“The end of the Mayan Calendar, the end of the world.”
December 21 Are you aware that a Shift in human consciousness is occurring even as you read these words that employs celestial triggers such as supernovas and Earth’s alignment with Galactic Center in the years leading up to 2012 to trigger the evolution of our species? The Maya had an understanding of mathematics and understood the value of zero long before its discovery in the Eastern parts of the world. Their understanding of numbers and astronomy gave us the Mayan calendars of the Long and Short Counts. So why
does this calendar attract so much attention now? The Mayan calendar ends on the Gregorian calendar date of December 21, 2012, which most people believe is the total end of civilization, as we know it, while others believe it is simply a change of enlightenment in this current time. Many theories have sprung up about this end date, ranging from the laughable, to the religious, to the scientific. There are actually three Mayan calendar systems, the 365-day Solar year, the 260-day Ritual year, and the 5,128 years of the World Time calendar. The Haab
or Solar year was broken down into an 18 month plus five days cycle. 18 months of 20 days and the 5 soulless days which were thought to be of ill omen, kind of like 5 days of Friday the 13th. The Tzolkin or Sacred Round was the 260-day ritual calendar was broken down by days, not months. This religious calendar was the basis on how the people, singly and collectively, went on with their day-to-day lives according to destiny.
doomsday times vol. 10
Magazine spread Mockup for fictional Doomsday Times
Rotating panels of an animated Shelf Awareness Advertisement
I CURSE THE RIVER OF TIME a novel by PER PETTERSON
“The book is the ideal vehicle for displaying the author’s considerable talent at perfectly conveying the unsaid. He’s a master of quietude. . . . [It’s] unfiltered Petterson, and it’s —TIME OUT NEW YORK awesome.” “Petterson has delivered a subtle meditation on the long, unstoppable river of time that pulls us all along relentlessly, whether we pay attention or not.” —NATIONAL PUBLIC RADIO,
“Books We Like”
“Ought to make clumsier authors weep with envy. . . another masterclass in the alchemising of time and loss into the gold of art.”
—BOYD TONKIN, THE INDEPENDENT
NOW AVAILABLE FROM GRAYWOLF PRESS WWW.GRAYWOLFPRESS .ORG
Advertisement in The London Review of Books
Publisher and CEO of Milkweed Editions
Texas based writer and teacher Alex Lemon is a master of lighthearted heaviness and dark candor. Through his poems he grants readers passage to a visceral world of death, cynicism, and disjointed vignettes that shuffle through time and space—not to bring his audience down, but rather to show how much hope there is to gain. He is the author of Happy: A Memoir (Scribner) and several poetry collections, most recently Fancy Beasts from Minneapolis publisher Milkweed Editions.
PD: You have said that you felt “pretty clueless about writing” before you entered the MFA program at the University of Minnesota. Though you’ve stated that you do not believe in defining poetry, can you describe the experience of finding confidence in your poetic voice?
alive while I revise. It’s always a push-pull but mostly it’s like working in a mine. Digging out revisions as the mine collapses—only to wake up in the rubble and start digging again. Sometimes 50 revisions. It’s like Sisyphus with an enormous wordboulder. Or Groundhog Day.
so, but it’s also boundary-less and active. It didn’t create a fluidness of perception and imagination in me but it helped cultivate a sense of springing life. I didn’t have to do the work of breaking down or through whatever sorts of limits my “normal” “healthy” perception had solidified in me because my medical issues took all of that away PD: Illness is a major theme in your writing. from me. AL: I’m not sure confidence is the right word. When reading literature about sickness, At some point I started to realize that there what is your gut reaction? Who writes PD: Would you recommend readers check was no real “right” way to write—that it about illness well? out your nonfiction writing to gain some was about learning to be OK with the many failings that are needed to reach a decent AL: My gut is both elated and slightly sick. context for your poetry? poem. I guess the more I write, the more Elated because writing about sickness can comfortable I get inside my words—but that be incredibly powerful—it’s often potent, AL: Sure, why not? I think a certain context comfort comes and goes depending on what visceral and reading it, for me, combats that might not be clear in some of the poems I’m working on. It’s always a huge and varied some of the loneliness that can be created can be found in Happy, but I’m allergic to mix of feelings for me. Pick your poison: wild by sickness. I guess it often feels like a lot is the easy, clean answer. I’m interested in the and fun and scary and sad and beautiful and at stake for the author. But it also makes me muck of it. I’m pretty sure my poems and horrific and over-thinking and not-thinking a bit seasick and sorrowful. I would make a nonfiction are often in conversation—and so the widening panorama is sure to fill in some and undercooked and rotten and then a dash terrible nurse. blind spots (both ways). of ambrosia. PD: Aside from providing subject matter, PD: Does your poetry come to you with how has your disability shaped your immediacy, or is your writing process more writing? labored? AL: I’ve been thinking about this a lot lately. AL: It’s pretty labored. I revise endlessly, My visual disability (nystagmus and diplopia) sometimes to the point of killing a poem. I’m destabilizes the world. I see two of everything continuously trying to get better at harnessing and it’s all shaking, all of the time. Around a certain energy and making sure it stays me, the world is vibrant, sometimes painfully
“the more i write, the more comfortable i get inside my words.”
PD: How is publishing a book with Milkweed Editions* different than with other publishers? AL: I’ve been fortunate to have great experiences with all my publishers, but Milkweed has been amazing. Great people who have an intimate connection to the stellar books they publish—I feel lucky to publish with them. They work incredibly hard and deeply care about the books they publish. I could go on and on about how different publishing with a non-profit publisher (Milkweed) is from a large publishing house (Scribner) but the core of my experiences has been the same—I’ve had good experiences in publishing because I’ve worked closely and often befriended, hilarious, big-hearted people.
Milkweed Editions Publisher and CEO, Daniel Slager, migrated from New York City to Minneapolis in 2005. While living on the East Coast Slager honed his eye for new talent and built his editorial repuation by editing, reading, and translating for Grand Street Magazine and Harcourt Trade Publishers before bringing his extensive experience to the Twin Cities.He recently worked with writer Alex Lemon on Fancy Beasts, a haunting collection of poetry published by Milkweed in 2010.
“I can hardly imagine Milkw in ano
aversion carries most simply, I self to be distas that one gener began working and I’m particu language litera read fairly widel vast and endle contemporary A
Paper Darts: Can you briefly describe your role as the editor of Grand Street Literary Magazine and how that shaped you as an editor and publisher for Milkweed Editions? Daniel Slager: I worked for Grand Street for years—reading and translating on a freelance basis, while I was in graduate school at NYU— before taking the position as editor. And the entire experience was very formative for me. We had the resources we needed to make a stunning piece of art several times each year, and to publish the work of many of the most interesting writers and artists from around the world. This meant working with more writers than would have been the case were I working in book publishing at the time, albeit with shorter pieces of work. Taken along with a series of connections I made while I was there—connections with writers, artists, and editors that are still important for my work— the experience was invaluable. And, I should add, a very good time. It was a great group of extremely interesting people. PD: Where do you feel literary magazines sit within the publishing world today? Do you read literary magazines now? What are some of your favorites? As a publisher, where are you looking for new talent? DS: As has been the case for a good long time now, I love literary magazines, and I read a good number of them regularly. I do like some of the established magazines—The Paris Review, Granta, Poetry, The Believer, The Literary Review—but I also read Pleiades religiously, along with Fence and A Public Space. I have found a number of writers I later published in magazines, and they’re still a great source in that sense. But I also simply like the notion of a vision—artistic, editorial,
PD: What is yo editing poetry?
what have you—being given expression in a collection of diverse work that is published periodically. PD: If you could move Milkweed to any other city in the world where would you take it? Why? DS: Honestly, I can hardly imagine Milkweed being in another city. Yes, we publish writers from around the world, and in many ways we could be anywhere. But so much of our community—from writers to readers to donors and so on—is here, and our community has been astoundingly supportive over the years. There is simply no doubt about the fact that Milkweed would not be what it is today without having been in Minnesota over the past few decades. So much so that even the thought of a move feels a bit like a betrayal to me, actually. PD: Do you have a list of favorite poets? DS: Not really. I don’t keep a list. My interest in poetry is relatively eclectic, and I find myself drawn to widely various work. If I have an aversion of any kind it would be to what is commonly, and often mistakenly, called “confessional” poetry. But for me this
DS: For me ed collections of p you, is very mu hard to general of poems that the manuscript process, but I’v take apart and r often engage de line, and form. writer we’re pub reputation in th but I’m also very in the end. As I to give them m do what is right individual case.
PD: Which on resonated with read his manus his work shifte to work with hi
DS: Rather than let me just say dazzling and alm of the more ap in reviews), I th can lead to a intelligence and poems that giv some kind, be it you. And on a most when the political, really—
weed being other city.”
s over to all literary work; put find incuriosity beyond the steful and boring. Other than ralization, I would add that I in publishing as a translator, ularly interested in Germanature, including poetry. But I ly, and try to keep up with the essly fascinating world that is American poetry.
our personal philosophy on ? Are you very “hands on”?
diting books, whether they be poems or fiction or what have uch case-by-case, and I find it lize. I’ve published collections were close in every sense to accepted at the outset of the ve also worked with poets to reassemble a collection, and I eeply on the level of language, I was told this morning—by a blishing, in fact—that I have a he industry for a heavy hand, y deferential to writers’ wishes I always say to them, I just try my best in every sense, and to t, or what feels right, in each
ne of Alex Lemon’s pieces h you the most when you first script? Have your favorites of ed since you had the chance im?
n identifying individual poems, that while I do find his work most pyrotechnical (to use two pt adjectives I’ve seen often hink the effect of the dazzle an underestimation of Alex’s d perceptiveness. I often like ve expression to critique of t social, societal, or what have personal level, I admire him personal and the public—the —intersect in his work.
Spread featured in Paper Darts, a Minneapolis Art and LIterature Magazine
int e r v ie w w it h
arafat re BY alex ch band. I have had a few years of guitar lessons, but I am mostly self-taught. Dani Lewis: I had piano lessons on and off since I was six and went to college for opera, so I had lots of formal training in voice. I never had a ukulele lesson unless you count Alligator Bob’s Ukulele Hut (it’s an online tutor, he is first rate).
Dani Lewis and Angie Krube, the lovely duo behind Minneapolis band The Chord and the Fawn, are a duo no longer. Dani’s younger brother Cole recently added his percussion to the group and rounded out the local gem into a full-force family trio (Krube is Dani and Cole’s cousin). With Dani’s powerful, classically trained vibrato and Angie’s mastery of an eclectic variety of instruments anchoring the band, The Chord and the Fawn have managed to stand out among a sea of small local groups trying to break through into the scene. Their first full-length album, M-I-S-S-I-S-S-I-P-P-I, was self-released in late 2009 and has garnered attention from publications like City Pages and deadjournalist.com among others.
Paper Darts: Can you explain more about your own individual musical backgrounds? Cole Lewis: I was in a rock band in high school and played trumpet in the school
The Middle East as a pair of pants, undone. Coming in third on Arabian Poet we have CL: The video is so colorful, and every scene was so different. So many elements went into it. I like the fact that there was more than just a band standing and playing.
Angie Krube: I have to say it all started when I learned to play the piano at age five. From there I played flute in middle school orchestra. The bells and melodica were self-taught.
DL: Alex, the director, and Ben, the DP, came up with the concept. They are really creative. I love the split screen too. Genius!
PD: How did Cole’s addition to the band come about and how has it affected the dynamic?
do you think it stands in the local music scene right now and what bands/artists are doing it right?
DL: We had a recent recording project that Cole played guitar on and it sounded so good that we asked him to join the band.
DL: I think the ukulele is making another comeback, locally and nationally. I don’t think you can hear a commercial without a ukulele in it. I really like Bethany DeLine’s music a lot and know there are a ton of great uke players in the Twin Cities.
AK: It’s nice to have more variety. Cole also keeps Dani and me focused on music, because we can get distracted easily. PD: Dani, you have commented that the popularity of using ukulele as a primary instrument tends to be cyclical. Where
PD: You recently worked with Rapid Water Media on your debut music video for the song “Our Leader.” Can you talk a little bit about the process and what it was like to perform on such elaborate sets? How do you feel having those visuals enhances the listeners’ experience? Who developed the concept for the shoot? AK: Dani and I built the paper forest scene (it’s a lot harder to hang a ten foot tall paper sky than you think). It was a long process, but the boys that we worked with made it so easy.
PD: Where do you hope to see The Chord and the Fawn in two years? Would you like to keep expanding the band’s sound and adding more members or would you prefer to stick with the core duo? DL: We are a trio now for sure, and I would like to stick with that for a while. Cole has been doing percussion and guitar and it really fills out our sound. AK: In two years I would love for us to be touring! Maybe even around the world.
Woman in Burka Who Has a Name. A plan for pants undone, revealing a sexy Jewish midriff dancing on the ship of state. Marauders are so hungry, bless their hearts. Plato’s ventriloquist said the city was only for pretend after we got all chargedup about sharing around our breastmilk. Yes, certainly we did—those beautiful boys in full bloom fingering their AK-47s on Yemen’s Poetry Hour. Being a model city, Jerusalem has no need for a zipper on its fly. It exists only in the minds of Lego store designers. “Look, Daddy, look at all the little colonies. Can I have one? I want I want!” Being on a budget we bought an I ♥ Israel shirt instead. Certainly we could see some panties, but if you explain sexiness to children early they’re less likely to be drunks late. Look at France. Look at Kabul. It was a classic American love story, the taciturn loner riding in and shooting blanks all over the place. Only some of them weren’t blanks. Only some of it wasn’t love.
Spread featured in Paper Darts, a Minneapolis Art and LIterature Magazine
GRAYWOLF PRESS A B a n n e r Ye a r i n 2 0 1 0
(both) Advertisements in The Paris Review
N E W F R O M G R AY W O L F P R E S S from the author of
Jeff in Venice, Death in Varanasi
“Dyer’s writing does what the best critical writing always does, encouraging us to view, read, or listen closely to art, literature, and music as well as to pay close attention to various cultural forms and their impact on our personal lives.” —
w w w.graywolf p re ss. o r g
National Book Critics Circle Award in Criticism • The New Yorker’s “20 Under 40” (Salvatore Scibona) • The Believer Book Award • Jackson Poetry Prize of Poets & Writers, Inc. • The Guardian First Book Award (Shortlist) • Hurston/ Wright Legacy Award • National Book Foundation’s “5 Under 35” (Tiphanie Yanique) • Center for Fiction Flaherty-Dunnan First Novel Prize (Shortlist) • Frank O’Connor International Short Story Award (Shortlist)
An instinct for great books since 1974 | www.graywolfpress.org
Fo r thc o ming in 2 011 Nathacha Appanah, Deborah Baker, Geoff Dyer, Percival Everett, Nick Flynn, Tess Gallagher, David Rivard, Tom Sleigh, Tracy K. Smith, Binyavanga Wainaina, Jeffrey Yang, and more!
Advertisement in Creative Nonfiction
“A remarkably talented writer, Kim Dana Kupperman understands the essay first and foremost as a literary form. . . . I Just Lately Started Buying Wings is a high-voltage book grounded in the passionate and often messy business of living. ” —ROBERT ATWAN, Series Editor, The Best American Essays
VANISHING POINT: Not a Memoir
“[Monson] turns the banality of nonfiction inside out and thereby makes nonfiction a staging area to investigate claims of fact and truth, an ex-tremely rich theater for exploring the most serious ontological questions.” ANDER —DAVID SHIELDS, THE NEW YORK TIMES MONSON
Advertisement in Poets & Writers
w w w. g r ay wo l f p re s s . o r g
new from GRAYWOLF PRESS
N E W F R O M G R AY W O L F P R E S S
KIM DANA KUPPERMAN
“Fans of William Gay and Daniel Woodrell will savor these stories where sin and suffering shroud the hope of redemption.” —
“Heathcock is a writer to watch; each of these subtle stories will thrill readers with an element of surprise that will make them want to go back and see how it happened and what they missed along the way.” —
Online Patient Services Schedule appointments Consult with your health care team View your online medical record Access your child’s health care records View your test results Verify medications and allergies
Appealing, convenient health care. Walk in. Feel better. Fast.
How to Get Started To access these helpful features, go to healthpartners.com and click Sign Up for myHealthPartners. Follow the prompts to create your account. If you have any questions, or need assistance, please call the web support team at 952-853-8888 or send us an email at firstname.lastname@example.org.
When you’re sick, get better quick at HealthPartners HealthStation® clinics, conveniently located right where you shop. Our convenient clinics are an easy solution for selected treatments, screenings, and vaccinations. No appointment is necessary and most visits take about 15 minutes. Services are around $55 or your insurance co-pay. All major insurances are welcomed.
Two convenient locations: Coborn’s–Sartell M –F: 11:00 a.m. –7:00 p.m.
Coborn’s –Sauk Rapids M –F: 11:00 a.m. –7:00 p.m. Sat & Sun: 10:00 a.m. –4:00 p.m.
Learn more at www.HealthPartnersHealthStation.com
NEW WAYS TO RECEIVE HEALTH CARE Want to save an extra trip to the doctor’s office? Here’s how. HealthPartners understands your time is valuable. That’s why we not only offer office visits but also offer scheduled telephone visits and eVisits. Ask your primary care provider or our office staff if one may be right for you.
Scheduled Telephone Visits A scheduled telephone visit takes place when your primary care provider calls you and treats you over the phone. Typically, scheduled telephone visits are for follow-up appointments, and are often appropriate for the following types of conditions: • Acne follow-up • Allergies • Asthma follow-up or mild exacerbation • Bone density follow-up • CHF follow-up • Constipation follow-up (Pediatrics) • Depression/anxiety follow-up • Diabetes blood sugar reporting for medication adjustment
• Heart failure follow-up • Hospital follow-up • High blood pressure • Lipids test result review • Menopause symptoms • Test/medication follow-up • Weight issues
To make an appointment, please speak with one of our scheduling staff members.
eVisits An eVisit is useful for non-urgent medical conditions and managing chronic conditions like diabetes and high blood pressure. It is also useful for managing or changing medications and recurring acute conditions like sinusitis or ear infections. eVisits can be completed online through the Patient Services tab using your secure web account at HealthPartners.com.
Costs Scheduled phone visits and eVisits may have a copay similar to a regular office visit. However, coverage varies depending on your insurance plan. Please check with your insurance carrier to see if this is a covered benefit for you. If you do not have insurance, you will be responsible for the entire cost of the visit.
Marketing materials for HealthPartners
NOW AVAILABLE IN PAPERBACK “A painfully honest and meticulously crafted memoir.” —THE LOS ANGELES TIMES
“With candor so raw it makes me never want to use ‘fiercely honest’ to describe another writer’s work.” —LAS VEGAS WEEKLY
“Elliott may be writing under the influence, but it’s the influence of genius.” —VANITY FAIR
“An unnerving, fascinating collection.”
—O, THE OPRAH MAGAZINE
Advertisement in BOMB Magazine
“Heartbreakers from a writer who knows how to do it right.” —KIRKUS REVIEWS
“Boswell is an exuberant and enormously talented writer . . .With dazzling technical skill, intelligence, and moral seriousness, he mesmerizes us.” —THE NEW YORK TIMES BOOK REVIEW
(both) Advertisements in The Normal School
NEW FICTION FROM GRAYWOLF PRESS
YOUR PRESENCE BY MAILE CHAPMAN IS REQUESTED “Unputdownable.” VOGUE AT SUVANTO
“Shockingly, bracingly good.” “The real power [in Your Presence Is Requested at Suvanto] comes from the pervasive, subtle menace Chapman builds up. In Suvanto, she has created a world in which the crust of civility, like the ice of the frozen bay outside, is brittle, underlaid by darkness and on the verge of giving way.” “The book’s subtle, slow accrual of moodiness and dark humor feeds the smoldering ambiance. Maile Chapman’s precise, controlled language captures the crushing monotony of hospital life. . . . Not since the Overlook Hotel has a place so enormous felt so claustrophobic.”
—TIME OUT NEW YORK
Advertisement in A Public Space
Advertisement in Buter County Magazine
Rotating panels of an animated Shelf Awareness Advertisement
Banner for The WEB Extreme Entertainment
N A S E I T ED GA M
see the front desk for details
all night youth GROUP
U N LI M
Z Z I P
new from graywolf press
out of sight
new & selected poems
by Eamon Grennan “[Grennan’s poetry] illuminates, clarifies, and directs our gaze toward what it is we love but often overlook.”
—THE NEW YORKER
“Few poets are as generous as Eamon Grennan in the sheer volume of delight his poems convey, and fewer still are as attentive to the available marvels of the earth. To read him is to . . . face with an open heart the complexity of being human.”
www.graywolfpress.org Advertisement in The Hudson Review
Advertisement in Society of Phenomenology and Existential Philosophy Conference Materials
NEW FROM GRAYWOLF PRESS
SKIN, INC. Identity Repair Poems
BY THOMAS SAYERS ELLIS “Ellis has something to say about the moment we’re in, and he is that rare breed of Poet, the kind whose works will be studied for generations to come, whose name will be uttered alongside that other great T. S.” —ROBIN D. G. KELLEY author of Thelonious Monk: The Life and Times of an American Original
Advertisement in BOMB Magazine
Outside of Brochure for The WEB Entertainment Complex
BIRTHDAYS! Come to THE WEB for Cincy’s best party! Our EXTREME Birthday Party experience is like no other in town!
All of our Packages include:
get caught in the fun!
+ Our specially trained party host who will organize all of your birthday party activities and serve your guests’ every need. + 2 attractions—mix and match our premium laser tag and go-kart or our standard mini-bowling and black light golf. + 20 game credits for the birthday child and 10 game credits for each guest. + A private party room for 1 hour and 45 minutes. + A WEB t-shirt for the birthday child.
We have 3 packages: The SUPREME—Includes all the above. The ULTIMATE—All the above PLUS two slices of pizza per guest and unlimited soda. The EXTREME—Our most popular. All the above PLUS: + Two slices of pizza per guest and unlimited soda + Double the game credits + Special birthday sundae for the birthday child and ice cream cup for the other guests
PRICING With Two Standard Attractions SUPREME ULTIMATE EXTREME
First 10 guests Each additional guest
With Two Premium Attractions SUPREME ULTIMATE EXTREME
First 10 guests Each additional guest
Get caught in the Fun! THE WEB extreme entertainment 7172 Cincinnati-Dayton Rd. West Chester, OH 45069 www.FunAtTheWeb.com 513-860-2882
Inside of Brochure for The WEB Entertainment Complex
GROUPS THE WEB is ideal for affordable family and group entertainment, including birthday parties, corporate teambuilding events, and school, church, youth group, or athletic team gatherings. Our spacious party rooms and venue can comfortably accommodate small and large parties, from 10 to 600 guests. No matter what the occasion, let THE WEB staff create an out-of-this-world experience tailored to your group!
(Minumum to drive—10 years old and 56” tall)
This blacklight minature golf course is not for the faint of heart—you may or may not have to flee from raptors. But where else do you get to golf with dinosaurs?
Come catch a wave and throw a strike at our Hawaiian themed miniature bowling alley where everyone can bowl like the pros!
Satisfy any sweet tooth with a scoop of Aglamesis Brothers’ gourmet ice cream!
Take a break from the action to refuel with one of our delicious pizzas, toasty Tuscano’s subs, or ice cold fountain drinks!
Family Fun Package $49 Everyday ($58 value) 4 Premium AND 4 Standard Passes AND 40 Game Credits Family Frenzy Package $89 Everyday ($116 value) 8 Premium AND 8 Standard Passes AND 80 Game Credits
Join us weekdays at THE WEB for one of our outstanding specials: + BOGO MONDAYS: Get two rounds of any attraction for the price of one! + TOKEN TUESDAYS: Get $5 in free tokens for every $5 purchased! + COMBO WEDNESDAYS: Enjoy one premium and one standard attraction, 10 tokens, a personal pizza or sub, and a fountain drink for only $12! + LASER WEB THURSDAYS: Play laser tag all day for just $15!
Get your race on with over 500 feet of grand prixstyle track! Both single and double g0-karts let drivers and riders of all ages experience the rush of competition.
Add a meal for only $10!
(Minimum—7 years old)
(includes a large 1 topping pizza and a pitcher of soda)
THE WEB Extreme Entertainment is the Tri-State’s newest and most exciting entertainment center! THE WEB offers fun activities, featuring two premium attractions—Laser Web Laser Tag and Inside Track Go-Karts—and two standard attractions—Jurassic Par Black-light Golf and Hang Ten Mini-Bowling—as well as an extensive arcade and prize center. THE WEB also offers fresh pizzas and subs at Noble Roman’s and Aglamesis Brothers’ ice cream at The Sweet Spot.
Challenge yourself to a game of laser tag in the TriState’s largest and most advanced arena. Players work their way through a maze of obstacles and opponents in quest of the top score!
Premium Attractions Inside Track Go-Karts or Laser Web Laser Tag single pass $8 / double $14 / triple $18
Standard Attractions Jurassic Par Black-light Golf or Hang Ten Mini-Bowling single pass $4 / double $7 / triple $9
for quotes, questions, or more design samples, please contact