Gleanings from AWP 2016 book fair
I traversed the book fair floor with an eye to interesting covers and book forms. I was thrilled to see the beauty, the risks, and the variety of books brought to the AWP16 word party.
From top left to right:
Organic Weapons Arts (OW! Arts) out of Detroit produce 5.5 x 6.5 chapbooks that fall somewhere between trade books and handmade. Kudzu Does Not Bend by Jane Wong has an outsider-arts-and-crafts illustration on the cover.
Yes Yes Books is in the photo twice. Dream with a Glass Chamber by Aricka Foreman is a 5.5 x 6.5 chapbook that is so polished I hardly want to call it a chapbook. I’m a fan of Alban Fischer, the designer at Yes Yes, and he can’t help it but make a miniature jewel.
Siglio Press is in the photo three times because, well I just want to own every book on their table. Siglio books are singular because they are beautifully executed and are all doorways into extraordinary arts and minds. The colorful book peeking out at 12:00 in the photo is the ecstatic You Who Read Me with Passion Now Must Forever Be My Friends by Dorothy Iannone and edited by Lisa Pearson. Beauty beauty beauty!
Copper Canyon Press at 1:00 position, represented by So Much Synth by Brenda Shaugnessy. Love that “synth” image and the rich colors of the jacket front and back. The case is shiny gray. I have to say, Copper Canyon Press treats poetry very well. Hardcover poetry. Wow. Book design by Phil Kovacevich. (Full disclosure, CCP is my client)
Immediately below that is Lotería Huasteca: Woodblock Prints by Alec Dempster, Porcupine’s Quill Press. Every book on this publisher’s table had the same toothy paper and letterpressy feeling covers — and no wonder. Follow the links to see how they do it. The interior designs by Canada’s Tim Inkster.
To the right of the Lotería is Suite Vénitienne by Sophie Calle (Siglio). It has a gorgeous blue case with a die cut shaped like an eye, and reveals part of the photo on the flyleaf that provides the iris to complete the effect. And this isn’t just a cute device, it serves the work perfectly.
Next to the blue Suite, at 3:00 and 4:00 are books by Otis Books, the publishing arm of the Graduate Writing program at Otis College of Art and Design. Traditional typography and photography on the interiors, and always black covers. Propped open is Tlemcen or Places of Writing by Mohammed Dib. Below that, in black is Panic Cure: Poetry from Spain for the 21st Century edited by Forrest Gander. All the books are beautifully traditional, and it is good to know that there is a writing program like this one that show writing students how it’s done. They must chafe against those black covers though! . . . suppose it keeps them focused.
“And now for something completely different . . . ” Saturn, by Simon Jacobs published by Spork Press “Bound with prescriptions, dirt, Vangelis, help, more IPA, and Sander Monson Jr” as noted on the copyright page, the book feels simultaneously like a Little Golden Book (the cardboard binding) and a zine (the art). The people at the Spork table showed me a new, larger format product. This is so good, it has to be from Portland, but it isn’t. It comes from Tucson. Note to self: take another look at Tucson.
At 6 o’clock position is another Yes Yes book, this time 7″ x 9″ with fold-outs no less. Some Planet, by John Mortara
At 7 o’clock is Texas: The Great Theft by Carmen Boullosa published by Deep Vellum Publishing. Support literature in translation!
Finally, The Center is Barbaric, The Periphery is Without Lights by Tim Early, Doublecross Press, printed in daring letterpress, metallic silver on black on the cover and black on craft paper on the interior. Big lovely gothic letterforms. Typeset and printed at The Center for Book Arts, NYC by Anna Gurton-Wachter, MC Hyland, and Jeff Peterson.
Still lots more to digest from the feast of AWP2016. More soon.
Here’s a link to Part 2.