print in progress – I start – 23 … becoming bookish, the rest of the story

August 5, 2016 § Leave a comment

it all started as a blank piece of gray paper about 12 x 18 which we worked on over the course of a year or so back and forth

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and the sisters to too & fro (which I’d made one as sort of the test/practice/whatever and then I think had judi more in mind when I’d made the second but then I rather liked both of them and couldn’t decide which to part with and so I ended up putting them in bags but she wouldn’t choose either so I mixed them up behind my back and pulled one which now I’m not really even sure whether she got the one I was thinking was for her or not if that even matters) – connective tissue mixed media, letterpress, original text, covers varied limited edition by judi goldberg – I had to ask if she’d had either of us in mind particularly when she was making them or make them and then picked or ? and she, oppositely, had felt she needed to give me the first one and…

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parsing marginalia

August 5, 2016 § 4 Comments

we’d been talking, about the magical mystery tour of projects, (hers a short story, mine a book of poems) talking about, parsing, that which we do and don’t have grasp of, never mind control over, and how for all that we know, and plan, and conspire, and plead borrow gerry rig and mander we don’t know anything really until we start, and of course, we never really know until it’s all over what we may or may not have wrought

and I was talking about how this time I made a conscious decision ahead of time to include the along the ways, to incorporate the side trips because it all really happens in the moments, in the times we inhabit, and because telling the story changes the story is the story

like, having maybe not typoed but in fact misspelled necessarily, (although it’s not unheard of for an ‘a’ to have ended up in the e compartment and the damned italics are impossibly small to see, and not to put it in the lap of the proofreader either because dimly I remember it having been pointed out, and I’m guessing I never made the correction, leaving it really then also smack in the lap of the printer, and the moment), and it being brought to full bear and bare when I was crowing about how the last typos are always found in the distributing and I’d not found one yet, and as it would happen looking at a page I was showing them, Brooke, as only she does in singular (as in a single response) fashion, turned red bursting with sputter&laughter exclaimed ohmygod!, I found one! And by god, she had. necassarily.  ha!

necessarily indeed.

and how as I was figuring out what to do with it, which didn’t include ‘fixing’ it or calling it a ‘mistake’ there had come into view (as a result of a visit to the rare books collection at sfsu) the manicula, or bishop’s fist, which I will use to proudly point to that very momentary lapse or interruption of order

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and then, mentioning Emily Dickinson and how everyone always wanted to correct or rework her handwritten manuscripts to fit some preconceived or post conceived or misconceived idea of the right and wrong of it all she started talking about the “censorship of printing” and I thought of tyranny and chaos

 

where did this come from

July 3, 2016 § Leave a comment

It started with the box.

Not that I planned it that way at all. The red box was going to be for the need me feed me birthday card, (yeah he’s turning 64).

Or maybe it started with the chicken wire papers
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which were on their way to become a star, or flower—could be a christmas tree ornament—book but then there was the fusion paper that I’d made which was the perfect ohdeargod vehicle, underlayment  ✴︎pull it together✴︎ structure, well after it was cut to size and folded.

But first there were the colored pencils…and then there was the little piece of paper that said syntax. And of course, the glue stick.

And then I cut the corner off. Which brought the back to the front. Which became a whole other story——line. Calling in to play just the right bits of paper waiting waiting all unsorted in bags in the drawer for their moment, which had come. And more gluing.

And more tag end scraps which I actually ** never let it be said I don’t ** throw away bits of paper.

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ACk. But not before one, with errant glue, found just the right spot to accidentally end up on the original square bits of now folded chicken wire paper which had been colored with pencils.

 

Which led to bits, words from an intact story, cut to wordbits which may or may not suggest, infer, elicit, solicit, mock play with the i/dea/l of syntax.

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at the case

June 30, 2016 § 1 Comment

let my people go

side by side the i and s lie in the california job case in their separate compartments unless they co-mingle by design or mistake and such was the case by design or mistake when more than once in quick succession rather than an s I  pulled out an i and it was as if there were a great let my people go liberation under way, iiisiiisisiiiiisiiisisisisi, unless of course you were different and it then mustmight have been a great comfort being an i among the s, or an s among the i iiiiisiiiiiiiiii, sssssisssssssssiss

fallout

June 19, 2016 § Leave a comment

THE ART OF THE BOOK
June 17 – July 27, 2016
Sebastopol Center for The Arts, Sebastopol CA

it was something about the call for entries, which I hadn’t really read
until someone said she didn’t understand them, which forced me

to read them more carefully

Call for entries: open worldwide; we call for artwork related to “the book”.
We see the book as a point of departure.
handmade artist’s books, using traditional bookmaking method
work showing excellence in bookmaking or altering book
book-like objects or sculptures in which the primary interest or emphasis is
visual rather than texture
homage to the book

thus inspiring this  *whateveryoucallit*

and of course I would also thank here. say. press’s leaning engineer, Paul Lewis.

the mock up

May 29, 2016 § 1 Comment

you’re putting a lot of time into that he said leaning toward the book such as it is in my hand as I sat down with my colored pencils, the book, an old piece of scrap wood as a spine raw book board as covers screwed together with hinges and a piece of aluminum screwed to the front cover, covers and spine screw studded because even shortened they are still too long (but it’s only a mock up), with five signatures

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some of the pages have proofs of an etching I was printing which I was exploring with colored pencil because mock up or not it is of course part of the unfolding, part of the process part of the exploration and expansion of the story which happens in the telling of it; in the time it takes to set it and print it, not to mention the actual untelling of the stories already told, the distributing of the type in preparation for the next telling

 

each aspect is ground for what comes next and I had promised myself I would indulge what might be mistaken for tomfoolery as integral to the outcome, so when it dawned on me to make and use as part of the page a graphite rubbing of the furniture set up as perfect adjunct to a poem I was printing, I did that too

anyway, yes! is the short answer, I am putting a lot of time into the mock up, might even like it better than the actual, not true in that it is like talking about oranges when one is instead talking about bats, but it is no less important, it is no less

and I’ve discovered in the meantime I have a lot to learn about hinges, and a few more dithering decisions to make before I finalize the structure of the ones which will not be called mock ups

the last 5 poems and other hooha

May 26, 2016 § Leave a comment

got it all done before lunch. though 17th ave was particularly obstreperous, taking lots of winnowing and culling not to mention proofing.

the biggest proofing hurdle is when you replace letters and you don’t check AGAIN because you think you fixed it…but luckily I did so I didn’t need to live with mnlooight

 

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