The reading was a treat! Interested and pensive listening, sincere and thoughtful follow up questions and observations, and a general good buzz moving through the studio. In the middle there was kind of an involuntary intermission, where two people exited and two new people arrived. It just felt smooth. But perhaps the most synchronistic aspect of this reading was that my intention was to have it at Temescal Canyon, near a stone entrance way to an invisible palace, but that was postponed by the rain, instead I had it at Future Space who opened their studio in the nick of time. Funnily enough, I had joked that I would bring my typewriter as a prop to the woods in an earlier event post, and then I arrived at Future Space to a typewriter on a wooden table, beside to a singular candle in a mount, and a plate with spheres of rose quartz and amethyst. It felt like, unbeknownst to me, the Spirit had performed set design. That combined with the fact that I'd selected the start time of the reading based on the exact time of the Full Moon (4:32-4:33PM), made for a potent little launch party.

If you click on the picture above, you can see some more images. As far as the collection goes it opens with the following quote by Jorge Luis Borges who can see in the dark. 

At times some birds, a horse, have saved the ruins of the amphitheater.
— Jorge Luis Borges

I decided to ask the book what I should share and opened to this paragraph:

The Lodge of Adepts of Tabernus Adepti, is an astral order of divine initiates from different races, creeds and continents throughout time immemorial. The order has joined many lives and incarnations to assist in the awakening and unification of all beings on planet earth. Doubt not, they’ve infinitely vaster things to attend to, but out of compassion, selflessness, and the joy of witnessing transmutation have agreed to make the evolution of the earthly spirits a central purpose of their existence.
— Tabernus Adepti (NINETEEN STORIES)


The cover is a sort of visual onomatopoeia, in that it depicts the form of a mystery solved in its opening chapter. Also, it is an homage to Salinger's Nine Stories with respect to its aesthetic and general zen-li-ness, but it is also mirrored, like Borges' discovery of Tlön, and in that mirroring depicts the way in which a mystery is solved within, thus visual onomatopoeia. In addition is has the effect of, while reading it in public, appearing as if you are reading a book upside down. With respect to this visual identity I want to give a special gratitude to the forthright work of my Graphic Designer Evan Drolet Cook whom completed this cover, I believe ingeniously so, despite 70+ back and forth emails to nail it! 

Here's another tidbit the second time I opened NINETEEN STORIES at random:

Perhaps, in the future, when one says, “warm” another’s temperature will increase and if you describe the sweet smell of butterscotch my nose will taste it. However, even with such enhanced developments as synesthesia, human language would still be a ways off from complete signification itself, which is to say absolute meaning.
— The Paradox of Mahmoud Al-Rahamid (NINETEEN STORIES)

This is the description I wrote for Amazon. 

Nineteen Stories is a mystery in palm, yet feels familiar like a scent you knew but could not place in memory. Each of the nineteen pieces, in some small way, dusts the surface off an endless riddle. Voelbel sends us into an initiation of our imagination, an ontological sojourn across the face of eternity; A refined collection of literary koans comprising a rather pithy-looking book.

The best thing about a book is that you don’t have to plug it in.
— Joseph Voelbel

I'm very hopeful and confident on both the monetary and social influence of this small collection of stories. If you care to contribute, purchase my book on Amazon, and if you find something therein that resonates with you, leave me a kind review. Thanks for tuning in.