pure shit from females as I do from males, and sometimes I get an abundance of submissions from men, and sometimes I get an abundance of submissions from women.\u00a0 It really goes both ways in that respect.\u00a0 As for the content, I don\u2019t think there\u2019s much difference.\u00a0 It all depends on the environment of the individual poet.\u00a0 For every Misti Rainwater-Lites, there is a Shane Allison.\u00a0 For every Rebecca Schumejda, there is an Hosho McCreesh.\u00a0 I do, however, notice a difference in content with the gap in age; I find that writers in their twenties\/early thirties tend to write far more stream-of-consciousness material, and writers in their mid-thirties and beyond tend to write more universally, with more relatable themes.\u00a0 That\u2019s the real difference I find, and it spans the content of both men and women.<\/p>\n

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LA: I won\u2019t call you Plath, but who are some of your influences?<\/em><\/p>\n

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Leah: For poets: Carl Sandburg, Alfred Lord Tennyson, Alfred Noyes, Henry Wadsworth Longfellow, Ralph Waldo Emerson, Vachel Lindsay, Walt Whitman, Sara Teasdale, Edna St. Vincent Millay, mostly the poets who wrote great historical epics.\u00a0 Novelists: J. D. Salinger, Sarah Vowell, Victor Hugo, Charles Dickens, Thomas Fleming, Jane Austen, Shelby Foote, Larry McMurtry.\u00a0 Broadway: Stephen Sondheim, Claude-Michel Sch\u00f6nberg, Alain Boublil, Tim Rice, Jason Robert Brown, Maury Yeston.<\/p>\n

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LA: Who do you admire, past and current poets included?<\/em><\/p>\n

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Leah: My favorites are not generally broken down by complete bodies of work, but by one specific work that blew me away.\u00a0 Some of the poets I previously mentioned changed my life forever with just one historic piece: Tennyson\u2019s \u201cCharge of the Light Brigade,\u201d Noyes\u2019 \u201cThe Highwayman\u201d (my favorite poem of all time), Longfellow\u2019s \u201cPaul Revere\u2019s Ride,\u201d Emerson\u2019s \u201cConcord Hymn,\u201d Lindsay\u2019s \u201cAbraham Lincoln Walks at Midnight,\u201d J. H. McKenzie\u2019s \u201cThe Titanic Disaster Poem,\u201d etc.\u00a0 Epic historical poems transformed me at a very young age, and I\u2019ve carried their romanticism with me always.\u00a0 My favorite current poets are Julie Buffaloe-Yoder, Rebecca Schumejda, Doug Draime, and Jenifer Wills.<\/p>\n

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LA: I have made some jokes about breast poetry, and the ways persona relates to women and both the respect and attention issues. I want poets to be respected on the merits of the work, and I don\u2019t want to diminish the work of a poet as a \u201cbreast poet\u201d versus a female that works hard and just happens to be attractive. The accusations on all sides go on, and so do the complaints.\u00a0 When does Leah Angstman cry foul?<\/em><\/p>\n

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Leah: I really don\u2019t.\u00a0 I come from a theater background where anything goes, and as I said before, I\u2019m not a feminist.\u00a0 If a guy in a cowboy hat walks by me, you can bet that I am objectifying him.\u00a0 It\u2019s one of my things: cowboys, ninjas, masked men, and robots.\u00a0 Cowboys tend to be the most common.\u00a0 I will objectify that cowboy by how well he fills his hat, boots, and jeans.\u00a0 A man does the same thing to a woman, and it\u2019s pretty natural.\u00a0 If a guy looks at me and sees boobs, well, I\u2019ll know he\u2019s male.\u00a0 If a guy looks at me and sees only<\/em> boobs, then I probably won\u2019t spend much time talking to him.\u00a0 If a guy talks to me, gets to know me, and still<\/em> sees only boobs, then it\u2019s his loss, and I\u2019ll cut it.\u00a0 But honestly, it\u2019s a difference in men and women that exists at a very base level, and we women spend far too much time thinking about it and analyzing it and trying to change it<\/em> when the change isn\u2019t going to happen.\u00a0 I think it\u2019s because it scares us to be objectified somehow, and we feel it makes us inferior or as if we\u2019re being judged by something other than our talents.\u00a0 And okay, we are, but that doesn\u2019t mean we won\u2019t also be judged for our talents, too.\u00a0 I say pay no attention to it and get on with more important things; focusing on the negative is just misdirecting vital energy that could be better used elsewhere.<\/p>\n

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LA: In the age of social media, internet presence, etc., it seems that the persona issue is a concern to some, and some feel that women are unfairly judged by appearance in terms of readings, acceptance, etc. These are complicated matters, and not easy to sort out. They aren\u2019t even easy to ask about. At the end of the day, I think we want to see attention paid to talented women irrespective of the games.<\/em><\/p>\n

\n

Leah: It\u2019s true, we do.\u00a0 We all just want equality.\u00a0 But men do, too.\u00a0 Plenty of handsome men get up on the stage, and the first thought that flickers through a woman\u2019s mind is, \u201cHe\u2019s hot!\u201d\u00a0 Yet, we don\u2019t think of it as disparaging when we do it, ourselves.\u00a0 Flip the coin.\u00a0 I don\u2019t think men try to be disparaging, and I don\u2019t really think it\u2019s complicated.\u00a0 Men have different hormones, and that\u2019s pretty basic.\u00a0 And I have to say that I don\u2019t see<\/em> very many instances of men actually voicing<\/em> these thoughts or acting on<\/em> these thoughts (Most of the men I\u2019ve encountered in this field are extremely supportive and attentive, and it would be unjust to say otherwise.), so I have to wonder how much of it is merely self-consciousness or diffidence that is internally in the women, themselves, that would be better directed at the glamour magazines and supermodel ads with which we\u2019ve been bombarded since we were toddlers playing with Barbie\u2019s ridiculous waistline, instead of at the men.\u00a0 Where is the point where we take responsibility for our own feelings on the matter?\u00a0 No one can make you into a victim if you refuse to be one.<\/p>\n

 <\/p>\n<\/div>\n

 <\/p>\n

LA: Do you think there is still disparity in representation, and are you concerned about it? Do you feel that appearance both helps and hinders a poet, and does it anger you, in either situation? Is it something you acknowledge? Is it something you talk about?<\/em><\/p>\n

\n

Leah: I don\u2019t think there is as much disparity in representation as women try to say there is.\u00a0 At least not in poetry.\u00a0 In some forms of art, attractiveness actually does<\/em> matter, and that\u2019s a downright shame.\u00a0 In poetry, I think people have less expectation of attractiveness to begin with, so no, I don\u2019t think it\u2019s really a problem.\u00a0 Again, not a feminist here.\u00a0 I think ultimately the poetry will speak for itself.\u00a0 If the work is good, people will get past all natural inclinations of first impressions (which are always<\/em> based on physicality, just by the default that we see with our eyes first and it takes only seconds to register, whereas all other forms of communication take time and effort) and will reward the work.\u00a0 I feel like women who cry about it without ever having had someone come up to them and actually say, \u201cNice breasts.\u00a0 I didn\u2019t hear a word you said, just watched your breasts wink,\u201d are just projecting their own insecurities or need some crutch because their writing doesn\u2019t speak for itself.\u00a0 Now granted, if you\u2019ve had this scenario personally happen to you, then you\u2019ve got a right to some beef.\u00a0 But you\u2019ve only got beef with that one guy<\/em>; don\u2019t take it out on every male you see.\u00a0 That only exacerbates the problem, and it escalates into stereotypes that end up generating exactly what you\u2019re projecting.\u00a0 As you don\u2019t want that done to you, you should not do it to others.\u00a0 (And I use \u201cyou\u201d very generally here.)\u00a0 Ignore the stereotypes, and they eventually lose ground.<\/p>\n

 <\/p>\n<\/div>\n

 <\/p>\n

LA: Many of us still love the experience of a book, even though we are increasingly digital. Many small press publishers are moving in the direction of ebooks, or digital versions of their catalogs.<\/em><\/p>\n

\n

Leah: As am I.\u00a0 I am in the process of converting my entire catalog over to eBooks, as well.\u00a0 It just gives people an extra option.\u00a0 I tell you, as someone who owns a Kindle, I quite honestly never want to pick up another printed book in my life.\u00a0 I have eighteen-hundred books stored on one device that is lighter and smaller than just one book.\u00a0 Yeah, never goin\u2019 back.<\/p>\n

 <\/p>\n<\/div>\n

 <\/p>\n

LA: Do you think there will always be a role for the book? Should there be, from an environmental point of view? Is there a point where we should step away from the Xerox?<\/em><\/p>\n

\n

Leah: I stepped away from the Xerox a long time ago.\u00a0 My books are all printed in-house on a state-of-the-art laser printer.\u00a0 But will the book die out?\u00a0 Yes.\u00a0 It\u2019s going to take a few generations, and it won\u2019t be in our lifetime, but it will go the way of all things until it\u2019s just some weird, funky thing that some kid\u2019s great, great grandparents owned.\u00a0 From an environmental point of view, I do think it should go; and from a practical point of view, I think it should go.\u00a0 We only love the feel of books in our hands because we are creatures of habit who resist change.\u00a0 A book is something we\u2019ve known, something we\u2019ve been raised with, a piece of ourselves that means we are becoming history if we let go of it.\u00a0 But if we never knew the paper book to begin with, we would all be just fine with our eReaders, and probably better off for it, knowledge-wise, considering I have read more books in the last year than I ever have in my entire life just because of the ease of my Kindle.\u00a0 Children who struggle to read are more likely to get better at overcoming the struggle if they have an eReader because there is no embarrassment involved with other people seeing what\u2019s being read.\u00a0 Instead of \u201cNo Child Left Behind,\u201d let\u2019s give every kid an eReader and expose him to the hundreds of thousands of public-domain classics that are available for free, and give him an entire library right at his fingertips.\u00a0 It\u2019s worth more than one book, and I\u2019m all on board for the digital revolution.\u00a0 The one who shies away from it is ultimately the one who will be left behind; embrace it now.<\/p>\n

 <\/p>\n<\/div>\n

 <\/p>\n

LA: Does everything deserve to be printed?<\/em><\/p>\n

\n

Leah: No.\u00a0 Absolutely not.\u00a0 I pass manuscripts over all the time, and I\u2019ve read some self-published books that would give you nightmares.\u00a0 Everything that gets printed needs an editor, I will say that.\u00a0 More than one, if you can hack it, but definitely at least one.\u00a0 But as it is with anything, the good ones will rise to the top.\u00a0 Word of mouth always wins in the end, and the best books will take wing on their own.\u00a0 Now, with that said, I think it is important to be able to separate what you, yourself, don\u2019t like for personal reasons and what is just drivel.\u00a0 I tend to be very, very picky, but if I printed only<\/em> what I would want to read, I\u2019d have two books in my catalog (No offense meant toward my authors, just personal preferences, if you recall that I don\u2019t actually like poetry), and the hundreds of people who\u2019ve enjoyed the other hundreds of books would never have had them.\u00a0 So it\u2019s important to distinguish between personal preference and what actually has merit but might just not be your thing.<\/p>\n

 <\/p>\n<\/div>\n

 <\/p>\n

LA: What\u2019s next for Leah Angstman?<\/em><\/p>\n

Leah: Historical fiction.\u00a0 I\u2019m making some changes to the Propaganda Press catalog to free me up for more novel-writing time, and I\u2019m not taking any new submissions for a long while.\u00a0 My first two novels, Sirens Call the Sailors<\/strong> (http:\/\/leahangstman.blogspot.com\/2012\/02\/sirens-call-sailors.html<\/a>) and Falcon in the Dive<\/strong> (http:\/\/leahangstman.blogspot.com\/2012\/02\/falcon-in-dive-leah-angstman.html<\/a>) are completed, are in the process of playing the literary-agent game, and will hopefully see the light of day in twenty-thirteen.\u00a0 It\u2019s a bit like auditioning for me: a scary, daunting task.\u00a0 I\u2019m currently mid-way through a series of westerns that take place in the mid-eighteen hundreds, called sequentially, The Only Way to Cheat a Hangman<\/strong> and Hell or Low Water<\/strong>, and those should be finished by the end of twenty-thirteen.\u00a0 For those interested in all of my upcoming novels, you can read all about them here: http:\/\/leahangstman.blogspot.com\/p\/novels.html<\/a> and follow along with me on my website.\u00a0 I can also be found on Twitter @leahangstman (https:\/\/twitter.com\/leahangstman<\/a>) and on Facebook at http:\/\/www.facebook.com\/authorleahangstman<\/a> (This is the only<\/em> public Facebook profile for me, thanks.).<\/p>\n

If you\u2019re interested in my poetry, I\u2019ll be putting together a collection of the best material from all of my older, out-of-print chapbooks, called Sometimes She Stutters<\/strong>, and I\u2019m working on two new chapbooks; one is a collection of all-new miscellaneous material, and the other is a collection of form poetry with an antique, archaic feel, all about my heroes of the American Revolution, based in style on the poems I grew up with.\u00a0 That one will be the first in a series of my rhyming verse\/form poetry centering around historical themes, and it will be followed at some point by the second in the series, poems about the Civil War.\u00a0 In the meantime, you can read samples of my poetry and buy printed chapbooks here: http:\/\/leahangstman.blogspot.com\/p\/poetry.html<\/a>.<\/p>\n

And lastly, if you\u2019re only interested in Alternating Currents Arts Co-op or Propaganda Press, you can find us at our website: http:\/\/alternatingcurrentarts.blogspot.com\/<\/a> or on Facebook: http:\/\/www.facebook.com\/alternatingcurrentartscoop<\/a>.\u00a0 That\u2019s it for me.\u00a0 Buy my novels!\u00a0 Pretty please, and thank you!<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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