288 pp letterpressed on the equivalent of tissue, very fragile & & worn (starting to come apart), a coupla plain brown homemade dustjackets built over top of this cover way down in. on a typescript label on the title page:

De livre est du Monastère de la Visitation Sainte-Marie de Lévis.

C. de la Directrice.

Paperback, 1949.

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))

Dust jacket printed on 170gsm Maine Gloss and matt laminated.

in 1947, it was important not to use Gregory Peck's name in an unauthorized manner.

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)

An Underwood Miller edition, Presentation Copy signed inside but not numbered.

The slipcase isn't original to this copy.

Having bought all three volumes of the trilogy, I had this clothbound one with a dustjacket but the two others had slipcases. I asked Chuck Miller, one half of the publishing company, if he could send a spare slipcase with my next order and he did!

Not that the slipcases match completely, because Maduc (volume 3) has a cream case...

PARODIES REGAINED, THEN FROZEN and THAWED).

by Allan Gould.

Toronto, Stoddart Publishing Company Limited, [january] 199o. ISBN o-7737-2417-6.

5-5/16 x 8-1/2, 12o sheets ivory bond perfectbound with plain lemon byronic brocade endpapers & approx.5/8" red & yellow applique head- & tailbands into 5-9/16 x 8-3/4 cream linen-paper-covered boards printed gold letterpress spine only, interiors all except 6 pp printed black offset, in 5-5/8 x 8-13/16 white glossy dustjacket with 4" flaps prinetd 4-colour process offset rectp only.

cover & interior graphics by Graham Pilsworth.

rear blurbs by Northrop Frye, Greg Gatenby.

includes:

i) bp Nichol (p.167; poem, 15 lines, with reference to Nichol's "leaf")

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)

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.

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.

Two rows deep on this bookcase and getting deeper!

Hardback first edition, 1934 (or possibly early 1935)

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

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-...

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.

wonderful dust jacket illustrated by A Games

Sadly most of the secondhand copies do not have the jackets.

Priestley took his memories of pre-WW1 Bradford to create this novel thought by many to be his masterpiece. It is Object 53 in the Special Collections 100 Objects exhibition.

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

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!

by Stephen Cain.

Toronto, BookThug, december 2o13. 1oo copies. ISBN 978-1-77166-o49-5.

5-5/8 x 7, 1o sheets buff bond folded to 4o pp & stapled twuce into plain light blue bond wrappers with white bond dustjacket with 2-3/4" flaps glued to spine, all except dj verso & 5 pp printed black laser.

consists of 32 numbered poems corresponding to the 32 numbered visual poems of bpNichol's Allegories

Flash Photography by D. A. de Korte. Dutch. No later than 1948. Published by N. V.Uitgevers Mij. Diligentia, Amsterdam, the Netherlands. Hardcover with dustjacket, 84 pages. 8 x 5.5 inches, approx. All black & white.

edited by [Karl Jirgens?].

[Toronto], The Scream Press, 2oo3.

5-1/2 x 8-1/2, 9 sheets buff xerographic bond folded to 36 pp & stapled twice into cream byronic brocade card wrappers & glued into buff bond dustjacket with 3-1/4" flaps, interiors all except p.4 printed black photocopy in unique found offset test sheet covers from Coach House Press garbage, dj front cover only printed black linocut.

cover graphic unacknowledged.

contributors ID'd:

Gary Barwin, Derek Beaulieu, Allan Briesmaster, Stephen Cain, Jason Christie, Bev Daurio, David Fujino, Beth Learn, Gustave Morin, Angela Rawlings, Rob Read, Hektor Rottweiler [Jirgens], W.Mark Sutherland, Lawrence Upton.

___________________________

• "Fugitively assembled at a secret location in the shadow of Rochdale college by members of the Bound to Print EHssociation" as a memorial tribute to Bob Cobbing, with an uncredited portrait frontis & a quote from Cobbing's entry in Sound Poetry: A Catalogue

by Gerry Gilbert. Toronto, published by consortium including Peggy Lefler, 19 may 1995. of an edition totalling 364, 63 clothbound copies issued as grOnk Inadmissible Series #5.

5-1/2 x 8-3/4, 34 sheets ivory zephyr antique laid folded to 136 pp & sewn cream in 9 signatures (8 of 4 sheets each, the 8th of 2) with 7 cream stitches, glued into plain ivory zephyr antique laid endpapers & 5-3/4 x 9-1/8 oatmeal rough cloth-covered boards, all interiors except 7 pp (1st & last 2 leaves & p.4) printed black offset, in cream Strathmore Grandee dustjacket with 5-3/8" flaps, outside covers only printed black offset with orange addition to front cover.

cover graphic by Josi Fletcher.

interior contributions by Lara Gilbert, Corry Wyngaarden.

Set in a poor, small parish on the coast of Co. Down, against a backdrop of hardship, poverty, ambition, vanity and self-righteousness, In This Thy Day is the story of a village Romeo and Juliet, two young lovers whose happiness is broken — perhaps forever — by the persistent disapproval of the man's mother." It is a book written not from the necessity of uncovering a truth. It is a truth uncovered often enough before; but it is even now more refreshing than the newly learned oddity of information." That was the view of the distinguished critic, Henry Reed, writing when the novel was first published. It is a view no less applicable today.

Jacket blurb on the 1981 edition of Michael McLaverty's In This Thy Day (Dublin: Poolbeg). From Reed's New Statesman and Nation review, September 22, 1945 (pp. 200-201).

$150 - This oversized, numbered slipcased edition, signed by Drew Struzan himself on a bound-in specially illustrated signature sheet and limited to 1000 copies, also includes an exclusive Drew Struzan Pan's Labyrinth print (signed by the artist) in a protective envelope, and features a cloth case with a variant dustjacket specific to this edition.

A HISTORY OF CANADIAN MAGAZINES 1789-1989

by Fraser Sutherland.

Markham, Fitzhenry & Whiteside, 1989. ISBN o-889o2-897-4.

5-5/16 x 9, 184 sheets ivory bond perfectbound with plain cream kraft endpapers & approx.1-1/8" white cloth applique head~ & tailbands, glued into 6-1/4 x 9-1/4 blue kraft-covered boards printed goldfoil letterpress spine only, all except 12 pp printed black offset, in 6-3/8 x 9-3/16 glossy PVC white bond dustjacket with 3-5/8" flaps printed black offset recto only with 3-colour process addition to all but flaps.

cover graphic by Arne Roosman.

other contributors:

David Annesley, Franklin Arbuckle, William Beatty, J.W.Bengough, Oscar Cahen, Joseph T.Clark, F.S.Coburn, William Cochran, Harold Dingman, Peter Donovan, Jimmy Frise, C.W.Jefferys, W.L.Johnston, Yousuf Karsh, John Kelly Jr, Joyce Marshall, William Notman, Paul Orenstein, Roy Peterson, Arthur Phelps, B.K.Sandwell, James Simpkin, Lou Skuce, Brian Smale, Gluyas Williams.

includes:

i) Little and Literary (pp.2o1-2o6; passing reference to bpNichol p.2o5)

Dustjacket (front detail) of 'Poems to Hold or Let Go', hand-set in wood type and Garamond and printed in metallic ink on Wibalin book paper.

My friend, Dick Alexander, is writing yet another book, and needed a photo for the dustjacket for the "About the author" section. I spent some time shooting him at his farm this afternoon. This shot is one of my favorites. Hopefully, he'll like it ,too. Blogged, too at randomphoto.blogspot.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.

All but three of my Wolfe hardbacks are without dustjackets. Of the three with, this is my absolute favorite cover. I'll have to dig it back out to see if it is a 1st ed or a 1st bookclub ed, since this cover was used on both.

Victoria & Albert Museum and Faber & Faber, 1980.

ISBN 0905209 15 X

Paper cover (there was also a hardcover edition).

I find it impossible to fathom how two people who say that they are book lovers can, so guilelessly, then say that well, they don't actually *read* the books they love so much, they just rip them to bits and create notebooks, photo albums and bookmarks out of them. The last time I checked, a "book" was not merely a cover, an object to be "used" by "designers". I'm going to ask them what they do with well you know, the part you READ???

Plus - What happened to Doctor Di at the Cross Roads?!?

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