Granary Books ~ New York
(Steve Clay)

About the artist, Granary Books: "Timothy C. Ely (b. 1949), manuscript bookmaker, found early his inspiration in UFOs, comic books, and arcane religious artifacts. After work in painting and design, he traveled to Japan and Europe with a grant from The National Endowment for the Arts (1981), training in traditional eastern and western methods of bookmaking.

Engaging techniques both traditional and unusual, from watercolor and embossing to metalwork and tooling, Ely makes books inspired by conceptual art and the mind-bending landscapes of sacred geometry, alchemy, and particle physics. His published titles include The Flight into Egypt: Binding the Book (Chronicle, 1995) and Synesthesia (Granary Books, 1992), with text by the late ethnopharmacologist Terence McKenna. Ely's unique and editioned books can be found in museum and library collections worldwide. He lives and works in eastern Washington state."

Compound 12
By Timothy C. Ely
New York, New York: Granary Books, 2005. One-of-a-Kind.

10.75 x 10.75 x 1.25"; 18 pages. Drum leaf binding. Etching and drawing. Housed in cloth covered clam shell box.

Timothy Ely: "Strange brews and fermented solutions: These make up inks and binders in a magnitude range of 1 to 5 with 5 being the most tenacious and black. Compound 12 uses the cribriform scrying [seeing things supernaturally in a medium] as a base for the magnitude range of my black inks. In a nearly square format used in meditation medallions, the cribriform axis runs in a vertical north-south direction as a means to echo the diagrams of taoist magic as well as draw directly from the cartography of mind-space, engendered by synaptic firings."

Ely in conversation with Ian Boyden, recorded in The Tables of Jupiter (Walla Walla, Washington, 2004), regarding Cribriform script: "I think this way of drawing or automatic writing is very similar to a trans-ecstatic experience. The marks seemingly ground everything and, as the elaboration of [the writing] has evolved over the years, it has gained potency. [Max] Ernst used similar marks....One day, I was reading the dictionary and I found the word, cribriform, near a word I was looking for and when I read the definition, it resonated. Cribriform refers to something resembling a sieve or pierced with holes, which is what text is for me - a high velocity information filter, and not just a filter of sound."

Same conversation, regarding ink: "Multiple densities are a very cool thing. There is a Canadian artist named Ronald Bloore. When I discovered his stuff in the 70s he was doing conceptual art. The drawings were of no interest to me, but the technique was interesting. He would start with a drop of black ink in a dish or a pan and he would draw a square. Then he added a drop of water and then made another square, and he would keep doing this until there was just a water mark on the paper: Going from solid black to pure water was just wonderful. And I have been strongly influenced by that idea of starting with pure color - thick and viscous - on the page and then adding solvent until there is just a skin of the material. And it isn't just for the depth-giving value of radiance. There is something about the economy of strength of the pigment and changing the quality of the message...."

Renee Rise Hubert & Judd D. Hubert in The Cutting Edge of Reading: Artists' Books (Granary Books, 1999), regarding Ely's body of work: "All books by Ely include a great number of maps where space and site function as key words in texts and titles. Instead of specifying familiar cities, constellations, and landscapes, geography and cosmology function as the protagonist in which maps serving as key images display their multiple forms of representation, most often unrecognizable stellar constellations."
$5,000

Synesthesia
By Timothy Ely & Terence McKenna
1992. Edition of 75.

9.5 x 7", 40 pages. Original painting and drawing by Timothy C. Ely. Text designed and printed letterpress on Rives BFK by Philip Gallo. Bound in painted paper over boards with hinging structure by Daniel E. Kelm. A limnetic talisman is mounted to the front board. Housed in a cloth-covered clamshell box by Jill Jevne. Signed by Ely and McKenna.

In July of 1991, West Coast philosopher, ethno-botanist and psychedelic theoretician Terence McKenna visited Granary's exhibition of books and prints by Timothy C. Ely. His reading of Mr. Ely's work, remarkable for its empathy and eloquence, inspired the present collaboration. Mr. McKenna's text, typographically interpreted by Philip Gallo, is printed on, around and between Mr. Ely's painted and drawn images which Mr. Ely describes as "articulated glossolalia refracted from the writing."
$2,500 (Last two copies)

Some of These Daze
By Charles Bernstein and Mimi Gross.
2005. Edition of 75.

10 x 10.25" in spiral binding encased in cloth boards. Printed in silkscreen in several colors by Luther Davis at Axelle Fine Arts, Ltd.

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 work.

"What I can't describe is how beautiful the day is in New York; clear skies, visibility all the way to the other side of wherever you think you are looking - or looking away. .. "
$1,500

Alcuni Telefonini
By Francesco Clement/Vincent Katz
New York, New York: Granary Books, 2008. Edition of 70.

11 x 14.5 x 1"; 24 pages. Printed on Hahnemühle 188 GSM photo rag paper using pigment inks at Silicon Gallery Fine Art Prints in Philadelphia. Text hand lettered by the author. Bound in cloth over boards by Judith Ivry and housed in a Plexiglas slipcase. Issued in an edition of 70 copes of which 50 are for sale. Numbered and signed by Vincent Katz and Francesco Clemente.

Granary Press: “Clemente and Katz have collaborated in different ways for a number of years, yet this publication marks the first time Clemente’s art and Katz’s poems have been paired in book form. Alcuni Telefonini takes its basis from a shared interest in Latinitas, wherever it may be found, from the pages of Petronius’ classic novel Satyricon to the neighborhoods of Rio de Janeiro today. The word ‘telefonini’ in the title normally refers to mobile phones; it is the common term for them. Taken literally, ‘little phones,’ it begins to give other connotations, and we also add to it the idea of ‘little phone calls.’ So Alcuni Telefonini could be ‘a few mobile phones,’ ‘some cells,’ ‘several calls,’ etc.

“The 11 poems were written in Italy, Germany and France during 2002, while the author was a Literature Fellow at the American Academy in Rome. They track confrontation with the ancient and its juxtaposition to nature’s wreck; war versus birth; sex on the typewriter; meditations on being a foreigner; the political nature of the soul; the colors of the sky when filled with birds; the amazing sameness of each day when life is lived in one place; and the knowledge, even when traveling, of where one is, where one will and will not be….

“The watercolors were made during the summer of 2006 in a house many stone steps up from the seaside town of Amalfi in southern Italy. They provide a precise record of the artist’s reading of each poem, carefully detailed, and they travel into their own world, which is the rich world of Francesco Clemente’s watercolors. Taken apart even from his fabled mastery of other media — fresco, pastel, bronze, oil on canvas, etc. — the watercolor medium, with its unforgiving relation of liquid color to porous skin, is especially suitable to the peripatetic master, who has lived in India and New York and traveled and worked widely.”
$4,000

Erosion's Pull
By Maureen Owen & Yvonne Jacquette
2004. Edition of 41,each signed by the poet and artist; 25 are hors commerce and 16 are for sale.

Written by Maureen Owen. The five prints in the book were made from original pastel drawings by Yvonne Jacquette. The prints were executed by Tim Evans at ImageKing in New York City on Hahnemühle Structure paper using an Epson 9500 printer. Katherine Kuehn designed the book and printed the poems letterpress on a Vandercook SP 15 using Erhardt types and Hahnemühle Ingres papers. Judith Ivry bound the books in New York City during the spring of 2004.

"Upon first glance, possessed of a paradoxically effortless feel. It is just so stunning. Moving beyond this entrance to the book, a depth and clarity of this project emerges. Owen and Jacquette have created a work of confident lyricism, sophisticated perception, dazzling simplicity, and childlike wonder. The "pull" is felt viscerally in both the drawings and the poems; a tension between weight and buoyancy infuses the work. The swiftness of it , Jacquette's aerial drawings of landscape hover over earth, Owen's delicate poems traveling lightly across the page, generates that sense of lift. Yet, the aerial drawings are of sturdy stuff; mountainsides, ice floe, deep ravine. In tandem, the poems plumb gravity while contemplating the seriousness of daily existence. Owen concludes Erosion's Pull with a series of poems which take cues from reportage in the New York Times. While the poems rotate around thorny subjects they are also comic, ordinary, and heroic. The images are twinned to this unpretentious sensibility facilitating a mutually sensitive marriage of image and verse." [Granary Books]
$2,500

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Turning Leaves of Mind
By Ligorano/Reese with Gerrit Lansing
2003. Edition of 700

6.5 x 6.5" One of the 26 copies specially bound, lettered, and signed by the artists.

By New York-based artist team Ligorano/Reese and poet Gerrit Lansing is 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. Turning Leaves of Mind is a testament to the book as the most elegant information storage and retrieval mechanism ever invented. [Granary Books]
$1,200

Dig and Delve
By Larry Fagin & Trevor Winkfield
1999. Edition of 67.

8.5 x 10.25" with 18 pages. Typeset by Ruth Lingen and Barbara Henry. Printed letterpress on Somerset. bound in a cloth over boards by Judith Ivry.

A postmodern illustrated book which 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, it is optimistic, antediluvian and generous. It is a perfect passport to the next (or present depending upon how you count) millennium.
$2,500

Golem
By Jack Spicer & Fran Herndon.
1999. Edition of 150

8.5 x 5.5" with 20 pages. Images laser printed with a Canon 1000. Text printed letterpress on Mohawk letterpress. Bound in paper over boards at the Campbell-Logan Bindery. Signed by Herndon.

The manuscript of Jack Spicer's "Golem" poems was discovered by Fran Herndon and Kevin Killian in 1997 in a "dogeared 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 artist, the corruption of innocence under the nexus of capital is as simple as, and as confounding as, a 'fix.'" [Ken Killian, from the Afterword]
$150

The Traveler and the Hill and the Hill
By Lyn Hejinian & Emilie Clark
1998. Edition of 61

1.5 x 10" with 70 pages. Monoprints by Clark. Text designed by Hejinian and Clark, Printed letterpress on Rives BFK. Bound in cloth cover boards. Housed in a cloth-covered slipcase. Cover fabric printed by Ruth Lingen. Signed by Hejinian & Clark.

This book is a collaboration between poet Hejinian and artist Clark. 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 narrative, Clark's monoprints invent a space for this investigation in which rich colors, widely various drawing, printing and transfer images behave almost as character.
$4,500

In the Nam What Can Happen?
By Ted Berrigan & George Schneeman
1997. Edition of 70.

9.25 x 8.25" with 16 pages. A simulation of the original. Printed letterpress from magnesium plates on Rives 300 gm paper by Philip Gallo at The Hermetic Press. Folded sheets housed in a plexiglass slipcase.

Ligeia: A Libretto
By Robert Creeley & Alex Katz
1996. Edition of 135.

13.25 x 6.5" with 40 pages. Designed and printed letterpress. Bound in cloth over boards by Jill Levine.

Originally published in 1838, Edgar Allan Poe's short story "invites a diversity of readings [wherein] one feels confidence making a determination for one's own necessary uses."(from "A Note on Ligeia" by Robert Creeley). The material has been translated into an operatic context. Creeley excerpts from Poe's narrative in brief: "the narrator/hero meets the exceptional "Ligeia," is captivated by her, marries her, and becomes entirely influenced by her commanding powers of intellect and beauty. Then she dies harshly, resistingly. And then, after a brief time, the hero remarries, and the cycle is almost immediately repeated but without seeming resistance, which leads to the intense conclusion, the recreation "Ligeia" in the corpse of the Lady Rowena." "Ligeia: A Libretto" makes use of the emphasized pattern of Poe's narrative; his vocabulary, rhythms and rhetorical emphasis inform Mr. Creeley's compositional strategy. Ultimately, one is left with a new and unique work beautifully transformed for the stage. Alex Katz made the drawing for set and costume design toward the eventual production of "Ligeia."
$500

Pictures of the Crucifixion
By Jerome Rothenberg & David Rathman.
1995. Edition of 130.

11.75 x 6.5" with 30 pages. Designed and printed letterpress. Bound in cloth over boards by Jill Jevne. Signed by Rothenberg and Rathman.

This book pairs eight lucid (seven previously unpublished) poems by Rothenberg, a pioneer in the fields of performance poetry and ethnopoetics, with five vivid drawings by Rathman. Rathman (Illuminating the Text): "I am not interested in illustration per se, as much as I am in illuminating the text. I try simultaneously to contrast and harmonize the visual imagery with the text - to distill the spirit of the writing and then amplify it."
$500

The Marriage of Heaven and Hell
By William Blake
Art by Barbara Fahrner
1993. Edition of 41.

12.5 x 12" with 50 pages. Text designed and printed letterpress by Philip Gallo. Original drawing and painting by Barbara Fahrner. Bound in cloth and paper over boards by Daniel E. Kelm Housed in a cloth-covered clamshell box by Jill Jevne.

An affinity with William Blake's sense of the integrity of the artist's vision and self-created world has been a salient characteristic of Barbara Fahrner's work throughout her career. In this book, Gallo's unconventional "cyber-punk deconstructionist typography" embodies he stylistic eccentricities of Blake's poem while Fahrner's drawings elliptically respond to its powerful statement. The commanding dimensionality and craftsmanship of this volume equally reference Blake's impassioned text as well as his own work as an artist/publisher.
$4,500

The Beautiful Book
By Jack Smith
2001. Edition of 200.

"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 (2.25 x 2.25 inches), originally published in an edition of 200 copies.

(1) 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 earlier — including 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.

(2) Published and distributed by Piero Heliczer¹s 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 facsimile 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.

(3) 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. The Beautiful Book is a co-publication of Granary Books and the Plaster Foundation, Inc.

Notes:
(1) Noting the scarcity of this title on the rare book market and its absence from many prominent collections (not to mention the chaotic subsistence circumstances under which it was produced), it is likely that considerably fewer than 200 books were actually finished and distributed.

(2) Several of the other models, including Frank di Giovanni (a/k/a Francis Francine), Joel Markman, Rene Rivera (a/k/a Mario Montez), and Arnold Rockwood would also appear in Flaming Creatures.

(3) All photographs have been printed from the original negatives with the exception of the sixteenth photograph in the series. As the original has been lost, a copy negative was generated in 2001. Individual copies of the original The Beautiful Book exhibit minor variations. The quality of the cover printing is uneven and there is some inconsistency in the color of the ink. A later, pirated version of The Beautiful Book occasionally surfaces — its provenance unknown. Although it is likely that this version has its variants, we are primarily aware of one, which has a black cover and eight prints." [Granary Books]
$425

Was Here
By Emily McVarish
2001. Edition of 50.

13.25 x 10.75"; 76 pages. Designed and printed letterpress on Mohawk Superfine by Emily McVarish. All copies are signed and numbered by Ms. McVarish.

"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 photographs—labels and vignettes, captions and scenes, statements and evidence—are presented, Was Here seeks signs of the historical truths that link reproducibility and transcendence." ~ Emily McVarish.
$1,200

The Lake
By Lyn Hejinian and Emilie Clark
1999. Edition of 55. ­40 are for sale; 1­5 are hors commerce.

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. Circa 8" x 8" — 19 pages. Signed by the poet and the artist. 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 accordion book in a cloth-covered slipcase. The muted images are printed in full color; the text a reproduction of the poet's holograph.

"In October of 1999, we spent a week together on Lake Wentworth in New Hampshire. Our intention was to begin work on a collaboration that would require us to work in each other's medium as well as our own. We wanted to attempt a work that was site-specific and also time-specific. Our previous collaboration, The Traveler and the Hill and the Hill [Granary Books, 1998] had evolved over the course of several years, and for most of that time we had worked on our respective parts separately, and this time we wanted to explore the possibilities and problems of a collaboration in real time. Indeed, 'exploration' was to be one of the themes of the work, and in retrospect the work can be seen as a study of an ecosystem, in which the lake figures both as a literal and a metaphorical landscape. Language and visual imagery were the ecological elements in the system of the work, as the various material forms above, around, and below the lake's surface were in that of the site. We were interested in the interrelationships, simultaneities, and the extents of layers; we were thinking about complex emotional and aesthetic terrains along with the literal one we were investigating. We imagined the lake as a site and described such a site as being constituted by all possible responses to it. We worked from early morning to late at night, taking breaks to walk along the lakeshore or go out into the lake in a kayak, photographing along the way (the rolls of film were developed at a one-hour photo processing shop in the nearest town). At the end of the week we found we had a sequence of pages that we felt together comprised a work. Naturally, we called it The Lake." —Lyn Hejinian and Emilie Clark [Granary Books]
$1,700

Homage to Allen G
By George Schneeman & Anne Waldman
1997. Edition of 145.

14 x 12" with 11 prints. Printed letterpress from magnesium engravings. In folder printed on Rives BFK.

This project is based on traced sketches of Allen Ginsberg's photographs made by George Schneeman for a collaboration he planned with Mr. Ginsberg. After Ginsberg's death, Schneeman and Waldman converted the tracings into this homage. The words were generated by Waldman and handwritten by Schneeman. The portfolio consists of ten collaborative works plus the colophon.
$500

Away
By Ed Friedman & Robert Kushner
2000. Edition of 50.

54 pages printed letterpress. Bound in cloth over boards by Judith Ivry. Signed by Friedman & Kushner.

Kushner has created 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.
$2,500

The Man Who Was Always Standing There
By Frank Kamin & Felix Furtwangler
1998. Edition of 60.

13 x 9.25" with 57 pages. Woodcuts by Furtwangler printed on simili japon paper hand painted by Furtwangler. Casebound in printed cloth over boards. Housed in a painted cloth covered slipcase by Barbara Mauriello.

Roar Shocks
By David Rathman.
1998. Edition of 43.

10.5 x 8.5" with 26 pages. Printed letterpress from metal engravings on 180 gm Rives BFK (bound) or 250 gm Rives BFK White (flats). Bound in cloth over boards by Jill Jevne. Signed by Rathman.

Contains texts from treatises on the Rorschach procedure, which were subsequently modified by Rathman through xeroxing. Rathman's evocative page compositions combine these ambiguous texts, charts, and snippets of dialogue with stark black and white ink drawings. The pages underwent numerous layers and transformations before being printed with a based-down black ink to resemble copy machine toner. the result is a schizophrenia of page turning, at once playful and serious, ironic and straight, frightening and soothing - the images and invite multiple readings and interpretations.
$2,000

Secreted Contract
By Ed Epping.
1998. Edition of 60.

11 x 6.25" with 34 pages. Designed on a Power Macintosh 7100/66 with Macromedia Freehand 8.0 and Adobe Photoshop 4.0. Printed with a Hewlett Packard 1200 C/PS on Rives Heavy weight White by Epping. Bound in paper wrappers by Jill Jevne.

Ed Epping: "Secreted Contract is the second book in a planned series of twenty-eight that will investigate two operations: an articulation of various mnemonic systems; and, the incorporation of an English language word type (heteronyms) that, like memory, depend upon contextual constructs for their comprehension ... {Secreted Contract] specifically includes an examination of heteronymic shapes and conditions (e.g., is the shape a circle tipped in a perspective or is it an elliptical form existing in a single plane? Is the couple engaged in a romantic, sexual embrace, or a scene of domestic violence?)...Trace is a form of template that blends the complexities of desire (as if) and situation (as is). It is this project of visually realizing how surface, trace, and glance might appear within the mnemonic structures that focuses my project."
$250

If It Rained Here
By Julie Harrison & Joe Elliot
1997. Edition of 40.

8.75 x 10.75". Binding by Daniel Kelm and staff at The Wide Awake Garage. Cover printed by hand in four colors by Elliot at Soho Letterpress. The images originated from video produced at the Experimental Television Center, then captured and enhanced with a computer, and printed on the Epson Stylus XL by the artist. Elliot's text was excerpted from longer works and/or created in response to the images.

This book of digital images by Julie Harrison and text by Joe Elliot, is an "investigation and celebration of the natural world. Abstract in mode and collagist in method, the book holds up a mirror, not to reflect what we see, but to fracture, crop, and reassemble it. Thus, while parts of images come from and may hint at a variety of life-forms, these are not pictures of cells and embryos and water per se, but of the elemental principles and forms behind these phenomena. " [JH & JE]
$2,000

Kin
By Anne Waldman & Susan Rothenberg
1997. Edition of 150.

9 x 7.15" with 38 pages. Printed letterpress on Rives heavyweight. Bound in cloth over boards by Jill Jevne. Signed by Walkman and Rothenberg.

Rothenberg's eight subtle drawings in black cray-pas of animals in pairs (yaks, horses, cats, humans) sound the call to which Waldman responds in new texts, which range from "overheard conversations" to lyric poetry to "found" scientific data reportage. Waldman designed the text with Rothenberg's drawings in front of her. Pages fold out to reveal these texts flanking images which have been printed using five different plates and shades of black per image to recreate the waxy nature and smudging around the edges of the original cray-pas.
$750

A Flower Like A Raven
By Kurt Schwitters and Barbara Fahrner
1996. Edition of 50. 10 hors commerce, 40 for sale.

12.5 x 12.25" Pen, ink, watercolor, lino-cut, "giclée print," and letterpress.

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.
$2,500

Granary Books Out of Print Titles:
• The Word Made Flesh
• The History of the/my World
• MESMER, secrets of the Human Frame
• Prove Before Laying