Wells College Press ~ New York
(Richard Kegler, Director)
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Wells Book Arts Center: "The Wells College Book Arts Center, established in 1993, provides a broad learning opportunity for Wells students and the Aurora community in the arts and crafts of the book. ... The Wells College Press publishes books and broadsides by visiting writers. The Book Arts Center prints, among other things, certificates and awards, announcements for campus events, and most important of all, the Wells diploma."
   

What Longing Is
By Janis Esch
Aurora, New York: Wells College Press, 2013. Edition of 100.

6 x 9"; 35 pages. Pamphlet sewn binding. Composed in Monotype Dante by Michael & Winifred Bixler. Designed by Katie Baldwin and Alex Schloop, and printed by Katie Baldwin and Nancy Gil. Numbered on the colophon. Paper wraps with title on cover.

Wells Book Arts Center Blog: "The first chapbook in ... [an] annual series of Wells Press chapbooks featuring Poetry on Place. What Longing Is, by Janis Esch ... contains nineteen poems, is divided into two parts: the first focuses on California, where the poet grew up, and the second on Upstate New York. ...

"Professor Bruce Bennett, Chair of the Wells English Department and Director of the Wells College Press, wrote of Esch’s collection: Janis Esch writes in her Preface to What Longing Is about how "different places" can "expose certain vulnerabilities of the spirit," and how she has wanted "to pin down the transient" and "stay the past" through her evocation of two of the worlds she has inhabited, Southern California—"godless, beautiful in its brutality"—and Upper New York State. She has succeeded beautifully in this stunning, poignant, and continually surprising collection of poems, which provides a perfect example of what Wells College hopes to achieve in its new annual Chapbook Series featuring poems about place."

$30

 

 


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The Bestial Floor
A Selection of Rhymed Fables

By Bruce Bennett
Aurora, New York: Wells College Press, 2011. Edition of 75.

4.4 x 6.75" clamshell box containing 19 leaves. Printed letterpress and bound by Sarah Bryant, Abagail Williams, and Alexander Schoop at the Wells College Press. Set in Monotype Garamond by Michael and Winifred Bixler. Numbered on colophon. Signed by poet on title page.

Colophon: "The fifteen poems in The Bestial Floor were selected from Animal Rites, an as-yet unpublished collection of Bruce Bennett's rhymed and prose fables."

Wells News Archives, April 13, 2011: "According to Professor Bennett, he has been writing fables of various sorts since the 1970s. ... 'Influences, at the beginning anyway, were Aesop, Thurber, and LaFontaine,’ commented Bennett, ‘but after a while writing fables took on a life of its own. I have always been interested in exploring the possibilities of writing in a variety of forms, and the opportunities offered by writing fables, which in a way are pure storytelling and can have any subject whatever, seem to be inexhaustible.’

"Professor Bennett has taught at Wells since 1973. He is Chair of English and directs the college's Creative Writing Program. "

A snapping turtle, angry as a slap,
lashed out. “I’m mad! The world is full of crap!”
“It is,” his milder cousin, Mud, replied.
“But one can still be beautiful inside.”

$90

 

 

 


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A Blade of Grass
By Leslie Norris
Aurora, New York: Wells College Press, 2007. Edition of 100.

8 x 10.5"; 4 pages. Set in Monotype Fournier cast at the Press & Letterfoundry of Michel & Winifred Bixler. Title page lettering by Cheryl Jacobsen. Artwork painted by Susan MacCormick using oil on board. Printed by Booksmart Studio on Innova paper. Bound in green bookcloth over boards with paper title label.

Colophon: "One hundred copies of this poem were printed ... in honor of Leslie Norris, the late Welsh poet & short story writer. Norris's ailing health resulted in the cancellation of his last two scheduled readings at Wells, and the publication of this keepsake was accordingly postponed. It was published posthumously in honor of the Wells College community celebration of Norris's life & work ..."
$35

 



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Learning from Renoir
By B.A. St. Andrews
Aurora, New York: Wells College Press, 2003. Edition of 200.

7 x 11"; 46 pages. Composed in Monotype Fournier. Printed on Hahnemühle Biblio. Designed by Sarah Roberts and Terrence Chouinard. Frontispiece drawing by Ronald Cohen. Title page calligraphy by Cheryl Jacobsen. Frontispiece and calligraphy printed from photopolymer plates. Bound in cloth over boards with paper title on spine.

Bonnie St. Andrews, Ph.D., (1945 - 2003) was a Distinguished Teaching Professor of Bioethics and Humanities at SUNY Upstate Medical University.

upstate.edu: "St. Andrews was an accomplished poet whose works were published in The New Yorker, The Paris Review, JAMA, The Georgia Review, Commonweal, and Virginia Quarterly. She was founding editor of The Healing Muse, SUNY Upstate’s journal of literary and visual arts, which recently published its third edition".
$75



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Los Fusilamientos / The Firing Squad
By Ildefonso Manuel Gil
Drawings by William Roberts
Translated by Miguel and Nancy Gil
Aurora, New York: Wells College Press, 2003. Edition of 30.

15 x 20"; 10 leaves. Drawings printed from photopolymer plates. Text printed letterpress with Monotype Centaur and Arrighi typefaces. Text and drawings printed on Arches Cover by Terrence Chouinard and Sarah Roberts. Laid in red silk cloth-covered clamshell portfolio case. Includes signed original drawing by William Roberts. Binding and production assistance by Katie Baldwin, Ilana Houseknecht, Roberto Silva, Jenna Rodriguez, and Richard Kegler. Text in Spanish and English. Signed by the poet on the colophon.

Wells College Press: "Noted Spanish poet Ildefonso-Manuel Gil (1912-2003) wrote this powerful anti-war poem based on Goya’s painting: El 3 de mayo de 1808 en Madrid: los fusilamientos en la montaña del Príncipe Pío (The Firing Squad of May 3, 1808). The project was started in 2001 and completed in fall of 2014. This monumental portfolio includes a suite of lithographs by Wells’ Professor Emeritus William Roberts featuring portraits of both the poet and Goya, as well as Roberts’ reactions to Goya’s painting.

"The project was initiated by Terrence Chouinard while director of the Wells Book Arts Center between 2001–2005. Four lithographs drawn by Roberts were printed by Gregory Page in 2011 at Olive Branch Press in Ithaca, New York. The author signed the then-printed colophon page in 2003 before final production details were completed."


Introduction: "In 'The Firing Squad of May 3,' that shocking Goya painting bound so exactly to a date, the historical event is erased, and the painting acquires a timeless significance: what we see is the condemnation of violence, of death used as a gag to silence the voice of dignity. …

"Violence is not limited to time or space, to color of skin, to social class, to political or religious ideology. It is not born from injustice but engenders it. Basically human, it is the worst enemy of humanity."

$1,000

 

 

 

 


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A Collector's Choice
An Exhibition of Books Designed and Printed at the Riverside Press by Bruce Rogers
Compiled, with Commentary, by the Collector Herbert H. Johnson
Aurora, New York: Wells College Press, 2002. Edition of 100.

8.75 x 12"; 46 pages. Designed by Michael & Winifred Bixler, Herbert Johnson, Annie Wooster, Nancy Gil, and Sara Roberts. Printed by Terrence Chouinard. Bound in paper covered boards with quarter cloth.

Herbert H. Johnson, Preface: "This exhibit of books designed by Bruce Rogers and printed at the Riverside Press is obviously a selection of my favorite BR books printed between 1897 and 1915. ... I must confess to two anomalies in this exhibit. The first is that there are eight books or catalogues designed by BR after his 'official resignation' from the Riverside Press on April 1, 1911 - but this is easily explained by BR's role as an independent contractor. The second is less easily explained - the inclusion of Maurice de Guerin's The Centaur which was printed at the Montague Press. Nearly all of the preparatory work for the Centaur type was done while BR was still tenuously connected with Riverside ..."
$125

 


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In those days, love ...
By Gilles Ségal
Translation by Suzanne Hecht
Aurora, New York: Wells College Press, 2002. Edition of 500.

6 x 9"; 64 pages. Typeset in Hoefler's Requiem by Terrence Chouinard. Perfect bound by Finger Lakes Press. Covers printed letterpress on Fabriano Ingres at the Wells Book Arts Center.

Wells College Press: "The Wells College Press has published the first English edition of Gilles Segal's play In those days, love… translated by Wells Professor Emerita of French Suzanne Hecht.

"In those days, love…, which Professor Hecht regards more as a work of prose fiction than a play, is an extended monologue delivered by a character named z. He describes his memories of a tragic journey with his 12-year-old son aboard a cattle car to the Auschwitz death camp during World War II. The journey and the recording of the monologue each take place over seven days.

"In her preface to the edition, Professor Hecht writes, 'Unlike Genesis, the story of God's creative power, Ségal's drama records chaos and destruction - the sheer evil created by mankind.' She compares Segal's work to The Diary of Anne Frank, but finds his vision darker and far more philosophically complex.

"An award-winning author and actor who appears on stage, television, and in films, Gilles Ségal emigrated to France from Romania as a child and experienced persecution by the Nazis. ...

"Born in Paris, Professor Hecht joined the Wells faculty in 1969 as assistant professor of French, was promoted to associate professor in 1975, and was named full professor in 1984. ..."


In those days, love… was originally published in 2001 as En ce temps-là, l'amour… by Lansman Editeur, Belgium.
$15

 

 

 


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Kamandalu
Selected Poems
By Amadou Lamine Sall
translations by James W. and Lydie J. Haenlin
Aurora, New York: Wells College Press, 2002. Edition of 200.

7.5 x 10.5"; 75 pages. Set in Monotype Perpetua. Drawings by Germaine Anta Gaye printed from photopolymer plates. Printed and bound by the Wells College Press. French text with English translation.

Arc Publications: "Amadou Lamine Sall lives in Senegal. He has been honoured with the Grand Prix of the Académie française and is widely published in Africa, France, Germany and Canada. His most recent book, Le Rêve du Bambou, was published by Éditions Feu de brousse in 2010. Kamandalu: Selected Poems, translated by Lydie and Jim Haenlin, was published by the Wells College Press. Amadou Lamine Sall is the founder and president of the Maison de la Poésie in Dakar and director of Les Éditions Feu de brousse. As an adviser to the Minister of Culture in Senegal, he works to promote poetry and the arts in schools and oversees the realisation of the Gorée Memorial Project, a UNESCO-sponsored memorial to the African diaspora during the slave trade."

St. Petersburg Review, translators: "JAMES HAENLIN and LYDIE HAENLIN … are the official English translators for Amadou Lamine Sall. To date they have translated ten volumes of his poetry. The poems reprinted in SPR were included in the collection KAMANDALU, published in 2002 by Wells College Press, Aurora, NY. The Haenlins have also collaborated on translations of published works by other francophone poets including Nadine Fidji and Rose-Marie Francois. They split their time between Aurora, NY and Paris."
$75



 


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Millennial Afterlives: A retrospective
By Stratis Haviaras
Aurora, New York: Wells College Press, 2000. Edition of 500.

8.4 x 5.8"; 44 pages. Bembo Roman and Italic types. Perfect bound in illustrated paper covers. Designed by Jocelyn Webb. Printed by Finger Lakes Press. Bound at the Wells College Press & Bindery.

After 26 years as curator the Poetry Room at Harvard, Stratis Haviaras retired in 2000 so he could devote more time to his writing.

William Doreski, Literary Review, Spring 2001: "Millennial Afterlives is a new collection of prose poems: a modest little book but with the confidence of mastery in an elusive form and a remarkable intensity of vision. Exile, the poet himself said when questioned at a reading, is his primary theme. But a sense of internal exile, rather than of being geographically distant from his origins, generates a powerful tension between the speaker's sense of self and the immensity of learning, experience, social and political realities that lie upon him like many strata of bedrock. This tension reveals itself as gaps between the persona's sense of self and his desires, aesthetic perceptions, and ambitions."
$15

 


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Page last update: 03.30.16
   
  
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