Shop Talk
Undoubtedly an explanation of the name of
our magazine is in order since it is a mystery
to almost everyone, including some faculty
members in the literature department.
The Rag and Bone Shop was to be the re
placement of UNC-A’s bankrupt literary
magazine, Images. It was to do so as a
supplement to UNC-A’s student newspaper,
The Ridgerunner. Somehow, It became UNC-A’s
literary newspaper.
The founding editor of The Rag & Bone Shop,
A/ls. Deirdre Morro, Is credited with naming the
magazine in February, 1979. She lifted the title
from a line in the poem, ’’The Circus Animal’s
Desertion,” by William Butler Yeats. As Morro
explained in Vol. I, No. I of The Rag and Bone
Shop, "In it, the poet reviews characters and
symbols he had used throughout his literary ca
reer to find that they no longer work for him.
In discarding his famillr body of imagery, the
poet wonders where he will find new inspiration,
and finds it in his ravaged heart.”
Those masterful images because complete
Grew pure in mind, but out of what began?
A mound of refuse or the sweepings of a street,
Old kettles, old bottles, and a broken can.
Old iron, old bones, old rags, that raving slut.
Who keeps the till. Now that my ladder’s gone
I must lie down where all the ladders start.
In the foul rag-and-bone shop of the heart.
Whether Morro’s heart was ravaged by the
loss of Images and The Ridgerunner or not, and
whether she found inspiration there or not, she
found it. She and a small staff produced a very
fine publication styled along the lines of The
Arts Journal. Because of this style her inter
ests seemed to coincide with those of the liter
ature department. Realizing this and the fact
that her responsibility was not only to replace
the literary magazine, but the newspaper as
well, Morro broadened the scope of her publica
tion to Include campus news and events,
matters of local, state and national concern,
and feature articles of general Interest, as well
as poetry and fiction, while maintaining the style
The Rag and Bone Shop changed considerably
under the editorship of Robert T. Koenig
during the '80- '81 school year. The word
"Shop” was dropped from the logo. A seem-
ingly logical decision, since the publication
was referred to as the Rag and Bone. Also, the
poetry and fctlon were, for the most part,
dropped, neglecting the Images heritage.
Perhaps this was so because of the introduction
of The Locust Post, UNC-A’s literary publication
which appears twice a year; or perhaps it was
because Koenig saw his role as the editor of
a newspaper.
The Rag and Bone attempted to imitate the
format of a newspaper with some degree of
success. But Koenig had to contend with the
fact that The Rag and Bone only came out once
a month and lacked immediacy.
Ideas were tossed around for a new name this
year but none was satisfactory, the best being
The French Broad. However...the “Shop” was
put back into the name in order to add per
spective to the "Rag” and the “Bone.”
This year The Rag and Bone Shop is pre
sented to you in color, on 60 pound white
offset, getting away from the newsprint of the
past. It is a monthly publication and thereby
deserving of a magazine format. It is a univer
sity magazine and as such you can expect to
find topics within its covers from the arts to
the sciences and everything in between or on
either side-fact, fiction and opinion.
The additional money needed to produce a
magazine on this quality paper comes from the
demise of yet another UNC-A publication. The
Summit. Stacks of annuals lie collecting dust
in some storage space because graduates fail
to return in the fall to receive them year
after year. Consequently, The Rag and Bone
Shop has taken on another responsibility, pro
ducing a yearbook. It will not have a hard
cover, but it will be there when you graduate.
Many of the people who worked on last year’s
staff are returning this year, too many to
mention in this space. However, I must make
one exception. Loveeta Baker did all of the
typesetting last year and did all of it again
for this Issue. Over the summer I gave her sev
eral books to read on publication design and
graphic arts production. She picked up several
more on her own. Her ability to make on-the-
spot editorial decisions makes her an invalu
able asset and makes me look much better. She
is always willing to go a step farther than
the job calls for.
I would like to extend a special thank-you to
the folks at Fiberarts magazine where I did my
Internship this summer, particularly to Ann
Gardner and Jeanie Hutchins, who provided me
with more valuable information than I can
remember. And to Bob Williams and Ann Bach
at Biltmore Press who patiently answered my
questions throughout the summer.
We at The Rag & Bone Shop are looking
forward to steadily improving through the
year and ask your support in doing so.
This space will be reserved for editorial
comment and you are welcome to express your
opinion. Staff meetings are tentatively
scheduled for Tuesdays and Thursdays at
I p.m. Join us.
Editor
Well John you dear, sayin’ all those things about
me. Of course they are all twue, but well, don’t
you think there are a lot of sexual implications,
“invaluable ass-et” “always willing” “to go a
step farther” “makes me” “her ability to make
on-the-spot editors-whoops, I mean editorial
Editor
John J. Quigley
Art Editor
Loveeta Baker
Photo Editor
Larry Pope
Business Manager
Wes Parker
Advertising Manager
Marty Cherrix
Layout and Production
Loveeta Baker, John Quigley
Photographers
Larry Pope, Dave Pickett
Contributors
M^y Cherrix, Dana Murdock
Bill Mebane, Bichard Browne
Mary Ann Osby, Mike Manis
Deborah Chicurel, Larry Pope
Gary Arthur, Susan Marschalk
Jennifer Spurlock, Chris Mann
David Cohen, Peter P. Cooper, III
Arv Frieberg, Peter Aloisio
Tim Dunford, Sharyn MacDonald
Kathy Biels, Jenny Schrum
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