How to Get GEEK

Geek Mook probes the vulnerabilities of geeks and geek culture. Editors Aaron Mannion and Julian Novitz have chosen both established artists and their emergent siblings to expose the patches and passions that contribute to the uptime—and downtime—of the most awkward and advanced computational device known to humankind: the geek. The moment is upon us.  Signs foretold have been fulfilled: the Stones have tweeted and the status is on the wall. Blessed are the geeks, for they shall inherit the earth.

Contributors:

Adam Ford * Adolfo Aranjuez * Alan Petersen * Alec Patric * Amelia Johns * Anastasia Cox * Andrew Heath * Angela Meyer * Benjamin Solah * Ben McKenzie * Brandon Sutton * Carl Shuker * Corey Wakeling * Damon Young * David Witteveen * Diane Simonelli * Emily Turner * Emma Doolan * Georgia Payne * Jana Perkovic * Joel Matthys * Julian Fleetwood * Kent MacCarter * Laura Jean McKay * Laurie Steed * Liam Pieper * Matthew Lang * Meg Mundell * Melinda Smith * Michael Farrell * Mike Lynch * Nancy Mauro-Flude * Philip Armstrong * Phillip English * Priscilla Clare * Sam Pash * Sarah Stanton * Stephen Orr * Susan Pyke *  Vern Skags * Vic Tietze

Geek Mook is available in hardcopy and as an e-book.

Hardcopy editions can be found in several leading bookstores and magazine outlets. It can also be purchased directly from Vignette Press via our SPUNC page: http://spunc.com.au/members/vignette-press .

E-books are also available from Booki.sh, Kobo, Amazon and other major outlets.

As well as containing a smorgasbord of geekery, Geek Mook contains easter eggs. The hardcopy mook has three easter eggs; the e-book contains only one. If you think that you have found one, email Geek Mook (geekmook@gmail.com) with ‘Easter Egg’ in the subject line. In the body text, let us know what you think the easter egg is—hint, it’s a hidden message or something anomalous in the mook. We’ll reply with answers (and small prizes) until at least 2013.

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Fat Mook – Request for Submissions

Vignette Press is seeking new work for the latest in its acclaimed series of mooks. After The Sex Mook, The Death Mook, and Geek Mook, comes Fat Mook.

In a climate where fat bodies are ridiculed, controlled, and feared, Fat Mook seeks to expand the ways we think about fat. We’re looking for work that says something both new and real about fat – work that is accessible but makes us think, that goes to hard places and takes us through them, that is ugly and beautiful and changes the way we breathe. We’re keen on art, photography, poetry, memoir, fiction, comics, non-fiction, and other innovative forms – surprise us!

We are looking for work that goes beyond stereotypes and broadens the existing take on fat. To this end, we particularly encourage contributions from people of colour, queer folk, gender diverse folk, disabled folk, and people from around the world. We also encourage submissions from men, as most fat work is written by women, but we welcome all submissions – we want to read your work.

Fat Mook will be the first collection of creative work on fat to be published in Australia. Find out more at the FAT tab above or here: http://vignettepress.com.au/?page_id=142

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Special Guest Stars Named!

Dungeon Mook: Crawl to Mount Geek!

We’ve released the names of our special guest stars: Ben Pobjie, Emmett Stinson, Meg Mundell, Emily Zoe Baker, Tom Cho, Sofija Stefanovic, Ronnie Scott and Estelle Tang!!!

Will you be there? Or does the Fun-Razor have to come find you?

  • Thursday 21 July 2011, doors from 7pm, starts at 8pm.
  • Tickets: Pre-order online $12 + $2 booking fee or $15 on the door.

Tickets from the Bella Union website (http://www.bellaunion.com.au/program_guide/show_456) :

A special, literary-themed Dungeon Crawl raising funds for Vignette Press’ Geek Mook journal, to be published later this year.

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Fun-Razor – Dungeon Mook: Crawl to Mount Geek!

When the comedy show Dungeon Crawl and Vignette Press’s mook series shared a cab toward the city centre, nothing seemed out of the ordinary. When the cab crashed into a truck carrying toxic waste from an experimental plant deep in Fitzroy, it was simply an everyday tragedy. But when a lightning storm triggered unforeseen chemical processes, something irresistible was born. A terrible fusion of indie publishing and geek comedy, what this previously innocent earth witnessed that day was the coming of the Dungeon Mook.

For weeks or years or days, Dungeon Mook hid in the back of small alleyway bars fearing to let the let the world gaze upon its strange and marvellous disfigurement. Taken in by kind-hearted Bella Union, however, the Dungeon Mook learned of its past. It learned how Economix and the evil DJ Monks of the New World Order had plotted against to keep its parents from their rightful ascendancy. If it couldn’t raise money to publish the most awesome literary-geek mash-up of all time, its parents had died for nothing.  Dungeon Mook knew that the Geek Mook must happen. Dungeon Mook knew what had to happen.

The Dungeon Mook became the Fun-Razor—a fundraising event that defies economics, the DJ monks of the New World Order and all other less entertaining fundraising initiatives. And the Fun-Razor was born. And it was awesome. And the Fun-Razor said, let there be a comic adventure and let it be well-attended. It shall be called:

Dungeon Mook: Crawl to Mount Geek!


Will you be there? Or does the Fun-Razor have to come find you?

  • 21 July 2011, doors from 7pm, starts at 8pm.
  • Tickets: Pre-order online $12 + $2 booking fee or $15 on the door.

Tickets (and following information) from the Bella Union website (http://www.bellaunion.com.au/program_guide/show_456) :

A special, literary-themed Dungeon Crawl raising funds for Vignette Press‘ Geek Mook journal, to be published later this year.

Ben McKenzie and Richard McKenzie bring together the hottest comedy nerds to  fight, bluff, bribe and possibly dance their way through a magical adventure, helped by your decisions and hindered by the devious Dungeon Master. Featuring a cast of bizarre heroes, dysfunctional villains and crazy quests – and of course, killing monsters and stealing their stuff.

“Very charming and frequently hilarious.” RHUM

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Geek Mook: Call for Submissions

mook -
1. A bound hybrid publication issued in a series.
2. Not quite a magazine, not quite a book.
3. A collection of surprising, unconventional new writing.

geek -
1. An awkward or socially inept person.
2. A person obsessed with technical or non-mainstream interests.
3. A carnival performer who performs sensationally morbid or disgusting acts, such as biting off the head of a live chicken.

Vignette Press is now seeking work for the latest in its acclaimed series of mooks. Following the success of The Death Mook and The Sex Mook, Geek Mook explores the worlds of hackers, gamers, steam punk fashionistas, trekkies, neo-punk trainspotters and obsessives of all the other fixations that give us a reason to stave off death (and quite frequently sex as well). As primarily book and literary geeks ourselves, the editors especially welcome submissions caught in the intersection of geekery and the literary. We’d love to learn about the ways the ways geek, literary and human have crashed up and mashed up in your lives and imagination: explain to us the aesthetics of coding; remember a childhood struggling with the unfair dice rolls of AD&D and ADHD; trace the interconnections between infidelity and Star Trek; show us the human heart beneath the steampunk carapace.

Specs

We are accepting nonfiction, fiction, infographics, poetry, illustration and other art forms which work well in a black and white print format. Submissions may be from 500-3000 words, though we envisage sweet-spots around 1250 words and 2500 words. We will consider longer pieces where the work is so good, we’d feel silly bowing to any word count rule. Geek Mook contributors should not assume specialised knowledge or vocabulary on the part of the mook audience, though they can and should expect intelligence and curiosity. The pieces need not be homogenised, however, and we welcome work that, like A Clockwork Orange, pushes us out a little past our cognitive and linguistic depth, sinking yet strangely still able to breathe.

Vignette Press appreciates the guts, labour and dedication required to produce good writing and art. Unfortunately, at the moment, we are not in position to express this monetarily. Each contributor will receive two complimentary copies of the Geek Mook.

Possible topics include but are not limited to:

Coding
Conventions
Steampunk
Cosplay
Cinema
Fan fiction
Hacking
Online communities
Collecting
Music obsessions
WikiLeaks
Dungeons and Dragons
Superheroes
Zines
Blogging
Code poetry
Memes
Speculative fiction

Submissions open 1 July 2011 and close 31 July 2011. Please email your submission together with a fifty word bio to geekmook@gmail.com

Live long and prosper.
Aaron Mannion and Julian Novitz, Geek Mook Editors
Amy Espeseth, Publisher, Vignette Press

Follow us on Twitter: vignettepress and geekmook. Like us on Facebook: Vignette Press. Befriend us in real life.

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Times Are Changing – Vignette Press News

As you may have noticed, Vignette Press has been very quiet for a while now. Although I still have a passion for independent publishing and enthusiasm for Vignette Press, my priorities have changed a lot over the past two years and I have increasingly little time for publishing; not in the least because I’m publishing on behalf of the Emerging Writers’ Festival now also.

Over the past six months I watched Chris Flynn and Tiggy Johnson hang up their publishing boots, which had a big impact on me. They were two of the first people I made friends with along this independent publishing journey and are two publishers that I like and admire greatly. It got me thinking, where to next for Vignette Press? Although I no longer have the time to spend on Vignette Press, I didn’t want to see the press come to an end. So I hung on, doing nothing, but hoping that somehow the situation would resolve itself. Which it did…

This post is to tell you that I’m leaving Vignette Press.

I’m really proud of what I published at Vignette Press – Mini Shots, The Sex Mook, The Death Mook. I’m prouder still of the amazingly talented people that were included in the output of Vignette Press. I’m honoured that you all took a chance on a little press and let me publish your work (and for free, no less!). Through Vignette Press I met an incredible bunch of writers, publishers, editors, artists and readers, and I’m reminded of how special and awesome those connections are every time I walk into a book launch or read the program of a writers’ festival. Vignette Press is how I got to where I am today, in a position that I love and where I get to work with amazing writers on a daily basis. Thank you for being a part of that.

It gives me great pleasure to announce that Vignette Press will continue on without me, under the inspired and intelligent guidance of a new publisher, Amy Espeseth. I have no doubt that Vignette will continue to go from strength to strength from here and I look forward to watching its journey. (Amy is contactable at amy@vignettepress.com.au.)

Thank you all for your support across the past five years, but especially to Julian Fleetwood, Dion Kagan, Jason Lingard and Emily Clark – I couldn’t have done it without you.

My Vignette Press email address is about to become inactive. Please contact me on info@lisadempster.com.au in the future.

Sincerely,

Lisa

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Sex Mook Editorial

by Julian Fleetwood. First published October 2007.

Because sex defines, influences and affects everyone; because each of us has a unique sexuality; because we rarely have the opportunity to honestly express and discuss it with others.

This is not the way it should be. We need to be able to openly communicate our experiences of sex for there to be healthy, realistic alternatives to the crap we’re spoon-fed by TV and film, the internet, books, magazines and news.

If we don’t demonstrate that our sexual desire can’t be summed up in a magazine centrefold, or that we are attracted to people who don’t conform to a narrow list of specifications defined by mainstream media, governments and marketing companies, then it’s going to become harder and harder for ourselves and others to do so. If we don’t express—often and loudly—how we see our own sexualities then those avenues we can currently use to communicate to politicians, companies and each other will diminish.

Much of the content of this book relates to the context of sex and sexuality in Australia, but the issues and conflicts expressed in these articles, stories, pictures, poetry and debates apply to just about anywhere else in the world.

Given that the core reason for producing this book was honesty and openness—to create a space for people to candidly (and, not to forget, entertainingly) discuss their perspectives on gender and sex in all of its messy and confusing plurality—it would be duplicitous to claim this book was any kind of authoritative statement.

Let’s be honest: this book is rough. ‘As rough as grass undies’ (to steal the title of Adrienne Kneebone’s 2006 sculpture about domestic sexuality). But, then, so is sex. It’s amorphous. It spreads and influences all aspects of our lives, especially those we wished it would stay out of. Sex can never ever be one thing to everyone: it’s beautiful and a mess.

Every person is constantly undergoing a process of negotiating and re-defining what sex means to them. This understanding is most powerfully shaped through our short or long-term contact with partners who are equally engaged in the life-long process of defining sex and their sexuality.

Think of this book as 62 potential new partners– let’s get out there and mingle.

Julian Fleetwood

Extract from The Sex Mook.

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Death Mook editorial

by Dion Kagan. First published February 2009.

Death is so hot right now. Six Feet Under, Dead Like Me and Dexter are just the most recent cult examples of TV’s fixation with the grim, mysterious end. Not to mention
CSI, SVU, Cold Case, Homicide and a barrage of other cop, mystery and detective dramas that flirt with that out-of-reach territory beyond the rational. From funereal families to
forensics, sexy serial killers and the glamorous undead, death is all over prime time. At the box office there’s never a shortage of grief, horror, and general carnage, but the Gothic fairy-tale (think Pan’s Labyrinth, Sweeney Todd and El Orphanato) has made a Grimm comeback alongside more philosophical meditations like No Country for Old Men.

And that’s only the screen. In the world of couture, the catwalk rumbles with dark and dangerous themes and hipsters have taken to wearing taxidermy jewellery. Popular music has always been interested in mortality, but the varieties of emo and goth, death glam
and death metal are breeding faster than you can scream My Chemical Romance. Everybody Hurts, but never more so than the members of today’s melancholic youth cultures. Not to get too reductionist (there are entire websites devoted to the difference between goth and emo), but if these subcultures have anything in common, it’s surely their
pasty aesthetic and fascination with the morbid (much to the chagrin of
concerned members of society, of course – just google ‘emo’ and you get a whiff of the moral panic).

So, if corpses are the new centrefolds and burial rites are the new black, does this mean that we, as a culture, have opened up to a more frank, unequivocal confrontation with
mortality? Or is this pop fascination just the shameless exploitation of another riveting taboo? Perhaps sex, the other great tantaliser, has lost some of its lustre, and we’ve turned
to death to stimulate our curiosity? Perhaps death, in turn, shall become banal (if it hasn’t already) thanks very much to eyewitness TV, and the gratuitous coverage of violence,
disaster and other tragic events.

Death, sex, taboo, TV; these are all big questions. As one of our contributors succinctly puts it: ‘Death: it’s a big word. It always has been’.

So, how do we – yes, that’s you and I – die? In what grisly, disorderly ways will we each find our individual ends? Will there be some delicious nibblies to snack on en route? What in the devil comes afterwards? As Simon Critchley says in The Book of Dead Philosophers, in learning how to die, we learn how to live. But how do you live after a brush with you-know-who? How do you get through the day with the knowledge that death is
always standing just behind your left shoulder? And how about the gradual decay of your svelte, smooth body? How bloody long do you think you can live, pumping all manner of Ulay into your veins and crinkled brows?

In a culture paradoxically described as death-denying and death-obsessed, the intention of The Death Mook was to create a space for people to talk about death in creative and
unorthodox ways. We wanted to drag out the rotting old corpse and freshen it up a little for another viewing. We posed the question ‘how do we die?’ to encourage writers and visual artists to think about death in its various idiosyncrasies; to share perspectives, impressions, images and experiences that might shed some light, however grainy, on this gloomy cultural netherplace.

This collection may not contain all of the answers. But what it does contain are some very provocative, some very engaging, and some downright crackpot perspectives. It’s broad-ranging, because death happens in so many different ways; it’s unconventional, because let’s be honest here, death is strange territory; and finally, it’s utterly compelling, because try as we might to deny it, death is so fascinating you just can’t look away.

Dion Kagan.

Extracted from The Death Mook.

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Down & up

The Vignette Press site will be functional again by the end of October 2010. Promise.

Sorry for the inconvenience.

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