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Nigel Beale is a freelance writer/broadcaster who specializes in literary journalism, and likes to take photographs of books.
He has interviewed many well known authors, publishers and antiquarian booksellers. To listen, visit www.nigelbeale.com
Left Handed Poems.
by Michael Ondaatje.
Toronto, House Of Anansi Press, september 197o. issued as Anansi Poetry 18 in 2 variants in multiple states:
a1) ISBN o-88784-o18-3, as described below;
a2) 2nd state with "WINNER OF THE GOVERNOR-GENERAL'S AWARD" in gold letterpress on front cover;
a3) 3rd state as (a2) but red letterpress, uninspected;
b) ISBN o-88784-118-x, hardcover, uninspected.
6-1/2 x 9, 56 sheets ivory bond perfectbound in white card wrappers, all except inside covers & 7 pp printed black offset with red addition to all covers.
cover by Roger Silvester.
photographs by L.A.Huffman (others?).
rear blurb by Al Purdy.
includes:
i) THE KID TELLS ALL 'EXCLUSIVE JAIL INTERVIEW' (pp.81-84; prose with reference to bpNichol's Captain Poetry)
ii) "This book is for many but" (p.1o9; 3-line dedication includes Nichol as 1/6 dedicatees)
___________________________
• the (b) issue may also be comprised of different states of its dustjacket
• 2nd printing, 1972
• 1st american, W.W.Norton, 1974
• 2nd american, Berkley, october 1975
• 5th printing, Anansi, 1975
• 7th printing, Anansi, 1977?
• 3rd american edition, Wingbow Press, 1979
• 1st UK edition, Marion Boyars, 1981
• 1994 edition, Anansi
• 1st italian, Theoria, 1995
• 1st german, Carl Hanser, 1997
• 1st french, L'Olivier, 1998
• 2nd german, Deutscher Taschenbuch, 1999
• 2nd italian, Garzanti, 2oo2
• 2oo3 edition, Anansi
• 2nd french, L'Olivier, 2oo7
• 1st spanish, Punto De Lectura, 2oo8
• 2oo8 edition, Vintage Canada
• 1st norwegian, Samlaget, 2o12
• 2nd spanish, Debolsillo, 2o16
• Vintage Classics, UK, 2o25
London: Penguin/F. Warne, [1995]. Hardback with pictorial boards and dustjacket and decorated endpapers. 59 pages. Condition: Very Good.
When Beatrix Potter wrote and illustrated The Tale of Peter Rabbit, she had little idea how popular this story and the twenty-two that followed it would immediately become. No other animal stories have so captivated the imagination of children and adults alike. Today the Tales are bestsellers all over the world, translated into many foreign languages. Frederick Warne uses the most advanced technolgoy to reproduce the original pictures eith a freshnes and degree of authenticity unattainable until recently.
These little books should be among the first owned by any child and their appeal is still as strong as when the first story was published.
by bpNichol; illustrated by Simon Ng.
[Red Deer], Red Deer College Press, 1991. ISBN o-88995-o76-8.
7-1/2 x 8-1/2, 6 sheets white claycoat folded to 24 pp in 2 signatures of 3 sheets each sewn pearl white in 7 doublestitches & glued into plain white heavy bond endpapers & 7-5/8 x 8-3/4 glossy PVC white bond-covered boards in white chromecoat dustjacket with 3-3/8" flaps printed black offset rectos only, all except endpapers & p.4 printed 4-colour process offset.
includes:
i) ON THE MERRY-GO-ROUND (children's verse, pp.6-23; also p.24)
also includes (all graphics by Simon Ng unless otherwise indicated):
ii) "ON THE Merry-Go-Round" (cover, front & rear (book & dj); graphic 1/15 for On The Merry-Go-Round)
iii) ON THE Merry-Go-Round, by [--?--] (dj front flap; one-paragraph blurb with quote by Nichol, lines 1-2 of On The Merry-Go-Round)
iv) [untitled graphic] (p.1; cropped from p.12 below)
v) [untitled title page graphic] (p.3; cropped & reversed from p.23 below)
vi) [untitled graphic] (p.5; cropped & reversed from p.16 below)
vii) "On the Merry-Go-Round the horse makes no sound" (p.6; graphic 2/15 for lines 1-2)
viii) "but she takes me so far and she takes me so high" (p.7; graphic 3/15 for lines 3-4)
ix) "I can ride to the edge of the sky." (pp.8-9; graphic 4/15 for line 5)
x) "On the Merry-Go-Round the dog makes no sound," (p.1o; graphic 5/15 for lines 6-7)
xi) "but he runs on so swift as I cling on his back" (p.11; graphic 6/15 for lines 8-9)
xii) "I can ride to the moon and ride back." (pp.12-13; graphic 7/15 for line 1o)
xiii) "On the Merry-Go-Round the deer makes no sound," (p.14; graphic 8/15 for lines 11-12)
xiv) "but she runs on so long and she runs on so light" (p.15; graphic 9/15 for lines 13-14)
xv) "I can ride to the edge of the night." (pp.16-17; graphic 1o/15 for line 15)
xvi) "On the Merry-Go-Round if I make no sound" (p.18; graphic 11/15 for lines 16-17)
xvii) "I'm the dog in his race" (p.19; graphic 12/15 for line 18)
xviii) "and the deer in her leap" (p.2o; graphic 13/15 for line 19)
xix) "and the horse that I'll ride into sleep," (p.21; graphic 14/15 for line 2o)
xx) "and the horse that I'll ride into sleep." (pp.22-23; graphic 15/15 for line 21)
xxi) [untitled graphic] (p.24; cropped, reversed & turned upside down from p.13)
xxii) BP Nichol, by [--?--] (dj rear flap; single paragraph biography)
xxiii) PHOTO, by Marilyn Westlake (dj rear flap; photograph, portrait of Nichol (reversed from "bpNICHOL in a Four Horsemen performance at Harbourfront, 1985))
London: Penguin/F. Warne, [1995]. Hardback with pictorial boards and dustjacket and decorated endpapers. 59 pages. Condition: Very Good.
When Beatrix Potter wrote and illustrated The Tale of Peter Rabbit, she had little idea how popular this story and the twenty-two that followed it would immediately become. No other animal stories have so captivated the imagination of children and adults alike. Today the Tales are bestsellers all over the world, translated into many foreign languages. Frederick Warne uses the most advanced technolgoy to reproduce the original pictures eith a freshnes and degree of authenticity unattainable until recently.
These little books should be among the first owned by any child and their appeal is still as strong as when the first story was published.
Edinburgh: Mainstream Publishing, [2010]. Hardback with pictorial boards and pictorial dustjacket. ISBN 9781845965587.240 pages including index. Condition: New
Picture postcards have been in existence almost as long as professional football, but no one has brought the two together until now. In Postcards from the Edge of Football, distinguished football writer Hunter Davies explores the history of the game through soccer cards in their various forms.
This expansive collection illustrated the heroic players, the great clubs and the most memorable events, while also illuminating the lesser-know teams and players to feature on postcards.
Everything from the arrival of new strips to the latest fashions and the rise of women footballers is documented, and, in a wider context, the social history of football and its importance in our historical life can be identified, as can changing attitudes towards the game and its history.
by bpNichol; illustrated by Anita Lobel.
2nd edition, illustrationally revised. New York, Greenwillow Books, [1 january] 1986. issued in 2 variants:
a) "library edition", ISBN o-688-o4284-6, in matte-covered boards with a spine sticker "Greenwillow Library Edition", different dj with an advertisement for a poster inside front flap [not in the collection];
b) trade edition as described below, ISBN o-688-o4284-8.
9-13/16 x 8, 8 sheets white claycoat folded to 32 pp in 2 signatures of 4 sheets each, japanese-sewn white in 25 stitches & glued by endleaves into 1o-1/8 x 8-5/16 white PVC chromecoat-covered boards in 1o-1/8 x 8-1/4 white PVC glossy dustjacket with 3-5/8" flaps, all except dj verso printed 4-colour process offset except rear dj flap in black only.
cover by Anita Lobel.
includes:
i) ONCE: A LULLABY (children's verse; dedicated "FOR SARAH, bp N" & "FOR DAVE HOLODY, WITH LOVE, A L")
ii) ONCE I WAS..., lyrics by Nichol/music by Adam Lobel/arranged by John Kreumich (sheet music; pp.24-25)
also includes (illustrations by Anita Lobel except as indicated):
iii) "ONCE: A LULLABY" (group portrait of all the characters in the poem; on front covers of book & dustjacket)
iv) "Once I was", by [--?--] (prose blurb accompanied by a small detail from (x) below; inside front dj flap)
v) [untitled graphic, introsequence 1/6, sunset] (inside front cover)
vi) [untitled graphic, introsequence 2/6, moonrise] (p.1)
vii) [untitled graphic, introsequence 3/6, moon risen] (p.2)
viii) [untitled graphic, introsequence 4/6, proscenium hills] (title page)
ix) [untitled graphic, introsequence 5/6, proscenium bedroom] (© page; repeated with different text as (xxx) & (xxxi) below)
x) [untitled graphic, introsequence 6/6, proscenium bedroom with copy of Once: A Lullaby (this edition) on floor] (dedication page)
xi) ["Once I was a little horse"] (p.6; graphic to accompany stanza 1)
xii) ["Once I was a little cow"] (p.7; graphic to accompany stanza 2)
xiii) ["Once I was a little goat"] (p.8; graphic to accompany stanza 3)
xiv) ["Once I was a little sheep"] (p.9; graphic to accompany stanza 4)
xv) ["Once I was a little pig"] (p.1o; graphic to accompany stanza 5)
xvi) ["Once I was a little dog"] (p.11; graphic to accompany stanza 6)
xvii) ["Once I was a little cat"] (p.12; graphic to accompany stanza 7)
xviii) ["Once I was a little mouse"] (p.13; graphic to accompany stanza 8)
xix) ["Once I was a little owl"] (p.14; graphic to accompany stanza 9)
xx) ["Once I was a little crow"] (p.15; graphic to accompany stanza 1o)
xxi) ["Once I was a little duck"] (p.16; graphic to accompany stanza 11)
xxii) ["Once I was a little chick"] (p.17; graphic to accompany stanza 12)
xxiii) ["Once I was a little frog"] (p.18; graphic to accompany stanza 13)
xxiv) ["Once I was a little fish"] (p.19; graphic to accompany stanza 14)
xxv) ["Once I was a little bee"] (p.2o; graphic to accompany stanza 15)
xxvi) ["Once I was a little fly"] (p.21; graphic to accompany stanza 16)
xxvii) ["Once I was a little boy"] (p.22; graphic to accompany stanza 17)
xxviii) ["Once I was a little girl"] (p.23; graphic to accompany stanza 18)
xxix) [untitled graphic, proscenium] (pp.24-25; same drawing twice but reversed on facing page)
xxx) "GOOD NIGHT!" (p.26; same as (ix) above with different text & (xxxi) below)
xxxi) [untitled graphic] (p.27; as (ix) above but reversed)
xxxii) [untitled graphic, outrosequence 1/2, moonset] (p.28)
xxxiii) [untitled graphic, outrosequence 2/2, sunrise] (inside rear cover)
xxxiv) [untitled graphic, group portrait of all characters in the poem in the sky] (rear cover of book & dj)
xxxv) bp Nichol, by [--?--] (prose capsule bio; rear dj flap)
________________________
• 1st edition from Black Moss Press, Windsor, 1983
• this edition reprinted by Julia MacRaeBooks, London, 1987
• reprinted again with illustrations by Anita Lobel by Mulberry Books, 1992, New York
• braille edition, Sedro-Woolley, Blind In Mind, 1996
This cheerful felted case has been made for a mobile phone. I have used brown felt for the covers and polka dots ribbon for the sides and the strap. Please note that this case is made under custom measures for a N6300 model.
Estimated measures:
Wide 2.10 inches, 5 cm.
Length 4.25 inches, 11 cm.
High 0.55 inches, 1.4 cm.
My tribute to Irregular Webcomic. I, like most other people, have been reading Harry Potter all day, finished this evening.
Left Handed Poems.
by Michael Ondaatje.
7th printing. Toronto, House Of Anansi Press, "1974" [more likely 1977]. issued as Anansi Poetry 18 in 2 variants:
a) ISBN o-88784-o18-3, paper covers;
b) ISBN o-88784-118-x, hardcover, as described below.
6-1/2 x 9, 28 sheets white bond folded to 112 pp in 4 signatures (3 of 8 sheets, 3rd of 4) sewn pearl white in 9 stitches & glued with plain ivory kraft endpapers into 6-5/8 x 9-1/4 black linen-paper-covered boards printed goldfoil letterpress front cover & spine only, interiors all except 7 pp printed black offset, in 6-5/8 x 9-1/4 white glossy dustjacket with 3-5/16" flaps printed black & red offset outside covers only.
cover by Roger Silvester.
photographs by L.A.Huffman (others?).
rear blurb by Al Purdy.
includes:
i) THE KID TELLS ALL 'EXCLUSIVE JAIL INTERVIEW' (pp.81-84; prose with reference to bpNichol's Captain Poetry)
ii) "This book is for many but" (p.1o9; 3-line dedication includes Nichol as 1/6 dedicatees)
___________________________
• 1st edition, 197o
• 1st edition 2nd state
• 2nd printing, 1972
• 1st american, W.W.Norton, 1974
• 2nd american, Berkley, october 1975
• 5th printing, 1975
• 3rd american edition, Wingbow Press, 1979
• 1st UK edition, Marion Boyars, 1981
• 1994 edition, Anansi
• 1st italian, Theoria, 1995
• 1st german, Carl Hanser, 1997
• 1st french, L'Olivier, 1998
• 2nd german, Deutscher Taschenbuch, 1999
• 2nd italian, Garzanti, 2oo2
• 2oo3 edition, Anansi
• 2nd french, L'Olivier, 2oo7
• 1st spanish, Punto De Lectura, 2oo8
• 2oo8 edition, Vintage Canada
• 1st norwegian, Samlaget, 2o12
• 2nd spanish, Debolsillo, 2o16
• Vintage Classics, UK, 2o25
The art of the dust jacket: A Christchurch Art Gallery exhibition Central Library Peterborough. Sunday 1 June 2014. File Reference: 2014-06-01-IMG_0162
Photo by Donna Robertson.
From the collection of Christchurch City Libraries
Written in the late 1930s but covering the year 1916 - 17, it starts with the 17 y.o. protagonist getting off the local St. Boswalls to Kelso train (less than 10 miles) and meeting the farmer he's going to work for at Hansel Craig.
Fascinating look at Borders country life and attitudes a hundred years ago, with mixed farming with oats, wheat, cattle, sheep, hens in the yard and vegetables in patches of the kitchen garden. Sheep and their care get the most attention in the book, with descriptions of lambing, shearing and other seasonal tasks, etc.
The farmhouse is 7 miles outside Kelso but in those days that was a long way and any trips outside the farm were rare.
Horses were still a major mode of transport although the richer gentry, etc. were acquiring motor cars. No motorised farm vehicles, though. At one point he and the farmer go to a charity event at one of the big houses a few miles away and, because they don't know if there will be room for the pony & trap among all the gentry's carriages and cars, they both ride bicycles there and leave them in a hedgerow nearby!
At the end, he's once again on Kelso station platform dressed in his best clothes but this time it's because he's turned 18 and been called up and is off to join the army...
It's fiction, but the author has obviously got a great love for the old country life and knows it well.
____
Published in 1937 but this edition is the cheaper 2nd reprint from July 1939. Still a hardcover with dustjacket, though.
Also several b&w line drawings of the country in different seasons by L. M. Dufty, who also did the cover art.
Very nice quality, though I do not have an Asuka to compare this to. One of the pages had a slice down through a portion of it where it ha been bound incorrectly. I called WHCC and they QUICKLY remade a replacement. Called them Tuesday when mine arrived and the replacement was in my hands by Friday morning. I was impressed. The dust jacket is on photographic paper and is very heavy and almost a plastic coated feel to it, but I like it. Not a slippery slick type of dust jacket like most books have.
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.
Nichol inclusions:
i) "published by GANGLIA PRESS in an edition" (prose colophon to Ball's Force Movements quoted in full in (v8) below)
ii) "# 38 in Ganglia's "shorter" (colophon to Ball's Metamorphosis quoted in full in (v16) below)
iii) "book design by Nelson Ball" (colophon to Gerry Gilbert's Phone Book quoted in full in (ix49) below)
iv) "grOnk IS # 1" (colophon to David McFadden's The Ova Yogas quoted in full in (ix7o) below)
bibliography in 7 parts includes references to Nichol (all bibliographical descriptions by Drumbolis except as noted) in:
v) Separate Publications (part A in 35 parts with references in parts
--5. BEAUFORT'S SCALE (passing reference to Ganglia Press)
--8. FORCE MOVEMENTS 1966/1969 (reprints Nichol's colophon ((i) above) in full)
--16. METAMORPHOSIS (reprints N9chol's colophon ((ii) above) in full)
--17.COLD STONE (passing reference to Ganglia Press)
--18. THE PRE-LINGUISTIC HEIGHTS (passing reference to Ganglia Press in quoted biographical sketch)
--27. METAMORPHOSIS (reference to Ganglia Press in jwcurry colophon "2nd, revised (ref.The Pre-")
--32. FORCE MOVEMENTS (references to Ganglia Press in jwcurry's colophon "2nd edition, slightly revised, of 15o copies" & to new dedication to Nichol)
--35. WITH ISSA: POEMS 1964-1971 (with a quote by Eugene McNamara (from Reviews) including a quote by Nichol from "published by Ganglia Press in an edition"))
vi) "KONFESSIONS OF AN ELIZABETHAN FAN DANCER is a collection of", by Nelson Ball (prose on Nichol)
vii) Books Contributed to (part B in 11 parts with references to Nichol in parts
--2. the cosmic chef an evening of concrete (edited by Nichol)
--5. KONFESSIONS OF AN ELIZABETHAN FAN DANCER (by Nichol))
viii) Periodicals Contributed to (part C in 67 parts with Nichol references in parts
--18. GANGLIA no 5
--53. GANGLIA 5¢ MINI MIMEO No 38)
ix) Edited Publications (part E in 79 parts with Nichol references in parts
--12. WEED # 7 (passing reference)
--49. PHONE BOOK (quoting Nichol's colophon ((iii) above) in full)
--53. THE TRUE EVENTUAL STORY OF BILLY THE KID (description of title by Nichol with quote from Jack David's Weed Flower Press including quotes by M.T.McCutcheon & M.Nowlan from "Hansard" on Nichol)
--55. THE STORY OF CINDERELLA (with reference to Nichol's introduction)
--64. POINTS OF ATTENTION (passing reference to Ganglia Press in Ball's The Poet)
--67. THE OTHER SIDE OF THE ROOM (description of title by Nichol)
--7o. THE OVA YOGAS (with Nichol's colophon ((iv) above) quoted in full)
--75. KONFESSIONS ON AN ELIZABETHAN FAN DANCER (description of title by Nichol quoting (vi) above in full in text))
x) Productions (part F in 2o3 parts with Nichol references in parts
--3. FORCE MOVEMENTS (passing reference to Ganglia Press)
--6. GANGLIA PRESS INDEX
--1o. H. AN EXCURSION (by Barbara Caruso & Nichol)
--13. NEW FROM SERIPRESS (passing reference to Nichol)
--15. ABSOLUTE STATEMENT FOR MY MOTHER (by Nichol)
--16. NEW FROM SERIPRESS (passing reference to Nichol))
xi) ABOUT (part G in introduction & 43 parts with Nichol references parts
--o. ''This section ignores reviews & references'' (prose introduction with passing reference to Nichol's the cosmic chef)
--3. CATALOGUE OF CANADIAN SMALL PRESSES (references Ganglia Press)
--8. WATER-PIPES AND NOON-LIGHT (with quote from Nichol's NEWS)
--9. FORCE MOVEMENTS (with quote from Nichol's We Got Lots Of Hot Shit Poetry Dept)
--34. Barbara Caruso (reference to Nichol's bibliography of Caruso in Open Letter)
--35. Read The Way He Writes: A Festschrift for bpNichol
--43. 1cent 271 (reference to Ganglia Press in quote by jwcurry from to the reviews editor))
by Bill Bissett.
Toronto, House Of Anansi Press, [summer?] 1971. issued in 2 variants:
a) ISBN o-88784-o22-1; 5-5/16 x 8-1/2, 48 sheets ivory wove perfectbound into white rectogloss stiff card wrappers, all except inside covers & 3 pp (6, 92, 96) printed black offset with gold addition to covers (as shown above);
b) ISBN o-88784-122-8; 5-3/8 x 8-1/2, 24 sheets ivory wove folded to 96 pp in 5 signatures, 4 of 4 sheets/5th of 8, sewn ivory in 9 stitches & glued into plain cream heavy bond endpapers & 5-5/8 x 8-13/16 black linen-patterned paper-covered boards printed copperfoil letterpress spine only, in 5-11/16 x 8-3/4 black mayfair card dustjacket printed gold offset with unprinted 2-1/2" flaps.
portrait photograph unacknowledged.
includes:
i) bare bones biography what els shudint i remembr (p.93; prose with reference to bpNichol)
London: Penguin/F. Warne, [1995]. Hardback with pictorial boards and dustjacket and decorated endpapers. 59 pages. Condition: Very Good.
When Beatrix Potter wrote and illustrated The Tale of Peter Rabbit, she had little idea how popular this story and the twenty-two that followed it would immediately become. No other animal stories have so captivated the imagination of children and adults alike. Today the Tales are bestsellers all over the world, translated into many foreign languages. Frederick Warne uses the most advanced technolgoy to reproduce the original pictures eith a freshnes and degree of authenticity unattainable until recently.
These little books should be among the first owned by any child and their appeal is still as strong as when the first story was published.
Weight 100g
Being a selection of five consecutive base pairs & their complementary sequence from the centre of a collaborative work.
by Stephen Cain & Jay Millar.
Toronto, BookThug & Kitsch In Ink Press, february 2oo2. 52 copies.
5-1/2 x 8-1/2, 8 sheets white bond folded to 32 pp in selfwrappers in 5-5/8 x 8-1/2 cream ripple-laid dustjacket with 2-7/8" flaps tipped to spine, the flaps tucked around tye first & last pairs of unprinted sheets, all interiors, outer covers & flaps printed black laser with black rubberstamp addition to the Kitsch In Ink flap; printed dos-a-dos & meeting at center.
includes:
i) KEEP, by Stephen Cain (with paraphrase from bpNichol's from "S.A.'s")
ii) LUNG, by Stephen Cain (with references to Nichol's the martyrology)
This is a piece I did in 2005, mostly in Photoshop. Almost all of the artwork is not my own - I designed and executed the title treatment and typography, wrote the back side blurb and I arranged the multiple elements of the cover. The graphic elements come from scans of Hellboy comics, Masamune Shirow art, The League of Extraordinary Gentlemen comic and the Astronomy Picture-of-the-Day website. Consider it something of a collage.
Nigel Beale is a freelance writer/broadcaster who specializes in literary journalism. He likes to take photographs of books, and bookshops, and the occasional cat.
He has interviewed many well known authors, publishers and antiquarian booksellers. To listen, visit www.nigelbeale.com
1st ed. 1968, Cassell, London. Jacket design Brian Roll.
A curiosity is that the title on the dustjacket is entirely in lower case, while the interior title page has it entirely in capitals.
The dustjacket spine of my copy has been sunbleached to a pale green.
A Colonel Russell Political Thriller.
by Barbara Caruso.
[Ottawa], Room 3o2 Books, [4 may] 2o18. [7o copies].
2-1/2 x 2, 2 sheets white thin bond & white bond endsheet folded to 12 pp & stapled into white narrow-wale card wrappers in black strathmore dustjacket with 1-15/16" flaps, all printed black rubberstamp rectos only except last leaf & rear cover printed verso, front dj cover printed black rubberstamp thermograph.
keep in mind that about one fifth of each side will be folded over the hardcover.
press L to see it on black. and bigger.
Day 279 - 24-06-2011
Well a long day at work and I am tired, the weekend promises decorating and great food, tonight a well needed sleep!
I've done this for a number of books. I'll scan in the old dust jacket and base a new one off the old design--usually with some minor enhancements.
Developed in SwankoLab for iPhone using SwankoDev A19, Flamoz Fixer,
and Vinny's BL04
More details:
www.b12partners.net/wp/2010/05/11/through-the-cracks-now-...
From Concretism to Post-Modernism.
by Caroline Bayard.
Toronto, University Of Toronto Press, 1989.
ISBN o-8o2o-5726-8.
5-15/16 x 8-15/16, 96 sheets ivory wove folded to 384 pp in 14 signtures, 1o of 8 sheets each with 2 of 4 sheets at each end, sewn pearl white in 1o stitches & glued with 1-1/8" appliqué head- & tailbands into plain dull green ultrafelt endpapers & 6-3/16 x 9-1/4 slate cloth-covered boards printed gold foilstamp on spine only, all except 3 pp (ii, viii, 2) printed black offset, in 6-3/8 x 9-1/4 cream glossy dustjacket printed black offset recto o ly with light blue addition to front cover.
cover graphic by René Magritte.
35 other contributors:
Claude Beausoleil, Earle Birney, Bill Bissett, Nicole Brossard, Paul Chamberland, François Charron, Judith Copithorne, Hughes Corriveau, Augusto De Campos, Raoul Duguay, Paul Dutton, Umberto Eco, Gottlob Frege, Fusion Des Arts Group, Madeleine Gagnon, Claude Gauvreau, Gérard Genette, Gerry Gilbert, Eugen Gomringer, Robrt Kroetsch, Paul-Marie Lapointe, René Magritte, Catole Masse, Steve McCaffery, France Mongeau, bpNichol, C.S.Peirce, Jean-Guy Pilon, Pierre Schaeffer, Andrew Suknaki, David UU, Denys Vanier, Karl Young, Josée Yvon, Robert Zend.
Nichol contributes:
i) 'Captain Poetry Poem' (ie "a A A", The Unmasking of Captain Poetry 1, p.2o4; visual poem)
ii) "em ty" (p.214; concrete poem)
iii) Blues (p.217; concrete poem; though the title is present on the piece, it's identified as 'love/evol' &, while it's source is stated as the Weed/Flower Press edition of Konfessions of an Elizabethan Fan Dancer, it's actually reproduced from one of the 2 Writers Forum editions)
iv) Allegory # 12 (p.221; visual poem)
v) Allegory # 3 (p.222; visual poem)
vi) Allegory # 26 (p.223; visual poem)
vii) "Untitled" (p.224; visual poem, OURSELVES FROM THE NECESSITY (the "U" of ABC The Aleph Beth Book))
viii) "Untitled" (p.225; visual poem, OF PLACING BOUNDARIES(the "V" of ABC The Aleph Beth Book))
ix) "ali", with Steve McCaffery (p.231; visual sound poetry score (Mushy Peas 1))
x) "OOOOOOWWWEEEEFFFFF", with Steve McCaffery (p.232; visual sound poetry score (Mushy Peas 2))
as well as independent chunks of other Nichol texts as discrete entries:
xi) 'Clover' [excerpt] (ie Clover: 3 ("c m n o able"), lines 1-32 (of 95), the 1st page of a 4pp text)
xii) "excerpt from The Martyrology: Book V" (a complete page, lines 1255-1291 of the martyrology book 5 chain 3)
xiii) "excerpt from The Martyrology: Book V (a complete page, lines 1292-1327 of the martyrology book 5 chain 3)
also includes:
xiv)THE NEW POETICS IN CANADA AND QUEBEC From Concretism to Post-Modernism Caroline Bayard, by [--?--] (on dustjacket faps, with passing reference to Nichol)
xv) Acknowledgements (pp.ix-x; with reference to Nichol)
xvi) Introduction (pp.3-15; in 2 parts with reference to Nichol in part
–1. AVANT-GARDE AND POST-MODERN CONCEPTS (pp.3-7))
xvii) Theoretical Background of a Crisis (chapter 1, pp.16-54; in 4 parts with references to Nichol in parts
–2. THE MYTH OF A UNIVERSAL LANGUAGE, THE ICONIC FALLACY. AND ONE OF ITS CONTEMPORARY AVATARS, ISOMORPHISM (pp.22-28, passing reference to Four Horsemen)
–4. FROM MIMESIS TO DECONSTRUCTION (pp.35-54; in 2 parts with referene to Nichol/the martyrology in part
––b. The Political Stakes: Deconstruction vis-à-vis Feminism, Psychoanalytic Theory, and Marxism (pp.41-54)))
xviii) How Theory Suggests New Roles: The Canadian and Québecois Experiences (chapter 2, pp.55-137; in 4 parts:
–1. CONCRETE THEORY IN CANADA: FROM PALONGWAHOYA TO ARTAUD: THE CLEANSING OF PRIVATE HELLS AND THE RETURN TO A PRIMEVAL WORLD (pp.56-72; with quotes by & about Nichol from
––a. Toronto Research Group, Manifesto (rule 1, p.6o)
––b. ____ Voices from the Present (p.6o)
––c. [Steve McCaffery?, "fetishistic referent", from --?--] (p.61)
––d. [____?, "this surplus commodity", from --?--] (p.61)
––e. Toronto Research Group, Tom Mot Jr. and The Syntaxicabs Of Paginated Space (3 quotes, 1st misquoted, p.62, another p.65)
––f. ____ Book (2 quotes, pp.64-65, 65)
––g. ____ The Precise City (p.67)
––h. Steve McCaffery, Discussion..Genesis...Continuity (3 quotes, p.67, 67-68, 69)
––i. bpNichol, "all in a night i am taken" (part of line 28-29 (p.71), part of line 34 (p.72))
––j. ____ how is it done how is it said the head sheds the lies its lived by" (line 9 misquoted (p.71), 8-11 miscapitalized (p.72))
––k. ____ "sleepless night nothing takes shape" (line 25 miscapitalized, 29-32, all p.71)
––l. ____ "hot night" (lines 27-28 miscapitalized, p.72)
––m. ____ "an issue of names" (lines 66-67 misquoted "bird" for "birds"))
–2. THE EMERGENCE OF PERFORMANCE THEORY IN A POST-MODERN ERA (pp.72-83; passing reference to Four Horsemen)
–3. CONCRETE AND POST-MODERN THEORY IN QUEBEC: THE BURSTING OUT OF A DEFINITIONAL BASIS (pp.83-1o2 in 2 "acts":
––a. Fusing, Celebrating, Calligraphing (pp.83-91; with reference to Nichol interview with Raoul Duguay, passing references to Four Horsemen & Toronto Research Group)
––b. De la modernité au post-modernisme (pp.91-1o2; with references to Nichol & Toronto Research Group & quote by Nichol from
–––1. "sleepless night nothing takes shape" (lines 25 (miscapitalized), 29-34)))
–4. THREE DECADES OF EXPERIMENTS: A BRIEF LITERARY HISTORY (CANADA/QUEBEC) (pp.1o2-137; in 2 parts:
––a. Canada (pp.1o2-12o; in 2 parts with 2 epigraphs by Nichol frm
–––o. Interview with bpNichol: Feb. 13, 1978 (interviewed by Ken Norris)
–––oo. Interview: bpNichol (interviewed by Pierre Coupey, Dwight Gardine, Gladys Hindmarch, Daphne Marlatt)
___1. The Visual Sixties (pp.1o3-19; references to Nichol & Ganglia Press throughout with quotes by Nichol fom
––––a. The Typogeography of Bill Bissett (p.1o4)
––––b. GrOnk --- Number 1 January 1967 (p.1o7))
–––2. The Seventies and the Eighties: From Performances to Theory (pp.1o9-12o; lotsa discussion of Nichol with quotes by & about from
––––a. Mac T.McCutcheon, Canada Council Grnt To Author Of "The True Eventual Story Of Bily The Kid"–Suggested Change In Personnel Because Of Certain Awards
––––b. bpNichol, Lunwage: A Domesday Book
––––c. ____ "I have just said that languge (and"))
––b. Quebec (pp.13o-137; in 4 parts with references to Nichol in parts
–––1. 'The One Who Opened the Door': Claude Gauvreau (pp.12o-127)
–––4. The Eighties: The Return to Singularity, Individualism, Difference (pp.135-137)))
xix) The Texts on Their Own: From Isomorphism to Post-Modern Dissemination (chapter 3, pp.138-195; in 2 parts:
–1. THE TEXTS ON THEIR OWN (CANADA) (pp.138-174; in 6 parts:
––a. "Peter Mayer once wryly commened on the difficulty of critically as-" (pp.138-139; with reference to Nichol, Journeying & the Returns & the martyrology)
––b. Isomorphism or Expressionism (pp.139-144; with quotes by Nchol from
–––1. "finally the ryme ends or" (line 15 misquoted, p.141)
–––2. "i killed the poem" (from --?--, p.141)
–––3. "em ty" (in full in text, p.144))
––c. Constructivism (pp.144-149; with quotes by Nichol from
–––1. Blues (ines 3 & 6, pp.145, 146, 147))
––d. The Deconstructvist Mode: The Pull towards Post-Modernism (pp.149-162; with quotes by Nichol from
–––1. "finally the ryme ends or" (part of line 15 miscapitalized)
–––2. Discussion (with David Arnason, Donna Bennett, David Bentley, 19 others, p.155))
––e. Typography/Layout/Spelling/Syntax/Metrics (pp.163-171; with quotes by Nichol from
–––1. "h h white h h" (line 9 with "in heaven and hell" (title citation) added to quote!, p.164)
–––2. the martyrology book 5 chain 3 (part of line 1285, line 13o2, 13o4, parts of 1314 & 1315, 1317 misquoted, all presented as though following each other, p.165)
–––3. "h h h" (line 2, p.169))
––f. Conclusion (pp.171-174; with references to Nichol & Four Horsemen))
–2. THE TEXTS ON THEIR OWN (QUEBEC) (pp.174-195; in 2 parts:
––a. From Calligraphics to 'la nouvelle écriture" (pp.174-182; in 3 parts with references to Nichol in parts
–––1. Standing Outside Time: Paul-Marie Lapointe's Ecritures (pp.174-175; references Nichol/Four Horsemen)
–––2. Calligraphics and Performance Scores: Raoul Duguay's Le Manifeste de l'infonie and Lapokalypsô (pp.175-179; references Nichol/Four Horsemen))
––b. 'La nouvelle écriture' and Its Three Mainstreams: The Energy of Female Writing; From Focusing on the Signifier to Rewriting History (pp.182-195; in 4 parts with reference to Nichol in part
––4. The Undeterminable and the Return of the Subject (pp.191-195; passing reference to Nichol))))
xx) Conclusion (chapter 4, pp.196-198; with quotes p.198 from
–1. bpNichol, "an issue of names" (lines 63-67)
–2. Raoul Duguay/bpNichol, "we are each other's echoes" (misquoted))