boxed in

May 29, 2015 § Leave a comment

not sure all of a sudden why containment is on the table, or what it means, but it is nice to have the option


May 18, 2015 § 3 Comments

Do you consider yourself a book artist? She asked,
the way the best questions are asked out of the blue as if out of nowhere as if what is being assigned or posited is not even remotely associated with you, or in this case me, as if there is an easy answer

You didn’t used to, She pressed, sealing the deal, invoking or provoking privilege more than using any of her chits, after all,

I am one who does tend toward makes declarative statements,

(always have been) which have over the years been confused with
T R U T H, or people thinking I think I am so smart, or smarter than everyone, or being pushy, or telling everyone what to think, or speaking for everyone, not to mention always having an opinion(!)

and She has over the years listened to the many, and ha! hears that I may have somewhere along the line changed my tune, or even better, She gets the real purpose for declarative statements

hypo thesis

begging accretion, amalgam, thrust&parry begging
con vers ation

and in many cases, an answer to the question most don’t didn’t haven’t yet asked for the many reasons most people are reluctant or ill-suited to asking questions, they don’t know how

asking questions artful in itself, a complicated tango of risks and moves offers and counteroffers more than curiosity more than something personal though the best questions and answers have everything to do with some thing personal, and of course it is inter personal

and then there is context, we four were at the shop, talking books and boxes, form and content, style and presentation and of a sudden She leans across tea and table, chin angled, and asks,
do you consider yourself a book artist?” waits a beat, finishing chin down with, “you didn’t used to.

So of course, I’m in. It’s a good, and fair, question, and timely. And in the changing landscape of art and books, of art, and books, important. And as someone who makes books which sometimes have the attached appellation art, or artist, it is pertinent.

And hard, because it assumes understanding, even if not common, of books and what the hell in their changing world they are, art notwithstanding, and what the hell (being) an artist is, books notwithstanding.

And of course declarative statement artist though I might be, I’m also eloquently two handed, so most often answers, whose questions have been asked, begin with
yes, and no,
the better to work my way toward the next hypo thesis.

Andso, the asked question having been explored in its long version, I will in the interest of balance, and declaration give the abbreviated answer:


typesetting riffs

May 16, 2015 § Leave a comment


improvisational serendipity otherwise known as
erroneously carried action
type O!s
poet ➣ry

it’s about a way of attending to
not the minute I was going to say but the minute
but how would one know
unless I drew some particular attention to the look and lay of it
which in the moment I meant to say
was more important the minit or the mineoot


and so HA!
in looking over the proof I saw the (intended) word remind was rewind, so either the m was upside down (first thought, which it wasn’t) so I took the w back to get an m

and but
damn me

if rewind wasn’t ex-
actly what I was
talking about

between the letters

May 16, 2015 § 2 Comments

i m p r o v is atio al se r end ip ity

There’s no denying, it
the words into a poem come together
differently when you have the time ✼ between the letters ✼ it takes to typeset

e a c h
w o r d

Never pulled a good (enough) print so here it is, composed (and edited) at the case, in the raw


It will become part of a book of poems (in collaboration with Megan Arnold and Katie Nealon) composed at the case

tops and bottoms

May 10, 2015 § Leave a comment


left to my own learning devices I both do and don’t jump right in, following a wild hair rather than instructions willing to live with what I do and don’t learn

things is if you have no idea then you don’t really learn anything because somehow there is nothing to pin it to, nothing to contextualize with, so starting with some not so vague idea about bottoms, sides, tops and how they will or won’t fit together, and how corners might be supported or hidden might be covered or not and oh yes, what to measure and what to glue and inside or out, here is what I didn’t and did learn about making a box

well that didn’t fit so well, so tried again,

and though it didn’t exactly work out like they were soup and sandwich it was as if they were made for each other and of course fact is I couldn’t have gotten such a good fit I’d tried!

and now comes the learning. and the practice. not to mention the rigors of cutting square things which are supposed to fit squarely.


off the cuff

May 6, 2015 § 2 Comments


sometimes we talk first and then hit the case, make the case for the poetry of it all, other times instead of sitting down with pen and paper or at a computer we sort it out composing ourselves off the cuff

on the cuff:
blue on blue weiss roman, 12 pt. except maybe that s that looks sort of goofy, (see it?) though it could simply be up side down and while I’m at it I will point out that the individual letters are called sorts; hence the expression out of sorts, and the contraption we place the letters in (upside down and backwards) is called a composition stick, and punning is just one of the hazards of fooling with all this lead, and linseed oil,

must be…


a walk

May 3, 2015 § 2 Comments

a fox. at the end a bevy of quail.

in the middle geese aflutter.

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