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Greetings, friends, old and new! I'm so thrilled you've come to my shop. It's just gone on line and I have many more images that I'll be adding in the coming weeks. In the meantime, if you have a favorite doubloon from my book—Talking to Our Selves—that you want to get on a T-shirt or other item, click on the link below to send me an email and I'll upload it for you right away.
Also, if you see an image here that you like, but I don't yet have it set up on the product you want, again, let me know and I'll make it happen for you.
Thank you for being here—



Lisa Martinovic

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Lisa Martinovic´ is a native San Franciscan who returned to the Bay Area in 1999 after completing a road trip that led her into six years of deep cover research in Hogeye, Arkansas. It was there that she came into her own as a slam poet, writing and performing political satire, ribald erotica, Ozark character studies, and a genre she dubbed poemedy—an alchemical hybrid of poetry and stand-up comedy.

With eight self-published books and one audio-tape to her credit, Lisa has toured as a performance poet throughout the US, featuring everywhere from New York City's Nuyorican Poet's Cafe and City Lights in San Francisco to Lollapalooza in New Orleans. She’s shared the stage with such estimable poets as Gary Snyder and Miller Williams, and her poetry has appeared in ten anthologies and numerous magazines, including Exquisite Corpse, Southern Exposure, The Underwood Review, The San Francisco Bay Guardian, Outlaw Bible of American Poetry, Will Work for Peace and the Poetry Slam anthology.

As Co-Chair of the Ozark Poets & Writers Collective, Lisa organized and emceed local slams and open mic readings. She also served as Trustee and Treasurer for the Executive Council of Poetry Slam, Inc., the national governing body for the growing world of slam. She won the coveted SlamQueen of the Ozarks title three years running, and competed in the National Poetry Slam every year from 1995 to 2000, ranking 12th in the nation in ’96.

Lisa’s essays have appeared in the San Francisco Chronicle and Examiner, the Northern California Bohemian, The Ozark Gazette, and in the e-zines and Her often-controversial radio commentaries air periodically on KQED and KPFA.

Lisa took a hiatus from slamming after the 2000 Nationals and spent the next three years focused almost exclusively on writing a screenplay—a scorching political satire that aspires to inspire multitudes. While marketing the script, Lisa began making digital art from photographs she’d taken of flowers. She's now preparing to launch a line of lingerie adorned with these lusciously vivid flowers.

While the screenplay simmers and the panties blossom, Lisa’s miraculously fertile muse pleasures her in the land of doubloons.

Check out Lisa's poetry and essays at

The Genesis of Doubloons

It began innocently enough as a brain integration exercise. One of many depicted on a Brain Gym poster I’d glanced at a hundred times but never quite seen: a little girl holds a pen in each hand to draw two like images simultaneously. The idea lit a wildfire in my imagination; I could hardly get home fast enough to try it.

From my first attempt, I found the process itself exhilarating, the images entrancing. For months there was nothing I’d rather do. I drew with both hands and both eyes; I drew with one eye closed; I drew with both eyes closed! The physical act of bimanual drawing was feeding some part of my psyche that had been hibernating—all my life, apparently—and giving expression to it.

Some time earlier I found a scrap of paper next to my bed on which I’d scribbled a snippet of a dream long forgotten. I nearly tossed it, but loved the phrase so much I placed it on my art table for…I don’t know. One day I looked down at the phrase, then over at a drawing, back at the phrase, and the drawing and, oh, god, yes—they were born for each other!

And so began the thrilling process of mining notebooks and journals, unfinished poems and unedited life for words to pair with my creatures: captions that bring the images into meaningful focus, or graphics that enliven the words in an unexpected way.

Meanwhile, the doubling itself invites us to ask: Are they talking to each other, to themselves, or both? Who, indeed, are any of us talking to whenever we speak, write, or think?

I call the form Doubloon for doubled cartoon, and, riffing off the original meaning of the word, for the wealth of delight they give to me and, I hope, to you.

There is a Japanese saying that art is the tracks, not the animal.


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