Page 1

Sasquatch Music Festival Poster Art Show

Guernica Magazine Anthology Design



Difu!Lp{mpxtlj!É!Lbsm!Spmpgg!É!Bmjnpsbe!Gbejf!Ojb!usbotmbufe!cz!Jsbk!Bowbs! !Cjmmz!Dpmmjot!É!Dfddp!Bohjpmjfsj!usbotmbufe!cz!Spcfsu!Cmz!É!Gbsje!be.Ejo!Buubs! usbotmbufe!cz!Spcfsu!Cmz!É!Tbmbwbeps!Opwp!usbotmbufe!cz!Sjhpcfsup!Hpo{ˆmf{!! H›sbo!Tpoofwj!usbotmbufe!cz!Sjlb!Mfttfs!É!Sjhpcfsup!Hpo{ˆmf{!É!Tboez!Utfoh!! Plfz!Oejcf!É!Fejui!Njsbouf!É!Hfpshf!Tbvoefst!É!Bzbbo!Ijstj!Bmj

+pvs!first time special benefit print edition


Guernica Magazine Anthology Design

Guernica Magazine Anthology Design

FICTION Xpsljoh!Vq!Up!Uif!Esbhpo! cz!Difu!Lp{mpxtlj!!Q7

Epvhmbt! cz!Lbsm!Spmpgg!!Q23

Uijsuz.Tfwfoui!pg!Ubmft!pg!Uif!Obnfmftt! cz!Bmjnpsbe!Gbejf!Ojb! usbotmbufe!cz!Jsbk!Bowbs!!Q29

NON-FICTION Nz!GbuifsÖt!Fohmjti!Gsjfoe! cz!Plfz!Oejcf!!Q37

Uif!Esbhpo!Npuifst!Qpmjti! Uifjs!Nfubm!Dpjmt! cz!Fejui!Njsbouf!!Q43

INTERVIEWS ÓEjh!Uif!IpmfÔ!bo!joufswjfx!xjui Hfpshf!Tbvoefst!Q51 ÓJoßefmÔ!Bzbbo!Ijstj!Bmj!Q56

POETRY Bgufs!Sfbejoh!Tpnf!Ubmft! Pg!!Uif!Ijoev!Hpet! cz!Cjmmz!Dpmmjot!!Q61

Tpoofu!cz!Dfddp!Bohjpmjfsj! usbotmbufe!cz!Spcfsu!Cmz!!Q67

Hib{bm!$72;!Uif!Gjsf!pg!Mpwf! cz!Gbsje!be.Ejo!Buubs! usbotmbufe!cz!Spcfsu!Cmz!!Q71

Bctjouif! cz!Tbmbwbeps!Opwp! usbotmbufe!cz!Sjhpcfsup!Hpo{ˆmf{!!Q75


Contents Guernica Magazine


Uisff!qpfnt!gspn!ÓNp{bsuÖt!Uijse!CsbjoÔ! cz!H›sbo!Tpoofwj! usbotmbufe!cz!Sjlb!Mfttfs!!Q79!

Uif!Czqbtt! cz!Tboez!Utfoh!!Q85

Guernica Magazine Anthology Design

Guernica Magazine Anthology Design

fast reader. But that’s all I read for a really long time, just kind of this genre stuff. And then really--it’s funny because I don’t remember reading any book in high school that really stuck with me except Walden. I read Walden and that was really something. I read Rand and thought, ‘I want to be one of the earth movers, the scientific people who power the world. I don’t want to be one of these lisping liberal artsy leeches.’ So I was working against my actual abilities. I think I was getting my literature through other media--like music, and especially through television; Monty Python was really a big influence. And then actually when I was a senior in high school I really wasn’t planning on going to college. But one of my teachers gave me some Ayn Rand, like Fountainhead and Atlas Shrugged. And that really was a big deal to me. So I think I had kind of a funny background--I wasn’t reading any of what I would call real literature, certainly not until I went to college. GM: So you don’t consider Ayn Rand real literature? GS: Not now. At the time, I thought she was a god, and that everything she said was perfect. And I was reading Khalil Gibran and Robert Pirsig, Zen and the Art of Motorcycle Maintenance. I didn’t really know that that wasn’t mainstream contemporary literature. But I loved it. It definitely went directly from the page into my heart. I think I was a really good reader in the sense that I was a desperate reader, desperate to find out what was good, what was true, how a person should live. And those are the first books that really spoke to me.

It’s comical to me now to see how powerful that internal life was, the fictional life--my habit of projecting myself as a character in an Ayn Rand book.

GM: Did Rand influence you much in your decision to study engineering in college? GS: Yeah, that’s exactly what happened. I read [her books] and I thought that’s what I want to do; I want to be one of the earth movers, the scientific people who power the world. And I don’t want to be one of these lisping liberal artsy leeches. So I was kind of working against my actual abilities. I went off to this engineering school in Colorado and really it’s comical to me now to see how powerful that internal life was, the fictional life--my habit of projecting myself as a character in an Ayn Rand book. Seeing the world in that way was just pervasive at that point, and not ironic at all. If you read Toby Wolff ’s novel Old School, which I thought was wonderful, there’s a section in there where he talks about the main character’s relation to Ayn Rand, and it could have come out of my head--perfect!

G: Did you go right into college after high school? GS: Yeah. G: Were you writing short stories or anything in high school or college? GS: No. Not at all.


Every writer knows that when you’re imitating somebody--you know, G: So you started relatively late, no? you’re sounding like GS: You know, one of the things I did was I discovered Thomas Wolfe--not Tom Wolfe, but the Faulkner--you’re Look Homeward, Angel Thomas Wolfe. And that really moved me a lot. Maybe it was the first time doing pretty good, but that a literary writer got under my skin. Again, you know, not ironically, and not aware that I was beyour life in Hoboken ing kind of a weirdo. I would do a lot of imitations of him, you know--try to write in that sort of lyriisn’t Faulkneresque. cal voice, and-G: And what happened to those writings? GS: [Laughs] I hope they’ve mildewed into nothingness. I wrote a lot of those things--”O this” and “O that”. And I was in love with this girl and would write these long, crazy, purple poems. But I hadn’t at that point read any short stories. I remember once getting a copy of de Maupassant, because I think he was mentioned in Hemingway. And I went down to this river in Colorado and read it. ‘Yeah, it’s ok,’ I thought, ‘It’s kinda cool. But it’s not as good as Wolfe--it doesn’t have the high-flown farty language of Wolfe.’ G: None of these writers remind me much of your writing. So how did you get from reading Wolfe at a college engineering program to Syracuse’s MFA and then writing what you write--about reality TV shows and trend setting test tube models? GS: I had a long saga. I went over to work in Asia and then came home and kind of beatnicked around a little bit. And then only when I was about 27 I learned that there was such a thing as an MFA program, and I applied to Syracuse and came here. So there were about five or six years when really what it was was me finally getting off my butt and encountering this series of increasingly sophisticated writers. Or at least increasingly contemporary writers, like Hemingway, Faulkner, Thomas Wolfe. Then from there I went to Kerouac and Mailer, and finally at the end of that cycle I went to [Stuart] Dybek and Tobias Wolff and Raymond Carver. But in each phase I was trying to take whatever writer I was reading and try to make my life look like that. (And of course, there was a Kerouac phase.) So, really, in retrospect there was kind of a slothful person who didn’t really want to face the real job of being a writer, and wanted to live the drama, the sidestories, without doing any of the work or reading.


Guernica Magazine Anthology Design

Safer Informational Literature

Swee___t Zine Business Cards

Elymental Spices Identity and Packaging Personal Project

Please recycle!

Please recycle!


Please recycle!

Elymental Spices Identity and Packaging Personal Project

Dermalogy Identity, Gift Bag Samples Design

Dermalogy Identity, Gift Bag Samples Design

The Tank Concert Poster


S A T U R D AY M A R C H 2 4 @ T H E T A N K


The Tank Concert Poster

Concert Poster Set for Broadcast Student Work

Saturday, July 19th Fleece @ $10 dv a$15 door


Concert Poster Set for Broadcast Student Work

Concert Poster Set for Broadcast Student Work



Concert Poster Set for Broadcast Student Work

The Vera Project SXSW Brochure

WHAT VERA DOES: The Vera Project is an all-ages music and arts space that fosters a participatory creative culture through popular music concerts, arts programs, experiential learning and volunteer opportunities for all ages, especially young people. Vera is intentional about creating a safe all-ages space where people of different ages, ethnicities, cultures, ideologies, sexual identities, musical tastes, and economic backgrounds come together and experience music and art in a way that transcends commercial entertainment and builds community. Vera participants not only see music and art, they also have the chance to gain skills in event production and community organizing through classes, skill sharing and power sharing. Vera’s programming blends the expertise of some of Seattle’s most experienced community leaders with the ambition, talent, energy, talent and resourcefulness of Vera’s participants and volunteers. Vera participants become true and sincere friends.

HOW VERA DOES IT: Vera has awesome shows featuring artists such as Against Me!, Murs, Ian MacKaye, Shoplifting, Weezer, Joan of Arc, Brother Ali, Common Market, Lightening Bolt, Minus the Bear, WHY?, Blue Scholars, Built to Spill, Band of Horses and much more. Shows usually cost about $8, are volunteer-run, and are really, really good. Vera has an art gallery curated by a committee of young people and artists that showcases local, national and international artists of all ages. See art, show your art, or curate shows, because this gallery is here for you. Vera has a recording studio, your band can afford to record there, and your album will sound really, really good! For a very affordable hourly rate you get superstar treatment in recording the beautiful sounds you create. Vera has a silkscreen studio where you can screen t-shirts, posters, album covers, zines and more. We have affordable classes where you can learn the art and drop-in studio time where you can hone your craft. We can also do

short runs of custom work for you, and can schedule private group classes. Vera has classes in silkscreening, sound engineering, studio recording and more. These classes are informative, fun and affordable, and Vera always offers ways for you to get hands on experience after the classes you take so you can hone your skills.

People like you run Vera. Vera is 96% run by volunteers who do everything from running shows to becoming active governing members who lead Vera into the future. Vera volunteer orientations are the second Thursday of every month at 6pm at the Vera Project. We’re also happy to come give a group orientation at your school, community center, work site, etc.


Vera is yours.

If you have workshop ideas that you want to bring to Vera, then come make it happen! We’ve hosted classes in breakdancing, yoga, voice training, apparel design, understanding the recording industry, apparel design, activism, and so much more. Whatever you bring to Vera, is Vera. Vera’s space is yours to fill. Wanna Rent? Do you want to hold a meeting? Host a class? Throw a party? Our versatile space is available for rent at affordable prices all year long. The Vera Project relies on community support to thrive. Vera is a 501c3 non-profit organization. All donations are tax deductible and much appreciated. You can donate online at or give us a call for more details.

CONTACT: The Vera Project – Always All Ages! Located on the corner of Warren and Republican in the Seattle Center Campus

MAILING ADDRESS: 305 Harrison St. Seattle, WA 98109

FOR SPECIFIC PROGRAMS CONTACT: General info: Booking: Studio Recording: Outreach and Partnerships: Volunteering: Fundraising: Veracity: Art Gallery: Silk Screening: Rentals: 206.956.VERA (8372)

The Vera Project SXSW Brochure




8C@7A 2=1B=@ 1/<272/B3 0@==9:G< :/E ! j </B6/<3@=07<A=<.5;/7:1=; j #!$%'""$

Business Identity Development Personal Projects


Portfolio for review by art directors, editors and other design professionals.

Read more
Read more
Similar to
Popular now
Just for you