LettersAt3AMPress

LettersAt3AMPress Independent press of writers publishing writers. A writer can't do that. In our America now wartime is all the time, and our shooting wars are the least of it.

LettersAt3amPress – Manifesto: A Radical Aesthetics

BY MICHAEL VENTURA, September 26, 2021
Letters at 3AM – Manifesto: A Radical Aesthetics

"Aesthetics" is a sloppy word for a hodgepodge concept, officially defined as: principles guiding artistic work. A radical aesthetic is something more: the crossroads at which your vision of beauty meets the way you actually live. We know writers whose profe

ssed politics are nothing like the aesthetics implied by their work, and politicians whose aesthetic preferences imply a wholly different politics than what they work for. Not to mention the legions of bourgeois whose vision of beauty has so little to do with the way they actually live that the basic mechanism of their lives is a cover-up. The writer must either be willfully oblivious to anything resembling a radical aesthetic or must come to terms with how a work-in-progress or a work published relates to the writer's daily, hourly life -- the realization that how you live IS what you believe. I think of Randolph Bourne, a hunchbacked dwarf with long fingers who played Bach on a beat-up piano and wrote brilliant essays from 1911 to 1918, when he died of pneumonia and poverty at the age of 32. Bourne took for granted that every political stance implies an aesthetic and every aesthetic implies the political. Bourne wrote: "One keeps healthy in wartime not by a series of religious and political consolations that something good is coming out of it all, but by a vigorous assertion of values in which war has no part." There are bigger, uglier, more permanent wars now: wars against the Constitution, against democracy, against education, against knowledge, against tolerance, against inclusion, against kindness, against women, against people of color, against the poor, against mercy, against forgiveness, against originality, against beauty itself – wars between and within the crazed and whiny right, the timid whiny middle, the blinkered whiny left, and every damned corporate boardroom. Total war, 21st century style. That's the wartime I hear in Bourne's sentence. Bourne again: "Now, while everything that is respectable in America seems to be putting its effort, with a sort of joyful perversity, into the technique of destruction, are there no desperate spiritual outlaws with a lust to create?"

Of course there are. But few are to be found in mainstream publishing, nor are there many in the ghettos of academia where artists of all stripes now hide for safety and where all are in grave danger of losing touch with life beyond the campus. As for the "literary industrial complex" that supplies mass-market book chains, think of them as Hollywood-like publishing studios, geared to the fashionable enthusiasms of the moment and short-term profits. Editors and agents who serve these studios are of a type and entirely too alike, their collective experience is too narrow, and they are too in the thrall of money to foster a vibrant literature. What might a vibrant literature look like in this USA? A literature that sees itself as an adventure in beauty and thought, voiced by storytellers, poets, and thinkers who stake their lives on their visions. A literature that misbehaves and can't be trusted to toe the line of any worldview or doctrine. Above all, a literature that can speak across class, race, gender, age -- tough-minded, straight-talking, unconfined by the fashionable niceties of "correctness." For going-on-eight years, and with ever-fluctuating resources, LettersAt3amPress is proud to have published eight books we believe in, by women and men who live their art, as we attempt to live by the words of Zengetsu:

LIVE WITH CAUSE AND LEAVE RESULTS TO THE GREAT LAW OF THE UNIVERSE. Jazmin Aminian Ventura & Michael Ventura

01/21/2025

Joe Ely’s “Reverb: An Odyssey” published in 2014 now available as an audiobook, read by Joe Ely. “It’s titled after this little amp I had at the time. All through the book the amp gets hocked and left behind somewhere or stolen, but it always comes back. It’s kind of the common thread. And I still have it, somehow. When I went out to California, that amp was my pillow on the beach. And my suitcase too, I had a few clothes stuffed in the back of it.” - Joe Ely

Order now:
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https://books.apple.com/us/audiobook/reverb-an-odyssey-unabridged/id1780905108
•Amazon:
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•Audible:
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NOVEMBER 17 2024  BY: MICHAEL VENTURA They won. We lost. After the "after" is over, that's all that counts.  We lost. Th...
11/18/2024

NOVEMBER 17 2024
BY: MICHAEL VENTURA

They won. We lost.

After the "after" is over, that's all that counts. We lost. They won.

Now they intend to do to us exactly what we intended to do to them: they intend to crush any possibility that our beliefs shall be enacted into law for at least a generation. . . . and . . . they intend to rescind and erase laws that have been passed to protect and further our beliefs.

I cannot fault them for this. It is mightily what I wished we'd do to them.

Bitterness, in such a circumstance, is self-righteous, self-pity. Which is what we've accused them of. We lost. They didn't. They will do to us what we'd have done to them. Expect the worst.

Oh, I know, I know . . . our side would have behaved largely within the law and their side almost certainly will not. Isn't it disappointing that History won't care? - or, if History does care, it will care too late.

If I were under fifty, I'd give serious consideration to departing from this USA for the next 10-15 years. But I am almost twice forty. Nowhere to run, nowhere to hide. Aw.

Twenty-five years ago this Christmas Eve, the Austin Chronicle published this LettersAt3AM column, "Ranting the Millennium In."

Here it is. I meant it then. I mean it now.

(And can someone else pick up my bar tab? I'm broke

Letters at 3AM
Ranting the Millennium In
BY MICHAEL VENTURA, FRI., DEC. 24, 1999


At the end of one Millennium and the beginning of another, "What can we do?" is a question that the young ask with an urgency that we elders find increasingly disturbing -- disturbing precisely to the extent that we've come to take the question for granted. But the young must ask it, and they have no one to ask but us. And they are correct not to forgive our reluctance to answer or our stammering when we try, for they have every right to an answer from their elders. And they know that homilies and career suggestions will not suffice. They feel as if they're being shot out of a cannon into an absolutely unknown and merciless situation, and they are right. They want an answer from us that is both definite enough to give them direction and open-ended enough to give them a sense of meaningful choice, and they can't help but feel that if we cannot give them such an answer we haven't really been paying attention to our own lives -- and they are right again. Don't let their casual pop style fool you. What the best of them want is to be assigned a noble task -- something that will make their lives meaningful. Nothing less will count. And they want to be assured that we, too, however humdrum our lives may seem, are laboring under a noble assignment, something more than mere survival and security, something that will connect our history with their future. For it is such a sense of purpose, and not merely our age, that makes us elders; without such purpose, we are as weightless as they feel, and when they sense this they despise us for it. And again they are right.
The question, at this historical moment, became clearest to me one night several years ago when my boy -- his hair shaved close to his head and arranged in little spikes that would have been cute if it weren't also somewhat sinister -- came in way past his curfew, eyes blazing with anger and a question. But he didn't ask his question as though it was really a question. The young rarely do. Instead, he made a statement, an accusation, and, as a demand that he be heard, he laced his disguised question with obscenities. It went something like:

"It's all fu**ed, it's fu**ed out there, fu**ed. It's all s**t out there. It's all pretending to be something and it's nothing and it's fu**ed."

Clearly, he was making me responsible for what was "out there" -- which is just. A parent is the representative of the history that has handed you your world; and in this sense, we are responsible. There's no evading that. His declaration of fu**edness was a way of asking what I thought and what I was doing about it and what he should do.

It would be no good telling him that it's going to be alright, because he knew very well it wasn't. And it was no good telling him to get good grades and go to college and hope for the best -- which, as a society, is all we seem to say to kids. Nothing I was doing or thinking had a prayer of fixing anything out there, and he knew that too. And, given the impossibility of a solution, what should he do?

That was his burning question.

He asked it on the couch, half-boy and half-man, his words on fire and his body tensely still. I answered agitated, pacing up and down, as much on fire as he -- for I was being put to the test and, whether I had an ultimately useful answer or not, I was at least determined not to stammer. His inner fire meeting my inner-fire with our lives on the line -- that's the Millennium, or it should be.

Suddenly it's my job, as it is every parent's and elder's job, to speak for the entire human heritage. In my case, that night, less to speak than to rant for the entire human heritage. It was everything I ever had to say, and it went something like this:

"It is all fu**ed, and it's not going to get better anytime soon -- not in my lifetime or yours or maybe your children's. Don't look now, but it's a Dark Age, which is one reason why so many people tell you how great things are -- a Dark Age full of shiny inventions that all just seem to make it darker and crazier. None of us knows s**t about what's coming next, except that whatever's coming may well be darker than what's already here. If you're asking for solutions, I don't have any, and I don't know anybody who does. Compassion for one another is absolutely necessary, but that's not a solution -- in fact, it's probably, on a day-to-day level, just a way of getting yourself into more trouble. The question is: What does a Dark Age demand of a good person? And the answer to that depends on another question: What do you love?

"Not what do you like, or prefer, or want, but what do you love? What is there in this chaos that you can love?

"Those things that you can love are out there, and your first job is to find them. And that, in itself, is a dangerous task, and it can be a long and excruciating one. But then -- what do you do? Because discovering what you love is just the beginning -- that doesn't solve anything either. I mean, it doesn't solve the issues of your life. Once you find the things you can love, you've got to get to know them so that you can preserve them and live them and fight for them, and so you do not compromise them, no matter what. You don't sell them out and you don't sell yourself out. And that, too, is only going to make our life harder. Much. So why do it?

"Because the best and most dangerous task is to nurture what you love, without any hope of reward. To keep what you love alive, and keep the thing in you that loves alive so that you can hand on the things you love to those who come next -- even if that's just one person. You give the things you love all you have and all you are, because that, in itself, passes them down to someone, maybe someone you don't know and aren't even aware of. Because in a chaotic time, the end of which we cannot imagine, the important thing is to pass on what we love, so that somebody, someday, after this Great Madness has played itself out, will be able to have it and use it and add it to the world.

"Maybe that calmer day isn't coming; but maybe it is. And if there's any chance at all that it is, then we can't fail that day. We have to give all we love to that day. And I'll say again that there are no material rewards for this. It's dangerous, it'll get you into trouble and screw your bank account -- but it's the best job you can ever have. No matter what your profession may turn out to be, what I'm talking about is your job. And if you take on that job, every day will count. And if you don't, every day of your life will be wasted.

"I care about your security and your safety, but not as much as I care about your feeling that your life counts for something and making it count for something. Do you have the stuff to seek what you love and cultivate it and pass it on? And can I help with that? Because if you do that, then you will have lived. Then, whether your name is remembered or not, you'll be an essential part of what's to come and your life will have counted for something. Happy fu***ng New Year."

Well, like I said -- it was a rant. But my feeling then and now is that when people come to a parent or artist or philosopher or therapist or teacher or priest, what they are really asking is not so much to be cured or saved as to be ennobled -- to be reminded of their birthright as human beings, so that they can carry their part of the human heritage in the great human procession. Even if that procession now feels like nothing more than a rush-hour traffic jam.

In the great sweep of history; in the midst of a technological stampede that is changing everything we know; on the brink of a Millennium in which we feel the future usurp the past until all that's left is a chaotic present that justifies itself by claiming to be the only possible future; in a time of destruction that pretends to be a time of creation; in a world that claims to be more and more interconnected, while everyone is really feeling more and more isolated -- at such a moment, entering such a Millennium, there is still no ground but what one loves.

Only those who remember this will have anything to offer the Millennium.

The rest -- will be swept away.

Whether they are affluent or poor, whether they're online or on the street -- swept away. Their collective emptiness will be a force of history, but individually, it will be as though they had never been.

10/23/2023
Bravo, Joe Ely.
02/22/2023

Bravo, Joe Ely.

Iconic television series Austin City Limits closes out Season 48 with a special installment, Austin City Limits 8th Annual Hall of Fame Honors Joe Ely, celebrating the Texas music legend and new inductee with a song-filled salute from revered Lone Star musicians and Ely’s longtime collaborators, T...

11/20/2022

It’s titled after this little amp I had at the time. All through the book the amp gets hocked and left behind somewhere or stolen, but it always comes back. It’s kind of the common thread. And I still have it, somehow. When I went out to California, that amp was my pillow on the beach. And my suitcase too — I had a few clothes stuffed in the back of it.

Published September 2014, LettersAt3amPress

Purchase here: http://www.ely.com/
Autograph option available.

Congratulations, Joe Ely🎉
06/16/2022

Congratulations, Joe Ely🎉

Nine-time Grammy winner Sheryl Crow and legendary Texas artist Joe Ely will be this year's inductees into the Austin City Limits Hall of Fame.

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columns Letters at 3AM – Manifesto: A Radical Aesthetics Get stuff out there; work with cause: That's the genesis of LettersAt3amPress BY MICHAEL VENTURA, FRI., MARCH 21, 2014 Letters at 3AM – Manifesto: A Radical Aesthetics "Aesthetics" is a sloppy word for a hodgepodge concept, officially defined as: principles guiding artistic work. A radical aesthetic is something more: the crossroads at which your vision of beauty meets the way you actually live. In arithmetic's imagery: Your vision of beauty divided by the way you actually live equals your aesthetics – profess as you may to the contrary. I sit in the night and say to myself, "Ventura, aren't you a tad old to be issuing manifestos? I mean, man, a radical aesthetics manifesto? 'Cause that's what it is, this thing you've got in mind, since every aesthetic implies something political, remember? Why not have a whiskey and go to bed?" Why not have a whiskey and not go to bed? The thing is, I'm busy being haunted by Randolph Bourne – for, as John Dos Passos wrote, if any man has a ghost, Bourne has a ghost. Bourne was a hunchbacked dwarf with long fingers who played Bach and wrote brilliant essays from 1911 to 1918, when he died of pneumonia and poverty at the age of 32. Bourne took for granted that every political stance implies an aesthetic and every aesthetic implies the political. Of course, I know writers whose professed politics are nothing like the aesthetics implied by their work, and I know (of) politicians whose aesthetic preferences imply a wholly different politics than what (and whom) they work for. Not to mention the legions of bourgeois whose vision of beauty has so little to do with the way they actually live that the basic mechanism of their lives is a cover-up. A writer can't do that. Writers must either be willfully oblivious to anything resembling a radical aesthetic or they must come to terms with how what they write relates to how they live. Writers have died or gone to pieces over the inability to do either. The ghost of Randolph Bourne pushed me to the wall to remind me that my writing and my life must fit like clasped hands. What's that look like on a basic level? Looks like this: I've always written with small words except where it's unavoidable, because I come from the working class and I want anyone with a sixth-grade reading level who picks up this paper to read me without bafflement over such a basic issue as vocabulary. If I'm to write about aesthetics I define the word, as I mean it, in the first paragraph. The point is to leave no one behind. (There are people smarter than I, and probably smarter than you, who can hardly read. A democracy must never forget that.) When John Cassavetes told his father that he wanted to become an actor, his father told him that he was taking on a great task, for in his roles he would be speaking for people who cannot speak for themselves. Writers take on that great task. That's the core of my aesthetic. Jazmin Aminian wrote something to me years ago that I copied and taped to my bedroom door: "It is the artist's task to walk beholden to beauty, to be responsible to freedom." That's about half of my aesthetic. The other half I saw voiced when I stepped into the studio of the late Steve Teeters, a brilliant madman sculptor/metalworker/glassblower/artist who fu***ng died in January. It was written on a sticker he handed me after the first time he shook my hand: "ART SAVES LIVES – Lubbock Arts Alliance." I know that's right. So into this apartment steps the ghost of Randolph Bourne, speaking from a century ago: "One keeps healthy in wartime not by a series of religious and political consolations that something good is coming out of it all, but by a vigorous assertion of values in which war has no part." In our America – the America that is no longer America – wartime is all the time, and our shooting wars are the least of it. There are bigger, uglier, and more permanent wars now: wars against the Constitution, against democracy, against education, against knowledge, against tolerance, against inclusion, against kindness, against mercy, against forgiveness, against originality, against the republic, against beauty itself – and I'm not pointing only at the crazy, whiny right, I'm also pointing at the timid, whiny middle and the blinkered, whiny left, plus both parties in Congress, every damned boardroom, and the White House – oh, yes, the White House. Total war, 21st century style. That's the wartime I hear in Bourne's sentence. And then Bourne harpoons Moby-Dick: "Now, while everything that is respectable in America seems to be putting its effort, with a sort of joyful perversity, into the technique of destruction, are there no desperate spiritual outlaws with a lust to create?" Which brings to the surface the most basic question: What is my responsibility? (In a democracy, that is the basic question for any citizen.) I'm a writer. One of my responsibilities is a responsibility to my medium – a medium that's in tons of trouble, for the old-time publishing houses have merged into Hollywood-like publishing studios, geared to mass enthusiasms and short-term profits. Editors and agents who serve these studios are of a type: They are too alike, their collective experience is too narrow, and they are too in the thrall of money to foster a vibrant literature. What might a vibrant literature look like? A literature that sees itself as an adventure in beauty and thought, voiced by storytellers, poets, and thinkers who stake their lives on their visions. A literature that misbehaves and can't be trusted to toe the line of any worldview or doctrine. Above all, a literature that can speak across class. If Randolph Bourne was to stop haunting me I needed to do, do, do something. It's not enough to get mad. As for irony, resignation, bitterness, complacency – they're just hideouts. The question became: What's doable? I don't have the chops to be an organizer or a businessman. But online publishing is a revolution in my medium. Jazmin Aminian and I investigated. It's not cheap, but, if you're careful, it's not prohibitive. So what about a press? An imprint, as they used to call it. A press that's about writers publishing writers – such that, with Internet links, anyone who looks for one of us finds all of us and learns that a book published with us is a book that is believed in. A press. An imprint. Online and print-on-demand. Get stuff out there. Just get it out there. Remember the Zen guy who instructed thusly: "Work with cause, and leave effect to the great laws of the universe." Get stuff out there. Work with cause. LettersAt3amPress.