(Click here for our illustrated & printed Granary Catalog)
David Antin & Charles Bernstein, A Conversation with David Antin. June 2002. 6 1/2" x 9" 168 pp, edition of 2000. "The Review of Contemporary Fiction was preparing an issue on my work and they wanted to include a new interview to go along with six or seven critical essays. Over the years I'd been interviewed a fair number of times by some very able critics, but I thought it might be interesting to try something different. Not so much an interview as a conversationwith another poet, a younger poet whose mind and work I found powerfully meaningful. I immediately thought of Charles, his wide-ranging mind, his openness to all sorts of genres and modes, his quickness, his lightness, his seriousness... .And there were obvious similarities in our interests and backgrounds. We're both dedicated experimentalists, both poet-critics, both New York and secular Jewish. But there were great differences. We started from two different worlds. I was born into the Great Depression and he was born into the Cold War eighteen years later. I came into the art and literary worlds of the late fifties, he entered in the seventies. We would have a lot to talk about, and we talked about doing it. I went East for an opening at the Whitney. Charles came out to San Diego to read a paper. Since I'm a 'talk poet' and Charles a voluble talker, we thought we should do it face to face for audiotape. But since I live on the West Coast and he lives on the East Coast, this was difficult to arrange. At a conference on American poetry in Amiens we decided we might as well do it by e-mail, which offers some of the immediacy of talking together with the elaboration possibilities of writing. The electronic speed of transmission made it a kind of cross between the 18th century and the 21st. The elaboration process led us to a four month interchange we enjoyed so much it ran more than twice the length we could use in The Review of Contemporary Fiction. This book is our whole uncut dialogue." Offset. Bound in paper wrappers. Twenty-six copies are signed by David Antin and Charles Bernstein. ISBN 1-887123-55-5. PB. $12.95.
John Ashbery & Joe Brainard, The Vermont Notebook. 2001. 9 1/2" x 6 3/4"; Poetry by Ashbery with over 50 ink drawings by Brainard. "This is John Ashbery at his wacky best, from long lists that seem to make some sense, to short lists that are befuddling and beguiling, to made-up diary entries. Perhaps it's everyone's diary that Ashbery has written, and no one's. Joe Brainard's silhouetted Americana becomes the perfect complement. There's a wonderfully nutty innocence (insouciance) to this book that is found in Brainard's drawings and Ashbery's writings: 'his lips spell out the words: shale, cowturds, spread, udder, mumps.'" ã John Yau. ". . .touched with genius." ã Peter Schjeldahl. ISBN 1-887123-59-8. $15.95.
John Ashbery & Joe Brainard, The Vermont Notebook Broadside. 2002. $200.
Susan Bee, Talespin. New York. Granary Books. 1995. 11" x 8 1/2"; 44 pages; edition of 40 (30 for sale; 10 hors commerce). Cloth over boards. Inspired in part by the melodramas & mysteries published in popular magazines of the 1880s, Susan Bee's Talespin evokes a contrasting sensibility: images of childhood mingle with the unexpected dangers and pitfalls of adulthood. The theme that emerges from this stream of associations is a Blakean loss of innocence and gaining of experience with a healthy dose of feminism and postmodern irony thrown in. The sub themes of the book are violence, desire, romance, procreation, sex, birth, death-expressionism leavened with grains of humor and fantasy. Susan Bee's collages were printed offset on Rives BFK, then hand-painted. Bound by Daniel E. Kelm and staff at The Wide Awake Garage. (Out-of-print).
Susan Bee and Charles Bernstein (see Charles Bernstein).
Guy Bennett and Béatrice Mousli, Charting the Here of There: French & American Poetry in Translation in Literary Magazines, 18502002. 2002. 7" x 10" 166 pp. A companion to the New York Public Library exhibition "Reviews of Two Worlds: French-American Literary Periodicals, 19452000." Written by Guy Bennett & Béatrice Mousli (co-curators of the New York Public Library exhibition), Charting the Here of There contains a world of French-American exchange a world governed by back-and-forth, double conciousness, the magic inherent in translation and mistranslation, as well as the fantastic, poetic mystery and possibility which comes out of this articulation "across the pond." Bennett and Mousli document the high points of this ongoing exchange as it writes itself on the pages of French and American literary magazines from 1850 through to the present. The result is an impeccable over-view of production testifying to the undeniable, often indefinable bond joining French and American poetry. ISBN 1-887123-63-6. $24.95 PB.
Charles Bernstein and Susan Bee, Little Orphan Anagram. New York. Granary Books. 1997. 11" x 8 1/2"; Letterpress, handcoloring. Edition of 35 (10 hors commerce, 25 for sale). According to the New York Times this companion volume to Susan Bee's Talespin has "real visual éclat." Texts by Charles Bernstein. Printed at Soho Letterpress then hand painted. Bound by Daniel Kelm and staff at the Wide Awake Garage. ISBN: 1-887123-14-8. (Out-of-print).
Charles Bernstein and Susan Bee, Log Rhythms. New York. Granary Books.1998. 11" x 8 1/2"; In this book Susan Bee sets and illustrates a long serial poem by Charles Bernstein, offering a running visual dialogue with the poem's textual acrobatics. Together they explore the psychopathology of everyday life: at times dark, at times dizzyingly demented, swerving from the wildly comic to the searingly political and from the whimsical to the elegiac. Printed offset (black ink on white paper) by Brad Freeman. Cover designed by Philip Gallo and Susan Bee then laser-printed in color at the Hermetic Press; edition of 500; 24 pp. Wrappers. ISBN: 1-887123-25-3. $35.
Berrigan and George Schneeman, In
The Nam What Can Happen?. New York. Granary Books. 1997. 8
1/4" x 9 1/4"; Letterpress in several colors. Edition of
70 (20 hors commerce, 50 for sale). In The Nam was first made
as a one-of-a-kind collaborative book in 1967-68. The original was
passed back and forth between Ted Berrigan and George Schneeman for
about a year, remaining in the hands of one or the other for weeks
or even months at a timeãpoet and artist each adding, subtracting,
working over words and images. The materials used were pen & ink,
white acrylic paint and collage. The work was made primarily for the
amusement of the collaborators, thus the „finished¾ project languished
in a drawer in Mr. Schneeman's studio on St. Mark's Place for thirty
years. Produced when the Vietnam War was rapidly escalating, this
work is by turns surreal, incisive, hip, outrageous, cartoon-like,
flip, sinister, humorous, dreamy, sarcastic, wittyãalways right on
targetãa vivid evocation of the times & the broad range of emotional
responses to the War. „With its constant layering of word and image
and the cumulative impact of overlapping and colliding forms, collage
is essential to this work. All sheets make use of it, and there is
often a playful, old-fashioned tone to the pastiched elementsãan equestrian
magazine from the 1930s, for instance, is followed up by colorful,
outdated print advertisements or bits of gift wrappingœThe words derive
their impetus from the visual ground; they are at once part of and
a commentary on their situation in this visual-verbal complex.¾ (Vincent
Katz, Art on Paper.) The present edition is a simulation of the original
& was printed letterpress, in several colors, from magnesium plates
on Rives 300 gm paper by Philip Gallo at The Hermetic Press. $1200.
Blake, Barbara Fahrner and Philip Gallo, The Marriage of Heaven
and Hell: A Reading and Study. New York. Granary Books. 1993.
12 1/2" x 12"; Letterpress, drawings. 41 copies. 11 hors
commerce, 30 for sale. An affinity with Blake's sense of the integrity
of the artist's vision and self-created world has long been a salient
characteristic of Barbara Fahrner's work. In this book, typography
reflects the stylistic eccentricities of Blake's poem while Fahrner's
drawings respond to its powerful statement. Typography and printing
by Philip Gallo at The Hermetic Press. Bound by Daniel Kelm and staff
at the Wide Awake Garage. Housed in a cloth box by Jill Jevne. ISBN:
Joe Brainard & John Ashbery, The Vermont Notebook. (see John Ashbery) Betty Bright, No Longer Innocent: Book Art in America, 1960 to 1980, September 1, 2005. 7" x 10", 350 pp. No Longer Innocent: Book Art in America:1960–1980 is the first history to trace the emergence of the artist's book in the U.S. during the 1960s and 1970s. This history takes a inclusive view of the varied field of book art and redresses the sporadic or confused acknowledgment from the art world that has long marginalized the artist's book. The book identifies European precursors of these kinds of artists' books, then quickly moves to America with the development of artists and books and non-profit organization. No Longer Innocent also addresses the ways book art affected and responded to art movements, such as Pop, Fluxus or Conceptualism. The book's inclusive approach suggests that it will appeal to a broad audience, from collectors of fine press books and deluxe books, to artists making multiple and sculptural bookworks, to cultural historians, librarians and booklovers interested in the phenomenon of the persistence of the book metaphor. Teachers in higher education with a broad view of the field's beginnings will find this book useful for classes in American studies and art history, as well as studio arts classes in printmaking, photography and sculpture. ISBN:1-887123-71-7, $39.95 (U.S.).
Longer Innocent: Book Art in America, 1960 to 1980, September
1, 2005. 7" x 10", 350 pp. No Longer Innocent: Book
Art in America:1960–1980 is the first history to trace
the emergence of the artist's book in the U.S. during the 1960s and
1970s. This history takes a inclusive view of the varied field of
book art and redresses the sporadic or confused acknowledgment from
the art world that has long marginalized the artist's book. The book
identifies European precursors of these kinds of artists' books, then
quickly moves to America with the development of artists and books
and non-profit organization. No Longer Innocent also addresses
the ways book art affected and responded to art movements, such as
Pop, Fluxus or Conceptualism. The book's inclusive approach suggests
that it will appeal to a broad audience, from collectors of fine press
books and deluxe books, to artists making multiple and sculptural
bookworks, to cultural historians, librarians and booklovers interested
in the phenomenon of the persistence of the book metaphor. Teachers
in higher education with a broad view of the field's beginnings will
find this book useful for classes in American studies and art history,
as well as studio arts classes in printmaking, photography and sculpture.
ISBN:1-887123-71-7, $39.95 (U.S.).
John Cage, Barbara Fahrner and Philip Gallo, Nods. New York. Granary Books. 1991. 13 1/4" x 6 3/4"; Original drawings and letterpress. 45 copies. 10 hors commerce; 35 for sale. Barbara Fahrner performed a selection from and chance operations on several of Cage's texts in order to produce what became the text of Nods. Fahrner's original drawings are of pen, ink and guache. Visually innovative typography and letterpress printing by Philip Gallo at the Hermetic Press. Bindings by Daniel Kelm at the Wide Awake Garage. (Out-of-print).
Ken Campbell, Steven Clay and Susan King, Execution: The Book. 1990. 15" x 5 1/4"; An elaborate and unusual catalog for an exhibition of English artist Ken Campbell's bookworks at Granary Books in NYC. Campbell designed and printed the catalog himself in four colors, via letterpress. Brief essays by Steven Clay and Susan King; checklist of the exhibition, his first in the U.S.A., a useful document, all signed by the artist. $75.
Celan & Barbara Fahrner, translated by Pierre Joris. Four
Poems. New York. Granary Books. 1999. 7 1/4" X 9"
Four poems newly translated by Pierre Joris with etchings (and original
handwork) by Barbara Fahrner. Each of the four poems is presented
in English and German in its own accordian-fold booklet; the four
volumes (each measuring 3 1/4" X 8") together are housed
in a cloth covered box. Twenty copies were produced for the U. S.
and twenty for Germany. (Out-of-print).
Clark and Lyn Hejinian, The
Traveler and the Hill, and the Hill. (see Lyn
Cole, Collective Memory,
Poetry Center & Granary Books, 2006. 9" x 11", 52 pp.
Collective Memory originated in the context of the installation
work by that name, created by Norma Cole at the California Historical
Society in San Francisco. The text comprises several sections: "Prelude"
is followed by "Speech Production: Themes and Variations"
which is illustrated throughout with full-color photographs, by Norma
Cole, presented here in the form of one inch sections resembling 35
mm contact sheet strips. This section is followed by "Collective
Memory: History" which is illustrated with Cole’s line
drawings and provides insight into the poet’s process of developing
the installation. Another section of text (9 x 1 3/4 inches), "House
of Hope" in memoriam Montien Boonma 1953-2000 is separately bound
into the covers at the bottom of the book in such a way that it runs
parallel to the above noted text. "House of Hope" is composed
416 quotations "notebook phrases" from a wide range of artists,
poets, filmmakers, philosophers, and other writers. It references
and re-produces Cole’s hanging sculpture of the same name, transformed
into a new presentation for this book. Collective Memory is co-published
by Granary Books, New York City and the Poetry Center, San Francisco
State University. The book is designed by Emily McVarish and bound
in buckram over boards by Coriander Reisbord. The letterpress portion
is set in Bulmer and printed on Somerset Book by Philip Gallo at the
Hermetic Press. Offset portions are set in Universe and printed on
Mohawk Superfine and French Paper Company Construction. The edition
comprises 48 copies of which 12 are hors commerce and 36 are for sale.
Creeley and Elsa Dorfman, En
Famille. New York. Granary Books. 1999. 8 1/4" X 6 1/4";
80 pp; 22 color images. Hardback original. "Robert Creeley and
Elsa Dorfman bring us the real news of the different ways the word
'family' has been made to leap beyond its lexical meanings.
Poet and photographer register how family is being re-envisioned by
those who live as individuals within a 'securing center.'
Beginning with, and subverting, 'I wandered lonely as a cloud,'
William Wordsworth's quintessential Romantic image of the self,
Creeley writes a poem whose formal structure, its interlocking, echoing
pattern of rhymed quatrains challenges our assumptions about the legacy
of Romantic and Modernist poetry. It is not that their legacy
or the family should endure in some rigid manner; it's that they have
changed and are changing still." -- John Yau, poet & critic,
author of "Active Participant: Robert Creeley and the Visual
Arts." A trade edition is scheduled for September, 1999. ISBN:
Dawson, Basil King: Paintings From the Cards. Exhibition
Century of Artists' Books, 2nd Edition,
1/4" x 6 1/4", 392 pp., 200 B & W photographs. With a new preface
by the author and an introduction by The New York Times senior
art critic Holland Cotter. New cover design by Emily McVarish. A folded
fan, a set of blocks, words embedded in lucite: artists' books are
a singular form of imaginative expression. With the insight of the
artist and the discernment of the art historian, Drucker details over
200 of these works, relating them to the variety of art movements
of the last century and tracing their development in form and concept.
This work, one of the first full-length studies available of artists'
books, provides both a critical analysis of the structures themselves
and a basis for further reflection on the philosophical and conceptual
roles they play. From codex to document, from performance to self-image,
the world of artists' books is made available to student and teacher,
collector and connoisseur. A useful work for all art collections,
both public and academic. —Paula Frosch, Metropolitan Museum
of Art Library in New York. ISBN 1-887123-02-04 (paper), $29.95.
Drucker and Susan Bee, A
Girl's Life. June
2002. 7"x 10" 48 pp. A collaborative
graphic melodrama of romance, crime and passion, A Girl's Life addresses
adolescent angst in all of its fashionably gory details. The snares
and pitfalls of contemporary life, which all girls must struggle with
to survive, are here revealed through darkly comic and fiendishly
noir prose, accompanied by lurid collage and wildly adventurous typography.
1-887123-56-3. PB. $24.95
Gimblett & Alan Loney, Mondrian's
flowers. (see Alan Loney).
Mimi Gross and Charles Bernstein, Some of These Daze, 2005. 10 1/4" x 11"; 64 pp. Beginning on September 11, 2001, Mimi Gross filled five sketchbooks with ink drawings made on the downtown streets, often working in the dark, directly at Ground Zero. Simultaneously, Charles Bernstein was also writing in response to the events of 9/11. Gross proposed a collaboration after hearing Bernstein read his new writings at the Zinc Bar in New York City on September 30, 2001. Gross and Bernstein together made a selection of images and text for the book. Some of These Daze was produced by Katherine Kuehn at Granary Books. It was printed in silkscreen in several colors by Luther Davis, at Axelle Fine Arts. Ltd., spiral bound at Print Icon and cased-in with printed cloth over boards by Judith Ivry. The edition comprises 75 signed and numbered copies of which 60 are for sale. $1500.
Guss and Jerome Rothenberg, editors, The
Book, Spiritual Instrument. (see Jerome
Harrison and Joe Elliot, If
It Rained Here.
New York. Granary Books. 1997. 8 3/4" x 10 3/4"; Images
captured from video and enhanced in Photoshop, then printed on the
Epson Stylus XL by the artist. Cover was printed using four color
process letterpress. 40 copies. 10 hors commerce, 30 for sale. This
book is the result of a year-long collaboration between visual artist
Julie Harrison and poet Joe Elliot. The images originated from video
produced at the Experimental Television Center. Elliot's text was
excerpted from longer works and/or created in response to the images.
Binding by Daniel Kelm and staff at The Wide Awake Garage. Cover printed
by hand in four colors by Elliot at Soho Letterpress. $2000.
Ric Haynes, Rejected From Mars. New York. Granary Books. 1995. 14" x 10"; 56 pages. Linocuts printed letterpress. 30 copies. 10 hors commerce, 20 for sale. This extraordinary albeit rather frightening work has its genesis in a poem written by painter and book artist Ric Haynes. The writing and visual images have their source, in part, in the artist's day-job work in treating alcoholic schizophrenics in Boston. Murky, raw, cartoony, fierce, intense, swampy, dark, labyrinthine: this work is a sort of travelogue through a tortured but visionary psyche which ultimately resolves into a hard earned emotional stasis, though one manifestly maintained a day at a time. A massive book with linocuts printed by Philip Gallo & hand-painted by the artist. Bound and with slipcases by Jill Jevne. $3,500.
Border Comedy. 2001. 10" x 7", 218 pages, edition
of 1500. "Lyn Hejinian's work increasingly explores poetry's
relation to knowledge... . But rather than abstract frameworks, one
finds in [A Border Comedy, a serial poem in fifteen 'books']
coyotes, geese, didactic asides, horses, philosophical anecdotes,
hawks, intercourse, wasps, Russian Formalist literary terms, goats,
pigs, ravens, and a great deal of urinating. It is through this particularity
that Hejinian invents a poetic pedagogy at home with its forgiveness
to itself, poised both to topple and attain intellectual authority,
happily open to its lack of totalizing system... . Situating her project
more broadly within intellectual history, she writes: 'Digressing
in a didactic tale will teach one to digress.' And digression, in
all of its entertaining modesthe anecdote, the interpolated
comment, the sudden shift of attentionis the displaced center
of A Border Comedy... . One of the interesting oddnesses of
the book, one that forces us to catch our breath and occasionally
to huff, is that quasi-transcendental or a priori insights (often
linked to continental philosophy) find their way skillfully and unpredictably
into what is otherwise a radically nominalistic, context-dependent
intellectual setting." Lytle Shaw. Printed offset. Bound
in paper wrappers. Twenty six copies signed by Lyn Hejinian. ISBN
Lyn Hejinian and Emilie Clark, The Lake. New York. Granary Books. 2004. 8" x 8" 19 pages. The Lake is a deep collaboration wherein artist and poet risk allowing the other to tinker with their respective work. The book emerges from the confluence of Hejinian and Clark's energies a child of both parents indeed. The images make use of watercolor, photography, collage, and pen & ink subtly mirroring the sprightly activity beneath the water's surface. The writings carve another layer into the work's topography and navigate the current of the book's expedition. The Lake is presented as an accordian book in a cloth-covered slipcase. The muted images are printed in full color; the text a reproduction of the poet's holograph. The book was printed by Silicon Gallery using the Epson 10600 in Philadelphia during the spring of 2004. The text stock is Somerset Velvet Enhanced 220; the cover is canvas. Judith Ivry made the bindings in New York City. 57 copies in the edition each signed by the poet and the artist: 1‚40 are for sale; 41‚55 are hors commerce. $1700.
Lyn Hejinian and Emilie Clark, The Traveler and the Hill, and the Hill. New York. Granary Books. 1998. 11 1/2" x 10" The Traveler and the Hill and the Hill is a collaboration between artist Emilie Clark and poet Lyn Hejinian. In the first half of the book, Clark's richly layered monoprints respond to Hejinian's aphoristic poems; in the second half, Hejinian comments on Clark. The book presents a series of fairy tales gone awry -- gone from the secure world of familiar knowledge and avuncular authority imparted to children into a hilarious, dark and dramatic space in which thinking happens in the seams between sentences. While Hejinian's poems investigate the social logic that binds short, illustrative moral narratives, Clark's monoprints invent a space for this investigation in which rich colors, widely various drawing, printing and transfer images behave almost as characters. The book comprises thirty-one images and thirty-one texts plus front and back matter. It measures 10" w x 11 1/2" h. Philip Gallo set the type and printed the text on Rives BFK; Emilie Clark made the images, unique in each copy of the edition of 61 of which 45 are for sale. Judith Ivry made the bindings and slip cases. $4,500.
Heliczer, A Purchase
in the White Botanica. 2001. 6"
x 8." 120 pages. A Purchase in the White Botanica offers
the first collected poetry of Piero Heliczer. It includes poems from
his college days at Harvard as well as his published books, among
which are & I Dreamt I Shot Arrows in My Amazon Bra (1959)
and The First Battle of the Marne (1962), both of which were
printed and published by his own press, the dead language, and The
Soap Opera (Trigram, 1967). A Purchase in the White Botanica
is supplemented with an extensive illustrated biographical interview
with Heliczer's half-sister Marisabina Russo-Stark, conducted by Gerard
Malanga, and a foreword by Anselm Hollo. Heliczer's lyrical works
incorporated classical notions of poetry combined with radical breaks
in structure. The pieces explore the page itself, recreating spelling
and placement of words to create "sheer visual clarity"
in meaning and form. Heliczer blends abstract or "atmospheric"
images to create an almost religious notion of poetry and life (Heliczer
chose not to separate the two). The works move easily from throughout
Europe and the United States, mirroring Heliczer's own roaming nature.
He was featured 20 years ago in Dennis Cooper's Little Caesar #9 in
a 200 page festschrift compiled by Gerard Malanga and long out of
print.ISBN: 1-887123-57-1 $15.95.
Jurayj and Rodney Phillips, Five
Poems/Five Paintings. (see Rodney
Alison Knowles, Footnotes: 30 years collage journal. New York. Granary Books. 2000. 10" x 7"; 265 pgs, 120 color repros. „Once upon a time Jim Tenney and I went walking in the woods. We came to a clearing and there under a tree was an arrangement of toy locomotives in the middle of nowhere. Pausing we mused where they were going, were they had been?¾ ãAlison Knowles. Collage pages made from 30 years of small, red travel books are pasted up and redrawn, but in no defined order. The setting migrates from Japan to Cologne and back always to New York City. Ideas jotted down and friends overheard are a loosely woven context for these delicate pencil drawings. Twenty-six copies are bound in paper and cloth over boards and contain one of the original collages ($1,200). Paper: 1-887123-35-0. $45.00.
Alison Knowles, Time Samples, 2006. 6 1/4" x 6 1/2", 33 pp. "Taking the used silk screens apart is the place to begin. This book is to be selected leavings plus used tools of the trade, the trade of art-making." Thus begins the introduction to Time Samples. Each book contains 15 original "leavings" — 6 1/4 inch squares of archival material derived primarily from the artist’s studio — starting with a "green china silk remnant bought to act as a sun shield over the skylight" and ending with "mostly small sun-printed items like spoons and nails used to test the shade of blue possible to get, given the decay of light after its zenith at noon." In between are cut-ups, litho film, "red lentil embedments in flax," silk-screen fragments, "live body prints," "iron-on color Xeroxes of objects…" and much more. Opposite each fragment is an identifying caption as well as a section from the text "Writing Red" which is a written performance of the 1962 Fluxus event score: "Celebration Red: Celebrate every red thing." Text and material images are here plucked from the residue of a life in art. As Knowles points out in the introduction: "The irony is that fragments and leftovers, sampled by time itself, take on a new life." The work is held together and presented within an ingenious modified accordion structure, designed and produced by Katherine Kuehn, which allows Time Samples to operate as a book while also offering the possibility of being unfolded (to over 5 feet) and hung on the wall with all of the samples visible. The typography is by Anne Noonan and Steve Clay; the book was printed at Soho Letterpress. Binding by Judith Ivry. Boxes by Portfoliobox, Inc. The edition is limited to 45 copies. $2,500.
Kushner & Ed Friedman. Away. (see Ed
Constance M. Lewallen with essays by John Ashbery & Carter Ratcliff, Joe Brainard: A Retrospective. 2001 10 1/2" x 8" 176 pages, 71 color and 36 black & white photos, edition of 3000. In addition to a checklist and bibliographies of work by and about Joe Brainard, this exhibition catalog includes published and unpublished writings by Mr. Brainard, interviews, letters and the essays, "Joe Brainard" by John Ashbery, "Acts of Generosity" by Constance Lewallen and "Joe Brainard's Quiet Dazzle" by Carter Ratcliff. Ms. Lewallen chronicles Joe Brainard's formative years in Oklahoma and moves to New York City and Boston, his involvement with Pop Art, assemblage and painting, and his literary and artistic associations. She writes: "His collaborations with writers [including Ted Berrigan, Kenward Elmslie and Frank O'Hara] took many forms, from comic strips to book covers and illustrations... . Not since the nineteenth century can we find such a rich joining of poetry and art." "Joe was a creature of incredible tact and generosity. He often gave his work to friends but before you could feel obliged to him he was already there, having anticipated the problem several moments or paragraphs earlier, and remedying it while somehow managing to deflect your attention from it." John Ashbery. Designed by Julie Harrison. Illustrated in color and black & white. Printed offset. Bound in stiff wrappers with dustjacket. ISBN: Paper: 1-887123-44-x. $29.95.
Ligorano/Reese, The Corona Palimpsest. New York. Granary Books. 1996. 12 1/2" x 10"; Hand painted and letterpress, offset and collage. 40 copies. 10 hors commerce, 30 for sale. Based on the eponymous video/book installation made by the artist team Nora Ligorano and Marshall Reese. This book contains a printed collage of video stills, newspapers, art history books, and magazines, as well as handpainting using stencils and paste paper techniques. Collages printed by Joe Elliot and Anne Noonan at Soho Letterpress. Stills printed offset. Bound by Daniel Kelm at The Wide Awake Garage. (Out-of-print).
Ligorano/Reese with Gerrit Lansing, Turning Leaves of Mind. 2002. 8" x 8" Ä 80 pp. A full-color conceptual essay and artists' book based on photo documentation of Spanish bookbinding from the 13th to the 18th century. Nora Ligorano's photo research of ancient books from the major libraries and archives of Spain is subtly transformed into abstracted objects. The artists enlarge, crop, and manipulate the images to recontextualize the surface ornamentation and structural design of these early books. Marshall Reese and Gerrit Lansing's poetic text interposes the exquisite visual elements creating a meditation on the word and writing. On the Book is a testament to the book as the most elegant information storage and retrieval mechanism ever invented. ISBN 1-887123-60-1 PB, $34.95.
Paul Etienne Lincoln, The Purification of Fagus sylvatica var pendula, 2005. Granary Books and Coracle Press. 9" x 8.5" (inches), 48 pp., 50 images. The Purification of Fagus sylvatica var pendula is emblematic of Lincoln's inquiry into the origin and production of memory and our ethereal relationship to that intangible evidence of our consciousness. In this pursuit Lincoln has employed diverse forms and themes, ranging from examination of historical figures to detailing anything from New York City infrastructure to "household" machines that dispense gin-and-tonics (mixed at varying strengths). Comprised of photographs, diagrams and text, The Purification records the series of experiments and performance which detail the afterlife of a specimen of local vegetation. The book begins, "Situated at the perimeter of Weeping Beach Tree Park in Queens, New York, was a small pavilion looking on to a stump of the oldest Weeping Beach in America. In 1847 Samuel Bowne parsons, a Quaker and a nurseryman purchased a shoot of Weeping Beach, Fagus sylvatica var pendula, in Belgium while traveling in search of unusual plants. On his return to the United States he planted the shoot at the site of the stump, then part of parson's Nurseries. Every Weeping Beech in America is descended from this one tree. Regrettably, the stump is all that remains, as shortly after this venerable tree's 150th anniversary in 1997 it died and was cut down. The tree had, however spawned seven progeny, which still grow in a circle around the original beech." Hardcover, $35.00 (U.S.).
John Locke, "Books seem to me to be pestilent things". New York. Granary Books. 1985. 6 1/4" x 10"; 100 copies. Broadside. Designed and printed by Gerald Lange at the Bieler Press. (Out-of-print).
Loney & Max Gimblett, Mondrian's
60 pp., 10¾ x 14¾; 41 books in the edition; sixteen are hors commerce,
25 are for sale.This project, which takes inspiration from Piet Mondrian's
early, somewhat figurative work, unfolds around Gimblett's blazing
kaleidoscopic watercolor spreads. The images in Mondrian's flowers
bear a powerful relationship to Loney's poems they are decidedly
non-narrative but reveal a subtle family resemblance to the writing.
Loney, who notes that "Nothing is so sacred or so despicable
that it cannot, at some time, be uttered as poetry" has composed
a text which is a lyrical and lucid counter meditation to the detonating
images. Mondrian's flowers measures 10 x 14 inches; there are
sixty pages which include three long poems and five double-page spread
images. Four of the five images are exceptional monoprints made by
Ruth Lingen in New York City the fifth and final image in the
book is an original double-page spread watercolor drawing by Gimblett
each one unique. The text was printed by Inge Bruggeman
on Hahnemule Copperplate paper at Textura Letterpress
in Portland, Oregon. Mondrian's flowers is bound in printed
red Barcelona paper over boards with bright blue Barcelona endpapers
and features an exposed binding which incorportates yellow, red, white,
black and blue papers in a nod to Piet Mondrian's abstract work. The
bindings were made by Judith Ivry in New York the book is housed
in a stamped black cloth covered slipcase. Each copy has been signed
by poet and artist. $3,000.
Jackson Mac Low, Doings: Assorted Performance Pieces 19552002. 2005. 8 1/2" x 11" 248 pp. Termed "America's most indefatigable experimental poet" by Publishers Weekly, Jackson Mac Low is considered a master innovator. This volume brings together a comprehensive collection of his performance scores written, drawn and composed over the past 40 years, complete with their accompanying instructions and commentary, providing a superb overview of these remarkable compositions. This collection presents facsimile reprints of the artist's handwritten as well as typographical scripts providing a striking graphic presence to the work; five of the works are here produced as hand-tipped gatefolds. The book contains recent work as well as substantial sections from the near legendary "Vocabulary Gathas" and includes a studio-quality CD of audio recordings, produced by Charlie Morrow, several of which are co-composed and co-performed by Mac Low together with his wife, the poet, composer, and visual artist Anne Tardos. Three years in the making the CD and book yield a treasure trove of much previously unpublished work contributing to a more complete picture of this maestro of the avant-garde. Doings features an introduction by publisher Steve Clay and a cover by British artist Ian Tyson. ISBN 1-887123-70-9, PB. $50.00. A limited-edition hand bound edition with an original print by Tyson is also available direct from Granary Books.
Lenore Malen, The New Society for Universal Harmony, 2005, Granary Books and Slought Foundation. 9 1/2" x 10"; 148 pages, 150 photographs. In The New Society for Universal Harmony. Lenore Malen uses pseudo-documentary photos, video and audio transcriptions, testimonials, case histories, and arcane imagery to archive the functioning of her own reinvention of the utopian society established in Paris in 1793 by the followers of Franz Anton Mesmer, known as La societe de l'harmonie universelle. Malen's New Society comes out of her long-term installation project and live performances of case histories and treatments performed at the fabricated Society imagined in Athol Springs, New York. The book expands the scope of the project to include original fiction and essays by "fellow Harmonites" Jonathan Ames, Geoffrey O'Brien. Pepe Karmel, Nancy Princenthal, Irving Sandler, Susan Canning, Barbara Tannenbaum, Jim Long, Mark Thompson, and others, as well as, the first-person account of Malen's discovery and two-year involvement with the Society. ISBN 1-8887123-67-9 (Paper) $29.95.
Mayer, Two Haloed Mourners.
New York. Granary Books. 1998. 8 1/2" x 5 1/2"; 42 pages.
"The book starts out dense, vagrant, proceeding on a combination
of automatic writing and methodical structural repetitions. It picks
up speed, changes gears from poetry to prose and back again, tries
out a sestina where both beginning and ending words recur. Then something
explodes midway through the book, as though all this formal experimentation
was the rumbling and smoldering of Mt. Saint Helens erupting over
the circumstances of Bernadette Mayer's move back to the Lower East
Side from New Hampshire, where what was menace in the air of rural
America is met head-on in the New York of Reagan and Wall Street.
Two Haloed Mourners is a memoir of fear and loathing as the seventies
somersault into the eighties. It's also about not shutting down, as
a person, in the midst of that." Ange Mlinko, Poetry
Project Newsletter. 8 1/2" x 5 1/2;" 42 pages. First
printing of 100. Second printing of 200 (1999). Third printing of
500 (2000). Cover and book design by Philip Gallo at The Hermetic
Press. ISBN 1-887123-40-7. $12.00.
Emily McVarish, Flicker, 2005. 10.125" x 8"; 48 pp, Edition of 45 of which 35 for sale. Flicker's design and production seek to embody the combinations of presence and absence that surround and consume us every day: the mold of a tenant held by an apartment's design (and of an era's beliefs by its facade), the abstraction of drivers in traffic, the simultaneous concentration and distraction of a screen watcher, the constant here-and-gone movement of a pedestrian. Flicker's text juxtaposes and intersects strains of these four figures — buildings, traffic, a watcher, and a walker – in the shared streets of a city to see if they ever add up to a whole. Flicker's pages are composed of thousands of pieces of lead type turned on their heads and printed as a solid matrix. Text occurs in the clearings of this background where type has been flipped rightside up to show its readable face. Also accommodated in the micro-grid of Flicker's pages are isolated wood letters and small duotones. The latter were printed from polymer plates of digital video stills. Further complicating relations of negative and positive space and of sequence, die-cut holes link images and texts through multiple spreads. Flicker is written, designed, and printed by Emily McVarish. The binding is by Coriander Reisbord with McVarish. $975.
Emily McVarish, Was Here. 2001, 13 1/4" x 10 3/4"; 64 pages, edition of 50: 10 hors commerce, 40 for sale. "Was Here takes Photography and the Book as distinct metaphors for History, playing them off one another to provoke and unwind their respective implications. As markers of a former presence and constellations of the unfulfilled, photographs punch holes in the book's inherent pretenses of organicism and linearity, calling attention to the citational nature of the book's very element, language. On the other hand, with its potential to carry out alternation and repetition over paginated time, a book can make tangible the temporal and ontological paradoxes at the heart of every photographic image. With obvious compositional and material attention to the medium (letterpress) in which both texts and photographslabels and vignettes, captions and scenes, statements and evidenceare presented, Was Here seeks signs of the historical truths that link reproducibility and transcendence." Emily McVarish. Designed and printed letterpress on Mohawk Superfine by Emily McVarish. All copies are signed and numbered by Ms. McVarish. $1,200.
Metcalf, Firebird. New York. Granary Books & Chax Press.
1987. 9" x 7 1/4"; 236 copies. 36 in boards (10 hors commerce,
26 for sale), 200 in wrappers. Illustrations by Cynthia Miller. Cover
paper handmade by Mary Beaton. Designed and printed by Charles Alexander
at The Chax Press. The cloth edition is long out-of-print. We have
a few in wrappers left at $150.
Barbara Moore, Some Things Else About Something Else. 1991. 12" x 4 1/2"; Folding brochure for a 1991 exhibition of Something Else Press at Granary Books in NYC. Designed by Philip Gallo. Essay by Barbara Moore. Includes a checklist of the publications of the press. Some copies are on heavy stock, some on light. $25.
Maureen Owen and Yvonne Jaquette, Erosion's Pull, 2004. 17.5'' x 7.5''; 28pp. Erosion's Pull is, upon first glance, possessed of a paradoxically effortless feel. It is just so stunning. Moving beyong this entrance to the book, a depth and clarity of this project emerges. Owen and Jacquette
Ron Padgett and George Schneeman, Yodeling into a Kotex. 2003. This book, originally a one-of-a-kind collaboration produced in 1969, is a near perfect example of classic New York School spontaneity hitting fierce intellect. Yodeling is a miscellany of handwritten stanzas: found text, drawing, empasto, and images from pollyannaish advertisements, dimple-cheeked children's books, wallpaper swatches, personal photos and charming illustrations. Schneeman's signature nervy refinement meets, what Tom Clark described as, Padgett's "Audacity and grace go[ing] hand in hand with heady rumination, deadpan wit and a thrilling, slightly sinister proclivity for the unexpected." Inkjet prints of the original book were created on the Epson 10000 by Digital Plus, NYC and printed on Epson watercolor paper. The bindings were made by Judith Ivry in New York City. 8 1/2" x 5 3/4" 26 pages. 41 copies signed by the artists in the edition, 1-25 for sale, 26-41 hors commerce. $1,200.
Ron Padgett, editor, Painter among Poets: The Collaborative Art of George Schneeman. 2004. Painter among Poets is the first retrospective presentation of the wide range of art works that Schneeman has created with poets over the past thirty-five years. It not only investigates Schneeman's enthusiasm for free-wheeling collaboration, it also considers his work as part of the remarkable modernist tradition of poet/painter collaboration. Always open to spontaneity and engagement, Schneeman encourages poets to contribute visual elements in order to create surprising works that neither artist nor poet could have done alone. As critic Carter Ratcliff, a poet himself, notes, "The Schneeman collaborations are completely unregulated, and they were carried out in free-flowing situations where art and poetry were only part of what was going on." Painter among Poets offers a behind-the-scenes look at the high-wire process of collaboration as an outgrowth of Schneeman¼s friendship with poets Bill Berkson, Ted Berrigan, Michael Brownstein, Tom Clark, Edwin Denby, Larry Fagin, Dick Gallup, Allen Ginsberg, Ted Greenwald, Steve Katz, Lewis MacAdams, Alice Notley, Ron Padgett, Harris Schiff, Peter Schjeldahl, Tom Veitch, Anne Waldman, Lewis Warsh, and many others. Twelve of Schneeman's collaborators have contributed personal commentaries and remembrances to Painter among Poets, which also features an essay by Ratcliff, an extensive conversation between Schneeman and Padgett, and a bibliography. Beautifully illustrated with sixty-seven color reproductions and twenty-three in black-and-white, Painter among Poets is an exciting reflection of the beauty, adventure, and energy of the work it documents. ISBN: 1-887123-66-0. $29.95.
Bob Perelman and Francie Shaw, Playing Bodies. Granary Books, 2004. 7.5" X 7.5", 116 pages, 52 images. Playing Bodies is a work in poetry and paintings by Bob Perelman and Francie Shaw. This work is, at once, a deeply specific, personal account and an undesignated construction which provides the perfect space on which to project our own ideas of self. The series of fifty-two paintings by Shaw and fifty-two poems by Perelman reflect an intensely united collaboration. Playing Bodies is a conversation between poet and painter, artists and readers which rewards in a more profound way than simple repartee. There is a plaintive depth below the surface of clean intelligence and that pitch of feeling is what makes this a complex investigation. This artists book features an introduction by Susan Stewart. ISBN 1-887123-64-4 (paper). $19.95.
Simon Pettet and Duncan Hannah. Abundant Treasures. 2001. 12" x 8", 28 pages, edition of 40. "'Quanto e possente amor!' (How powerful love is!)the result of tenacity and belief? Abundant Treasures. No, simply what actually exists. Abundant Treasures wake up and it's already there. Abundant Treasures, a collaboration between Anglo-Americans and cosmic citizens Simon Pettet and Duncan Hannah... . A book of devotions. A book of scripture. A book that doesn't take itself too seriously. Abundant Treasures. Being the outcome of strict attention and utter neglect. Abundant Treasures. Being a series of exhortations and admonitions. Abundant Treasures. A set. Some good will come from this. Abundant Treasures. Microcosm macrocosm. Abundant Treasures. Somewhere there is the image of petals unfolding. Abundant Treasures... . Considerate. Fundamental. Refreshing. Sustaining. Abundant Treasures." Simon Pettet. "Simon Pettet and I began our project Abundant Treasures back in 1994. We were fans of each other's work and shared a love of Joe Brainard, the beats, Balthus, and industrial England. Simon gave me thirty poems to work from and we narrowed it down to sixteen. It was an easy marriage between his text and my images, such as the recurring motif of reading and the theme of fleeting beauty, dear to both of us." Duncan Hannah. Printed letterpress then handcolored by Duncan Hannah. Signed by Simon Pettet and Duncan Hannah. $2,500.
Rodney Phillips and John Jurayj, Five Poems/Five Paintings. 2003. Phillips's unadorned free-verse lays bare a later day New York School sensibility and unassuming lyricism. These poems transfigure the everyday like letters home, lending small occurrences significance because they have been noted and written around. Each poem is accompanied by its visual twin; oil paintings by John Jurayj executed with a delicacy usually reserved for lighter material, watercolor or gouache. The interplay of verbal and visual is apparent in content as well as form. Five Poems/Five Paintings was printed letterpress by Inge Bruggeman of Textura Letterpress in Portland, Oregon. $75.
Rodney Phillips and Steven Clay, A Secret Location on the Lower East Side: Adventures in Writing, 1960-1980: A Sourcebook of Information. (see Steve Clay).
Rathman, Roar Shocks. New York. Granary Books. 1998. 10
1/2" x 8 3/4"; Printed letterpress from metal engravings.
33 bound copies, 10 sets of boxed prints. Roar Shockscontains
texts from treatises on the Rorschach procedure, which were subsequently
modified by David Rathman through multiple Xeroxing. Rathman's evocative
page compositions combine these ambiguous texts, charts, and snippets
of dialogue with stark black and white ink drawings. Printed by Philip
Gallo at The Hermetic Press. Binding by Jill Jevne. Bound book or
boxed set of prints: $2,500.
Rothenberg and Susan Bee,
Burning Babe & Other Poems.
12 [h] x 9 [w] inches, 36 pages. Printed digitally on Innova smooth
white 100% cotton paper using pigment inks at Silicon Gallery Fine
Art Prints Ltd. in Philadelphia during the summer of 2005. Bound in
printed orange cloth over boards by Judith Ivry in New York. The edition
comprises 41 copies of which 25 are for sale. $3,250.
Rothenberg and David Guss, editors, The
Book, Spiritual Instrument. New York. Granary Books. 1996.
164 pages, 9" x 7"; Paperback original. Essays, musings,
pictures, interviews, etc. by Stephane Mallarmé, Edmond Jabès,
Becky Cohen, Alison Knowles, George Quasha, Dick Higgins, Karl Young,
David Meltzer, Tina Oldknow, J. Stephen Lansing, Paul Eluard, David
Guss, Jed Rasula, Gershom Scholem, Jerome Rothenberg and Herbert Blau.
"Prefaced by Mallarme's famous dictum that 'everything in the
world exists in order to end up as a book,' this spirited collection
demonstrates the reverse as well: everything in the book exists in
order to end up in the world. Edited in 1982 by Jerome Rothenberg,
the greatest American anthologist of the postwar years, and his associate,
anthropologist and translator David Guss, The Book, Spiritual Instrument
pushes the envelope not only on what books contain but also on what
they are. Rothenberg and company read the book as metaphor for aesthetic
framing devices, but they also read frames as metaphoric books. In
a series of exemplary essays on, and demonstrations of, what might
be called the ethnopoetics of the book, books from a wide range of
cultural traditions are portrayed as radical extenders of form rather
than neutral vessels of content. The result is a vision of books as
laboratories for the invention and performance of perceptual systems:
new worlds carved out of the wilderness of human thought and language."
-- Charles Bernstein, Poet, Editor and David Gray Professor of Poetry
and Poetics, SUNY-Buffalo. ISBN: 1-887123-08-3. $21.95.
Rothenberg and Anne Waldman, Kin. New York. Granary Books.
1997. 9" x 7 1/8"; Letterpress. 150 copies. 35 hors commerce,
115 for sale. Susan Rothenberg's eight subtle drawings in black cray-pas
of animals in pairs (yaks, horses, cats, humans) sounds the call to
which Anne Waldman responds in new texts, which range from 'overheard
conversations' to lyric poetry to 'found' scientific data reportage.
Pages fold out to reveal text flanking the images which have been
masterfully printed to recreate the waxy nature and smudging around
the edges of the original drawings. Printed by Philip Gallo at The
Hermetic Press. Bound in cloth by Jill Jevne. Letterpress on Rives
Heavyweight. ISBN: 1-887123-12-1. $750.
Saroyan, The Beatles. 2000. 12 pages, 3" x 4";
This minimal work was first published by Aram Saroyan in 1970. Our
edition was split with Mr. Saroyan and mailed out as a New Year's
Greeting for January 1, 2000. Printed by hand at SoHo Letterpress
and hand-sewn by Amber Phillips. (Out-of-print).
Schneeman and Ron Padgett, Yodeling
into a Kotex. 2003. (See
Jane Sherry, Venus Unbound. New York. Granary Books. 1993. 12" x 9"; 46 pages. Letterpress with photo-metallic collages, painting and drawing. 41 copies. 11 hors commerce, 30 for sale. Sherry's dream journals were the source for text in this book, which is narrative in form, and personal or confessional in theme. Imagery of bondage and pain becomes increasingly positive and intimate. The artist's original paintings were treated with gouache, pen and ink, rubber stamps, and collage. Typography and printing by Philip Gallo. Binding by Daniel Kelm at the Wide Awake Garage. Housed in a box by Jill Jevne. $2,500.
Jack Smith, The Beautiful Book. Granary Books, co-published with The Plaster Foundation, Inc. The only autonomous collection of Jack Smith's photographs to appear during his lifetime, The Beautiful Book comprises 19 hand-tipped black-and-white contact prints (2 1/4 x 2 1/4 inches). The photographs were produced mainly during the course of extended shooting sessions in Smith's Lower East Side apartment. Most date from the winter of 1962, although a few are earlierincluding the final "signature" photograph, a portrait of the artist on the steps beneath the Brooklyn Bridge taken by filmmaker Ken Jacobs. Nearly half the photographs feature the artist Marian Zazeela, who provided the design for the book's silk-screened cover. Smith and his associates assembled the books during the late spring and early summer of 1962, before shooting began on Flaming Creatures. Published and distributed by Piero Heliczer's press, the dead language, The Beautiful Book was originally priced at "4 dollars or 16 nouveau francs or 24 shillings," and advertised with a statement from the filmmaker Ron Rice: "we studied these photographs with keen eye discovering new & more beautiful images hidden in every dissolve & curve of the draperies & silks which ran through these masterpieces like some long lost mysterious fume from byzantium." The 2001 Beautiful Book is a true facsmile produced by Granary Books in collaboration with the Plaster Foundation, Inc. New prints have been made from the original negatives and hand-tipped onto Canford Buttercup paper. The covers are silk-screened in two colors on Tweedweave paper and saddle-stitched. The printing and arrangement of the photographs, choice of materials, and nature of the binding are consistent with the four copies of the book given by Smith to Marian Zazeela in 1962. The 200 copies in the present edition are numbered and authenticated by the Plaster Foundation, Inc. Sixty copies are hors commerce; 140 copies are for sale. $425.
Spector, A Passage.
New York. Granary Books. 1994. 8 1/2" x 6 1/4"; 360 pages.
Offset. 48 copies. 13 hors commerce, 35 for sale. A Passage develops
a fully integrated relationship between book form and textual material,
with writing, design, and hand-torn pages by Buzz Spector. Using the
method of his unique altered bookworks, Spector has torn these pages
in a sequence of lessening increments to make a cross section of his
text. Each and every volume in the edition has been altered in the
same way, leaving a shredded field of typographic characters whose
åmiraculous' legibility gives further meaning to the poignant personal
narrative Spector has written. „A Passage...presents itself as a representative
artifact. The title itself is generic, suggesting that, had this one
not been chosen, another passage would've sufficed as well. And its
binding and typography, so unobtrusive and anonymous, would make it
hard to pick out on a library shelf. Clearly A Passage is everybook;
yet as much as these production values efface themselves, this artifact
aggressively confronts us with its disappearance from our culture.¾
(Joe Elliot, The Journal of Artists' Books.) Since 1981, Buzz
Spector has created unique and editioned volumes and installation
pieces that confront the cultural significance and history of the
book. As a writer, editor, and book designer, he employs the materials
of his tradeãbooks and found textsãwhich he alters through tearing,
cutting, painting, and other processes. Mr. Spector's intention is
not to destroy, but to transform books and language. Typeset by Philip
Gallo at The Hermetic Press and printed offset by Brad Freeman at
InterPlanetary Productions. Bound by Jill Jevne. (Out-of-print).
Anne Tardos, The Dik-dik's Solitude: New & Selected Works. 2003. 6" x 9" 320 pp. At every level of Anne Tardos's paintings, films, poetry and cross-genre work the familiar is engaged while acknowledging the violently contested landscape of what we think we know. Connection is the dominant mode of composition. A brand new vernacular emerges when Tardos's unique voice announces itself in her rapid language switches, gleeful humor and rare willingness to blend the personal and political. With new and previously published work as well as an introductory interview with the author and prominent poet Lyn Hejinian, The Dik-dik's Solitude is the first comprehensive collection of work by this significant contemporary artist and writer. ISBN 1-887123-61-X. PB, $17.95
Michael Gizzi and William Corbet, editors,
The Blind See Only This World:
Poems for John Weiners. (see William Corbet).
Anne Waldman & Lewis Warsh, editors, Angel Hair Sleeps with a Boy in My Head: The Angel Hair Anthology. 2001. 9" x 7". 630 pages, edition of 3000. This anthology presents material selected from the collection of Angel Hair magazine and books edited by Anne Waldman and Lewis Warsh between 1966 and 1978. Included are substantial sections of writing (in some cases entire books) from an astonishing range of poets, including Clark Coolidge, Alice Notley, Hannah Weiner, Tom Clark, Bernadette Mayer, Kenward Elmslie, Robert Creeley, Joanne Kyger, Bill Berkson, Ted Greenwald, Lorenzo Thomas, John Wieners, Joe Brainard, Ron Padgett and the editors, to name just a few. From the nascent St. Mark's Poetry Project on the Lower East Side of Manhattan to Bolinas and Boulder, Angel Hair published an idiosyncratic cross-section of innovative writing in distinctive formatit is one of the longest-lived and most influential publishers on the small press scene. The anthology is supplemented with short memoirs from about twenty writers. It also includes an annotated checklist by Aaron Fischer and Steven Clay that comprises a citation and photograph of each of the approximately eighty books, magazines, broadsides and catalogs issued by the Press. Ms. Waldman and Mr. Warsh each contribute introductions. Designed by Amber Phillips. Illustrated with black & white halftones. Printed offset. Bound in paper wrappers. ISBN: 1-887123-49-0. $28.95.
Anne Waldman and Susan Rothenberg, Kin. (see Susan Rothenberg).
Lewis Warsh, Bustin's Island '68. New York. Granary Books. 1996. 8 1/2" x 5 1/2"; 36 pages. Black and white photographs mounted onto paper. Text printed by hand at Soho letterpress. 70 copies. 20 hors commerce, 50 for sale. Bustin's Island '68 was originally composed and produced by Lewis Warsh as a private manuscript book, a single copy, in 1992. The Granary Books edition is based on the original, which is now housed in the Berg Collection of the New York Public Library. Warsh's newly written text accompanies a group of black and white photographs taken in 1968 during and after the time he and Anne Waldman visited Ted & Sandy Berrigan and family at the summer home of Lee Crabtree at Bustin's Island off the coast of Maine. The guileless, innocent character which sparkles in the late 60s photographs stands in stark relief to the darkness shrouded in the over the shoulder glance back of the text. This is a remarkably lucid portrait of a time and place, and the price paid for admission into the realm of experience. Poets Anne Waldman, Ted Berrigan, Lewis Warsh, Joanne Kyger & Tom Clark are here glimpsed up close. Printed letterpress by Joe Elliot at Soho Letterpress, signed by the author. 21 Black and white photographs hand-mounted by Jill Jevne. $350.
Lewis Warsh and Julie Harrison, Debtor's Prison. 2001. 6 3/4" X 6 3/4"; 136 pps, 62 duotone images, edition of 1000. Debtor's Prison is the first collaboration between poet/novelist Lewis Warsh and video/visual artist Julie Harrison, in which skewed and closely-cropped black & white video stills from Harrison's primitive-style documentary and performance tapes of the 1970s are paired with stark lines of text written in response by Warsh. "Debtor's Prison combines the intelligences and sensibilities of two compelling artists, Lewis Warsh and Julie Harrison, and through their ways of seeing and observing, investigates the strange call and response between forms. The ambiguities of meaning, life's pleasures and anguish, find a beautiful and disturbing home here." ãLynne Tillman. ISBN: Paper: 1-887123-58-X. $24.95.
Lewis Warsh & Anne Waldman, editors, Angel Hair Sleeps with a Boy in My Head: The Angel Hair Anthology. (see Anne Waldman)
Jonathan Williams, "Noah Webster to Wee Lorine Niedecker." New York. Granary Books.1986. 6 1/8" x 4 3/8"; 200 signed copies made. (Note: 21 copies have been additionally signed by the printer and are hors commerce.) Card within a printed envelope within another printed envelope. Designed and printed for Origin Books (an alter ego of Granary) by Gerald Lange at the Bieler Press. $40.
Jonathan Williams and R.B.Kitaj, Aposiopeses: Odds & Ends. New York. Granary Books.1988. 10 1/4" x 6 1/4"; Letterpress. 165 copies. 65 in boards (15 hors commerce, 50 for sale), 100 in wrappers. Aposieopeses is defined on the title page as åSudden bursts of silence.' "The book gathers a collection of åOdds & Ends' ‚ words which, when asked to expand, „include two [of Williams's] constant preoccupations: eccentrics and epitaphs." For those who take the time to listen, his [Williams's] is a voice firm enough to scratch, clear enough to shine, and deep enough to vibrate in your mind long after the reading.' ‚ J.W. Bonner in The Arts Journal. The frontispiece portrait of the poet is by R.B. Kitaj. Designed and printed by Philip Gallo at The Hermetic Press. (Out-of-print).
Jonathan Williams, "A discrete sign on the Steinway...". New York. Granary Books.1986. 6 3/4" x 9 5/8"; 30 copies. Broadside. Designed and printed by Philip Gallo at The Hermetic Press. (Out-of-print).
Jane Wodening, From the Book of Legends. (see Jane Brakhage).
Jane Wodening, What the Ambulance Driver Said (a story with sentence diagram). 1998. 9 3/4" x 5 3/4"; The reader first approaches this story as a single paragraph. The book then extends to reveal the paragraph as a diagrammed sentence, folding out to twenty-six inches. Designed and printed by Philip Gallo at the Hermetic Press. (Out-of-print).
Paul Zelevansky, The Case for the Burial of Ancestors. 1991. Exhibition pamphlet with an essay by Richard Kostelanetz. (Out-of-print).
John Zorn, editor, Arcana: Musicians on Music. 2000. (co-published with Hips Road). An anthology of writings, working notes, scores, interviews and manifestos from an incredible collection of avant-garde/experimental musicians and composers familiar to those with an ear to the ground of what's new and interesting in recent music. There are twenty-nine contributors to this rich collection and they include many of the most respected, innovative and provocative players and composers in the current generation. To name a few: Mark Dresser, John Oswald, Marilyn Crispell, John Zorn, Bill Frisell, Ikue Mori, Larry Ochs, Elliott Sharp, Anthony Coleman, Fred Frith, David Rosenboom, George Lewis, Guy Klucevsek, Peter Garland, Z'ev and Gerry Hemingway. "It is understood that a critic's job is not an easy one, but it is a source of great surprise and disappointment to me that after more than twenty years of music-making on the New York scene, except for the occasional review in trade magazines/periodicals, not one single writer has ever come forward to champion or even to intelligently analyze exactly what it is that we have been doing." 1-887123-27-X. $34.95.
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