tag:blogger.com,1999:blog-58423955180938633722024-03-06T00:56:11.187+11:00Electio Editionspoetry - typography - the bookALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comBlogger154125tag:blogger.com,1999:blog-5842395518093863372.post-28909366286076759582017-01-05T09:19:00.000+11:002017-01-05T09:19:05.343+11:00New year resolution<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">as of today, I will not be adding any more material, of any kind, to this site</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">as of today, I will not add any more material, of any sort, to this site</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">as of today, I'll add no more material to this site</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">as of today, I'll not add to this site</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">even tho it has been a pleasure to do in the past</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">even tho it has been a real pleasure to do so</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">even tho it has been a lovely thing to do</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">even tho it gave me pleasure</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">but I'll keep it open</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I</span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">'ll keep it open</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">it'll keep</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">thank you</span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-13095526745265614462016-12-12T10:37:00.000+11:002016-12-12T10:37:16.449+11:00Beginnings now available<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">my <i>Beginnings</i>, published by Seismicity Editions, Los Angeles, is now available from SPD Books, as are a few other of my titles : <i>Crankhandle</i> (Cordite), <i>The books to come</i> (Cuneiform), and <i>Meditatio</i> (Cuneiform) - copies can also be had in Melbourne at Collected Works Bookshop<i> - </i>here's a new image from Seismicity<i> - </i></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><br /></i></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-24494141286699663822016-11-20T10:59:00.000+11:002016-11-20T10:59:18.956+11:00The Verso Lectures 2016<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The Verso Lectures is an annual series which addresses The Book as a Work of Art in our Time - the inaugural series with Lectures by Alan Loney (<i>The Book : material instrument</i>), Sheree Kinlyside (<i>The Book as Treasure</i>), and Marian Crawford (<i>Channelling the Departed : the Book and Time</i>), are now available thru <a href="http://versomagazine.com.au/shop">the Verso website</a> - they are designed to enrich the cultural and intellectual reputation of the Book as a viable part of of the history of cultural life in Australia and New Zealand. These first Lectures were given at The Athenaeum Library in June 2016. In addition to the Lectures themselves is a Foreword by Noel Waite - the Lectures also complete the first full year of Verso's program, along with the first three issues of <i>Verso</i> magazine itself - </span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-49933732512605965442016-11-08T10:39:00.000+11:002016-11-08T10:53:23.039+11:00Launch of Melbourne Journal<div class="gmail_default" style="background-color: white; color: #222222; font-size: 12.8px;">
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<div class="gmail_default" style="background-color: white; color: #222222; font-size: 12.8px;">
<span style="font-family: "georgia" , "times new roman" , serif;">you are warmly invited to the launch of my book, <i>Melbourne Journal</i>, published by University of Western Australia Publishing, at - </span></div>
<div class="gmail_default" style="background-color: white; color: #222222; font-size: 12.8px;">
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<div class="gmail_default" style="background-color: white; color: #222222; font-size: 12.8px;">
<span style="font-family: "georgia" , "times new roman" , serif;">Collected Works Bookshop</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Level 1, 37 Swanston Street</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Melbourne, VIC 3000</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">at 6pm for 6.30, Wednesday 16 November</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The Speaker is MARION MAY CAMPBELL</span></div>
<div class="gmail_default" style="background-color: white; color: #222222; font-size: 12.8px;">
<span style="font-family: "georgia" , "times new roman" , serif;">novelist, poet, and </span></div>
<div class="gmail_default" style="background-color: white; color: #222222; font-size: 12.8px;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: black;"><span style="font-size: 13px;">Associate Professor in Professional & Creative Writing</span><br style="font-size: 13px;" /><span style="font-size: 13px;">Deakin University</span></span></span></div>
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<span style="color: black; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 13px;"><i>Melbourne Journal</i> is the collected Notebooks from 1998 to 2003, and between <i>Sidetracks</i> (Auckland University Press 1998) and <i>Crankhandle</i> (Cordite 2015, and winner of The Victorian Premier's Award for Poetry 2016) - </span></span><br />
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ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-68029797576048228572016-10-27T17:42:00.002+11:002016-10-27T17:42:45.242+11:00Another new book soon<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;">the cover of my next book, to be published by Seismicity Editions at Otis College of Art and Design, Los Angeles - it's one of the most minimal and elegant designs of any book of mine anywhere, and I had no hand in it whatsoever - the work is a series of proses, dedicated to my first teacher and mentor George South, with many sections commenting on sayings from George's (all unpublished) poems, letters, and notebooks in my possession - I don't have a specific date yet for publication, but I'll post here the minute I know the date - it's a work that's been in the pipeline for many years, and I am deeply grateful for Guy Bennett and his colleagues at Seismicity for their interest in this work - apart from anything else, it is a matter very close to me that I should be able to honor George in this way - </span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-10369297210401651862016-09-29T12:06:00.000+10:002016-09-29T12:06:00.448+10:00My first & loveliest Albion<span style="font-family: Georgia, Times New Roman, serif;">when in Wellington recently I was kindly shown over the Wai-te-ata Press at Victoria University of Wellington by Meredith Paterson - the Press has for some years housed this Albion handpress which I secured under the ownership of the Alexander Turnbull Library back in 1979 - according to Reynolds Stone in his writing on Albions, this one dates (because of the specific fulcrum action when the handle is pulled) to the early 1830s, tho the handle itself has a date of (I think) 1861 or 1881 - in any event, a lot later - I printed several books on this wonderful press, and I still regard it as the best press I have ever worked with - the photos were kindly taken by Dan Tait-Jamieson of Moana Press, Wellington, and of The Printing Museum there - anyone who thinks one cannot get a bit teary over a chunk of old cast iron, should think again -</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-69342965391883005862016-09-02T09:10:00.000+10:002016-09-02T09:10:09.211+10:00Letterpress in Townsville<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">just three days after returning to Melbourne from New Zealand I went off to Townsville in Queensland to spend a week with <a href="http://www.redragpress.com/">Sheree Kinlyside</a> and her husband Alan ('a festival of Alans') to share some of my letterpress experience with Sheree. I introduced her to damping paper for printing, and some refinements in hand-setting type and inking. Like most letterpress practitioners in Australia and New Zealand who are mostly self-taught, there are often small things we don't ever pick up until we are shown by someone else. I still recall vividly a day in Eastbourne, New Zealand, when Bill Wieben, who had grown up in his father's printing business, showed me a few things about getting a decent result on the Arab treadle platen I was using then. It changed my printing life forever, and yet each thing he showed me was in itself quite small and detailed. That single day lifted the quality of my printing immensely - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Sheree's press is a Farley proof press, which is not the most precise of machines, tho it does have an excellent impression adjustment mechanism which is very useful. Over the week, we printed three pieces, one a short poem by a local poet, one which is the border to a poster yet to be completed, and another is a small group of two-color electrotypes she has in her collection, and which will form the basis of a book she will design and print 'in due course'. In the meantime I will be writing a group of short poems to go with each of the images, and Sheree will write an introduction -</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">here are three images taken on the poster border - inking up a mix of Reflex Blue and Opaque White (a mix I discovered many years ago and have used a lot since) - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">the next is inking up the second color of the border - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and the printed result. A glimpse of the first color on its own can be seen at top right -</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-79039606944652026872016-08-30T13:26:00.001+10:002016-08-30T13:46:34.643+10:00Handpress master class in New Zealand<span class="Apple-style-span" style="font-family: "georgia" , "times new roman" , serif;">on 13 & 14 August I was invited to give a master class in handpress printing at The Printing Museum in Wellington, New Zealand. The brief was to damp handmade paper, set a small poem in type, print it on the Albion handpress in black with a red title - running off a small edition of ten copies for each of the attendees. Here they are, from left (photo by Michael Curry), John Clemens, Terrie Reddish, Dan Tait-Jamieson, Alan Loney, Meredith Paterson, Brendan O'Brien, Nicki Francis, Annette O'Sullivan - as you can see, it was a cool day in the Hutt Valley, it seemed not to dampen anyone's spirits over the weekend - </span><br />
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<span class="Apple-style-span" style="font-family: "georgia" , "times new roman" , serif;">here is the press itself (tho it's really to show off my CODEX Australia apron!) with photo by Meredith Paterson -</span><br />
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<span class="Apple-style-span" style="font-family: "georgia" , "times new roman" , serif;">more photos, this time by Terrie Reddish - first, plane & lock up in the forme - </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDKLeZhbHiITwEnu_NCHBs2YnSeC_asjqVcjawaVASvzQDZnKnJL6L-ME_pFF1iIVh410H673CDiL9fxLHHsjTM-j1Hh7pBxhxblT9FQ3fwRolqKfbrA7P1BTmx5mmQWiTzqlShk0hVOY/s1600/Plane+%2526+lock+upJPG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDKLeZhbHiITwEnu_NCHBs2YnSeC_asjqVcjawaVASvzQDZnKnJL6L-ME_pFF1iIVh410H673CDiL9fxLHHsjTM-j1Hh7pBxhxblT9FQ3fwRolqKfbrA7P1BTmx5mmQWiTzqlShk0hVOY/s320/Plane+%2526+lock+upJPG.jpg" width="240" /></a></div>
<span class="Apple-style-span" style="font-family: "georgia" , "times new roman" , serif;">inking up, with the outer edge of the roller dry and running on bearers - </span><br />
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<span class="Apple-style-span" style="font-family: "georgia" , "times new roman" , serif;">and how to put the printed & damped sheet into the plastic bag - ON your hand, not in it!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCAv7_PEkYQUpkPdyyPcSm9n21OKJLHAcymVBM6XP63_c33NLZBkEzBBTZadEqB2F3s8-hkG4cgSZ9bDgf5vO6jWL5JVqcH552vK_kQdQkHmU31wNvZKOJI2VmvQ-bj9iM8zGJddvLOwU/s1600/Printed+page+in+bagJPG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCAv7_PEkYQUpkPdyyPcSm9n21OKJLHAcymVBM6XP63_c33NLZBkEzBBTZadEqB2F3s8-hkG4cgSZ9bDgf5vO6jWL5JVqcH552vK_kQdQkHmU31wNvZKOJI2VmvQ-bj9iM8zGJddvLOwU/s320/Printed+page+in+bagJPG.jpg" width="320" /></a></div>
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ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-231224333032107032016-08-02T15:19:00.003+10:002016-08-02T15:19:41.546+10:00Melbourne Journal<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I have now received my author's copies of <i>Melbourne Journal</i>, which sits between <i>Sidetracks</i> (AUP 1998) and <i>Crankhandle</i> (Cordite 2015) - it will not be published until October, but it can be pre-ordered at <a href="http://uwap.uwa.edu.au/collections/poetry/products/melbourne-journal-notebooks-1998-2003">UWA Publishing</a> - a mix of poetry & prose, it was begun when a dear friend gave me a new notebook on my arrival in Australia and said, here is your new writing - it takes the Notebooks from 1998 to 2003 - here's the cover - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-89782670663846606742016-07-17T09:17:00.000+10:002016-07-17T09:22:51.320+10:00Death of the reader<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">having mentioned my latest work a couple of posts ago, here's the notice from <a href="http://mindmadebooks.com/">Mindmade</a> Books in Los Angeles -</span><br />
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<br />ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-8618940377482801702016-07-14T08:49:00.000+10:002016-07-14T08:49:18.779+10:00Verso 3 at the printer<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Verso 3 has now gone to bed, and will wake up in a few days bright as a button - to subscribe to Verso, click <a href="http://versomagazine.com.au/support/">here</a> - at three issues a year, Verso has now run its first annual cycle, and looks forward to a new year of new & old, local & international books appearing on its pages - here's the cover of Verso 3 - with its essay on the latest book by Denise Campbell in Tasmania, Australia - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-74465877401615758302016-07-11T09:44:00.002+10:002016-07-11T09:44:48.265+10:00is there any, ever, progress<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">well, is there, even tho I extrapolate (read 'steal') from Leonardo, about whether anything is ever finished - I've been selling all Electio materials - the types are all spoken for, the paper has all sold, but the Albion handpress is still for sale, with the price at $12,000. It's in perfect condition, and I'd be happy to teach a buyer how to get the best out of it - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">just published is <i>Death of the reader</i>, a chapbook published by <a href="http://www.mindmadebooks.com/">Mindmade</a> Books in Los Angeles - coming out later this year is <i>Melbourne Journal</i> from The University of Western Australia Press - the Journal is my <i>Notebooks 1998 to 2003</i>, wedged in between <i>Sidetracks</i> (AUP 1998) and <i>Crankhandle</i> (Cordite 2015) - other volumes on their way are poems, <i>Next</i> <i>to nothing</i> (Red Dragonfly Press, Minnesota) and <i>Ron Holloway, printer : a memoir
/ 1909 - 2003 </i>(Puriri Press, Auckland) - both these latter will come out either late this year or early 2017 - definitely in late 2017 will be my <i>Beginnings</i> from Seismicity Editions at Otis School of Art & Design in Los Angeles - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="font-style: italic;"><br /></span></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">at Verso, my other 'significant other' activity, #3 is due out in a couple of weeks, with essays on Robin Price's <i>Love in the Time of War</i>, poems by Yusef Komunyakaa, Donald Friend's <i>An Alphabet of Owls</i>, Denise Campbell's <i>VESSELS</i>, the Barbarian Press acquisition of the Curwen Press printers' ornaments collection, the New Albion Press edition of <i>Music in the Mirabell Garden</i> - and a profile of New Zealand printer John Holmes at his Frayed Frisket Press - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">one nice thing about Verso 3 is the appearance of Robin Price & the printer of <i>An Alphabet of Owls</i>, Jim Walker, in the same issue - Jim told me he & wife Ruth were going to the US in June, specifically to Connecticut, and I realised he would be only a short driving distance from Robin Price's home in Middletown - I then arranged for them to meet, and here's a picture taken of their visit with Jim next to Robin on the right, and Ruth Walker second from left in Price's studio - </span><br />
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ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-70459666626504134552015-12-06T17:36:00.000+11:002015-12-06T17:36:48.583+11:00not quite the last post<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">it's very strange writing for an audience one does not know, either who they are, or how many, or how interested or not they are in whatever has been placed in this space - it has always seemed to me that I have written this blog for someone, and I have no idea who that someone is, that is, who you are - according to the front page here, the blog has nine followers - and apart from a comment or two over the years, I have always felt I have been writing into a void, that this apparently very public space has effectively been a rather private one, and that I have never had any sense that anything akin to dialog might have been taking place here - please, don't get me wrong (I <i>know</i> you're listening), I am not complaining - rather, I am signalling that this particular activity no longer answers to any personal or professional need that I can identify within myself or within my work - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">as a printer, my work is coming to an end - there is damage to my upper arms & shoulders done by 40 years of wielding heavy ink rollers and turning press handles, and which has taken over a year to heal so far, and that process is far from complete - bursitis & tendinitis are the culprits - and I have been struggling over recent months over the question, whether I should print again - a few posts ago I signalled that a 'next' project would be a boxed set of prints, and I'm sad to say that these prints now will not be done - I have informed the poets who so kindly contributed poems for the purpose, and all have been very generous in their responses - there is one small book by R D Wood to be done, and Robert will print those pages himself under my supervision early next year - and then no more books or printing will be issued from Electio Editions - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">at that point I will prepare a full color, digitally printed catalog of Electio books still in print, and the wonderful American booksellers Vamp and Tramp in Birmingham, Alabama, will thenceforth be the sole agent for all exant Electio books - at that point also, I will set about selling my printery, and take up work as a full-time writer and editor of <i><a href="http://versomagazine.com.au/">verso</a></i> magazine - transforming my studio into a study for this next stage in my life - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">so this is not quite the last post - I'll document Robert's book before signing off - but I will keep the blog online, even tho I'll no longer be adding to it beyond that time - </span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-22048703797545398202015-10-31T12:50:00.005+11:002015-10-31T12:50:56.485+11:00launch date for verso magazine<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">you are cordially invited to the launch of </span></div>
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<span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif; font-size: x-large;">verso 1</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">a Magazine for the Book as a Work of Art</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">at COLLECTED WORKS BOOKSHOP</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Level 1, 37 Swanston Street</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Melbourne, VIC 3000</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">at 6 for 6.30 pm, Tuesday 10 November</span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Speaker is CHRIS WALLACE-CRABBE</span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://versomagazine.com.au/">versomagazine.com.au</a></span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-71431517255408944852015-10-18T08:52:00.002+11:002015-10-18T08:52:19.178+11:00I know it's been quiet around here<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">well, yes, it has been quiet, mainly because I have been dedicated to getting my new magazine, <i><b>verso</b></i>, up & running - subtitled <i>a magazine for the Book as a Work of Art, <b>verso</b></i> is devoted solely to the book itself, and to the people who make them - enquiries and subscriptions can be made <a href="mailto:26verso26@gmail.com">here</a> - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>in the first issue is - </i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Marian Crawford on <i>Howl for a Black Cockatoo</i> by Sue Anderson & Gwen Harrison.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Alex Selenitsch on The Codex Foundation's <i>Alchimie du Verbe</i>.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">R D Wood on Bruno Leti's & Chris Wallace-Crabbe's <i>The Alignments (one)</i>.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Peter Vangioni on the printing & books of Brendan O'Brien.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Alan Loney on Alessandro Zanella's <i>Persephone</i>, a poem by Yannis Ritsos with prints by Joe Tilson.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>coming up in verso 2 is -</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Francis McWhannell on a book by Elizabeth Steiner.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Derek Lamb on a book by Sheree Kinlyside at Red Rag Press.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Marian Crawford on a book by Juliana O'Dean.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>and more</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><br /></i></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQHTsYSQFYe85cxdhZ0VDkBmJ4XytMIIHCULsqQHn9cFfGALpnOvB3FLQPOKl7YbsFz1l4YlnK0NPV4qlUqUiwSxgRr1uLLm2kCZyIBku9-WkcDFdkLCqf0rPcMNCq0VIstsat-borCsw/s1600/verso-Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQHTsYSQFYe85cxdhZ0VDkBmJ4XytMIIHCULsqQHn9cFfGALpnOvB3FLQPOKl7YbsFz1l4YlnK0NPV4qlUqUiwSxgRr1uLLm2kCZyIBku9-WkcDFdkLCqf0rPcMNCq0VIstsat-borCsw/s320/verso-Cover.jpg" width="226" /></a></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><br /></i></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><br /></i></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><br /></i></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-80787403338605084862015-06-05T16:00:00.000+10:002015-06-05T16:00:14.971+10:00a stack of stutterers<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1e3IPVYolbk2abuaZur-nd1CXFu4c5JtSsOYpeP2NG8oHyC7Kx0OwXv7pphlYKIIkEpFJqyOXuT08aq2TkFLzefokoOpR5RcDWxztscAc3Y6PnAA5ejSBT8umjuFzL3WdWkkY6g1BcCo/s1600/Orpheus_bindingstack1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1e3IPVYolbk2abuaZur-nd1CXFu4c5JtSsOYpeP2NG8oHyC7Kx0OwXv7pphlYKIIkEpFJqyOXuT08aq2TkFLzefokoOpR5RcDWxztscAc3Y6PnAA5ejSBT8umjuFzL3WdWkkY6g1BcCo/s320/Orpheus_bindingstack1.jpg" width="320" /></a></div>
<br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Aaron Cohick of The Press at Colorado College sent me this fine picture of a pile of just completed sewings of <i>Orpheus the stutterer : a poetics of silence</i>, launched when I was in Colorado just prior to Codex 2013 in Berkeley, California - the book begins with three epigraphs - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">1) And it is no secret to any of you that the exact meaning of poetics is the study of work to be done (<i>Igor Stravinsky</i> -</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">2) in the beginning was the wor-wor-wor-wor-wor- (<i>George South, stuttering</i> -</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">3) the silence is vibrant with words (<i>Ursula Bethell - </i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><br /></i></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">what follows is a set of ruminations on the lyric, stuttering, the aptitude of the human species for killing itself - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">there's a lovely review of the book in <i>Parenthesis</i> magazine (# 26, Spring 2014) by John Harvey, in which he says 'Coming in an age when publishers are ever less willing to publish books that do not promise to best-sell (a promise seldom kept), <i>Orpheus the stutterer </i>is a premeditated worst-seller'. - a premise that one can only hope is also seldom kept - but the review is very positive and encapsulates much of a fragmentary text very well - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>here's a bit from the first page - </i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">what is it that each of us will never be permitted to say</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and how vibrant with words</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">will that silence always be</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and remain silence however loud</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">the murmur of language</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">becomes in our becoming & unbecoming</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">rage to speak in the beginning </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">was the unutterable end</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">of the wor(l)d</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-19071138986414298432015-06-02T14:03:00.000+10:002015-06-02T14:03:31.648+10:00a boxed set of broadsides<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">next up for Electio, as hinted earlier, is a set of poetry broadsides, seven of 'em, in a box, to be issued sometime in July/August this year - poets are Marion May Campbell, Robert Wood, Ross Brighton, Jennifer Harrison, Ruark Lewis, Gig Ryan, and yrs truly - all will be on different handmade papers, types and colours, but all printed on the handpress and some, perhaps all, will have extra handwork done on them by Miriam Morris - more news and a picture or two after production starts - </span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-19467315782201690602015-05-28T09:12:00.001+10:002015-05-29T09:19:53.514+10:00stocktaking 6<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihJR2IIhhzyxDW9l7A92QNgiJvO5_xA-u1wptX9ISBAWwegClLEN0XddoSktjFoEPpcZK1T5az63nsoJbr-40KCvNDSiFkdRnmXy776MlT-9q6E-wQTHs7DvMa43htkNL-bxpETGwUwWY/s1600/IMG_0329.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihJR2IIhhzyxDW9l7A92QNgiJvO5_xA-u1wptX9ISBAWwegClLEN0XddoSktjFoEPpcZK1T5az63nsoJbr-40KCvNDSiFkdRnmXy776MlT-9q6E-wQTHs7DvMa43htkNL-bxpETGwUwWY/s320/IMG_0329.JPG" width="320" /></a></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">a spread from Ross Brighton's lovely elegy for David Mitchell, <i>Lullaby</i>, issued in 26 copies in 2014 - printed on the Pratt-Albion handpress in Dante & Gill Sans Light on Magnani handmade paper, with Cave handmade paper covers in a box - the colored figures are done with brass rules - there are three copies still available - the poem should be read aloud, and very slow, to catch both the rich resonances that can be heard in the language - on page one, the first word is "Isle" and three lines later is "Circle", and the isle of Circe in Homer, the ashes strewn on seawater, picks up on the death of Odysseus's comrades, and the loss in "o ash // o body of", when the body is both no more and present to us - and the double 'o', zero plus zero, that no amount of adding to that store can add a thing to the abyssal absence of a felt death - a beautiful counterfactual line, worthy of Simonides in his inscriptions for the dead nearly as old as Homer - and the sound the words make, sonorous as the sea itself, from "seen wave" to "bear break", what A N Whitehead would call an 'exemplification' of his notion of 'our single datum' which is 'the whole world, including oneself' - I love this poem, and not least as it is a lament from a poet of a later generation than Mitchell's in a culture in which a prior worker in the field can be forgotten with extraordinary speed and completeness - Brighton knows that Mitchell & Homer are now the same distance from the living - no further away than the reach of an arm to a shelf of books - of course, these are not the only lines in the poem, and the others refer to an elsewhere, or a series of elsewheres, where each short fragment has its own depth & spatial breath - and even this old experienced typesetter can fumble a bit when setting such short lines in the unmeasurable space of a single death which is all our deaths - </span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-16006435836958630972015-05-16T10:05:00.000+10:002015-05-16T10:09:25.463+10:00a note on David Mitchell<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Not so long ago, I had occasion (without issue, as it happened) to write a note on New Zealand poet David Mitchell, who died in 2011 - I was going today to add to the "stocktaking" list, Ross Brighton's book, written to be read at the spread of Mitchell's ashes over Auckland Harbour - but before doing that, I thought I'd retrieve this otherwise 'lost' bit of writing, in order to give it a home - I'll add Ross's book in a day or two - meanwhile, here's a precursor </i>-</span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">When the New Zealand literary avant garde (let's give
it a name, as any would be equally inadequate and contested) announced itself at the
end of the 1960s, it did so thru I think three publications: <i>Freed</i> magazine, the New Zealand
Universities Students Association <i>Arts Festival
Literary Yearbook</i>, and David Mitchell's <i>Pipe
Dreams in Ponsonby</i>. Within two years, Murray Edmond's <i>Entering the Eye</i> (Caveman Press 1973) and <i>A Charlatan's Mosaic</i> (eds Stephen Chan and E S [Elizabeth] Wilson
1972) were issued. In these books a pattern was wedged open with a very
different relation between poems & production, and between text & image on
the page, than seemed current in mainstream literary publishing. There
were a few American magazines that contained images among the poems, some of
which were illustrative, but many of which were not – already a juxtaposition
of elements that resisted any impulse towards narrative that readers might have
had. Traditional narratives, production values & relations between text &
image were all under review in those few years. Only the different relations
between text & image seems not to have survived the intervening time. And
the avant garde (however problematic in the New Zealand scene) no longer has a
regular publication or publisher in New Zealand.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> <span style="mso-tab-count: 1;"> </span>It
was always clear in the 1950s and 1960s that to be published by Caxton or McIndoe
or Pegasus presses was to participate in not only literary value but book production
value also. The book of poems was first & foremost a <i style="mso-bidi-font-style: normal;">book</i> of poems, one which had a value supplemental to the poems
themselves & in some measure independent of the poems themselves. <i style="mso-bidi-font-style: normal;">Freed</i> magazine in contrast was more
frail, more ephemeral, went from one format to another as if in isolated
fragments, and each issue was just stapled together, a new literary community
that was not securely bound in a standard format according to the best of print
technology. I was very interested in this when I established <i style="mso-bidi-font-style: normal;">A brief description of the whole world</i>
in 1995 – its authors & artists had the capacity to put any mark whatever
on any part of their pages, and the photocopier was a perfect production method
for it.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>My
impulse as a printer was different, even tho I valued the early 1970s practice,
and was instead to offer a modality of mainstream publishing to avant garde
authors that, in those days, was only rarely offered to mainstream poets. Fine
press printing has in New Zealand always had its share of detractors, and yet
that was in fact how the first poets who 'became' the poetry canon were
published in the 1930s by Denis Glover, Bob Lowry and Ron Holloway, and in the
wonderful <i style="mso-bidi-font-style: normal;">Phoenix</i> magazine, which
also mixed text & image but in more traditional ways than did <i style="mso-bidi-font-style: normal;">Freed</i> forty years later. These days,
text & image have a much more radical & more seamless life in the realm
of the artist’s book, often in a unique edition (i.e. edition of one), where
image & text and the material of which the book is made all overlap &
intertwine with each other in a single experience of reading/viewing, where
book & art are fully present in and <i style="mso-bidi-font-style: normal;">as</i>
the same work. In an interesting way, the historical model for <i style="mso-bidi-font-style: normal;">Freed</i> magazine is a book printed in
1499, in Venice, by Aldus Manutius (a hero of some of the most notable book
people in New Zealand – Janet Paul, J C Beaglehole (whose poetry was published
by Caxton in the 1930s), and Glover) titled <i style="mso-bidi-font-style: normal;">Hypnerotomachia
Poliphili</i>, in which all possible problems and arrangements of image &
text were posed and solved for letterpress printing for the next 350 years.
There's a copy of this in the Alexander Turnbull Library, and an English
translation which preserved all the page layouts and typeface of the original
was published in 1999.<span style="color: #444444;"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>A
major transgression enacted by Mitchell's <i style="mso-bidi-font-style: normal;">Pipe
Dreams in Ponsonby</i> was that it published poetry in a sans serif type –
something that Caxton and its cohorts would never have countenanced – sans
serif types were for them (via the English scholar Stanley Morison whose work
was well-known to mainstream printer/publishers in New Zealand) appropriate for
advertising and some book covers, but not at all for the serious business of cultural
transmission of the highest order. The later <i style="mso-bidi-font-style: normal;">A Charlatan's Mosaic</i> and<span style="mso-spacerun: yes;"> </span>Edmond’s <i style="mso-bidi-font-style: normal;">Entering the Eye</i> took
this a step further when they printed poems in a multiplicity of types
throughout – all sense of a unified aesthetic that bound the book together thru
the standardised arrangements of poems & types on the page dispersed in front
of the reader – no wonder so many of the mainstream poets & critics in the
country were bothered, even angered by it. Such dispersal meant there was no
central validating principle of ‘authorisation’, and thus no single target for
their critical displeasure; but it did permit the traditionalists to lump the
multiplicity of targets (i.e. Mitchell's poems, Alan Brunton's poems, Edmond's
poems, Russell Haley's poems etc) all together and refuse to make distinctions between
them. Nevertheless, I have sometimes wondered, as painters have
been more adept at incorporating text into their artwork than writers have been
at incorporating images into their texts, whether we let a great opportunity
slip by with the passing of the avant garde publications of the early 1970s. A
lucid (and ludic) study of the ways in which poetry was printed & published
in 1970s New Zealand is still waiting to be done, the groundwork started by
Gregory O’Brien (1991) and Noel Waite (2007) yet to be developed outward to the
field at large.<span style="color: #444444;"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> Mitchell's
text however also transgressed in other ways, and particularly in his abbreviations
of various words, writing them as they are uttered rather than as spelled – the
'e' in 'the' so frequently not sounded in usage, for example, writing 'th', not 'the'. His abbreviations
brought the reader back to the materiality of the written or printed word as 'a
thing and not a picture of a thing'. And a number of others either followed him
or were part of a larger movement in Western poetry in which Mitchell was
simply a significant local example. And what of that note at the beginning of
the book, that 'all the poems in this book have been read aloud in public' : a
very different kind of validating principle from any that had been presented by
the poetry of previous decades in New Zealand, and which was and is to me a
measure of the coming to be of the poem itself. If it couldn't survive being
sounded aloud, it needed changing – a measure I have never abandoned since I
first understood it at that time. I only met David twice, the first time in the
later 1970s, and this meeting bears on the sounding of the poem very well. He
was with Peter Olds and in a house in Christchurch sometime I think in 1977, I
read the whole of my poem <i>dear Mondrian</i>
to Peter & David. After some raucous applause and a few nice words about
the poem, I offered a copy of the book to David, which he declined on the
grounds that he was worried he might be influenced by it in his own writing.
What he then took from that reading was the <i>sounded</i>
poem – aloud, certainly, if not quite 'in public'. I think that many poets now
have no idea that the poetry readings they so avidly go to or participate in
were pretty much initiated by the rebels of the early 1970s, and that the
university arts festivals were primary occasions for them. The poem on the page
altered dramatically at this time, the poem got more air at arts festivals,
theatres, university campuses, restaurants and pubs, and book and magazine
production values underwent a critical examination that is still perhaps waiting
for its full articulation. David Mitchell's <i>Pipe
Dreams in Ponsonby</i> was a primary component in this pattern that was already
appearing in other parts of the culture, both in New Zealand and overseas.
Bardic, in the best sense, and acutely aware of how letters & words
register on the page, he is still in <i>Pipe
Dreams</i>, one of the best and most interesting poets on the block in the
early 1970s.</span><span class="Apple-style-span" style="font-family: Palatino; font-size: 11pt;"><o:p></o:p></span></span></div>
<!--EndFragment-->ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-12641253755499857552015-05-12T10:01:00.000+10:002015-05-12T10:59:08.573+10:00a poetry reading, no less<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZf9y2pT3CntAeNv8JVavPkU9LNe64cgOO9POIWAJHuzbqt67gVkQNjKMA50OOpGyD2JlPp4JWOvaMnmPbcNi2pU_l05P8i2bajz-CamZ1zUq_X3PskOUt4WWSSKEXm2eahTiClJeV6_s/s1600/Sporting+Poets+May.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZf9y2pT3CntAeNv8JVavPkU9LNe64cgOO9POIWAJHuzbqt67gVkQNjKMA50OOpGyD2JlPp4JWOvaMnmPbcNi2pU_l05P8i2bajz-CamZ1zUq_X3PskOUt4WWSSKEXm2eahTiClJeV6_s/s320/Sporting+Poets+May.jpg" width="226" /></a></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">here's a great poster/sign in the Helvetican tradition, for the eighth in a series of poetry readings organised by Bonny Cassidy - this will be the first poetry reading in which I have read my own work for years - I read a Martin Harrison poem at a memorial reading for him last year - and I read from <i>Crankhandle</i> at the launch last week - but this is the first 'proper' reading for a long time - the name Sporting Poets derives from an earlier name of the pub where the readings are held, The Sporting Club, but a recent name-change has severed that verbal connection - I'm not sure what I'll read yet, but I have this notion that I might link pieces from all of my limited edition books as a way of airing what usually is not available for purchase here - or, because <i>Crankhandle</i> is a continuation of my Notebooks, I might read from the first volume (<i>Sidetracks</i> 1991) and <i>Melbourne Journal</i> (unpublished) - there is plenty of time in which to change what's left of my mind - </span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-19909686774720276252015-05-09T14:51:00.002+10:002015-05-12T09:59:57.675+10:00stocktaking 5<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHxzpRwBkBlOZPJ9YUhjGPXuOkf5Q4onp2gfZKfKq98_yqsvOPYLwGJ3ZQET843sBQ1g_E9nN6xNBkmFn4kxEaVrr-A56trmPoKXGT_WKJwVNifL4_Eriw9boDktU-o8ysMR_iqUUaa-k/s1600/IMG_0334.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHxzpRwBkBlOZPJ9YUhjGPXuOkf5Q4onp2gfZKfKq98_yqsvOPYLwGJ3ZQET843sBQ1g_E9nN6xNBkmFn4kxEaVrr-A56trmPoKXGT_WKJwVNifL4_Eriw9boDktU-o8ysMR_iqUUaa-k/s320/IMG_0334.JPG" width="320" /></a></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US" style="font-family: Georgia;">these two pictures are from <i>Soma : guarding
the body</i>, a set of poems made up from various translations of fragments
from the preSocratic philosophers - the prospectus says : 'I first encountered
the preSocratic philosophers in Kathleen Freeman’s translation in the
early 1960s. The poems are derived from several different translations of
the preSocratics, with additions, omissions, alterations and even downright
distortions by the author. While none of my speculations should be attributed
to the translating poets and scholars, I nevertheless dedicate this book to
them, for most of us know little of the beginnings of secular thought in the
West without their labor. The paper is Magnani handmade 160gsm damped for
printing on a Pratt-Albion handpress with Giovanni Mardersteig’s Dante types.
The images are made from brass rules and other type decorations, with some
handwork, especially with hand-wielded rollers, by the author.' Binding
and slipcases by Wolfgang Schaefer. 230x140mm, 48 pages. Edition is 30
copies, 26 of which, lettered A to Z, are for sale. There are still three
copies available.</span><span style="mso-ansi-language: EN-AU;"><o:p></o:p></span></span></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 24px;"><span style="mso-spacerun: yes;"><br /></span></span></span>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWRhj7XGXhlQurHjJOfFg2dJdfdNR_WMUhfvfEn2HGc6i1LRdPjnWMtniK77vi5KQtnMy0aMDzk88tDprLPCWlweW9Jy9lzS19xEluhjvm5JYHVhBQ23KCyOgmeOdxUP-ILRdSxAbWy2w/s1600/IMG_0333.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWRhj7XGXhlQurHjJOfFg2dJdfdNR_WMUhfvfEn2HGc6i1LRdPjnWMtniK77vi5KQtnMy0aMDzk88tDprLPCWlweW9Jy9lzS19xEluhjvm5JYHVhBQ23KCyOgmeOdxUP-ILRdSxAbWy2w/s320/IMG_0333.JPG" width="320" /></a></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 24px;"><span style="mso-spacerun: yes;"><br /></span></span></span>
<!--EndFragment-->ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-5369815716929216722015-05-05T09:25:00.000+10:002015-05-05T10:46:54.446+10:00what's next for Electio<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">there's been something of a hiatus in printing at Electio, occasioned by damage to my shoulders after years of wielding a heavy ink roller & handpress handle turning - right now I am doing gentle exercises & receiving physiotherapological pummelling in order to loosen the shoulders and heal the damage - so I'm planning smaller projects than books, even tho I have two books on the bench to which I am committed - one, a poem by Robert Wood I commissioned last year, and the other, a selection of poems by my friend & mentor of the 1960s George South - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">meanwhile, a suite of prints or broadsides is being prepared - poems are in from Ross Brighton, Marion May Campbell, & Robert Wood, two more are in preparation (I'll announce those when the poems are in), and I may add to it myself - for the broadsides Robert Wood will turn the press's handle for me - the proposal at present is for the broadsides to be available as a boxed set, with some prospect of individual copies also being for sale - the overall edition is likely to be 26 copies, each approx 230 x 305 mm (9 x 12 inches), with a range of papers, types, designs, colors, and some hand-work on all or some of the prints by Miriam Morris - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKss91f_WodmzumB42FVtMCOqGYfONEVLSBCvnSFAOWBQTMQ-oXsUHtp0bFR8n4a0B05wnt39BIOR3l7OIdmLAgYeGVOpUahdWcvOErp1eKQPvLAaqPZF083EhnY18volVr9BLJ3VQWLU/s1600/IMG_0340.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKss91f_WodmzumB42FVtMCOqGYfONEVLSBCvnSFAOWBQTMQ-oXsUHtp0bFR8n4a0B05wnt39BIOR3l7OIdmLAgYeGVOpUahdWcvOErp1eKQPvLAaqPZF083EhnY18volVr9BLJ3VQWLU/s320/IMG_0340.JPG" width="320" /></a></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">as part of my thinking about how I might usefully 'down-size', as the saying goes, I have ordered a few sheets of papyrus (yes, made in Egypt) to see what other prospects can be in store - and it has only just occurred to me to wonder if the printerly fascination with Zerkall Nideggen paper (see picture above), with its very visible laid and chain lines and darkish tan color is in part due to a sort of historical memory of the texture & color of papyrus, upon which so much of the original western literary & philosophical heritage was written - after years of messing around on the edges of Ancient Greek material, I started formal study of the language at Melbourne University this year, and 'I wouldn't be surprised' (as Archilochos said after seeing what seems to have been a solar eclipse), if I began writing poems in Greek - and wouldn't it be great to be able to print something that looked like this, from Callimachos (taken from Wikipedia) classified as an 'Elegy, Aitiological poetry' - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFRstbqXf__jqqkH8S20bkacmHHWrL5_VhCpVd2QOD4cHAKax6tLHPI3jy3ei_pQQ4tRwiMuhZori1YdH3vIjxmw4uV-XKovBP6QaXFFmIqkRTJ0exuKNf4A6oD4mluToUb8o5KysbIw4/s1600/Callimachos,Aetia640px-P.Oxy._XI_1362.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFRstbqXf__jqqkH8S20bkacmHHWrL5_VhCpVd2QOD4cHAKax6tLHPI3jy3ei_pQQ4tRwiMuhZori1YdH3vIjxmw4uV-XKovBP6QaXFFmIqkRTJ0exuKNf4A6oD4mluToUb8o5KysbIw4/s320/Callimachos,Aetia640px-P.Oxy._XI_1362.jpg" width="215" /></a></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-89261789097584435032015-04-28T12:16:00.002+10:002015-04-28T12:16:33.751+10:00stocktaking 4<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR0w5PACCk8ff_spCaruG2KaPNqmCqDWaII77fIbSBjr8OPG0pXiWw8zdV1iFLpZdLRWXeLuQslUfb9Buh0IZzwstNFZ8w4q-_wvcZ10dsAq7mLyKjHgCN-Sbl9vzqTpN9luQ_Cj1DHJM/s1600/IMG_0313.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR0w5PACCk8ff_spCaruG2KaPNqmCqDWaII77fIbSBjr8OPG0pXiWw8zdV1iFLpZdLRWXeLuQslUfb9Buh0IZzwstNFZ8w4q-_wvcZ10dsAq7mLyKjHgCN-Sbl9vzqTpN9luQ_Cj1DHJM/s1600/IMG_0313.JPG" height="240" width="320" /></a></div>
<br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">another nice photograph by Bruno Leti, in this case of <i>Mouseion Museum</i>, in just 15 copies with 12 for sale - there is one copy left - the poem is made up from passages in my <i>The books to come</i> (<a href="http://cuneiformpress.com/">Cuneiform Press 2010</a>) - it's on Cave handmade paper, printed in silver at the Pratt-Albion handpress, with Dante, Libra, & Open Kapitalen types - the image is made with brass rules on loan from Otakou Press at University of Otago, New Zealand - and the book is 170 x 130 mm in a blue cloth-covered box - I like the way the shifting colors of the paper alter the colors of the type, and each page is colored differently from page to page and copy to copy - it is I think one of the most condensed accounts of my own engagement with words, with the poem, and with the book I have put together - here's another poem from the work - </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> the muses as</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> THE LIBRARY</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> THE BOOKS</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> wherever they are</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> a library which has</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> no opening</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> or closing hours</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> that we never visit</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> and never leave</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> in which we inevitably</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> READ</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> &</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> WRITE</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-85424577804174826742015-04-24T08:34:00.000+10:002015-04-24T08:34:20.466+10:00stocktaking 3<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmka57HzkqJ6hjq-Y5jcSMjyIc_bCQM84iHE_xzLxMNCHu68Ico5CEKQJvoX4K_6-582N1swU8bINzoGCNlZHmgzRHUUnLoUZGdvMnC11YB0ytyIIzZniBTbGuWCLtrk9z3r5cKDYYVkw/s1600/IMG_0319.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmka57HzkqJ6hjq-Y5jcSMjyIc_bCQM84iHE_xzLxMNCHu68Ico5CEKQJvoX4K_6-582N1swU8bINzoGCNlZHmgzRHUUnLoUZGdvMnC11YB0ytyIIzZniBTbGuWCLtrk9z3r5cKDYYVkw/s1600/IMG_0319.JPG" height="240" width="320" /></a></div>
<br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">a spread from <i>Heart Sutra</i>, issued in 2009 - a response to being caught up in this most extraordinary of Buddhist Sutras, one of the toughest documents in the philosophical canon - I first read it in the mid-1960s in the translation & commentary of Edward Conze, a little book with both the Heart and the short form of the Diamond (or the 'Diamond cutter') Sutras - as with a number of works that are primary for me as a writer/thinker I had wanted to print <i>Heart Sutra</i> for many years, but was held back by having no qualifications for doing so, and it always seemed to me that reproducing a version that was still commercially available didn't make a lot of sense - when I later found that there were many versions of the work, most of which were translated and on-line, I wondered whether a kind of crib might be possible by comparing every translation I could find - the job was compounded by there being a number of 'originals', versions in a number of other languages that had been made centuries ago - I eventually had about 15 of them spread out on the desk - roughly, what I did was to strip (some of the versions were somewhat flowery in their language & the amount of religious reference they contained) everything that seemed to me to be unessential to the core of the work, to see if it were possible to show a writing that could be read, understood, and accepted by even the most rabid atheist - even so, I wanted to personally be in the background, my name's not on the titlepage, a way of saying that the work chose me, not the other way round, and there is no black ink in the book at all - the poem is printed in silver - there is one copy for sale - the photo was taken by Bruno Leti - </span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.comtag:blogger.com,1999:blog-5842395518093863372.post-30137845607656053212015-04-21T08:32:00.000+10:002015-04-21T08:32:09.839+10:00Crankhandle's launch date<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROdUA9gl06S1UwgogtDscaxs9CxK3HwiQEHVWlTna4ZJXkdiQuhU1uqmfR0I1qFB_lQBuaupJvgyLcoyrEsvroOdq61NpOh7jcXs5WjfT5Wab6CYBnRJWvMOWCTgXi07AT0gmRv5dMWY/s1600/unnamed-9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROdUA9gl06S1UwgogtDscaxs9CxK3HwiQEHVWlTna4ZJXkdiQuhU1uqmfR0I1qFB_lQBuaupJvgyLcoyrEsvroOdq61NpOh7jcXs5WjfT5Wab6CYBnRJWvMOWCTgXi07AT0gmRv5dMWY/s1600/unnamed-9.jpg" height="224" width="320" /></a></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">my first commercially produced book of poems since 2008 will now be launched on Wednesday 6 May, 6pm, at Collected Works Bookshop, 1st floor, Nicholas Building, Swanston St, Melbourne - it will share billing with 3 other books, all part of a new venture of poetry book publishing by Cordite Books Inc, publishers also of the online magazine <i>Cordite</i> - the launch will be done by Justin Clemens, and poems will be read from all four books - I will read from <i>Crankhandle</i>, John Hawke from his <i>Aurelia,</i> Tony Birch from Natalie Harkin's <i>Dirty Words, </i>and Lisa Gorton from Ross Gibson's <i>Stone Grown Cold - </i>I understand the latter 'substitutions' are because those poets don't live in Victoria, and won't be present at the Melbourne event - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">because this blog is also bookish in other senses, I'll quote here from <i>Crankhandle</i>, which is subtitled 'Notebooks', two bits quoted from others in the text - </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Dan Carr : 'the process of craft - the transformation</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> of materials - is a process of discovery of</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> previously unknown or unseen aspects of</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> existence'</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Kathy Walkup : 'the book is a public place'</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and while I'm at it, here's the epigraph to the work, a gritty reminder of the sheer fact of historical forgetting occasioned by the advent of the computer & its masking of the means of its operation, from Rochelle Altman -</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i> in antiquity, people knew the meaning and relevance</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i> of every component of a writing system</i></span>ALAN LONEYhttp://www.blogger.com/profile/04652531391095013928noreply@blogger.com