Jacket magazine: Granary Books catalog

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).

Susan Bee & Susan Howe, Bed Hangings. (see Susan Howe).

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. $1,500.

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.

Charles Bernstein and Jay Sanders, editors. Poetry Plastique (see Jay Sanders)

Ted Berrigan and George Schneeman, In The Nam What Can Happen? New York. Granary Books. 1997. 9 1/4" x 8 1/4"; Letterpress in several colors. Edition of 70 (20 hors commerce, 50 for sale). This is a simulation of a one-of-a-kind collaborative book made by poet Ted Berrigan and artist George Schneeman in 1967-68. The original book was passed between the two for about a year, each adding, subtracting, and working over words and images with pen and ink, white acrylic paint, and collage. This version miraculously printed by Philip Gallo at The Hermetic Press. Housed in a plexiglass slipcase. $500.

(Ted Berrigan) Aaron Fischer, Ted Berrigan: An Annotated Checklist. New York. Granary Books. 1998. 10" x 7"; 1000 in wrappers, 52 bound in boards. A poignant introduction by Lewis Warsh sets the stage for this fascinating glimpse into the inner workings of the literary underground. More than a mere checklist, the book is peppered with anecdotes and comments from many of Ted’s friends and publishers, including Anne Waldman and Ron Padgett. Illustrated with 27 "literary pictures"--previously unpublished collaborations by Berrigan and painter George Schneeman in the late sixties. ISBN: A-Z: 1-887123-15-6 (out-of-print); 1-26 numbered and signed. ISBN: In Boards 1-887123-16-4 (out-of-print); Trade Paper 1-887123-17-2. $32.95.

William 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: 1-887123-03-2. $3,000.

Jane Brakhage, From the Book of Legends. New York. Granary Books. 1990. 8 1/4" x 5 3/4"; Letterpress. 180 copies. 80 in boards, 100 in wrappers. Designed and printed by Philip Gallo at The Hermetic Press. Recollections of Maya Deren, Joseph Cornell and Charles Olson told in the style of Mallory. (Out-of-print).

Joe Brainard, I Remember. 2001. Our reprint of this classic is issued in conjunction with the traveling exhibition "Joe Brainard: A Retrospective." In 1970, Angel Hair Books published the first edition of I Remember -700 copies that quickly sold out. Brainard wrote two subsequent volumes for Angel Hair, More I Remember (1972) and More I Remember More (1973), both of which proved as popular as the original. In 1973, the Museum of Modern Art published Brainard’s I Remember Christmas, a new text for which he also contributed a cover design and four drawings. Excerpts from the Angel Hair editions appeared in Interview, Gay Sunshine, The World, and The New York Herald. In 1975, Full Court Press jumped at the chance to issue a revised version, which collected all three of the Angel Hair volumes and added new material, using the original title I Remember. The most recent edition was published by Viking Penguin in 1994. ISBN: Paper: 1-887123-48-2. $12.

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).

Paul 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. $1500.

Emilie Clark and Lyn Hejinian, The Traveler and the Hill, and the Hill. (see Lyn Hejinian).

Steve Clay, editor, When will the book be done? Granary’s Books. 2001. 8" x 8"; 210 pages. For over fifteen years, Granary Books has brought together bookmakers, writers and artists to explore verbal/visual relations in the time honored spirit of independent publishing. With a foreword by Charles Bernstein and an introduction by publisher Steven Clay, When will the book be done? features complete lists and descriptions of nearly 100 artists’ books, writer/artist collaborations and books of theory pertaining to books, writing and publishing. Each book is annotated with quotes from the artists and writers, critical notes, bibliographic information and full color illustrations. “At Granary, books are not neutral containers but are invested with a life of their own, conceived as objects first and foremost, entering the world not as the discardable shell of some other story but piping their own tunes on their own instruments....curiously, this particular book, this book of books, provides something that no one of the books depicted possibly can. For the images and texts ... make a picture not just of discreet works but also of something that cannot be contained by a book, a publisher: a publisher’s aesthetic, a publisher’s production.” -Charles Bernstein, from the foreword. ISBN: Paper: 1-887123-43-1. $40.00

Steven Clay and Rodney Phillips, A Secret Location on the Lower East Side: Adventures in Writing, 1960-1980: A Sourcebook of Information. New York. Granary Books and the New York Public Library. 1998. 9" x 7"; Pre-Face by Jerome Rothenberg. This book documents and expands upon the acclaimed exhibit (with 2/3 of the same title) at the New York Public Library January-July, 1998. Over 80 presses and magazines at the confluence of the New American Poetry and the Small Press Revolution are described, frequently in the words of the editor(s) involved. Checklists are also provided. Among those included are: J, Open Space, White Rabbit, Oyez, Yugen, Floating Bear, Measure, Semina, Beatitude, Black Mountain Review, Origin, Poems from the Floating World, Some/thing, Maps, Matter, Set , Something Else Press, Duende, Wild Dog, Umbra, Hambone, White Dove Review, C, Fuck You, Living Hand, Angel Hair, Big Sky, The World, Z, United Artists, Center, 0 to 9, Lines, Adventures in Poetry, Siamese Banana, Dodgems, Vehicle, Telephone, Mag City, L=A=N=G=U=A=G=E, Joglars, This, Tottel’s, Hills, The Figures, Roof , Sun & Moon and Tuumba. The book runs to 340 pages and is illustrated with over 200 black and white photographs. Another 500 presses and magazines are cataloged in an appendix; there’s also an extensive index, a 50 page introduction by Clay and Phillips and a gate-fold pull-out literary chronology of the 1950-1980 period. ISBN: 1-887123-20-2 (paper) $27.95; 1-887123-19-9 (cloth with dust jacket) $44.95.

Steven Clay and Jerome Rothenberg , editors, A Book of the Book: Some Works & Projections about the Book & Writing (see Rothenberg).

Clark Coolidge and Keith Waldrop, Bomb. New York. Granary Books. 2000. 10" x 8", 48 pages, 1-887123-32-6, paperback . Bomb is a meditation on a book of photographs that document the Manhattan Project, Los Alamos. The thirty-page poem begins with epigraphs by Democritus, Gregory Corso and André Breton/Paul Eluard before embarking upon its own project of lucid investigation via an elliptical glancing narration: "Put the bomb in a glass vase/add dust and forget." Bomb is sharp, stark, rhythmic; Mr. Coolidge tangles with the dreamlike oddness of the photographs in fits and starts of language with an explosive beauty. Keith Waldrop’s series of collages are literal reworkings of the original pictures: deep blacks and bright whites excavated from the book, remade here in the image of the poem. Printed offset, two-color cover, perfect binding. 1-887123-32-6, Paperback, $12.00.

William Corbett, Michael Gizzi and Joseph Torra, editors, The Blind See Only This World: Poems for John Wieners. New York, Granary Books and Boston, Pressed Wafer. 2000. 7 1/2" x 5", 112 pages, paperback. " The Blind See Only This World honors the work of the poet John Wieners. It takes its title from the last poem in his sequence Pressed Wafer. In the biographical note Wieners wrote for Donald Allen’s anthology The New American Poetry he remembered, "I first met Charles Olson on the night of Hurricane Hazel, September 11, 1954, when I ’accidentally’ heard him read his verse at the Charles St. Meeting House (Boston). They passed out complimentary copies of the Black Mountain Review #1, and I ain’t been able to forget." Many of those in this volume, whether they encountered Wieners first in his Hotel Wentley Poems (1959) or twenty-five years later in the two volumes of selected Wieners Raymond Foye edited for Black Sparrow Press, can say that they too ain’t been able to forget. Wieners has lived for the past thirty years in Joy Street on Boston’s Beacon Hill." (William Corbett). Contributors to the anthology are: John Ashbery, Paul Auster, Amiri Baraka, Ed Barrett, Jim Behrle, Dodie Bellamy, Bill Berkson, Daniel Bouchard, John Clarke, Clark Coolidge, William Corbett, Robert Creeley, Tim Davis, Diane di Prima, Edward Dorn, Robert Duncan, Jim Dunn, Kenward Elmslie, Elaine Equi, Larry Fagin, Michael Franco, Benjamin Friedlander, Michael Friedman, Merrill Gilfillan, Allen Ginsberg, Michael Gizzi, Peter Gizzi, Robert Glück, John Godfrey, Barbara Guest, Thom Gunn, Jim Harrison, Lee Harwood, Stratis Haviaris, Fanny Howe, Susan Howe, Kenneth Irby, Stephen Jonas, Robert Kelly, Kevin Killian, Ann Kim, August Kleinzahler, Joanne Kyger, Gerritt Lansing, Frank Lima, Nathaniel Mackey, Bernadette Mayer, Gail Mazur, Duncan McNaughton, Askold Melnyczuk, Charles North, Jawn P, Ron Padgett, Michael Palmer, Jack Powers, Michael Rumaker, Andrew Schelling, Charley Shively, Aaron Shurin, Cedar Sigo, Charles Simic, James Tate, Joseph Torra, Paul Violi, Anne Waldman, Lewis Warsh, Carol Weston, Dara Wier, Elizabeth Willis, John Yau, Geoffrey Young and John Wieners. 1-887123-34-2, Paperback, $12.00.

Robert 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: 1-887123-26-1. $19.95.

Robert Creeley and Alex Katz, Ligeia: A Libretto. New York. Granary Books. 1996. 13 1/4" x 6 1/2"; Letterpress. 135 copies. 35 hors commerce, 100 for sale. Originally published in 1838, Edgar Allan Poe’s engaging short story Ligeia has here been translated into an operatic context, Creeley’s first libretto. The drawing by Alex Katz is set design sketch. Designed and printed by Philip Gallo at The Hermetic Press. Bound by Jill Jevne. ISBN: 1-887123-11-3. $400.

Simon Cutts, A Smell of Printing: Poems 1988-1998. 2000. 7" x 51/2", 96 pages, Edition of 500. Simon Cutts, writer, artist, designer and founder of Coracle Press and Gallery, offers a generous helping of recent writing in this collection of poems, 1988-1998. Within the pages one finds "addendum erratum," a bookmark with a poem (loose within), as well as "an ode for the recovery of an olympia 66 typewriter" and "The Rubber Stamp Mini Printer Series 1." Mr. Cutts’s approach to the tradition of printing, a subject and field that this book shows has played a significant part in his life, is both serious and personal while maintaining a playful attitude. His language is spare and vivid, often illuminating small details within a simple line and quickly presenting an idea or moment. The poems within these pages offer a glimpse into a life that admires a printing press as much as the natural world and a page with words as much as the personal world. "Every once in awhile Simon Cutts makes a pure and simple poem (nothing is pure and nothing is ever simple, so what?) — a work I have been waiting for all my life to see." Jonathan Williams, "A Particularly non-Arty Response to the Coracle Man" Co-published with Coracle Press. Designed by Amber Phillips. Printed offset. Notchbound in paper wrappers with dustjacket. $15.

Tennessee Rice Dixon, Scrutiny in the Great Round. New York. Granary Books. 1992. 11" x 8"; Copier, collage, painting, drawing. 22 copies plus one prototype; 4 and the prototype hors commerce, 17 for sale. Hinting at autobiography, Scrutiny in the Great Round is concerned with the imagery of fertility, reproduction, birth, and growth. The paper has a delicate densely worked surface with photomontages, drawings, and paintings. Bound by Daniel Kelm and staff at The Wide Awake Garage. (Out-of print).

Toni Dove, Mesmer: Secrets of the Human Frame. New York. Granary Books. 1993. 11" x 8"; 64 pages; 60 copies. 10 hors commerce, 50 for sale. (Note: 6 extra copies were bound: 1 binder’s copy in full metal and others in screen and cellophane for the Borowsky Center.) This book of layered words and images investigates relationships between the body, the machine, and constructed identities. It was "... conceived at the intersection of the birth of psychoanalysis, the origins of cinema and the transformations of the industrial revolution." Printed by Lori Spencer at the Borowsky Center for Publication Arts. Bound in metal by Daniel Kelm and staff at the Wide Awake Garage. Comes in a slipcase. Out-of-Print.

Henrik Drescher, Too Much Bliss. New York. Granary Books. 1992. 12" x 9"; 46 pages; Letterpress on Rives BFK with extensive collage, drawing, cutting and painting, and latex. 41 copies. 16 hors commerce; 25 for sale. In his subtitle, Drescher refers to his drawings as "scars, tattoos, memories, impressions, flashbacks, forgotten instructions." In the words of Johanna Drucker "this book has the look of some manically encyclopedic new age Sears and Roebuck mail order catalogue of all the elements that ever existed in the course of organic history and human memory." Also included are ornamentalities by Lauren Drescher. Printed by Philip Gallo at The Hermetic Press. Bound by Daniel Kelm and staff at the Wide Awake Garage. Box by Jill Jevne. ISBN: 1-887123-05-9 $3,500.

Johanna Drucker, The Century of Artists’ Books. New York. Granary Books. 1995. 9 1/4" x 6 1/4"; 377 pages. The clothbound edition was issued in 1995; the paperback in 1997. The first full-length study of the development of artists’ books as a twentieth century artform. This book situates artists’ books within the context of mainstream developments in the visual arts and is designed to raise critical and theoretical issues as well as provide a historical overview. Drucker explores more than two hundred individual books in relation to their structure, form, and conceptualization. Hardback edition: ISBN: 1-887123-01-6. $35. Paperback edition: ISBN 1-887123-02-4. $24.95.

Johanna Drucker, Figuring the Word: Essays on Books, Writing and Visual Poetics. New York. Granary Books. 1998. 11" x 8 1/2"; Introduction by Charles Bernstein. Paperback original. This book is a sort of Johanna Drucker reader -- yet rather than anthologize from published books, Figuring the Word collects writings published in obscure academic and literary journals or delivered as talks or interviews. The book contains several sections (each with several chapters) including "Writing as Artifact," "Visual Poetics," "Artists’ Books Past and Future," "The Future of Writing," and "Personal Writing." Figuring the Word is a work of poetics rather than criticism or theory in that these essays are the products of doing as much as thinking, of printing as much as writing, of designing as much as researching, of typography as much as composition, of autobiography as much as theory. The mark of the practitioner-critic is everywhere present in these pieces: Figuring the Word is a wide-ranging collection of Drucker’s essays from the early-80s to the present. Written in a variety of styles and presented in a variety of formats, the book reflects many divergent aspects of her work and thinking, while at the same time demonstrating how cohesive her project has been." --  from the introduction by Charles Bernstein, Poet, Editor and David Gray Professor of Poetry and Poetics at SUNY/ Buffalo. ISBN: 1-887123-23-7. $24.95.

Johanna Drucker, The History of the/my Wor(l)d. New York. Granary Books. 1995. 11 1/4" x 8 1/2"; 40 pages; Offset in two colors, with a letterpress dust jacket. A striking alternative to the familiar telling of historical events. A richly suggestive work interweaving official history and individual memory, mythic and major moments in the course of western civilization. Printed at SoHo Services by Michael Chan under the eye of Anne Noonan and staff. Hardback with dust jackets printed letterpress, in several colors, by the author. This edition is based upon the Druckwork original letterpress edition (1990). ISBN: 1-887123-06-7. $50.

Johanna Drucker, Narratology. New York. Druckwerk. 1994. 12 1/4" x 10 1/4"; This book is about the relation between tropes of genre fiction as models for women’s lives and the lived experience of Drucker’s own life — synthesized and at times counterposted in this text. "The stories according to which the possiblities of living a life gained access to the psychic theater staging the events as real." Letterpress and hand-coloring. 70 copies. Written, designed, printed, hand-colored and bound by Johanna Drucker. Handbound in die-stamped covers. ISBN: 1-887123-00-8. $950.

Johanna Drucker, Night Crawlers on the Web. 2000. 4 1/4" x 5 1/2"; 26 pages. Johanna Drucker is well known for her remarkable artists books which treat text as image and construct elaborate narratives replete with scholarly reference and autobiography. Night Crawlers on the Web evokes another of Ms. Drucker’s passions, the Victorian novel. Here she paints a somewhat Gothic landscape peopled with hi-tech, lo-cal humanoids who speak in a language built largely around the ubiquity of consumer computers. Words like "mode" "display" "browser" "pixel" proliferate as our protagonist wills an intangible cyber lover into existence. Somewhat reminescent of William Burroughs, this is a humorous and imaginative romp through the looking glass which seems to mediate a great many of our daily lives. Ms. Drucker has illustrated this small volume with whimsical drawings; the work "was written in the late winter of 1999-2000 in Charlottesville, inspired by my new friends and colleagues at the Univerisity of Virginia...." ISBN: 1-887123-42-3. $12.

Johanna Drucker, The Word Made Flesh. New York. Granary Books. 1996. 8 1/2" x 12 1/4"; Offset with a letterpress dust jacket. 500 copies. Calling attention to the visual materiality of the text, this book attempts to halt linear reading, trapping the eye in a field of letters which make a complex object on the page. The work both embodies and discusses language as a physical form. This is a facsimile edition of the Druckwerk original letterpress edition (1989). Covers handprinted by Johanna Drucker. Bound by Jill Jevne. ISBN: 1-887123-09-1. $100.

Joe Elliot and Julie Harrison, If It Rained Here. (see Julie Harrison).

Kenward Elmslie, Nite Soil. New York. Granary Books. 2000. 5" x 7"; 41 full-color postcards in an envelope. Kenward Elmslie’s way with words cuts a singular swath through a polymath variety of forms. Jukebox hitlet sung by Nat King Cole. Ahead-of-their-time lingo works: The Champ, poem, C ity Junket, play. Balloons for cartoons by Joe Brainard. Pureed anthropological tales of fantasy drinking establishments: 26 Bars. Quirky surreal poetry mosaics ( Routine Disruptions ) that prompted Michael Silverblatt, host of NPR’s "Book Worm," to finger Kenward as "Hands down, my favorite contemporary poet." Elmslie’s verbal swath includes The Grass Harp (Broadway cult-fave musical) and, annum 2000, Postcards on Parade, composed by Steven Taylor, a concept musical that deconstructs musicals. Plus Cyberspace, tech poem enhanced by Trevor Winkfield visuals. The wrap: Nite Soil introduces Kenward, poet of dense stanzas, to Elmslie, outed collagist of resonant icons. 1-887123-39-3, $27.50. Also available in a limited edition of 26 copies lettered and signed by the author and including a unique handmade collage by Mr. Elmslie ($250).

Kenward Elmslie and Trevor Winkfield, Cyberspace. New York. Granary Books. 2000. 9 1/2" x 8 1/2", 48 pages, paperback with dust jacket. Cyberspace was created in a millennial visionary frenzy by two confirmed Luddites on the cusp of Y2K. Time keeps the world from happening all at once yet in Cyberspace we are yanked into the rabbit-hole and steam-rollered by a strange-yet-familiar cosmos of simultaneity: absurd, serious, musical, noisy, cartoony, colorful, witty, satirical, theatrical and deep. Mr. Winkfield’s mid-maelstrom collages are illuminated by the torch of Mr. Elmslie’s brilliant (if near pathological) reinvention of the English language. Together they ask, and possibly answer, the question: "...why reinvent the wheel online via an all-pixel dream?" Cyberspace grounds us in an abundance of everything while it recreates our world in a daring act of imagination.1-887123-33-4, $19.95. Also available as a limited edition of 26 copies lettered and signed by author and artist, $75.

Timothy C. Ely and Terence McKenna, Synesthesia. New York. Granary Books. 1992. 9 1/2" x 7"; 40 pages; edition of 75. Letterpress, painting, drawing. 75 copies. 20 hors commerce; 55 for sale. Timothy C. Ely’s original drawings and painted images are “Articulated glossolalia retraced from a text by Terence McKenna” — a collaboration resulting in mysterious glyphs, maps, and visionary, mystical musings. Typography and printing by Philip Gallo at The Hermetic Press. Bound by Daniel E. Kelm and staff at The Wide Awake Garage. Housed in a box. $1,500.

Ed Epping, Abstract Refuse: A Heteronymic Primer. New York. Granary Books. 1995. 13" x 8"; 34 pages; Designed on a Mac, printed with a Hewlett Packard 1200 C/PS on Rives Heavyweight Buff. 200 copies. Abstract Refuse presents a collection of English language words identified as heteronyms. Combined with these words whose context offers a dual, and sometimes triplicate existence, are images that examine a structure for the mechanics of remembering and forgetting. Designed and printed by Ed Epping. Bound by Jill Jevne. (Out-of-print).

Ed Epping, Secreted Contract. New York. Granary Books. 1998. 11" x 6 1/2"; Further work on the heteronyms. Images are combined with words whose context offers a dual, and sometimes triplicate existence. 60 copies. Designed and printed by Ed Epping. Printed on the Hewlett Packard ink-jet printer. Bound by Jill Jevne. Wrappers. $175.

Ed Epping (images) and Edmond Jabès (translated by Rosmarie Waldrop) Desire for a Beginning Dread of One Single End (see Edmond Jabès

Ed Epping and Kimberly Lyons, Mettle. New York. Granary Books. 1996. 12" x 6 3/4"; Printed on the Hewlett Packard ink-jet printer. 150 copies. 30 hors commerce, 120 for sale. A long poem by Kimberly Lyons with images by Ed Epping. The type and images were created primarily on the Mac. Designed and printed by Ed Epping. Bound by Jill Jevne. Hardback original with glassine jacket. ISBN: 1-887123-10-5. $200.

Larry Fagin and Trevor Winkfield. New York. Granary Books. 1999. Vivid and colorful visual images by Winkfield and new writings by Fagin. If this is the century of artists’ books then Dig & Delve is a perfect final act as it embraces the contradictions that characterize the beginnings and endings of the nineteen hundreds. Dig & Delve is a postmodern illustrated book; it tropes on the genre of the much maligned livre d’artiste, playfully dancing on the tightrope between pre-Raphaelite sensibility and radical artifice. Ultimately a happy work, Dig & Delve is optimistic, antediluvian and generous; a perfect passport to the next millennium. Mr. Winkfield’s color images and Mr. Fagin’s texts have been masterfully printed by Ruth Lingen at her Pooté Press in Chelsea. Judith Ivry’s expert bindings were constructed in the East Village. 18 pp; bound in printed cloth over boards. Sixty-seven copies in the edition, of which 50 are for sale. $1500.

Barbara Fahrner & Paul Celan, translated by Pierre Joris. Four Poems. (see Paul Celan).

Barbara Fahrner, William Blake and Philip Gallo. The Marriage of Heaven and Hell: A Reading and Study. (see William Blake).

Barbara Fahrner, John Cage and Philip Gallo, Nods. (see John Cage).  

Barbara Fahrner and Kurt Schwitters, A Flower Like A Raven. (see Kurt Schwitters).

Aaron Fischer (Ted Berrigan), Ted Berrigan: An Annotated Checklist. (see Ted Berrigan).

Ed Friedman and Robert Kushner, Away. 2000. 54 pages, edition of 50. "Something about the descriptive and imagistic nature of Away made me think of the artist/poet books designed by Léger, Matisse, Kandinsky and others... . Steve [Clay] and I discussed some of the artists with whom I’d previously collaborated. We agreed to approach Robert Kushner as a collaborator. Though Bob and I had collaborated a lot during the 1970s and early 1980s, we hadn’t in awhile, and I thought it would be great to work together again. "Bob read Away a lot. Fairly early on, he decided that it didn’t make sense to illustrate the text. He kept telling me that he liked how ’slippery’ the writing was. I think what he meant was that individual pieces have the feeling of narrative-a center or location with points of interest-but the specifics shift around and fly off in many different directions. Illustration, even if possible, would tend to lock down meanings that were better left transient. "What Bob has done is create a number of images which correspond to some of Away’s recurring imagery. Stars, water, foliage, etc. are printed around and beneath the text in varying combinations and in different colors. With the writing, the printed images create a coherent and shifting visual milieu." -Ed Friedman. Printed letterpress by Ruth Lingen at Pooté Press. Bound in cloth over boards by Judith Ivry. Signed by Ed Friedman and Robert Kushner. $2000.

Felix Furtwängler and Franz Kamin, The Man Who Was Always Standing There. (see Franz Kamin).

Philip Gallo (Barbara Fahrner, William Blake), The Marriage of Heaven and Hell: A Reading and Study. (see William Blake).

Philip Gallo (Barbara Fahrner, John Cage), Nods. (see John Cage).

Michael Gizzi, William Corbet and Joseph Torra, editors, The Blind See Only This World: Poems for John Wieners. (see William Corbet).

David Guss and Jerome Rothenberg, editors, The Book, Spiritual Instrument. (see Jerome Rothenberg).

Julie 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. $1500.

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. Linocuts printed by Philip Gallo & hand-painted by the artist. Bound by Jill Jevne. $3,000.

Lyn Hejinian and Emilie Clark, The Traveler and the Hill, and the Hill. New York. Granary Books. 1998. 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. $3,000.

Fran Herndon and Jack Spicer, Golem. (see Jack Spicer).

Susan Howe & Susan Bee, Bed Hangings. 2001. 10" x 7", 48 pages, edition of 1500. In Bed Hangings, poet Susan Howe and artist Susan Bee collaborate for the first time. This series of poems explores the themes of colonial America and its decorative arts, religion and Puritanism through a visual and verbal investigation of the metaphysics of beds, curtains and hangings. The poems and pictures play off against each other in a humorous, mystical and sometimes mischievous manner. "I am an insomniac who goes to bed in a closet. ’AWAKE, a., not sleeping; in a state of vigilance or action.’ ’AWAKENING, n. A revival of religion, or more general attention to religion than usual.’ Although these are Noah Webster’s definitions, out of his writing speaks Calvin. For Calvin the Bible contains two kinds of knowledge-ecstatic union and law. In An American Dictionary of the English Language a curtain is a cloth hanging used in theatres to conceal the stage from the spectators, while an itinerant is someone who travels from place to place and is unsettled; particularly a preacher... . When Europe enters the space of its margin, the ’Kingdom of God in America’ receives European memory into itself. In thin places bedsteads confront their own edges... . Field beds have canopies at the top resembling tents. One Sunday afternoon in the gift shop at Hartford’s Wadsworth Atheneum... my attention came to rest on a pedestrian gray paperback. Bed-Hangings: A Treatise on Fabrics and Styles in the Curtaining of Beds, 1650-1850 with its drab cover illustration... struck me as vividly apropos. I wondered who tipped over the vase of flowers to the left of the bed in the painted East Chamber? Did the spilled flowers suggest a stray sense of comedy or inspired simplicity?" -Susan Howe, from the Epilogue. Printed offset. Bound in paper wrappers. Twenty-six copies are signed by Susan Howe and Susan Bee. ISBN: 1-887123-47-4. $14.95.

Renée Riese Hubert and Judd D. Hubert, The Cutting Edge of Reading: Artists’ Books. New York. Granary Books. 1999. 10" x 7"; Hardback original. This splendid volume expands upon and extends the work initiated by Renée Riese Hubert in Surrealism and the Book (University of California Press, 1987) by focusing acute critical attention on recent and contemporary artists’ books. In The Cutting Edge of Reading the Huberts’ develop a discourse which starts where discussion of the livre d’artiste leaves off. The study begins with a chapter on "Transitions" which examines the work of Pierre Alechinsky and Paolo Boni among others before developing and discussing, through close readings, such themes as: "Visual Deviants and Typographical Departures," "Various Ways of Frustrating our Reading Habits,"  "Altering Books: The Cutting Edge of Editing," "Variations on the Accordion," "The Book, The Museum, and Public Art," "Satire," "Concretions of Memory," "Narratives and Verbal Manipulations," "Metamorphosis of Childish Games," "Fashioners of Books." The Cutting Edge of Reading is a welcome addition to the growing body of serious critical work now being done on artstis’ books. It stands as a useful compliment to Johanna Drucker’s The Century of Artists’ Books (Granary Books, 1995) and is a necessary reference tool for scholars, critics, collectors and librarians. Illustrated throughout in color and black & white. ISBN: 1-887123-21-0. $55.

Edmond Jabès (translated by Rosmarie Waldrop) with images by Ed Epping, Desire for a Beginning Dread of One Single End. 2001. 7" x 41/4", 56 pages, edition of 1000, 30 hors commerce. "All of [Edmond] Jabès' books explore the double wound of consciousness, our being set apart from the rest of creation in the glorious and murderous species of humankind, and set apart from our fellow humans as individuals... .His work explores the nature of the book and word, of man defining himself through the word against all that challenges him: death, silence, the void, the infinite-or God, our symbol for all of these." -Rosmarie Waldrop, "When Silence Speaks." Desire for a Beginning Dread of One Single End, translated by Rosmarie Waldrop, is a series of short aphoristic assertions permeated with a sense of melancholy and mortality. It is among the last substantial works of Jabès to be published in English. Ed Epping designed and treated the work with subtle digital images. "I first read The Book of Questions twenty years ago, and my life was permanently changed by it. I can no longer think about the possibilities of literature without thinking of the example of Edmond Jabès. He is one of the great spirits of our time, a torch in the darkness." -Paul Auster. Printed offset. Ca. 1958 copies bound in paper wrappers; ca. 42 copies, which include special inserts, bound in boards (of which 12 are hors commerce). ISBN: 1-887123-38-5. $15.

Pierre Joris (translator), Paul Celan & Barbara Fahrner. Four Poems. (see Paul Celan).

Franz Kamin and Felix Furtwängler, The Man Who Was Always Standing There. New York. Granary Books. 1998. 13" x 9 3/4"; Printed and handpainted woodcuts. 55 bound books, 5 unbound flats in sets. The Man Who Was Always Standing There is excerpted from a longer work by Franz Kamin, The Theory of Angels. The text is intertwined with striking woodcut images in an integrated and arresting visual style. The woodcuts were made by Felix Furtwängler and printed by Ruth Lingen. The artist also did considerable hand-painting. Casebound by Barbara Mauriello and housed in a slipcase. $2,500.

Robert Kushner & Ed Friedman. Away. (see Ed Friedman).

Alison Knowles, Footnotes: 30 years collage journal. New York. Granary Books. 2000. 10" x 7"; 265 pgs, 120 color repros. This work is a collection of collage pages made from the contents of thirty years of small, red travel books, pasted up and redrawn. The setting migrates from Japan to Cologne and back always to New York City. Ideas jotted down and friends’ conversations overheard are a loosely woven context for these delicate pencil drawings and collages. The book accompanies an exhibition by the author at the Emily Harvey Gallery in October 2000. Paper: 1-887123-35-0. $45.00.

Shelagh Keeley, Notes on the Body. New York. Granary Books. 1991. 14 3/4" x 11"; Color photographic transfers with original drawings in pencil, pigment, gouache and wax. 17 copies. 1 artist’s proof and 6 hors commerce, 10 for sale. Keeley employs photographic transfers and original drawings in an exploration of the body’s organs and limbs--images reminiscent of "the iconography of ex voto offerings and retabla charms" (Johanna Drucker). Bound by Daniel Kelm at the Wide Awake Garage. Title page and colophon printed by Philip Gallo at The Hermetic Press. (Out-of-print).

Shelagh Keeley, A Space for Breathing. New York. Granary Books. 1992. 14 3/4" x 11"; 50 pages; edition of 22. Color photographic transfers with original drawings in pigment, gouache & wax. Shelagh Keeley’s color photographic transfers and original drawings as well as diagram images are often abstract, yet sensually evoke the human body and its parts, interior spaces and architecture. Printed by Philip Gallo at The Hermetic Press. Bound by Daniel E. Kelm at The Wide Awake Garage. Boxes by Jill Jevne. $3,000.

Stefan Klima, Artists Books: A Critical Survey of the Literature. New York. Granary Books. 1998. 8 3/4" x 5 1/4"; Paperback original. This book contains five essays which chart the ongoing critical debates surrounding artists books -- including issues such as definition and identity, disputed origins, and current status. Carefully researched, this is the first published comprehensive bibliography of its depth and scope and thus an essential resource in a field of continuing interest to scholars, librarians, critics, collectors, and general readers. ISBN: 1-887123-18-0. $17.95.

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. $1500.

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. $40.

Kimberly Lyons, Abracadabra. New York. Granary Books. 2000. "In Kimberly Lyons’s poetry of perception, it is the unmoving objects that do the striking when there’s a collision — the floor hits the spoon, the small black pan hits the ’big kosher salt’ that's falling into it. The resulting energy sends words zigzagging and meaning flashing like lightning. This makes sense, since these poems take place in the thunderstorm where the cold sciences of optics and physics meet psychology — object relations — in all its warm folds of association and sublimation. In the annals of the irreal, Giorgio de Chirico’s monument paintings and Joseph Ceravolo’s early poems also suffuse this cold light with heartbeat. What’s absent in the book is Absence, for although the affect of these poems seems to be low-key, it's really just the tense relaxation of a poet of the ecstatic magic of paying attention. The depths of all the apparently empty spaces are filled: with music, with light." — Jordan Davis. $12.

Kimberly Lyons and Ed Epping, Mettle. (see Ed Epping).

Bernadette Mayer, Two Haloed Mourners. New York. Granary Books. 1998. 8 1/2" x 5 1/2"; Already in its second printing. Cover and book design by Philip Gallo at The Hermetic Press. ISBN 1-887123-40-7. $12.00.

Thomas McGrath, "Mediterranean". New York. Granary Books. 1986. 13" x 9 1/2"; 200 copies. Broadside. Designed and printed by Wesley B. Tanner at The Arif Press. $25.

Terence McKenna and Timothy C. Ely, Synesthesia. (see Timothy Ely).

Paul 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 $75.

Wendy Miller, everyday colors. New York. Granary Books. 1998. everyday colors takes its name from Martha Stewart’s line of house paint at K-Mart. Floating paint chips, attached to the pages with velcro, reference the vocabularies of both modernist abstract painting and everyday domestic life. Images in the book are constructed from materials such as sponge, sandpaper, smoke, topographical paper from Thailand, onion prints, hand prints and fabric. "Working with the formal language of abstract painting and elements from popular culture, I treat the book as a container for a multitude of raw to refined experiences. Humor, key to appreciating and working with the chaos that permeates our life, pervades the book as does the uplifting and purifying powerof color, space and adornment." The cover image is based on the four gates of a Buddhist mandala. Throughout the book the use of color as temperature is inspired both by Buddhist practice and early abstract painting. The healing and cleansing role of color and adornment in the book references rituals and customs common in India as does the repeated curvaceous line form which is derived from rangolis, the intricately patterned designs drawn with powdered pigments by women each morning on the threshold of their dwelling to purify, honor and protect their house and the earth. everyday colors playfully engages the rousing drama of everyday life. The edition comprises sixteen copies each of which was drawn, painted and assembled by the artist in her studio in New York’s East Village during the summer of 1998. Barbara Mauriello made the bindings. Of the sixteen copies, six were hors commerce and ten were for sale. Out-of-Print.

David 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 Shocks contains 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: $1,500.

David Rathman and Jerome Rothenberg, Pictures of the Crucifixion. (see Jerome Rothenberg).

Harry Reese, Funagainstawake. New York. Granary Books. 1997. 13" x 9 1/2"; Monotypes and letterpress. 30 copies. 10 hors commerce, 20 for sale. The "ten thunders" from James Joyce’s Finnegans Wake provide source material and titles for this series of monotypes. Each book contains ten monotypes, with an original image on vinyl for the title page. Printed by the artist. Wire-edge binding by Daniel Kelm and staff at the Wide Awake Garage. Boxes by Jill Jevne. $3,000.

Jerome Rothenberg and Steven Clay, editors, A Book of the Book: Some Works & Projections about the Book & Writing.New York. Granary Books. 10" X 7"; 580 pp; 50 black and white images plus full color fold-out image of Sonia Delauney’s and Blaise Cendrar’s La Prose du Transsiberien. A Book of the Book extends the work begun in The Book, Spiritual Instrument (edited by Rothenberg and David Guss) about which poet and critic Charles Bernstein writes (and which applies equally to the present volume), "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." A Book of the Book breaks down into four  sections: "Pre-faces" includes work by Rothenberg, Steve McCaffery & bp Nichol, Keith A. Smith, Michael Davidson, Anne Waldman, Jacques Derrida, Edmond Jabès (translated by Rosmarie Waldrop), among others; "The Opening of the Field" includes work by Gertrude Stein, William Blake, Susan Howe, Maurice Blanchot, Marjorie Perloff, André Breton and Jerome McGann among others; "The Book is as Old as Fire & Water" includes work on Guruwari designs, novelty books, pattern poetry, celestial alphabets among others while "The Book to Come" presents work by Tom Phillips, Johanna Drucker, Alison Knowles, Charles Bernstein, Jess (a complete re-issue of his 1960 work "O!"), Ian Hamilton Finlay, Barbara Fahrner and much more. To be published in the spring of 2000. Paperback ISBN: 1-887123-28-8. Cloth ISBN: 1-887123-29-6. Paper $28.95, cloth $44.95.

Jerome Rothenberg and David Guss, editors, The Book, Spiritual Instrument. New York. Granary Books. 1996. 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.

Jerome Rothenberg and David Rathman, Pictures of the Crucifixion. New York. Granary Books. 1996. 11 3/4" x 6 1/2"; 30 pages; Letterpress. 130 copies. 30 hors commerce, 100 for sale. Poems by Jerome Rothenberg, drawings by David Rathman. Designed and printed by Philip Gallo at The Hermetic Press. Binding by Jill Jevne. ISBN: 1-887123-07-5. $375.

Susan Rothenberg and Anne Waldman, Kin. New York. Granary Books. 1997. 9" x 7 1/8"; Letterpress. 150 copies. 35 hors commerce, 115 for sale. Anne Waldman’s text was written in response to Susan Rothenberg’s drawings of people and animals in pairs. Pages fold out to reveal text flanking the images which have been printed letterpress in several runs effectively reproducing the artist’s original drawing in craypo. Designed and printed by Philip Gallo at the Hermetic Press. Bound in cloth by Jill Jevne. ISBN: 1-887123-12-1. $600.

Holton Rower, Non. New York. Granary Books. 1995. 15 1/2" x 11"; Dozens of materials (from barge cement to New York State Highway Commission road paint) were used in making this most unusual & ambitious non-representational book. Non truly defies any reasonable concept of "publication". Bound in the wire-edge style by Daniel Kelm and staff at the Wide Awake Garage. Wrapped in an off-white fabric and secured with an extra-wide rubber binder. 41 copies. 16 hors commerce. 25 for sale. $3,000.

Jay Sanders and Charles Bernstein, editors. Poetry Plastique. 2001. 7" x 10"; 96 pp; 40 black and white images. A catalogue for the exhibition at the Marianne Boesky Gallery, featuring works and writing by Carl Andre, David Antin. Arakawa, Susan Bee, Wallace Berman, Mei-mei Berssenbrugge and Kiki Smith, Christian Bök, John Cage, Clark Coolidge and Philip Guston, Robert Creeley and Cletus Johnson, Johanna Drucker and Brad Freeman, Hollis Frampton, Madeline Gins, Kenneth Goldsmith, Robert Grenier, Lyn Hejinian and Emilie Clark, Tan Lin, Jackson Mac Low, Steve McCaffery, Emily McVarish , Tom Phillips, Nick Piombino, Leslie Scalapino, Mira Schor, Robert Smithson, Michael Snow, Richard Tuttle and Charles Bernstein, Darren Wershler-Henry. "Not words and pictures but poems as visual objects (read: subjects). Not poems about pictures but pictures that are poems. Not words affixed to a blank page but letters in time. Not works closed in a book but hanging on a wall or suspended from the ceiling or rising from the floor or sounding from inside a figure or embedded with paint on a canvas or written in the sky or flickering on a screen." — from the Preface by co-curator Charles Bernstein. ISBN: 1-887123-51-2. Paper $20.

George Schneeman and Ted Berrigan, In The Nam What Can Happen?  (see Ted Berrigan).

George Schneeman and Anne Waldman, Homage to Allen G. New York. Granary Books. 1997. 14" x 12"; Letterpress from magnesium engravings. 145 copies. 100 on Rives BFK (30 hors commerce, 70 for sale), 45 on Dieu Donné handmade paper (15 hors commerce, 30 for sale). This portfolio consists of 10 collaborative works (visual images by George Schneeman; words by Anne Waldman) plus the colophon housed either in a cloth-covered folder (for those printed on BFK) or a cloth-covered clamshell box (for those on Dieu Donné). The project is based on a series of traced sketches of Allen Ginsberg’s photographs. After Mr. Ginsberg’s death, Schneeman and Waldman converted the tracings into this homage. Printed by Philip Gallo. $250 (BFK); $500 (Dieu Donné)

Carolee Schneemann, Vulva’s Morphia. New York. Granary Books. 1997. 11" x 8 1/2"; Vulva looks over the shoulder of the artist/scholar and gives a running commentary on the state of affairs at the end of the millennium. "Vulva reads biology and discovers she is an amalgam of proteins and oxytocin hormones which govern all her desires." The book consists of thirty-six images made on the Canon color laser printer and mounted on Hahnemuehle gray premium velour paper. The text was printed letterpress by Philip Gallo at The Hermetic Press. Bound in red velvet by Jill Jevne. Housed in plexiglass slipcase. Edition of thirty-five of which twenty-five are for sale. $1,500.

Kurt Schwitters and Barbara Fahrner, A Flower Like A Raven. New York. Granary Books. 1996. 12 1/2" x 12 1/4"; Pen, ink, watercolor, lino-cut, "cliché-print," and letterpress. 50 copies. 10 hors commerce, 40 for sale. Poems by Kurt Schwitters are printed in German as well as in English translations by Jerome Rothenberg. Barbara Fahrner made the visual images and did the hand work. The images and text were variously printed and drawn using pen, ink, watercolor, lino-cut and "cliché-print." Printing by Dieter Sdun in Germany. Binding by Jill Jevne. ISBN: 1-887123-13-x. $1,500.

Pati Scobey, The Back of Time. New York. Granary Books. 1992. 15" x 9"; Relief rolled etching, intaglio, watercolor, pen and ink drawing, collage. 25 copies. 10 (plus 2 artist’s proofs) hors commerce, 15 for sale. Scobey’s organic, primordial shapes and colorful light against darkness suggest a whimsical yet contemplative universe. Laser split pages and alternate openings to the book cause the reader to enter a journey through the cosmos and time. The relief etchings were editioned by Pati Scobey and Katherine Kuehn at Ricochet Works. Binding by Daniel E. Kelm at the Wide Awake Garage. (Out-of-print).

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. $2,000.

Buzz 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. Typeset by Philip Gallo at The Hermetic Press and printed by Brad Freeman at InterPlanetary Productions. Bound by Jill Jevne. (Out-of-print).

Jack Spicer and Fran Herndon, Golem. New York. Granary Books. 1999. 5 1/2" x 8 1/2", 20 pp; The manuscript of Spicer’s Golem poems was discovered by Fran Herndon and Kevin Killian in 1997 in a "...dog-eared manila folder. The first poem in this series saw print -- in the ’Spicer issue’ of Manroot --only because Lew Ellingham had copied it onto a brown paper bag after Spicer posted in on the wall of Gino & Carlo’s bar. That it had any successors few guessed or knew." The seven images accompanying the six poems are from Herndon’s "Sports Collages," her "painterly re-working of pop images cut from the pages of Sports Illustrated and other mass-market magazines...." "Spicer and Herndon draw on [the] complex legend [of the golem] to animate their conception of the athlete-and poet-as hero and monster, corpse and avenger. For these artists, the corruption of innocence under the nexus of capital is as simple as, and as confounding as, a ’fix.’" (All quotes from the afterword.)  Golem is designed and printed letterpress by Philip Gallo at the Hermetic Press. The images are beautifully reproduced in full color. The edition consists of 150 copies signed by Fran Herndon and bound at the Campbell Logan Bindery in paper over boards. One hundred copies are for sale. $150.

Jack Spicer, "Rabbits do not know what they are". New York. Granary Books. 1986. 13" x 9 1/2"; 300 copies. Broadside. Designed and printed by Gerald Lange at The Bieler Press. $25.

Joseph Torra, Michael Gizzi and William Corbet, editors, The Blind See Only This World: Poems for John Wieners. (see William Corbet).

Anne Waldman and Susan Rothenberg, Kin. (see Susan Rothenberg).

Anne Waldman and George Schneemann, Homage to Allen G.

Keith Waldrop and Clark Coolidge, Bomb. 2000. (see Clark Coolidge).

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 now housed in the Berg Collection of the New York Public Library. Printed letterpress by Joe Elliot at Soho Letterpress. Black and white photographs hand-mounted by Jill Jevne. $250.

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. $10.

Jonathan Williams, Aposiopeses. 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. "Sudden bursts of silence." Frontispiece portrait of the poet 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).

Trevor Winkfield and Kenward Elmslie , Cyberspace. 2000. (see Kenward Elmslie).

Trevor Winkfield and Larry Fagin, Dig and Delve. 2000. (see Larry Fagin).

Jane Wodening, From the Book of Legends. (see Jane Brakhage).

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. Indeed, they hardly seem able even to describe it." from the preface by John Zorn. Contains a discography. Arcana is a book that has been needed for quite some time and will find a welcoming audience among musicians, composers, theorists and fans alike. ISBN 1-887123-27. $24.95.