Six Tips to Buying Comics at a Comic Book Convention

ta Comic collecting can be a very demanding hobby. Not only is it difficult to keep up with prices and to find the best deal, but it’s important to know that you’re not getting ripped off. When in a comic book convention especially, things can seem hectic and you can feel pressured into something you did not feel comfortable with in the first place. Here’s a personal, if not, embarrassing story that happened to me when I first started collecting.

I saw X-Men #66 – the last issue of the series before it went into reprints – for a meager $20 at a local Comic Convention. The Comic Book Price Guide suggested a near mint (graded at a 9.2) copy of the book would go for $240.

I asked the retailer to take the book down and give it to me. I looked over the cover in the bag and couldn’t believe the price. The quality of the book was pristine. But there was no mistaking it as there was a big two inch by two inch $20 sticker right on the front of the bag the book was in.

X-Men 66

Realizing the great deal I was getting, I paid the man for the book and went on my way. It wasn’t until I got home did I see what had happened.

Had I opened the bag and pulled the book out I would have noticed that behind the large $20 sticker was a corner of the book that was obviously torn off and taped back on by the retailer. The sticker was covering up the defect! I was had! Or was I?

Let’s just say I had learned my lesson. As the years went on, I picked up on some other tricks about collecting comics at conventions. Here’s how you can guarantee to not fall under the same trap I fell into.

Open the Bag

Reading my story, it’s obvious that opening the bag should be the number one thing you do when you’re checking a book for quality. Whether it’s in a bargain bin or on the retailer’s wall, open the bag up and look at the cover. Check for defects and make sure the cover is all in one piece. Look at the staples, look at the vibrancy of the cover, and check for creases, tears, or touch ups. If you don’t feel comfortable doing this, ask the retailer to open the bag for you for you to look at.

They’re trying to make a sale, so they are more than willing to let you nitpick over the book. You want to make sure that you’re paying for what you’re getting. Even ask them questions about that book’s history: who owned it beforehand? Was it touched up? Are all of the pages intact?

Open the Book

Another early collecting story of mine is when I picked up a copy of Fantastic Four #45 – the first appearance of the Inhumans and Black Bolt. While the cover was alright, I purchased the book and went through it later when I was at home. As I looked inside, there were clippings from the mail-away advertisements missing. So while the cover makes up the majority of the price, the interior of the book must also be in good condition to make the value. While you have the book out of the bag, by all means, flip through the pages of your potential investment.

House of Secrets 92

Don’t be a Booth Bum

Most Comic Conventions have more than one retailer. By all means, look at them all before you purchase your book. You can save yourself hundreds, if not thousands of dollars by being vigilant and checking/comparing prices from the various vendors.

Know What You’re Looking For

Go to these conventions with a goal in mind. If you’re looking for House of Secrets #92 featuring the first appearance of Swamp-Thing, know what the general prices are before going into the convention. Check out the Comic Book Price Guide and try to memorize the numbers. The book is often considered as the Bible to what book prices should be. You should never aim to pay more than what the book is asking.

Alternatively, you can use it as a reference guide to pricing and to help you find the version of the book in your budget. A good quality (CGC 2.0) version of House of Secrets #92 goes for around $50 according to the Guide. However, a near mint copy can start around $1200. However, you may find a vendor only asking $1000 for a 9.2 graded copy of the book – or maybe they’re asking $1300. The purchase is your call.

The Guide is NOT the Bible

Allow me to be contradictory for a moment. According to the Comic Book Price Guide, a near mint version of The Walking Dead #1 should be $800. However, it has been recorded beyond the Guide that the book can easily sell for $1500 or more.

While the Guide offers a great reference point to both retailers and collectors, the market can fluctuate the prices of books dramatically. For example: if someone wanted to pay $1500 for that quality copy of The Walking Dead, chances are the next book will sell for $1600, or $170.! Maybe even $2000! It’s important to do some additional research before you jump into the thick of collecting. You may just be in for a surprise when the book you want is surprisingly out of reach.

Iron Man 55

Plan Ahead

Think about a book and WHY it should increase in value. For example, we’re already two Thor movies in with a third one on the way. While a villain for the third film hasn’t been announced yet, it’s been heavily rumoured for years that The Enchantress will be making an appearance in the Thor series.

It’s probably best to buy Journey Into Mystery #103 where she makes her first appearance BEFORE she gets put into a movie. What if she never gets put into the film? The book will rarely ever depreciate in value, so it’s best to get a head start before everyone else.

I’ve always wanted to buy Iron Man #55 as I love Thanos. Iron Man #55 has his first appearance and before The Avengers movie hit theaters, it was heavily rumoured that Thanos was going to appear.

I’ve always stalled on buying the book – where a near mint copy would go anywhere from $20-$75 before the film was released. Once it came out, the book skyrocketed to over $800 at some conventions. A missed opportunity there.

Lessons Learned

You’ll never be 100% flawless from buying comics at conventions. There will be some point where you’ll get burned on price or realize the book you should’ve bought was at another vendor: it’s part of the comic collecting experience! It’s important to learn from your past mistakes, much like I have and blogged about that X-Men #66 experience before.

Nowadays, I do my best to stay vigilant and look for certain opportunities when they arrive! I once grabbed a near mint copy of Uncanny X-Men #266 – the first appearance of Gambit – in a dollar bin. The book could’ve easily went for $60+. But I knew what I was looking for and knew the prices. Not all vendors are perfect, you know! However, if it seems like too good of a deal – it may just be that price for a reason (but that Uncanny X-Men #266 went to me for $5 and it was sincerely in near mint condition – the retailer’s fault)!

So the moral of the story is to be prepared when going to a Comic Convention! If you do have any questions about collecting, ask away or you can hit me up on Twitter and Instagram!! And keep on Space Truckin’!

Advertisements

That Time I Was Lady Jaye

For the past few months, I’ve been reading articles, reading blog posts, seeing images, having some conversations, and reading some status updates from friends and family – mostly all on “the Facebook,” mind you – regarding what really defines masculinity and how the whole feminism movement is “ruining” whatever it is people are finding it ruin. I can see what all the hooplah is about though: men are suddenly getting pulled out of their comfort zones – being confronted with the sudden realization that “what makes a man” can be based on societal expectations. Uh oh, SpaghettiOs.

While I think we could talk for eons about the whole subject, I felt like sharing something that I hope would bring up a discussion of how the world can be full of expectations when it comes to defining roles and how it is really isn’t a norm.

Get this awesome patch here.
One of the things I saw on Social Media. Get this awesome patch here.

Once upon a time – and this may be hard to believe – but I was younger than I am now. It was the early nineties and I was busy watching cartoons with my closest friend and brother. Cartoons such as X-Men, Transformers, Denver the Last Dinosaur, and so on. When we weren’t doing that, we’d play games on our Nintendo Entertainment System. Super Mario Bros. 2, Guerilla War, Clash at Demonhead, Blades of Steel, BurgerTime, and many more.

Sometimes we’d find ways to incorporate the video games into our imaginative world of pretend play. We’d re-enact games like Spider-Man and the X-Men in Arcade’s Revenge by playing the game, then running around as an X-Man character. This also worked when we played road hockey after playing Blades of Steel. “Get the pass,” we’d say. Although we probably heard it as “Hit the Pads” or “Make the Pass” as the language in the game was a pretty garbled mess.

We’d also all watch the G.I. Joe animated series. We had a lot of fun with our action figures and on the odd occasion, we’d pretend we were G.I. Joes. We’d play the NES game, Captain Skyhawk and pretend we were on a mission to do whatever it was the Joe’s had to do. Fight Cobra? Defeat aliens? I don’t know. Why we just didn’t play the G.I. Joe game for NES still boggles my mind to this day.

However, when we played G.I. Joe, we picked who we’d pretend to be. My friend always chose Duke. My brother was either Snake Eyes or Roadblock. Me? I was always the bad-ass javelin-throwing Joe, Lady Jaye. We’d spend hours in front of the television and hanging out with one another as we defeated whomever it was we had to defeat in the video game – then we’d take the fight outside and pretend to fight Cobra as well. We were kids – it was fun!

Lady Jay? More like, Lady SLAY!
Lady Jay? More like, Lady SLAY!

Looking back at it now, no one ever told me it was “weird” to pretend to be Lady Jaye. All of us just picked a Joe we liked and was that person for the few hours when we pretended to be G.I. Joe’s. My parents never said anything to me about it. Talk about progressive parents. It probably made as much sense to them as seeing us young Canadian boys pretending to be Real American Heroes.

To me, Lady Jaye was and is still just another one of the Joe’s.

Later in my life, I picked up the G.I. Joe cartoon series on DVD and ploughed through it all. Reflecting on my childhood, you know what? Lady Jaye really was a bad-ass. The writers on the show did an excellent job not making sexist or misogynistic characters. And even if they did for an episode, the female Joe’s proved them otherwise.

Lady Jaye, Scarlett, Cover Girl, The Baroness, Dreadnok Zarana, Jinx – all of them kicked some serious butt. They were written as equals and no one ever said otherwise in the cartoon show.

Scarlett wrecks Dreadnok Torch
That time Scarlett didn’t give a damn what Torch thought

I even remember an episode dedicated to just showing how awesome the women Joe’s were. Spell of the Siren featured Lady Jaye, Scarlett, and Cover Girl as they had to rescue every male-Joe who was brainwashed by The Baroness. I can’t think of any other show that I grew up with that did anything similar to that outside of the X-Men animated series with Rogue and Storm. Even both cartoon shows managed to pass the Bechdel test!

It’s interesting to go back and see why I wanted to be Lady Jaye: she’s simply an incredible character! As a young boy, I never saw her as anything else but someone to look up to. As an adult, I still see the same thing.

Admittedly, I’m speaking solely about the G.I. Joe: Real American Hero TV series. While even the early Marvel comics have shown her in a positive light, a simple Google search can show you what she’s currently like in the mainstream – especially since the second live-action G.I. Joe movie.

Scarlett, Cover Girl, and Lady Jaye from "Spell of the Siren"
Scarlett, Cover Girl, and Lady Jaye from “Spell of the Siren”

While I’ve tackled some other obvious issues regarding the way women are portrayed in comic books and in cartoons, I have to say that I’m completely surprised and impressed how these Joes were written and portrayed.

What my parents thought of me wasn’t based on them telling me how to live. It wasn’t them imprinting their expectations on me. They were letting me be me. And if you ask me, I think I turned out just fine.

But to my main point: Lady Jaye didn’t fill the traditional role of a woman or a man. She was her own person. When one thinks of G.I. Joe, few people would think women would be included in that group – let alone being able to name one of them. They’re JOES after all. You’d expect no women, right? But that’s the thing about societal expectations: what you think you know is not always what’s right. And while some of you may be thinking, “She was seen as one of the Joe’s because she was written like a man,” try re-reading what I wrote above and think about why you’re wrong.

I know I’m just barely scratching the surface with this topic, so for any comments, questions, concerns: sound off below!

The Dark Side of Self-Publishing

As I mentioned in my last blog, I’ve decided not to take the self-publishing route for my next book.

“Why not?” you ask. Let’s get into the nitty gritty with the Dark Side of Self-Publishing.

You’re On Your Own

You would think that self-publishing is pretty self-explanatory: you’re on your own. It’s not “group-publishing” after all. So how could being on your own be an issue?

Speaking with authors, listening to author workshops, and just generally knowing other people in the field of writing can be pretty darn helpful when writing a book. Not only are they available to bounce ideas off of, but those people don’t care to hurt your feelings. When you’re grouped with similar-minded authors or are at least starting to get to know people in the field/related to your work, it’s helpful to have those like-minded folk close by to call up when you’re struggling with a particular scene or needing help to find the right word for something.

Zoidberg Book

Now obviously that kind of description above implies you’ve already been published or are connected to network of writers, editors, etc, to call upon. If you’re not involved with one, it is something you will get forced in to when it comes to sending your book to a publisher for print. Your book will need to be edited and proofread by the publisher team and thus opening the doors to a whole new world: acceptance and rejection.

Friends and family let you down easy and fluff a lot of things for you. Now I’m not saying my personal experience was like that, but it certainly helps to have someone who is more crass in their opinions of writing. Why not make that person some sort of professional in the field? Don’t do it alone!

The Scams

Writing a book is one thing. Learning how to publish it is an entirely different animal.

When I went about looking how to self-publish, I had to be very diligent to find what company was actually a legitimate publishing company. There are plenty of websites out there that sell themselves really well but actually provide little of any results. There’s a few that will publish your book but not provide you with any income. I know, right?

I won’t name names, but there were a few sites I considered that ended up having class-action lawsuits against them in other parts of the world. It’s important to do your research about these companies before you go any further with putting your hard-work to their potential scamming services. But a bit more on this later.

The Cost

Save up.

Empty Wallet

Remember: YOU are the publisher. You are using someone else’s service to PRINT and possibly DISTRIBUTE your books for you. Therefore all of the costs around printing and possibly distributing are entirely on you.

It’s strange to think of yourself as a publisher as you’re just one person, but that’s really what it is! You are your own publishing house and thus you’ll encounter a lot of the costs a publisher would have had to pay. Whether it be printing the books, buying rights to certain font, or getting someone to create the cover art of your book – it’s all on you!

While the final cost of the book heavily varies on how many copies you want to have printed and the quality of the overall book, expect say, 100 books to start around $1000 in your cost. This is a rough estimate in Canadian dollars, but hey – at least you have an idea to save up for something. So yes, that’s $10 per book – your cost.

The Learning Curve

You may think a book is a book: it has a cover, page numbers, a spine, an About the Author section – you’re all set. Right?

NOPE! NOPE! NOPE! NOPE! NOPE! NOPE! You’re not even close!

While explaining this section could take multiple blogs, I’ll try to make it concise: to guarantee your book to be mass-produced and accepted in book stores across the world (such as Amazon, Indigo Books, etc), you have to follow globally accepted publishing formats and standards to get your book into bookshelves.

These are including, but not limited to: making your margins meet properly within the pages of the book, using the proper, non-copyright font (ie. Times New Roman, Garamond – just because the font is in Microsoft Office does NOT mean it’s free to publish your book with it), make sure the font on the spine of your book meets within the sizing parameters, have a barcode present on your book cover, have numbered pages, have a copyright page in the front of your book, have multiple title pages at the beginning of your book, have an ISBN number, and so on.

While those are some examples, it’s important to know there are a lot of legalities to publishing a book. While your copyright claims the book to be yours, it may not hurt to register it for copyright as well.

A side about the fonts: this is what caught me off-guard the most. There are fonts within your computer that you can write whatever you want in, but when it comes to making money off of your book, you’re technically using a font that is not licensed for commercial use. So if you’re DYING to use a particular font for your book, you may need to pay up.

And remember: you’re on your own to figure this out! Get it right or it’ll cost you.

However, if you went through a publisher, you don’t have to worry about any of that stuff.

The Fear and Expectations

You’ve done it! You’ve wrote your book, got it published and are ready to sell! Now what?

Get out there and sell! Wait, you only have friends and family buying? What happened? You printed 500 copies because you knew it was going to be a hit. Everyone said they’d buy a book! But now you’re finacally in the hole and sitting on boxes of your work without anyone willing to buy them.

And there lies the next problem with self-publishing: the support.

While you can take pre-orders from people before you order your books, you can’t guarantee they’ll still buy them. To make things even more difficult, once your book is published, you can’t just expect word to get out and people to flock to you for purchases. You need to advertise and you need to advertise HARD.

Go to conventions, go to libraries, go to poetry readings: just get out there and start pumping your book out!

I mentioned scamming services before, and I want to touch back on them. Some scamming services are even involved or connected to some of the big book stores. When it comes to trying to get your book into stores, if you’re self-publishing, you’ll have to fork out tons more cash to make it work as you’re essentially “buying yourself a spot” in a book store. When you use the self-publish service of these businesses, you’re told you’ll be guaranteed placement in stores, book signings, and the like. However it may not – and probably will not – meet your expectation in sales. It will only hurt you financially and emotionally, so it’s recommended to stay away from these kinds of places.

Some places even tell you they will not publish your book until it is professionally edited by their editors. They’ll pressure you into paying or harass you to work with them as they try to make you believe there’s no one else who’d accept your book. It’s sort of like a relationship gone bad.

Emperor Palpatine Book

On the bright side, if you go the route of a publisher, you don’t have to worry about doing all of the legwork yourself. Most of these publishers have their connections to the book stores anyway, so it’s just a matter of signing up with them and then bam! You’re in the book store! Remember: they want you to succeed as much as you do. They’re in it to sell your book and make money, not to scam you. This is why there’s very little – if any – upfront costs when going through a legitimate publisher.

If you’re a local author, some book stores do offer a bit of help, but that requires you to find out who does that and you’re stuck doing what they ask you to do. After all, they’re providing you with a service you’d not get elsewhere.

As for the fear: you don’t really know how well your book will do. You don’t know if it’ll end up dead on arrival. You don’t know if everyone who said they’d buy a book would actually buy one. You don’t know if you just sunk hundreds, if not, thousands of dollars into your book only to find yourself in the finacal hole for the next couple of years.

You don’t know and it’s pretty freaking scary.

But take solace: because you wrote a book and saw it through to its conclusion.

Speaking of Conclusions

I self-published my book and I saw my book through its conclusion. While I’m quite happy with how it went, I know it could have done better if I only had all of the time in the world to do what needed to be done. Unfortunately that’s impossible unless Earth conveniently switches to 54-hour days.

I enjoyed self-publishing and I got a kick out of learning all of the legalities and rules behind it. But I’m a strange person that enjoy boring things like that. You? Probably not so much. And while I did enjoy learning the ins and outs of self-publishing, I feel like I’ve put all of that behind me. I set out to make my own book – and I did it. Me and no one else.

Going forward, however, I do not feel like shouldering the responsibility of self-publishing again. There were a lot of things I could’ve done better – such as advertising, getting my book into stores, and having more professionals check out my book before it went to print. Alas, I didn’t and yet my book, The Distomos, still exists. I’m still really proud of it and glad it’s done.

So while I made self-publishing to sound scarier than it probably is, it’s more or less just a lot of work. A LOT of work. And also making sure you’re doing your due-diligence. Personally, I do not feel like doing that all over again. But that’s not stopping me, and I’m excited to see where my new venture takes me.

If you have any questions, stories, or comments about self-publishing, please let me know in the comments below. I’ll do my best to address everything you throw at me!

Until next time, keep on Space Truckin’.

The Format Wars

A short while ago in a novel pretty darn close to home. . .

The Format Wars
Episode I
My Novel

It is a period of civil war. Curved quotations (“ ”),
striking from my word processor, have won their
first victory against my novel.

During the writing, straight quotations (" ")
sporadically appeared, creating a difficult
editing process. Teamed with inconsistent
hyphen lengths (- en dash) (— em dash), when
sentences are broken up, editing difficulty ensues.

Pursued by a drive to make things perfect,
UncannyDerek races to format the book
aboard his computer, custodian of the
novel, that can finally be published to
restore semblance in his life. . . .

Format Wars

But Really

I originally had wrote my novel in one font. While changing fonts while editing, I somehow overlooked how the quotation marks and apostrophes. Apparently not all of the quotation marks and apostrophes change when you “Select All” and change the font. It’s quite a bugger. So I’m going through my novel line-by-line AGAIN to make sure it’s all consistent.

When you self-publish, there’s no one to fix these issues for you. You have to do them yourself. I’ve spent most of my day going through my book to change them over, but my eyes can only take so much!

Another thing I foolishly missed was the dashes, or hyphens, while writing. There are two different types of them (as shown in my opening scrawl). I have to make sure they’re consistent too.

Ah, the little things to focus on before the book hits the printer.

Let my folly be a lesson for you all!

And for the record, I’m using curved quotation marks for my novel and so should you.

Don’t forget to follow me on Twitter!

Keep on Space Truckin’!

Editing: Done!

My last post was from March, eh?

There’s a good reason for that, too! It was laziness!

Anyway, where was I?

I left off with DoneMoWriMo? What the hell does that even mean? Ah, the things I do for SEO. I also see that it’s NaNoWriMo and I’m already done. Did I win?

As for my absence, I’ve stated before somewhere on this blog, that I work a job that is highly seasonal. The peer editing all came back to me around July/August, but I was still super busy at work. Job and life stuff aside, I didn’t really start editing until the beginning of October. I digress.

I’m now done editing and I have to find a publisher. Well, that’s not entirely true. I’m still open to self-publishing. I’m uncertain which route to take as I’m pulled in both directions from friends about what I should do.

My gut says to find a publisher. I’m pretty old fashioned. I actually still take a horse and carriage to work and light my apartment with candles while trusting the newspaper for the most up-to-date news. However, I understand creative rights and all that hooplah through self-publishing may outweigh going through a publisher. But I also understand not all publishers are like that.

But I’m also kind of excited about receiving my first rejection letter. And maybe my second one.

I’ll probably be crying by the third letter. Or reading them like this:

Oh boy. What am I getting myself into?

In the meantime:

. . .

More later.

Poetry Overlords Mk III

This’ll probably be the last bout of words spewed out of my fingertips on this subject. I feel the discussion and philosophy could go on for ages. If you want to continue the discussion, leave a message here or follow me on the Twitter machine. Let’s recap:

The TL;DR from the first two blogs:
Poetry Overlords: Reading poetry out loud is a lot like performing music.
Poetry Overlords Mk II: Music is more universally accepted than poetry because of rules imposed on language.

And Now!

What else am I going to babble on about? A recent study by a McGill University neuroscientist suggests there’s a group of people out there who have the inability to enjoy music.

As I’ve stated previously, unlike poetry, I feel music is a universal language. However, as shown above, there are some people who are not moved by this universal language. It’s interesting to me because music is a great way to express oneself to someone who may struggle to understand what is being said.

For example, if I told you something positive and happy in Russian and you didn’t speak Russian, you would not understand me.

If I played something in a major scale, no matter what culture or background you have, you would feel the positive energy exerted from the music.

Unless you have an inability to.

You’re Not Making Sense

Well I’m trying, damn it!

With both poetry and music also considered forms of art, it can be understandable when someone does not “get” something. Not everyone would “get” classical music or “get” country music. However, one could still feel something from music. Whether or not you “get” classical music, you still get an grand, epic feeling when hearing Richard Wagner’s Ride of the Valkyries. Even with the music being written in the late 1800’s, it still feels grand and current. It does not feel dated.

Poetry, however, has a different hurdle when trying to feel it. Choosing particular words can make your work sound dated. Using a different language makes it non-universal. Sure, using cacophonous words or alliteration can help try and evoke some sort of audible sympathy for the listener. But if the message is not understood, then is that not a problem?

The Half-Assed Conclusion

As you can tell, there’s a lot of discussion to be had with these ideas. Performing poetry should just be as important as having the right words and language in the poem itself. The main problem I’m finding is that not everyone will “get” it because it is not properly understood.

Going back to the first blog on this subject, I had to explain why I was reading and performing Robert Herrick’s “To the Virgins, To Make Much of Time.” Will there ever be a time where I would not have to explain myself?

So I’m left to ask: where does poetry stand in the world of language? Will it never be truly understood?

Or am I just wasting my time on this?

Poetry Overlords Mk II

Since my last blog entry, I’ve been stuck exploring the intriguing comparisons between poetry and music. I don’t know why, but I just am! And if you haven’t jumped on the “Follow UncannyDerek on Twitter” bandwagon, you’re missing out. Sort of.

Here’s the TL;DR version from my last blog:

Reading poetry out loud is a lot like performing music.

New Thoughts. Little. Yellow. Different.

Now what?

This next part is going to stir some debate, I’m sure, but try to follow me here.

As a musician, I personally find that with music I could record absolutely anything and put it out to the public. I could guarantee it would be understood and appreciated by people.

Take for examples, Fantômas – Suspended Animation (2005) or Devin Townsend – Devlab (2004). Both albums are ambient noise and rather chaotic to the listener. But I really enjoy both albums. There’s no real “sense” to each album and they’re both dramatically different from one another. For the average listener though, there’s no real construct or sense to them. For the most part, I’d confidently say that many people would dislike those albums.

Breaking down the instruments and themes, sure, one could find the inspiration and technicalities built within the albums. That being said, both albums can be difficult to listen all of the way through.

So, Poetry?

Right! So, this is where things get debate-y.

As I said, with music, it could get published despite how normal or bizarre it sounds (as with my examples found above). There’s an audience for everything in music. But with poetry and literature? I think it’s a bit more complicated than that. Sure there’s an audience for everyone, but. . . well let me explain.

There is a certain “universal standard,” per se, that is set with literature in which I think music is removed from. Due to “rules” in literature, a missing period could make or break a sentence. Paragraphs can’t be scattered too far as it could confuse the reader. The lack of capitalization could misplace titles or nouns. I could go on.

Now hold on a second because I know you’re already beginning to think of counter-arguments to mine. That’s good, because I had them too.

Let me yank out a few popular lines from Gertrude Stein’s Sacred Emily which appeared in Geography and Plays (1922).

Color mahogany.
Color mahogany center.
Rose is a rose is a rose is a rose.
Loveliness extreme.
Extra gaiters.
Loveliness extreme.
Sweetest ice-cream.
Page ages page ages page ages.

So to start: this is a Canadian blog and she spelled “colour” wrong.

Okay, I’m kidding. But we can see – as readers – how some of the lines, when they are read individually, seem like incomplete thoughts. The final line, “Page ages,” is repetitive and has no commas. It looks strange to the reader and requires some attention when performing it out loud. Should “Color mahogany” have a colon to read “Color: mahogany”?

While Stein’s poem can fit under the same category as the Fantômas and Devin Townsend albums posted above, I feel it is much harder to cater to a literary audience than a musical one due to what some could say “universal standards” put in place with reading.

Someone listening to an album can (mostly) understand when they hear guitar, drums, saxophone, trumpets, piano, or vocals.
But when someone reads or performs poetry, grammar and understanding can get lost in translation.

To ALMOST Conclude

I can play a guitar solo – regardless how awful it would be – but people would still understand it as a guitar solo.

I can perform poetry – regardless how chaotic it would be – but people would have a difficult time understanding it.

With these “universal standards” put in place with reading, such as periods needing to come at the end of sentences, I feel many readers and listeners to poetry may just miss the point. As someone who goes to poetry readings, I often get scoffed at when telling people I’m going. Is it because they think poetry is pretentious, or is it because they simply don’t understand it? Would a “universal standard” to poetry help? Is there even a way to create such a thing?

There’s nothing really conclusive here. It’s more meant to stir the pot and flesh out more ideas.

What are your thoughts on the matter?