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Twin Cities Independent Bookstore Passport 2025

Rain Taxi’s Twin Cities Literary Calendar is once again publishing its pocket-sized Twin Cities Independent Bookstore Passport—and offering readers fun ways to visit the stores and win discounts and prizes. Our annual Bookstore Passport celebrates both Independent Bookstore Day (this year taking place on April 26, 2025) and our metropolitan area’s bounty of great community-based bookstores!  

Illustrated by local artist Kevin Cannon, the Passport is FREE to pick up at any participating store (list TBA) between Wednesday, April 23, 2025 and Sunday, April 27, 2025. During these five days, travel to as many participating Twin Cities area bookstores as you can, because you can get your Passport stamped at each store you visit during that time span for a future discount at that store and a chance to win great prizes!

Click here to see an overview of the 2024 Passport. 

How It Works

While this Passport can serve as a year-round guide, during the days surrounding Independent Bookstore Day, Rain Taxi and the stores invite you to get your Passport stamped to collect discount coupons and enter to win even more! Challenge details will be available soon — please check back.

How to Enter

Entry details will be available soon — please check back.

Participating Stores

The list of participating stores will be available soon — please check back.

Sponsors

Sponsor information will be available soon — please check back. If your organization or business is interested in sponsoring the 2025 Passport, please reach out to calendar [at] raintaxi [dot] com.

A Minnesota Book(ish) Miscellany

An essential reference for any booklover!

46 pp, perfect bound
published 2024

Minnesota is famous as a haven for literary genius. In this miscellany, you’ll find many of the puzzle pieces that explain why—from eclectic lists to booksellers of uncommon distinction to a writers hall of fame, this compilation is guaranteed to inform, annoy, and delight!

$10 plus $4 shipping (Domestic U.S.)

Click here

$10 plus $10 shipping (International)

Click here

About the Compiler:

Chris Barsanti is a writer, editor, and consultant. He is the author of several books including Six Seasons and a Movie: How Community Broke Television (co-written with Brian Cogan and Jeff Massey) and the creator of The Writer’s Year Page-A-Day Calendar 2025. A member of National Book Critics Circle and the Online Film Critics Society, Barsanti writes on the semi-regular for Publishers Weekly, The Minnesota Star Tribune, Slant Magazine, Rain Taxi Review of Books, and PopMatters. He also writes about movies at Eyes Wide Open and has been published in places such as the Chicago Tribune, In These Times, The Hollywood Reporter, and The Millions.

JEFFREY BROWN

Saturday, November 2, 4:00 pm
Lake Monster Brewing
 550 Vandalia St, St Paul, MN 55114
Download a flyer for this event!

This event is free and open to the public and a reception will follow!

Join us for some afternoon fun with the Eisner Award-winning, New York Times bestselling cartoonist Jeffrey Brown, who will treat us to a presentation on his new release this fall: Kids Are Still Weird And More Observations from Parenthood. In this book for readers of all ages, Brown offers sweet and surreal anecdotes from his life as a parent, comics that capture how curious, hilarious, and yes, weird, kids can be. When he was a kid, Jeffrey dreamed of growing up to draw comics for a living, and now he’s living that dream! Don’t miss this afternoon of fun with a comics legend. Book sales of Kids Are Still Weird and other titles by Jeffrey Brown will be available onsite thanks to Red Balloon Bookshop, and Brown will sign books in a reception after his presentation. 

ABOUT THE AUTHOR

Jeffrey Brown is the bestselling author of the Darth Vader and Son and Jedi Academy series, as well as numerous other books, including middle grade comics (his Lucy & Andy Neanderthal was 40,000 years in the making), humorous superhero books (most recently Batman and Robin and Howard), relatable observational comics (Cats Are Weird), adult graphic memoirs (Clumsy, Unlikely), irreverent parodies (Incredible Change-Bots), and imaginative tributes (My Teacher Is A Robot).

Volume 29, Number 3, Fall 2024 (#115)

To purchase issue #115 using Paypal, click here.
To become a member and get quarterly issues of Rain Taxi delivered to your door, click here.

INTERVIEWS

Charlotte Mandell: The Immense Noise of Céline’s War  |  interviewed by Barbara Roether
Sally Franson: Big in Sweden  |  interviewed by Margaret LaFleur
Leslie Sainz: Shedding Histories: Cubans in Exile  |  interviewed by Olivia Q. Pintair

FEATURES

The New Life  |  a comic by Gary Sullivan
In Memoriam: Paul Auster  |  by Dennis Barone
In Memoriam: John Barth  |  by Neal Lipschutz
In Memoriam: Jerome Rothenberg  |  by John Bradley
A Look Back: Anthony Heilbut’s The Fan Who Knew Too Much  |  by Richard Kostelanetz

PLUS: Cover art by JoAnn Verburg

NONFICTION REVIEWS

Like Love: Essays and Conversations  |  Maggie Nelson  |  by Jeff Bursey
Cactus Country  |  Zoë Bossiere  |  by Erica Watson
Lessons from the Climate Anxiety Counseling Booth: How to Live with Care and Purpose in an Endangered World  |  Kate Schapira  |  by Anna Farro Henderson
The Mango Tree: A Memoir of Fruit, Florida, and Felony  |  Annabelle Tometich  |  by Mark Massaro
Liberty Street: A Savannah Family, Its Golden Boy, and the Civil War  |  Jason K. Friedman  |  by Mike McClelland
Rabbit Heart: A Mother’s Murder, a Daughter’s Story  |  Kristine S. Ervin  |  by George Longenecker

FICTION/MIXED GENRE REVIEWS

Prairie, Dresses, Art, Other  |  Danielle Dutton  |  by Jonathon Atkinson
Proses: Incomparable Parables! Fabulous Fables! Cruel Tales!  |  Garrett Caples  |  by Oli Peters
Tidal Waters  |  Velia Vidal  |  by Diane Josefowicz
The Material  |  Camille Bordas  |  by Lori O’Dea
The Extinction of Irena Rey  |  Jennifer Croft  |  by Nancy Seidler
Landscapes  |  Christine Lai  |  by Alex Gurtis
Gretel and the Great War  |  Adam Ehrlich Sachs  |  by Seth Rogoff

POETRY REVIEWS

The Collected Poems of Delmore Schwartz  |  Delmore Schwartz  |  by Patrick James Dunagan
And Yet Held  |  T. De Los Reyes  |  by Alex Gurtis
Orders of Service: A Fugue  |  Willi Lee Kinard III  |  by Laura Berger
The Lady of Elche  | Amanda Berenguer  | by Daniel Byronson
Listening to the Golden Boomerang Return  |  CAConrad  |  by Greg Bem
Bad Mexican, Bad American  |  Jose Hernandez Diaz  |  by Gale Hemmann
The Sorrow Apartments  |  Andrea Cohen  |  by Bill Tremblay
Bright-Eyed  |  Sarah Sarai  |  by Jim Feast

COMICS REVIEWS

My Favorite Thing is Monsters, Book Two  |  Emil Ferris  |  by Paul Buhle

To purchase issue #115 using Paypal, click here.
To become a member and get quarterly issues of Rain Taxi delivered to your door, click here.

JoAnn Verburg

WTC, 2003
© JoAnn Verburg; courtesy Pace Gallery

JoAnn Verburg’s current exhibit, Aftershocks, can be viewed at the Minneapolis Institute of Art through January 12, 2025. Click here for more info.

JoAnn Verburg received a BA in sociology from Ohio Wesleyan University and an MFA in Photography from the Rochester Institute of Technology. From 1977 to 1979, she served as the research director and photographer for the Rephotographic Survey Project, traveling throughout the American West to replicate the same wilderness views made by 19th-century frontier photographers. While heading Polaroid’s Visiting Artist Program in the late 1970s and early 1980s, Verburg promoted technical innovation in the photographic field by inviting artists Chuck Close, Andy Warhol, William Wegman, and Jim Dine, among others, to experiment with new large format instant cameras.

Distinguished by its extraordinary sensitivity to the energy and sensuality of the natural world, Verburg’s own photographic work combines exquisite color, varied focus, and thoughtful composition to convey the beauty of its subject and setting. Often presented as diptychs and triptychs, her images of olive groves near her home in Spoleto, to which she has returned for over 30 years, envelop the viewer in a serene, dreamlike atmosphere and explore the passage of time both literally and figuratively. Verburg lives and works in Minneapolis and Spoleto, Italy. Visit her website for more info.

Stories and Poems of a Class Struggle and One Impossible Step

Stories and Poems of a Class Struggle
Historias y poemas de una lucha de clases
Roque Dalton
Translated by Jack Hirschman and Barbara Paschke
Seven Stories Press ($18.95)

One Impossible Step: Selected Poems
Orides Fontela
Translated by Chris Daniels
Nightboat Books ($17.95)

by Patrick James Dunagan

At first glance, not much connects the work of poets Roque Dalton (1935–1975) from El Salvador and Orides Fontela (1940–1998) from Brazil. Dalton, a committed revolutionary in the armed struggle leading up to his country’s civil war, writes poems in the direct, colloquial expression of everyday people—they are not didactic, yet they do wear their political and social concerns on their sleeves. Fontela’s poems, on the other hand, are far more hermetic; elusive, abstract, and philosophical. And of course, Fontela writes in Portuguese, Dalton in Spanish. Yet the two are contemporaries whose work responds to social conditions during turbulent times. 

Looking at these two disparate poets together—that is, reading them through each other’s lenses—enhances the parameters with which the work of each might be framed. Dalton becomes more philosophical, while Fontela gains in political gravity. Take a short poem by each. Here is one of Fontela’s “Seven Bird Poems”:

We’ll never know
such purity:
bird devouring us
while we sing it.

And this is Dalton’s “Poetic Art 1974”:

Poetry
Forgive me for having helped you understand
you’re not made of words alone.

In each case, the poet addresses their art, Dalton directly and Fontela through the archetypal image of a bird. While Fontela uses the universal “we”—as translator Chris Daniels notes, “Fontela almost never wrote the word ‘eu,’ the subjective form of the Portuguese first-person singular pronoun”—Dalton maintains an intimate “I-Thou” relationship, asking forgiveness for expanding poetry’s knowledge of itself. In both cases, the power of poetry to reach beyond language’s supposed meaning is stressed, albeit from opposing perspectives. Dalton implies the revolutionary context of his poem by including the year in the title, suggesting that poetry has a role to play in a time of cultural unrest and armed struggle, but Fontela also rejects the supposed rarification of poetry—“such purity”—in favor of the more active, even violent, “devouring us” that is within the art form’s transformative power. And while different in tone, both poems extol how poetry can elevate our ability to conceive the world anew.     

Drawing from all of Fontela’s collections of poetry, One Impossible Step represents not only the broadest translation of her corpus into English, but, at only 130 pages, it also operates as a compact overview of her biography and poetics. Daniels (who has also translated Pessoa among other Lusophone authors) ingeniously includes some twenty pages of excerpts from three interviews with Fontela, and Brazilian poet Ricardo Domeneck contributes a succinct afterword that assesses the trajectory of her life and work. Domeneck describes Fontela as

A person who owned no property, who felt neither the need nor the desire for a love relationship, perhaps [she] was uninterested in praising anything but oxygen. Perhaps her poverty led her to abandon adornment and poetic beautification. . . . demonstrat[ing] the linguistic attention of a post-war poet living a historical moment that demanded, in the use of symbols, an awareness of their being signs.

Dalton is much better known to U.S. readers; an earlier edition of this very book, published in the early 1980s under the title Poemas Clandestinos/Clandestine Poems, went through multiple printings. Now released as Stories and Poems of a Class Struggle as the first of a several Dalton translations to be issued over the coming years, it is actually the last, likely unfinished, work of Dalton’s; it comprises five sets of poems by distinct “authors” invented by the poet (though these pseudo-pseudonymous characters are nothing on the scale of Fernando Pessoa’s heteronyms). It’s unclear quite what Dalton had in mind by casting his voice into different personas, yet perhaps it is more important to draw attention to what these figures have in common: a belief in the necessity of cultural revolution and the use of poetry as a means towards that end. An opening “Declaration of Principles” signed by “the authors” closes by stating that the “enemy poet” (as opposed to the “servant poet” or “clown poet”) must have “a lucid and invincible confidence in the working class” and engage in “direct participation in its struggle.”

Fontela came from the working class, went to school to study philosophy on a scholarship, scraped by as a teacher, then “died in a public hospital in 1998, without a close family, destitute as a poet.” Dalton’s father was an American who financially provided for his education; he traveled internationally, spent time in Cuba honing his belief in communism and guerilla skills, and was tragically murdered in 1975 at the hands of his fellow revolutionaries in El Salvador , a victim of political infighting. Despite the vast differences in their lives, however, both poets created a body of literature hinged upon life—and because of this, these new translations of their work into English are vital.

Click below to purchase these books through Bookshop and support your local independent bookstore:

Rain Taxi Online Edition Summer 2024 | © Rain Taxi, Inc. 2024

VOLUME 29, NUMBER 2, SUMMER 2024 (#114)

To purchase issue #114 using Paypal, click here.
To become a member and get quarterly issues of Rain Taxi delivered to your door, click here.

INTERVIEWS

Mark Dowie: Surrender to the Creation  |  interviewed by Mike Dillon
Stacey Levine: Some Kind of Laughing Gas  |  interviewed by Ted Pelton
Ben Tanzer: Lying Is So Much Easier  |  interviewed by Rachel Robbins
Jessica Jacobs: These Striving Hymns of Contranyms  |  interviewed by Tiffany Troy

FEATURES

A Look Back: A Primer For Forgetting: Getting Past the Past  |  Lewis Hyde  |  by Abeer Hoque
The New Life  |  a comic by Gary Sullivan
Considering Charles Simic (1938–2023)  |  by Mike Schneider

PLUS: Cover art by Kristin Schue

NONFICTION REVIEWS

No Harmless Power  |  Charlie Allison  |  by Paul Buhle
The Geography of the Imagination: Forty Essays  |  Guy Davenport  |  by Eric Bies
The Male Gazed: On Hunks, Heartthrobs, and What Pop Culture Taught Me About (Desiring) Men  |  Manuel Betancourt  |  by Jackson Wyatt
He, Leo: The Life and Poetry of Lew Welch  |  Ewan Clark  |  by Patrick James Dunagan
No Judgment: On Being Criticial  |  Lauren Oyler  |  by Evan Youngs
Muse of Fire: World War I as Seen Through the Lives of the Soldier Poets  |  Michael Korda  |  by Chris Barsanti
Aid State: Elite Panic, Disaster Capitalism, and the Battle to Control Haiti  |  Jake Johnston  |  by Doug MacLeod
Measure’s Measures: Poetry and Knowledge  |  Michael Boughn  |  by Bruce Holsapple

COMICS REVIEW

The Beautiful Idea  |  N.O. Bonzo   |  by Paul Buhle

CHAPBOOK REVIEW

The Mating Calls // of a // Specter  |  Kelly Gray  |  by Ali Beheler

FICTION REVIEWS

For Now, It Is Night  |  Hari Krishna Kaul  |  by Alex Lanz
Neighbors and Other Stories |  Diane Oliver  |  by George Longenecker
You, Me, and Ulysses S. Grant: A Farcical Biography  |  Brad Neely  |  by Mark Dunbar
The In-Betweeners  |  Khem Aryal  |  by Gemini Wahhaj

POETRY REVIEWS

Modern Poetry  |  Diane Seuss  |  by John Bradley
Theophanies  |  Sarah Ghazal Ali  |  by Joanna Acevedo
Razzle Dazzle: New and Selected Poems 2002–2022  |  Major Jackson  |  by Beth Brown Preston
Being Reflected Upon  |  Alice Notley  |  by Patrick James Dunagan
The Life of Tu Fu  |  Eliot Weinberger  |  by Jon Cone
The Inventor: A Poet’s Transcolonial Autobiography  |  Eileen R. Tabios  |  by William Allegrezza
The Asking: New and Selected Poems  |  Jane Hirshfield  |  by George Longenecker
A Geography That Does Not Hurt Us  |  Carla Sofia Ferreira  |   by Alex Gurtis
The Ridge  |  Robert Bringhurst  |  by Greg Bem
Hatch   |  Jenny Irish  |  by Matthew Duffus

Kristin Schue

Kristin Schue is a mixed media artist from St. Paul, MN who explores discarded ephemera and vintage material. Often using snippets of old newspapers, elements of old books, photographs and anything that has a bit of weathering she combines these found materials with contemporary elements to assemble new stories. She hopes viewers find something strange, yet familiar among the quirk, wit and wonder embedded in her work. You can see her works at the Northrup King Building in the NE Minneapolis Arts District and at kschue.com.

Title: Tale of Sorrow
Size: 4” x 2 ⅞” 
Medium: wood, resin, book pages, beads, swarovski crystals, gold foil