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The Public and Private Life of Books.
edited by Jason Camlot & J.A.Weingarten.
Waterloo, Wilfred Laurier University Press, [may] 2o22. ISBN 978177112568o.
6 x 9, 76 sheets white bond folded to 3o4 pp in 19 signatures of 4 sheets each & glued into plain ivory heavy bond endpapers with 3/4" black cloth appliqué head- & tailbands in 6-1/4 x 9-1/4 straw cambric-covered boards printed black letterpress spine only, interiors all except 7 pp printed black offset, in matte PVC white dustjacket with 3-7/8" flaps printed 4-colour process offset recto only.
cover sculpture by Brian Dettmer; photographer unacknowledged.
13 contributors ID'd:
Cameron Anstee, Nicholas Bradley, Jason Camlot, Anna Dysert, Sherrin Frances, Emily Kopley, Alberto Manguel, James Maynard, Linda Morra, Meaghan Scanlon, Andrew Stauffer, Bart Vautour, J.A.Weingarten.
includes:
i) "What is a library? Why do people collect", by [--?--] (front dj flap; prose précis with passing reference to jwcurry)
ii) Private, Public, and Personal Libraries In Situ and in Circulation, by Jason Camlot (pp.1-27; prose in 4 parts & Notes with a paragraph on (iii) below in part
–4. "Unpacking The Personal Library: The Public and Private Life of Books presents" (pp.18-24; curry reference p.24))
iii) jwcurry's Room 3o2 Books: The Small-Press Bookstore as Library and Archive, by Cameron Anstee (pp.21o-226; prose in 5 parts:
–1. "Sometimes at the impetus of small-press agents, sometimes due to scarcity," (pp.21o-211; with quotes by curry from
––a. "dec 98 Carl Spadoni:" (epigraph, p.21o)
––b. Marilyn Irwin reads at VerseFest Volunteer Appreciation w/ jwcurry..., by Rob McLennan (curry quoted in, p.21o))
–2. The Minor Archive (pp.211-214)
–3. Room 3o2 Books (pp.214-219; with quotes by curry from
––a. other indications (p.215)
––b. a bpNichol cyclopœdia B (p.215)
––c. "room 302 books" (p.216)
––d. as random as it'll get (p.216-217, again 217)
––e. The Jwcurry Experience, with Chris Kubsch (2 on p.217)
––f. "dec 98 Carl Spadoni:" (2 on p.218, 2 on 219)
––g. about just the curry section of yr dissertation (2 on p.218)
––h. "jan 99 Carl:" (p.219)
& about curry from
––i. Curvd H&z and Avant-Garde/Small Press Publishing in Canada, by Gregory Betts (p.215; 2 quotes)
––j. "January 28, 1999 Dear John (jw curry)", by Carl Spadoni (2 on p.219))
–4. A Beepliographic Cyclopoedia (pp.219-224; with quotes by curry from
––a. in support of A Beepliographic Cyclopoedia (pp.219-22o
––b. A Beepliographic Cyclopœdia: A Gallery Of Rectos In Progress (p.221)
& about curry from
––c. The Street Passage of Hand Print, by Nicky Drumbolis (p221, via Rob McLennan's Not Exactly Two Cents Worth: jwcurry's 1cent))
–5. NOTES (pp.224-226))
iv) "In My End Is My Beginning": The Library as Heraclitean Archive, by J.A.Weingarten (pp.227-238; references curry p.233)
v) Bibliography, compiled by [the editors?] (pp.239-256; includes 11 references to curry pp.24o (Betts), 242 (curry), 248 (Kubsch), 25o (McLennan))
A Bibliophilography from stock.
by Nicky Drumbolis.
Toronto, Letters Bookshop, 14 january 1992. 56 copies issued as List 91 in 3 variants, ISBN o-921688-o3-2:
a) 3 proofs (uninspected)
b) 3 "dedicatee" copies marked "o/s" (uninspected)
c) 5o copies numbered in red ink at colophon rear as decribed below.
5-7/16 x 8-3/8, 92 sheets tan xerographic bond perfectbound with plain salmon xerobond endpapers into plain dark-flecked grey byronic brocade card covers in mauve xerobond dustjacket with 2-7/8" flaps pasted down inside covers, all except inside & rear covers, front flap & 2 pp (4, last) printed black photocopy with 3-1/2 x 7-9/16 tan xerobond broadside printed black photocopy laid in (9 copies thus).
9 other contributors:
Nelson Ball, Vaughn Bode, Barbara Caruso, Victor Coleman, jwcurry, Jack David, bpNichol, Brad Robinson, Janeen Vanden Berg.
curry inclusions:
i) "well, now i've gone & done" (entire 1st page quoted in full (see also (v) below)
bibliography in 7 parts prefaced with "thanks to jwcurry & stan dragland" includes further references to curry (all bibliographical descriptions by Drumbolis) in:
ii) Separate Publications (part A in 35 parts with curry references in parts
–27. METAMORPHOSIS (curry as publisher)
–32. FORCE MOVEMENTS (quotes curry's colophon "2nd edition, slightly revised, of 15o copies" in full in text & comments "Produced by jwcurry (whose persistence encouraging the author's return to print must be credited partly responsible for the consequent resurgence to publication).")
--34. CELEBRATION (curry as publisher))
iii) Periodicals Contributed to (part C in 67 parts with curry references in parts
--66. 1cent 271 (curry as editor)
--67. 1cent 274 (curry as editor))
iv) Edited Publications (part E in 79 parts with references to curry's notes toward a beepliography in part
–75. KONFESSIONS ON AN ELIZABETHAN FAN DANCER)
v) ABOUT (part G in introduction & 43 parts with curry references in part 43, 1cent 271, & substantial further quote from (i) above, including an embedded quote from curry's to the reviews editor)
In April 1970, during the glory days of the Apollo space program, NASA sent astronauts Jim Lovell, Jack Swigert and Fred Haise on America’s fifth mission to the moon. Only fifty-five hours into the flight of Apollo 13, disaster struck. A mysterious explosion rocked the ship, and soon its oxygen and power began draining away. Commander Lovell and his crew watched in alarm as the cockpit grew darker, the air grew thinner, and the instruments winked out one by one.
In “Lost Moon,” Lovell and coauthor Jeffrey Kluger tell the full story of the moon shot that almost ended in catastrophe. What begins as a smooth flight is transformed into a hair-raising voyage from the moment Lovell calls out, “Houston, we’ve got a problem.” Minutes after the explosion, the astronauts are forced to abandon the main ship for the lunar module, a tiny craft designed to keep two men alive for just two days. But there are three men aboard, and they are four days from home.
As the hours tick away, engineers on Earth search desperately for solutions. The entire nation watches as one crisis after another is met and overcome. By the time the ship splashes down in the Pacific, we understand why the effort to rescue Lovell and his crew is considered by many to be NASA’s finest hour. “Lost Moon” was the basis for the 1995 movie “Apollo 13” directed by Ron Howard and starring Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise and Ed Harris.
Lieutenant Thomas Currie 'Diver' Derrick, VC, DCM
Date of birth: 20 March 1914
Place of birth: Adelaide, SA
Date of death: 24 May 1945
Place of death: Tarakan Island, Borneo
Thomas Derrick was born on 20 March 1914 in Adelaide. He was the eldest son of David Derrick, a labourer, and his wife Ada. The Derricks were not well off and Tom often walked barefoot to attend primary school. He left school at 14, by which time he had developed a keen interest in sports. During the depression he subsisted on the proceeds of odd jobs; fixing bicycles, selling newspapers and working in a bakery. In 1931 he travelled to Berri, on the Murray River, looking for work which he eventually found in a vineyard at Winkie. He remained there for the next nine years.
He married Beryl Violet Leslie in 1939 and enlisted in the Australian Imperial Force on 5 July 1940. Derrick embarked for the Middle East with the 2/48th Battalion and soon proved himself to be an excellent soldier, gaining promotion to corporal while his unit was in Tobruk. In July 1942 he was awarded the Distinguished Conduct Medal for his bravery and leadership at Tel el Eisa. At the end of that month Derrick was promoted to sergeant. By October his unit was in action at El Alamein, where he again served with distinction.
Derrick's unit returned to Australia in February 1943, training in north Queensland and Papua before helping to capture Lae in September. In November the 2/48th were in action at Sattleberg, overlooking Finschafen. Fighting amidst rugged terrain and under heavy fire from Japanese machine guns, Derrick performed the feat that earned him the Victoria Cross. Scaling steep cliffs, under fire, hurling grenades and using his rifle he cleared ten machine gun posts, making possible the capture of Sattleberg.
The 2/48th returned to Australia in February 1944 and in August Derrick was posted to an officer training unit. He was commissioned as a lieutenant in November. On 1 May 1945 he took part in the landing at Tarakan, Borneo. Later that month he led his platoon against a heavily defended position code-named Freda, gaining all but the highest knoll. That night a Japanese machine gun fired into the Australian lines. As he sat up to check that his men were all right, Derrick was hit by five bullets from the gun's second burst. He had been lightly wounded before, but recognised that this time his wounds were mortal. He died on 24 May 1945 and was buried in Labuan War Cemetery. A superb soldier, Derrick has also been described as a sensitive and reflective man - widely respected in the AIF he remains one of its better-known figures.
DICTIONARY OF BIOGRAPHY
Thomas Currie (Tom) Derrick (1914-1945), vineyard worker and soldier, was born on 20 March 1914 in the Salvation Army hospital at Medindie, Adelaide, eldest son of David Derrick, a labourer from Ireland, and his native-born wife Ada, née Whitcombe. The Derricks were battlers. Tom walked, often barefooted, to two primary schools in succession—Sturt Street Public School in the city and Le Fevre Peninsula School, Port Adelaide. He left school as soon as he could, aged 14. By then he was a bit of a larrikin around the Port, venturesome and quick-witted, keen on boxing, Australian Rules football, cricket and gambling. During the Depression his cheeriness found him odd jobs, fixing bikes, selling newspapers and working for a local baker. Early in 1931 he and some mates rode their bikes about 140 miles (225 km) to Berri, on the Murray River, chasing work. 'Diver', as he was now nicknamed, did long spells in the local 'susso' camp, once living on grapes for a week, but in late 1931 talked his way into work on a vineyard at Winkie. He stayed nine years.
In the presbytery of St Laurence's Catholic Church, North Adelaide, on 24 June 1939 Derrick married Clarance Violet ('Beryl') Leslie. As with C. J. Dennis's Ginger Mick, whom in peace and war Derrick so much resembled, marriage gave his life a more serious purpose. He did not volunteer for the Australian Imperial Force until 26 June 1940 and enlisted on 5 July. Although never overtly religious, he became a convert to Catholicism (his wife's religion) in early 1945. When Tom was at the war, Beryl walked almost every day to the post office, hoping for news of him.
On 17 November 1940 Derrick had embarked for the Middle East with the 2nd/48th Battalion, which was to be the most decorated unit in the A.I.F. In that distinguished company Derrick was outstanding. At Tobruk, Libya (April to October 1941), his enthusiasm and aggression in patrolling enemy positions brought him promotion to corporal, and he was probably recommended for a Military Medal on 1 May 1941. An officer at this time described him as 'resourceful, brave, aware, humane, forever bending over backwards for his men'.
At Tel el Eisa, Egypt, on 10-11 July 1942 Derrick ran forward through a barrage of grenades, destroyed three machine-gun posts and captured over a hundred prisoners. He then inspired the defence against a counter-attack, wrecking two tanks with sticky grenades. Awarded the Distinguished Conduct Medal, he was promoted sergeant on 28 July. At El Alamein in late October he showed his customary leadership and daring during a week of violent battle. Only forty-one of his battalion still stood at the end of that week, and Diver had been slightly wounded, but he destroyed three more machine-gun posts, and those who saw him were certain he had earned a V.C.
The 2nd/48th returned to Australia in February 1943 and trained in North Queensland and Papua before helping to capture Lae, New Guinea, in September. By 24 November the battalion was attacking the heights of Sattelberg, overlooking Finschhafen. Late that afternoon, while leading the advance platoon, Derrick confronted an almost vertical slope of thick jungle hiding Japanese machine-guns, and above that an open patch stretching menacingly 100 yards (91 m) towards the crest. Diver was told to withdraw, but he decided to go on. Covered by his mates, he scrambled hands and feet up the cliff, hurling grenades into enemy posts and clearing them out with his rifle. Even in peacetime the climb is barely possible, yet Derrick cleared ten machine-gun posts, stopping just short of the crest as dusk fell. It was one of the most astonishing feats of the war. He was awarded the V.C. (22 March 1944). In North Africa he had remarked that his D.C.M. had come in a Comforts Fund parcel; now he said that his achievement was due mainly to his mates.
In February 1944 the 2nd/48th again returned to Australia, and in August Derrick was posted to an officer-training unit. On being commissioned lieutenant in November, he became one of the few second A.I.F. men promoted from the ranks who rejoined their old battalions. On 1 May 1945 the 2nd/48th took part in the landing at Tarakan, Borneo, and soon pushed inland. On the 22nd/23rd Derrick led his platoon against a small hill, code-named Freda, thick with enemy defences. His skill and courage that day might easily have won him another V.C., but by night the enemy still held the highest knoll. Derrick spread out his men, then lay down on the jungle track to rest. At about 3 o'clock next morning a Japanese light machine-gun, on a fixed line, fired a burst down the track. Diver sat up to see that his men were O.K., the gun fired again, and five bullets caught him in an arc from his left hip to his right chest. He lay back quietly, and, after a time, said to a mate, 'I've had it. That's that. Write to Beryl'. He continued to direct operations until mid-morning. Then they carried him back, his grin and his courage never deserting him. He died on 24 May 1945 and was buried in Labuan war cemetery, plot 24, row A, grave 9. His wife survived him. (Sir) Ivor Hele's portrait of Derrick is held by the Australian War Memorial, Canberra.
Derrick looked the archetypal digger: a fine photo of him on the dustjacket of Allan Dawes's 'Soldier Superb' (Sydney, 1944) became one of the best-known Australian images of the war. It shows a man fit, strong and stocky (he was 5 ft 7 ins [170 cm] tall), a deep tan matching his dark hair, a cocky grin stoking the laughter lines around his brown eyes. It suggests both the larrikin and the professional, both the man who stuck by his mates and the born leader. It leaves unstated the man with such brilliant tactical judgement, such concern for his men, such modesty, such courage, such flair for being a soldier. It does not reveal the man who collected butterflies, who wrote poetry and kept a wartime diary, who liked rhyming slang. It does not say that here is one of the finest fighting soldiers of the war.
Derrick displayed the most fearless bravery throughout four years of battle. When he might honourably have quit the field he insisted on going back. Very few soldiers can compare with him. War gave him distinction, but he gave life honour. He was an extraordinary man.
LONDON GAZETTE
Government House, Canberra.
2yd March, 1944.
AUSTRALIAN MILITARY FORCES.
The KING has been graciously pleased to
approve the award of the VICTORIA CROSS
to: —
Sergeant Thomas Currie Derrick, D.C.M.,
• Australian Military Forces.
For most conspicuous courage, outstanding leadership and devotion to duty during the final assault on Satelberg in November, 1943.
On 24th November, 1943, a company of an Australian Infantry Battalion was ordered to outflank a strong enemy position sited on a precipitous cliff-face and then to attack a feature 150 yards from the township
of Satelberg. eant Derrick was in command of his platoon of the company. Due to the nature of the country, the only possible approach to the town lay through an open kunai patch situated directly beneath the top
of the cliffs. Over a period of two hours many attempts were made by our troops to clamber up the slopes to their objective, but on each occasion the enemy prevented success with intense machine-gun fire and
grenades.
Shortly before last light it appeared that it would be impossible to reach the objective or even to hold the ground already occupied and the company was ordered to retire. On receipt of this order, Sergeant Derrick, displaying dogged tenacity, requested one last attempt to reach the objective. His request was granted.
Moving ahead of his forward section he personally destroyed, with grenades, an enemy post which had been holding up this section. He then ordered his second section around on the right flank. This section came under heavy fire from light machine-guns and grenades from, six enemy posts. Without regard for personal safety he clambered forward well ahead of the leading men of the section and hurled grenade after grenade, so completely demoralising the enemy that they fled leaving weapons and grenades.
By this action alone the company was able to gain its first foothold on the precipitious ground.
Not content with the work already done, he returned to the first section, and together with the third section of his platoon advanced to deal with the three remaining posts in the area. On four separate occasions'he dashed forward and threw grenades at a range of six to eight yards until these positions were finally silenced.
In all, Sergeant Derrick had reduced ten enemy posts. From the vital ground he had captured the remainder of the Battalion moved on to capture Satelberg the following morning.
Undoubtedly Sergeant Derrick's fine leadership and refusal to admit defeat, in the face of a seemingly impossible situation, resulted in the capture of Satelberg.
His outstanding gallantry, thoroughness and devotion to duty were an inspiration not only to his platoon
and company but to the whole Battalion.
Edgar Rice Burroughs creates an entire culture for a vast planet – many races, many peoples, strange plants and stranger creatures, an entire Martian history stretching back through eons of time . . . with scientific inventions that are only dreamt of in our own world. John Carter, a Virginian soldier, is the hero of Burroughs’ Barsoom (or Mars) series.
In “Llana of Gathol” John Carter is captured by the evil inhabitants of Horz and banished to the slave pits under their city. To his astonishment, he discovers the remnants of a lost race – hundreds of gorgeously appareled men and women, frozen for thousands of years in suspended animation. Also in the dark pits is Llana of Gathol, an exquisite beauty held prisoner by the loathsome madman who rules the caves. To free himself, the girl, and the forgotten race of living dead is a challenge only Carter’s wits and bravery can meet.
In “John Carter of Mars,” the last book in the famous series, the mighty Warlord of Barsoom is lured to a desolate land where he must single-handedly face a synthetic giant and hordes of great white apes brain-controlled by arch-nemesis Pew Mogel.
[From the blurb on the dustjacket]
-----------------------------------------------
Artist Richard Corben was born on October 1, 1940, in Missouri, and grew up in Sunflower, Kansas. He studied at the Kansas City Art Institute and worked as an animator and cameraman for an industrial film company. He started drawing underground comics and fanzines in the late 1960s and early 1970s, and soon became known for his horror and fantasy stories. He also drew for Warren Publishing's magazines Creepy, Eerie, and Vampirella.
Corben gained international fame when his comics were published in the French magazine Métal Hurlant and its American counterpart Heavy Metal. His most famous creation was Den, a muscular hero who explored a strange world in the nude. Corben also adapted stories by Robert E. Howard, Edgar Allan Poe, H.P. Lovecraft, and others. He won several awards, including the Spectrum Grand Master Award, the Grand Prix at Angoulême, and the Will Eisner Award Hall of Fame. He died on December 2, 2020, at the age of 80. [Source: Wikipedia]
Canadian Poems for Children.
edited by David Booth.
4th printing. Toronto, Kids Can Press Limited, "1989" [ie 1992?]. ISBN o-9211o3-9o-5.
6-15/16 x 9, 24 sheets white claycoat folded to 96 pp in 6 signatures of 4 sheets each, sewn pearl white in 7 double stitches & glued into 7-1/4 x 9-1/4 glossy PVC white bond-covered boards, all printed black offset with 3-colour process additions to all but 5 pp (8, 25, 29, 92, 93), in 7-3/8 x 9-1/4 glossy PVC white semigloss dustjacket with 3-11/16 & 3-1/2" rear flaps, printed 4-colour process offset recto only.
cover graphic by Kady MacDonald Denton.
56 contributors ID'd:
Milton Acorn, Margaret Atwood, Sandra Bogart, David Booth, Arthur S.Bourinot, Dionne Brand, Harriet Cooper, Anne Corkett, Shirley Daniels, Diane Dawber, Kady MacDonald Denton, John Paul Duggan, Dorothy Farmiloe, Sheree Fitch, Dan George, Elizabeth Gourlay, Emily Hearn, Robert Heidbreder, A.M.Klein, John Lane, Dennis Lee, Jean Little, Dorothy Livesay, Joanne Lysyk, Marguerite Mack, Brian MacKinnon, Carolyn Mamchur, Sol Mandlsohn, Sid Marty, Floris Clark McLaren, Florence McNeil, William H.Moore, Colin Morton, Susan Musgrave, Fran Newman, bpNichol, Alden Nowlan, Sean O'Huigin, Nancy Prasad, James Reaney, Duke Redbird, Joe Rosenblatt, Lois Simmie, Norene Smiley, A.J.M.Smith, Raymond Souster, Ken Stange, Myra Stilborn, Siobhan Swayne, George Swede, Harry Thurston, Miriam Waddington, Jane Wadley, Jon Whyte, Tim Wynne-Jones, Meguido Zola.
Nichol inclusion:
i) A path to the moon (p.21; poem, 24 lines)
also includes:
ii) [untitled graphic], by Kady MacDonald Denton (pp.2o/21; illustrates both Jon Whyte's Coyotes at left & Nichol's A path to the moon at right)
___________________________
as 3rd edition but with redesigned logo & colophon after Nelvana bought Kids Can
THE RISE AND FALL OF LEA HINDLEY-SMITH'S PSYCHOANALYTIC COMMUNE.
by Grant Goodbrand.
Toronto, ECW Press, [october] 2o1o. ISBN 978-1-55o22-976-9.
6 x 9, 136 sheets ivory bond & s white claycoat perfectbound with 3/4" red & yellow appliqué head~ & tailbands into plain cream heavy bond endpapers & 6-1/4 x 9-5/16 dull blue coarse linen-textured paper-covered boards printed silverfoil letterpress spine only, all except 14 pp printed black offset, all claycoat with 3-colour process additions, in 6-3/8 x 9-5/16 matte PVC white claycoat dustjacket with 3-7/8" flaps printed 4-colour offset recto only.
photography by Andy Phillips.
cover deisgn by Gord Robertson.
bpNichol "contributes":
i) "No path but the true path (p.9; poem, 14 lines, part of Ad Sanctos as epigraph to (viii) below)
ii) "it is the soft green growing things" (p.61; poem, 8 lines mislineated as epigraph to (xi) below)
iii) "a praise song on the theme of unity" (p.193; lyrics, 18 lines as epigraph to (xxxii) below)
iv) Winter: 35th year (p.211; poem, 16 lines, as epigraph to (xxxiii) below)
v) INSPIRED BY THE MONDAY MORNING SEMINAR, MARCH 23, 1981 (p.222; poem, 8 lines; quoted in full in (xxxiii) below)
vi) For Robert Duncan (p.247; concrete poem in full as epigraph to (xxxv) below)
also includes:
vii) In the foreground, in the mid-'7os, are Barrie Nichol and Robert Hindley-Smith, who were vice-president and president of Therafields respectively., by Andy Phillips (colour photograph, group portrait; rather severe crop at top center of front cover, in full p.i of photo section)
viii) CREATING CHARISMA (pp.9-33; prose, part 1, with epigraph by Nichol ((i) above) & references to Nichol pp.9-1o, 12-14, 15)
ix) GROUPS (pp.35-45; part 2, with epigraph by Nichol from "four hours monday in the sun to ottawa", lines 18-26 (the martyrology book 3))
x) THREE STREAMS (pp.47-59; part 3, with epigraph by Nichol from "now that it's over", lines 6-18, & reference to Nichol p.59)
xi) THE HONEYMOON (pp.61-72; part 4, with epigraph by Nichol ((ii) above) & references pp.66-67)
xii) THE FARM (pp.73-8o; part 5, with epigraph by Nichol from "carrots onions celery potatoes", lines 14-16 (with errant initial cap))
xiii) LEA'S MAKEOVER (pp.81-9o; part 6, with epigraph by Nichol from "who lives in anger", lines 11-18)
xiv) CONFRONTATION (pp.91-1o2; part 7, with epigraph by Nichol from
––1. "who is it in this other room i've found", lines 8-9
––2. "measure friendship by the time it takes to grow", lines 1-3 (grafted to the above as if it was part of the same poem) & references pp.92 (with a quote from
––3. [unidentified prose text published in Therapost]), 93-94, 97)
xv) CREATING THERAFIELDS (pp.1o1-115; part 8, with epigraph by Nichol from "is nothing but a history", lines 6-12, with references pp.1o5, 1o6 ("Everyone on occasion, diustrusted Lea, Rob or Visvaldis, but not Barrie."), 11o, 113)
xvi) THERAPY (pp.118-127; part 9, with epigraph by Nichol from "i do not remember what i could remember, lines 1-2o (leaving off only the last 3 lines))
xvii) From left to right: Grant Goodbrand, Gregory Baum, Josephine Hindley-Smith, Barrie Nichol and Janet Griffiths–an original member of Hypno 1., by Andy Phillips (b&w photograph, group portrait, p.11 of photo section)
xviii) The men of the house group at 477 Brunswick Ave. celebrate Christmasnof 1964, together with three guests., by Andy Phillips (colour photograph, group portrait of 9 includes Nichol, p.iii of photo section)
xix) Taken in September of 1971.", by Andy Phillips (colour photograph, group portrait includes Nichol (& Paul Dutton & Steve McCaffery from the rear) in performance with Four Horsemen, p.xiii of photo section)
xx) The wedding of Sharon MacIsaac and Philip McKenna., by Andy Phillips (colour photograph, group portrait includes Nichol, p.xiii of photo section)
xxi) Barrie Nichol in 1965., by Andy Phillips (colour photograph, portrait, p.xiv of photo section)
xxii) The Four Horsemen performing in the pit at the farm during the early '7os., by Andy Phillips (colour photograph, group portrait of Steve McCaffery, Paul Dutton, bpNichol, Rafael Barreto-Rivera, p.xiv of photo section)
xxiii) A singsong around the piano at a party in the mid-'7os., by Andy Phillips (colour photograph, group portrait includes Nichol, p.xiv of photo section)
xxiv) bpNichol and Josephine Hindley-Smith standing in the foyer of the Willow beside a painting of Jeroime McNichol during the party to celebrate Barrie winning the Governor General's Award for Poetry or Drama., by Andy Phillips (colour photograph, group portrait, p.xiv of photo section)
xxv) The wedding of Sharon McIsaac and Philip McKenna at the 59 Admiral Rd. house group in 1977., by Andy Phillips (colour photograph, group portrait includes Nichol, p.xiv of photo section)
xxvi) A group portrait of the Character Analysis Group, together with some members of Hypno 1, taken at the Willow in 1974., by Andy Phillips (b&w photograph, group portrait includes Nichol, p.xvi of photo section)
xxvii) THE HEART AND SPIRIT OF THE COMMUNITY (pp.129-141; part 1o, with epigraph by Nichol from
––1. "early morning victoria's streets", lines 9-18 mislineated, with references pp.13o, 132, 135 (passing reference to Four Horsemen), 138 (quotes from
––2. Therafields, by Lea Hindley-Smith, Stan Kutz, Philip McKenna & bpNichol))
xxviii) LEA'S FULFILLMENT (pp.143-152; part 11, with quotes by Nichol from
––1. "we gather round to talk at night (as epigraph, lines 1-9, 19-22 (errant line 2o), 29-31 (grafted to 22 with no ellipsis))
––2. An Introduction to Communications Therapy, by Lea Hindley-Smith, Stan Kutz, Philip McKenna, bpNichol (pp.145-146)
& reference p.149)
xxix) BETRAYAL (pp.153-164; part 12, with epigraph by Nichol from "you told me not to mention it & dave did", lines 5-8, with reference p.153)
xxx) THE END OF THE SIXTIES (pp.165-177; part 13, with quotes from
––1. "this morning talking with grant rob gestures at the snow", by bpNichol (lines 1-6 as epigraph)
––2. "The minutes of the advisory board, April 7, 1976", by [anonymous] (quote references Nichol, p.172)
––3. "the Advisory Board meeting on April 14, 1976", by [anonymous] (quote references & quotes Nichol from discussion, p.173)
with further references pp.171, 175, 176-177)
xxxi) THE OPPOSITION TO COMMUNITY (pp.179-192; part 14, with epigraph by Nichol from "saint orm you were a stranger", lines7-19 (slightly mislineated), with references pp.18o, 182)
xxxii) DECLINE (pp.193-2o9; part 15, with quotes from
––1. "a praise song on the theme of unity" ((iii) above as epigraph)
––2. "interview", by Grant Goodbrand & Jim Healy (Healy references Nichol, p.197)
& references pp.196-197 (to Nichol's A Brief Introduction to The Summonsa Tapestries for the Easily Defective (on Lea Hindley-Smith)), 2o2, 2o5-2o6)
xxxiii) THE DEATH OF IDEALISM (pp.211-23o; part 16, with quotes by Nichol from
––1. Winter: 35th year (p.211, see (iv) above)
––2. [unidentified article in Therapost, june 1979] (pp.213-214)
––3. [unidentified article, july 198o] (pp.22o-221)
––4. INSPIRED BY THE MONDAY MORNING SEMINAR, MARCH 23, 1981 (p.222 (see (v) above)
& references pp.212, 214, 217, 223, 224, 226, 227, 229)
xxxiv) A DOUBLE LIFE (pp.231-245; part 17, with reference to Nichol p.232)
xxxv) PRAYERS FOR THE DEAD (pp.247-256; part 18, with epigraph by Nichol ((vi) above) & reference p.249, 252-253, 256)
xxxvi) Acknowledgements (pp.257-258; reference to Nichol p.258
my first blurb book is a collection of photographs of rome, venice, cinque terre and florence.
hardcover with dustjacket
standard landscape 10x8
160pages
by Richard Truhlar. [Toronto], Curvd H&z, [23] august 1984. 1oo copies issued as Curvd H&z #289 in 2 variants:
a) 9o trade copies (see www.flickr.com/photos/48593922@N04/8953552486/);
b) 1o copies #d & signed in black pencil by Truhlar at colophon rear & jwcurry last page, as described.
approx.3-3/4 x 4-11/16, 7 sheets tan wove folded to 28 pp, all printed black rubberstamp rectos only except last 2 leaves versos only, with 2-3/16 x 1-1/4 yellow kraft title page label printed red rubberstamp, sewn black in 2 doublestitches into plain 4 x 5-1/16 brown wirewove card wrappers with 3-11/16 x 4-11/16 yellow kraft broadside printed red & black silkscreen & mounted en face, in plain 4-1/8 x 5-1/8 clear acetate dustjacket with 7/8" flaps & 6-1/2 x 9-1/2 white kraft envelope with 1-3/8" tapered gummed flap rear, folded in half & printed black rubberstamp flap only.
cover & frontis by jwcurry.
Sound Barrier – The story of high-speed flight, by Neville Duke and Edward Lanchbery 1953.
Neville Duke and Edward Lanchbery were test pilots who flew never-before tested aircraft in the jet age. Before that both as pilots in WW2.
Published by Cassell & Co. London. 118 pages 13cm x19cm with dustjacket.
Obituary of Duke :
www.theguardian.com/news/2007/apr/14/guardianobituaries.m...
Another book by Lanchbery 'Against The Sun' : www.flickr.com/photos/angeljim46/8512826346/in/photolist-...
Frank Clune's 'Try Anything Once - the autobiography of a Wanderer' describes his early years as an adventurer. Clune became a popular writer on Australian adventurers, explorers, bushrangers etc.
Published by Angus & Robinson, Sydney. Brown cloth boards with illustrated dustjacket, 242 pages 13cm x 18cm..
Inscribed to the Australian book collector,Len Woodward.
Okay, so, you asked for it. Right, maybe not you specifically but a couple people other than my mother suggested it might be nice if I offered some of my photos in an easy to take to the bathroom book format.
So, I finally did it.
Hey. I have medical bills to pay. Foot and ankle surgery isn't cheap. Yep, all proceeds will go toward medical bills accrued from my recent (and future) foot and ankle surgery. (The proceeds are minimal - I kept the markup really, really, scarily low because I'm a nice person and because I have self worth issues.)
I selected some of my favorite photos from the past few years on Flickr and published them in an 80 page book. Obviously not all my photos fit into an 80 page book so your favorite might not be in this edition. If anyone buys this I may consider a second/future edition. I put this together primarily during my bed-bound days post-foot surgery. It's looking like I may need another surgery so another edition may happen during that recuperation period. Yep. I put together a book on shoes while I was recovering from foot surgery. Oh the irony.
The inaugural edition is broken into chapters on: Boots, heels, sandals and sneakers. Something for everyone.
There are hardcover and softcover options (two price points). Both cover types are exactly the same with the exception of the dustjacket and binding on the hardcover.
So go on, don't hesitate, order now! It's a perfect gift for that arty weirdo your sister dates or the foot fetishist in your life.
Hannes Bok, 1947.
Dustjacket for John W. Campbell .Jr. 1948 Hardcover.
From A Hannes Bok Treasury, 1993.
Title: The Euphorbia Journal vol. 4;
Authors: various (dedicated to Werner Rauh. Madagascan Euphorbias, Euphorbias of Canary Islands, Succulent Euphorbias of Cape Peninsula of South Africa);
Editor: Strawberry Press, CA, USA;
Edition: first (1987):
Pages: 169 (273 color photos);
Sizes: 7-1/4" x 10-1/2";
Cover: hardbound w/color dustjacket;
ISBN 0-912647-02-3
ISSN 0737-8823
Cover photograph:
A close-up of the cyatha of the Euphorbia hallii.
en.wikipedia.org/wiki/Ralph_Moody_(author)
The Christian Science Monitor said:
"It is as honest writing as one could find. . . a book to make families glad of their closeness and warmer in it."
Sound Barrier – The story of high-speed flight, by Neville Duke and Edward Lanchbery 1953.
Neville Duke and Edward Lanchbery were test pilots who flew never-before tested aircraft in the jet age.
Published by Cassell & Co. London. 118 pages 13cm x19cm with dustjacket.
Grissom's first flight assignment was piloting Liberty Bell 7, which flew a 15-minute, 37-second suborbital hop on July 21, 1961. It was the second manned flight of the single-astronaut Mercury spacecraft, and used explosive bolts on the door so that the astronaut could leave the spacecraft quickly after landing.
The flight proceeded without incident, but when Grissom landed, something prematurely triggered the hatch and caused the door to blow open. Grissom ended up in the water with a sinking spacecraft beside him. The recovery helicopter tried in vain to retrieve Liberty Bell 7 for a few minutes before picking up an exhausted Grissom. (The spacecraft was later retrieved in 1999 and is now on display at the Kansas Cosmosphere and Space Center.)
Title: Secrets de succulentes de Namaqualand;
Author: Florent Grenier;
Publisher: Florent Grenier (auto-edition);
Edition: 1st, January 2019 (1.000 copies);
Cover: soft under dustjacket;
Pages: 352 (1126 color photos);
Format: 24 x 18 cm;
Language: French;
ISBN 979-10-699-3309-5
Nonsense Strategies for Reading Twentieth-Century Poetry.
by Marnie Parsons.
Toronto, University Of Toronto Press Incorporated, [december] 1994. ISBN o-8o2o-2983-3.
5-7/8 x 9, 8o sheets ivory cockle folded to 32o pp in 1o signatures (8 of 8 sheets each between 2 of 4), sewn white in 9 double stitches & glud into plain dark-filamented bright grey cockle endpapers & 6-1/8 x 9-1/4 red-printed white cloth-covered boards printed white heatstamp spine only with approx.1" red & white cloth appliqué head~ & tailbands, interiors all except 12 pp (vi, xiv, xvi, 2, 216, 236, last 3 leaves) black offset, in 6-1/4 x 9-5/16 glossy PVC white claycoat dustjacket printed emerald & burgundy offset recto only
cover unattributed.
12 contributors ID'd:
John Cage, Lewis Carroll, Paula Claire, Edward Lear, Dennis Lee, Daphne Marlatt, Steve MCaffery, bpNichol, Gertrude Stein, Colleen Thibaudeau, Luis D'Antin Van Rooter, Louis Zukofsky.
Nichol "contributes":
i) discarded text for SIX GLASGOW TEXTS, With Steve McCaffery (sound poetry score, p.163; as illustration for (iv:8) below)
ii) IN OUR LIVES. (visual poem [ie the "H" of ABC The Aleph Beth Book]; illustration for (v) below)
iii) WE MUST BE TO FREE (visual poem [ie the "T" of ABC The Aleph Beth Book]; illustration for (v) below)
also includes:
iv) 'as birds as well as words': Nonsense and Sound (prose in 9 parts, pp.12o-164; Nichol referenced parts
–4) 'Akin jabber': Nonsense, Poetry, Rhythm, and the Zukofskys' A (pp.135-146; quoted: Barry Ahearn, Jonathan Albert, John Arthos, Pierre Boulez, John Cage, Randolph Chilton, Guy Davenport, Paul Dutton, Robert Haas, Julia Kristeva, Dennis Lee, Henri Meschonnic, Toril Moi, bpNichol, Bob Perelman, Ezra Pound, George P.Springer, Wallace Stevens, Paul Valéry, Andrew Welsh, James Winn, Celia Zukofsky, Louis Zukofsky; quotes include:
––a. Paul Dutton, bpNichol & The Past-Present of a Future Music (p.139)
––b. bpNichol, The Martyrology Book 5: Chain 4 (lines 429-456, pp.14o-141))
–8) "A New Way to Blow Out Candles': The Nonsense of Sound Poetry (pp.158-164; with illustration by Nichol & Steve McCaffery (see (i) above), Nichol references throughout))
v) 'A Silly Corpse'?: The 'L=A=N=G=U=A=G=E' Poets, Stein, and the Nonsense of Reference (pp.17o-215; Nichol referenced in part
–4. 'The Condition of Its Weirdness': The Shared Materiality of 'L=A=N=G=U=A=G=E' Writing and Nonsense (in 3 parts, Nichol references in part
––b. "ALLITERATION: One of the many 'musical' techniques employed in", pp.184-191; includes 2 visual poems by Nichol as illustrations (see (ii) & (iii) above) & references Nichol in text pp.189 & 233-234)
Stepping onto the deck of the helicopter carrier Iwo Jima, Haise, Lovell, and Swigert wave to cheering sailors before going below for medical exams. According to the original flight plans, the recovery ship should not have expected the astronauts for another four days – after landing at Fra Mauro.
In April 1970, during the glory days of the Apollo space program, NASA sent astronauts Jim Lovell, Jack Swigert and Fred Haise on America’s fifth mission to the moon. Only fifty-five hours into the flight of Apollo 13, disaster struck. A mysterious explosion rocked the ship, and soon its oxygen and power began draining away. Commander Lovell and his crew watched in alarm as the cockpit grew darker, the air grew thinner, and the instruments winked out one by one.
In “Lost Moon,” Lovell and coauthor Jeffrey Kluger tell the full story of the moon shot that almost ended in catastrophe. What begins as a smooth flight is transformed into a hair-raising voyage from the moment Lovell calls out, “Houston, we’ve got a problem.” Minutes after the explosion, the astronauts are forced to abandon the main ship for the lunar module, a tiny craft designed to keep two men alive for just two days. But there are three men aboard, and they are four days from home.
As the hours tick away, engineers on Earth search desperately for solutions. The entire nation watches as one crisis after another is met and overcome. By the time the ship splashes down in the Pacific, we understand why the effort to rescue Lovell and his crew is considered by many to be NASA’s finest hour. “Lost Moon” was the basis for the 1995 movie “Apollo 13” directed by Ron Howard and starring Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise and Ed Harris.
Beneath the Southern Cross, A Story of Eureka by Helen Palmer 1954.
A history of the Australian Goldfields of the 1850s, told through the eyes of a young boy growing up in the goldfields, including the Miners Revolt at the ‘Eureka’ Stockade.
Published by FW Cheshire, Melbourne. Coloured dustjacket over light brown boards 104 pages 19cm x 13.5cm.
This copy signed by the author and includes an inserted handwritten letter from the author to Ian Turner, requesting a loan of a rare book.
Helen Gwynneth Palmer 1917-1979 was an Australian left-wing social activist, teacher and writer. Ian Alexander H. Turner 1922-1978 was also a noted Australian social activist, lawyer and historian.
The Eureka Stockade was a revolt by Victorian miners protesting against the imposition of miner’s licences and other restrictions by the Victorian Government and police troopers. The Stockade, led by a number of Irish miners was brutally put down.
A biography of Helen Palmer is here:
adb.anu.edu.au/biography/palmer-helen-gwynneth-11333
This copy from Ian Turner's library.
Landmark Books were a series of history books published in the 1950's for children. I loved reading them as a kid, but got most of them from the library where the had dull covers without dustjackets. I've been picking some up at thrift shops. I really enjoy the cover art, and since I seem to barely be able to make a dent in my monthly upload limit, I'm sharing them with you.
"Mars eclipses the Sun. From one of the moons of Mars this is what you would see." [Image caption]
About the Author
“Roy Gallant was born in Portland, Maine, and has spent most of his life in New England.
“After graduating from Columbia, he went to work as a staff writer for ‘Science Illustrated’ magazine. This started his interest in science writing. Now he is employed by Scholastic Magazines as managing editor of ‘Scholastic Teacher.’
“He has been writing articles for ‘Boys Life’ magazine since 1950. Among those arousing most reader interest are ‘Birth of the Moon,’ ‘The Missing Planet,’ ’40 Billion Suns,’ and ‘Escape from Earth,’ a series on space travel.
About the Artist
“Lowell Hess comes from Oklahoma and is the oldest in a family of nine children. He is a free-lance illustrator and a member of the Society of Illustrators. His work has been published in most of the major magazines. He now lives in Ossining, New York, with his wife, two beagles, and two cats. His main interests outside his work are early American antiques, sports cars, woodwork, and colonial houses. In fact, at the present time, he is personally restoring a house built about 1790.”
[From the dustjacket]
Dustjacket of the first Dutch edition of James M. Cain's "The Postman Always Rings Twice" in the translation of J.C. Bloem. Karavaan series (Boucher) #3, 1935.
London: Allen Lane/The Penguin Press, [2001]. First edition. Hardback, cloth with pictorial dustjacket. ISBN 071399455X. 325 pages. Condition 325g.
Ryszard Kapuscinski, the celebrated Polish journalist, first arrived in Africa in 1957, the year of Ghana's independence, and the year which marked the beginning of the end of colonial rule throughout the continent. "Then, over the next forty years, I returned whenever the opportunity arose. I travelled extensively. I avoided official routes, palaces, important personages, and big politics. Instead, I preferred to hitch rides on passing trucks, wander with nomads through the desert, be the guest of peasants from the tropical savannah ... This is therefore not a book about Africa, but rather about some people from there; about encounters with them and time spent together.' So although The Shadow of the Sun contains unforgettable, first-hand accounts of the main political events in Africa over nearly half a century - the civil war in Monrovia, the coup in Zanzibar, the genocide in Rwanda, the apparently endless war in Sudan - and many insights into the reasons why African politics takes the course it does, these are not the main impressions with which the reader leaves this extraordinary book. Kapuscinski shows how completely foreign the African frame of mind is to the European, how completely differently Africans conceive of time, the past and the family, how completely in thrall most of Africa's inhabitants are to nature's dominion. Of the population of southern Sudan, deprived of grain by war and the corruption of the warlords, he writes, 'We are here among a people who do not contemplate transcendence and the existence of the soul, the meaning of life and the nature of being. We are in a world in which man, crawling on the earth, tried to dig a few grains of wheat out of the mud, just to survive another day.' It is the quality of Kapuscinski's reflection which is so memorable.
The art of the dust jacket: A Christchurch Art Gallery exhibition Central Library Peterborough. Sunday 1 June 2014. File Reference: 2014-06-01-IMG_0169
Photo by Donna Robertson.
From the collection of Christchurch City Libraries