Ron Padgett & Trevor Winkfield : Encore with Rectangle and Philosophy

“I figured there was time / but for what?”

Encore with Rectangle and Philosophy is the work of a seasoned duo—a meditation on beginnings and ends and what it’s all been all about. Whatever gloominess we might expect from such ruminations is deflected by Padgett and Winkfield’s characteristic playfulness and grace. It’s as if every line of the poem is aware of itself as something that’s being felt and written in the moment. Some parts deepen as the poem goes on; others find themselves deflated the next line down. Winkfield’s clean, architectural drawings play variations on Padgett’s nimbly shifting tones. Padgett says, “I built a house that had ideas in it,” and Winkfield reifies the house’s geometry, its contraptions, and the echo of departing footsteps. This genial adventure goes beyond the usual categorization of New York School collaboration and into that something known as real life.

Ron Padgett’s How Long was a Pulitzer Prize finalist in poetry and his Collected Poems won the LA Times Prize for the best poetry book of 2014 and the William Carlos Williams Award from the Poetry Society of America. His translations include Zone: Selected Poems of Guillaume Apollinaire and, with Wang Ping, Yu Jian’s Flash Cards. Padgett has collaborated with artists Trevor Winkfield, Jim Dine, George Schneeman, Joe Brainard, and Alex Katz. Seven of his poems were used in Jim Jarmusch’s filmPaterson. His most recent collection is Big Cabin.

Trevor Winkfield has collaborated with many New York School poets, including John Ashbery, Harry Mathews, Charles North, and Larry Fagin. This is his fourth collaboration with Padgett. His work is in the collections of the Philadelphia Museum of Art, the Berkeley Museum, Erie Museum of Art and MoMA. He has received awards from the Guggenheim Foundation, the Foundation for Contemporary Art, the Pollock-Krasner Foundation and the American Academy of Arts and Letters. Song Cave published his Georges Braque & Others: The Selected Art Writings of Trevor Winkfield, 1999-2009in 2014. His paintings are represented by Tibor de Nagy Gallery.

Paperback. 36 pages. Twenty-six copies lettered and signed by the author and artist.
ISBN: 978-1-950055-02-9

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Jamaica Cole : The Endlessly Forking Snake Tongue

A drumstick, a heart-shaped box, an allusive tattoo, ‘I am only borrowing these fragments of you.’ The Endlessly Forking Snake Tongue emerges from the vanishing point where daydreams and memory intersect. Jamaica Cole’s debut work of literary nonfiction chronicles the disappearance of her brother, a brilliant young musician, from the rocky banks of Northern California’s Sacramento River. Poetic, elegiac, witty, and sublime, The Endlessly Forking Snake Tongue takes the author through her own stages of grief and across the American southwest to a new home in Texas.

Paperback. 58 pages.
ISBN: 978-1-950055-01-2


Jamaica Cole grew up in the foothills of Northern California. She spent her teen years staying up late writing short stories and plays which she still has packed up in boxes somewhere. She’s thirty-five years old and has lived in thirty houses. The Endlessly Forking Snake Tongue is her first book.

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Alan Bernheimer : From Nature

SPECIAL OFFER! Order now and receive a limited-edition, broadside printed letterpress by Kyle Schlesinger and signed by the author. Free, while supplies last. Details below.


Grounded in vernacular and yet displacing it, Alan Bernheimer makes poetry that is somehow aphoristic, surreal, and down to earth. “Speaking / in the language of things,” From Nature revels in the present: what can be said in it and with it, without permitting the future to “spoil the present.” These poems seem to float on the surface of language, which is after all where we spend most of our time. The prose is as rhythmically propulsive as the poetry is honed and full of bright coinages (“beautilities” anyone?). From Nature is a “travel size heartthrob” where “it feels great being anyplace” because anyplace is where Alan Bernheimer makes poems out of sheer air.

—Alli Warren

“Philosophy should come out to play,” says Alan Bernheimer – and in From Nature, it does. What I want to know is how poems can be both so angst-laden and so buoyant. These poems seem like a record of what one notices while falling from such a height that free fall is indistinguishable from floating. They show how we might give up ownership of words/experiences while wondering “if any of these places are open for breakfast.”

—Rae Armantrout

Alan Bernheimer’s quick-moving, witty, angular poems make a point of pulling the rug out from under. Don’t take us, they seem to be saying, too seriously.  But for all their jump-cuts, puns, bumper-to-bumper phrasings, the poems are very serious indeed, with real life just beside or beneath the language play. Whether the dreamlike prose poems in the second section are recorded dreams or imaginative scenarios, their disturbing oddnesses stem from real people and real situations, culminating in the resonant (and wonderfully titled) “Characteristic Café” and “Musée Mécanique” with details à la Raymond Roussel.  Cover to cover, this is an imaginative, invigorating book.

—Charles North

Paperback. 82 pages. Twenty-six copies lettered and signed by the author.
ISBN: 978-0-9860040-8-7



Alan Bernheimer’s recent work has appeared at Across the Margin, SFMOMA’s Open Space and in The Equalizer, The Delineator, and Hambone. The Spoonlight Institute was published by Adventures in Poetry in 2009. Born and raised in Manhattan, he has lived in the Bay Area since the 1970s. He produces a portrait gallery of poets reading on flickr. His translation of Philippe Soupault’s memoir, Lost Profiles: Memoirs of Cubism, Dada, and Surrealism, was published by City Lights in 2016. More information is at The Electronic Poetry Center.

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Philip Trussell : Sentences

Philip Trussell’s Sentences are fallen aphorisms from a hermetic cosmos: quotidian and mystical, cantankerous and surprisingly humane. These cutting ripostes to the information age are more Elizabethan than postmodern, yet timeless in their devotion to the craft of disciplined observation. Trussell’s truncated satire probes at the habits of social life and the routines of ego with a nihilist’s shtick, discontinuous and unabashedly promethean. Sentences is a singular literary debut by a seasoned outsider artist.

Paperback. 84 pages. Edited by Bradley Ray King. Twenty-six copies lettered and signed by the author, each containing an original sentence.

ISBN: 978-1-950055-00-5


Philip Trussell is a painter and a poet who lives in Austin, where he also mentors artists, writers, and other truants. Born in South Texas in 1943, he was trained as a painter at The University of Texas at Austin and at Yale School of Art and Architecture. In the 1970s, Trussell worked with Harvey Brown at Frontier Press in West Newbury, Massachusetts, drawing ads and designing books for Stan Brakhage, Al Glover, and Ed Dorn, with whom he became lifelong friends. Trussell returned to Austin in 1982, and has since become a sort of godfather to the outsider artists and literary scenes there, hosting salons, guiding the reading of counter-academic students, and connecting spiritual isolatoes like himself. On Dorn’s tip, he worked closely with Skanky Possum Press and made art for their publications for over a decade. In 2012, he started writing discontinuous sentences as a daily practice. He soon began arranging them into sequences on postcards, and mailing them out to map what he calls a ‘speculative geography’ of his fellow dog-paddlers in the river of shit.

Author photo by Bill Daniel.

Bradley King is a poet, editor, and teacher living in Austin. In 2015, he met Trussell at a reading, and promptly received his first of many postcards.

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Richard Hell : uh: flip movie dance alphabet peepshow toy enigma boring book

uh by Ernie Stomach was first published in 1971 by Genesis : Grasp Press in New York. Stomach’s aim was a version of the Roman alphabet in which the glyphs correspond in their differentiations to lower-case block-lettered forms, but stripped to the naked elliptical minimum so that they would be not only sexy, but hard to distinguish from each other (facilitating misreadings and forcing the reader to pay attention). The letterform contents of that book were created crudely by the author using X-Acto knifed mylar templates and a felt-tip pen. Now, with the advent of font software, Stomach has been able to recreate the book as he would have done it at the time were such technology available. This book’s design differs from the original edition only in the improved technology and materials used.

Paperback, 8.5 x 5.5 in. 64 pages. b&w throughout
Edition: 500 with 30 signed and numbered
ISBN: 978-0-9860040-7-0

Ernie Stomach is a heteronym of Richard Meyers (Richard Hell / Theresa Stern). In 1970, young poet Richard Meyers, who was also an editor of Genesis : Grasp magazine and press, imagined he might spend the rest of his life making works in the personae of several different artists he conceived. Ernie Stomach was the first, then Theresa Stern (most of whose poems were collaborations with Tom Verlaine of the band Television), and then Richard Hell (best known as a progenitor of “punk”). By 1974, he’d settled into a career as Richard Hell and little by the other authors has been published since.


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Kyle Schlesinger & Drew Matott : FREE LSD

FREE LSD (2017)

Edition of 30. 11 x 14″

Drew Matott & Kyle Schlesinger


Free LSD is a collaboration between Peace Paper Projects and Cuneiform Press. The artists shredded and pulped American military uniforms to make thirty unique sheets of handmade paper. The wood type, from the renown Rob Roy Kelly Collection, was set by hand and printed in silver.

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Kyle Schlesinger & Drew Matott : A People’s Curriculum for the United States


This portfolio was produced in celebration of the first People’s Curriculum for the United States Workshop, a political, pedagogical, public poster project. Facilitated by Drew Matott and Kyle Schlesinger, the curriculum was written, designed, and printed by the people, for the people. The paper was made in Hamburg by Peace Paper Project artists using leftover pulp from workshops with Middle East refugees who pulped their clothing. The type is from the Rob Roy Kelly American Wood Type Collection. Proceeds from the sale of this portfolio will contribute to further education and activism through letterpress workshops.

Interested in bringing A People’s Curriculum for the United States Letterpress Workshop to your community? Send us a query for details.

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Helen Adam : The Collages of Helen Adam

Helen Adam always had her camera with her. The first picture I have of hers is from a Halloween Party with Ebbe Borregaard, Joe Dunn, and me in costume. She was famous for the strange phenomena her brownie camera permitted—swirls of light and water spouts rising up out of ponds next to Robert Duncan. After I returned from Japan in 1964, I found my old friend, painter and Zen student Bill McNeill, was making a movie starring Helen—Daydream of Darkness. Scenes were dramatic, overlooking the ocean, crashing waves, swirling capes in front of moody cypress. 1963-64 was a time of heightened social activity, and Helen took lots of pictures of her poet and artist friends, many of which were in her show at Buzz Gallery. Her photos were a great gift of the moment.

— Joanne Kyger


The seamless collages of Helen Adam seem to defy their own construction. The collaged images are so deftly woven together that we often do not at first see the eerie combinations half hidden in what appears to be a normal, regular, expected scene. Then our eyes draw back in question and looking again we see that the highly fashionable, exquisite gown is held up by clinging bats stretched neatly over the pale shoulder of the young girl, replacing elegant spaghetti straps with slender bat arms and long bat fingers. How did Helen Adam do that? This must be tweezers work of the highest order. We can only marvel at the creation of these chilling, stunning, magical, monstrous, intriguing paperworks. They become interconnected, forming an ever-widening labyrinth that draws us into the dark, uncharted world of Helen Adam, where her marvelous camouflage unhinges our reality.

— Maureen Owen


Helen Adam lived the dream-scape of visionary poesis and made dramatic icons of her visions in witty, wicked, and campy-critical collages. It is thrilling to have this selection of her bewitching and informative art treated with the care and affection it deserves in this elegant presentation.

— Rachel Blau DuPlessis




Edited by Alison Fraser. Featuring essays by James Maynard, Lewis Ellingham, Samuel R. Delany, Robert Hershon, and Kristin Prevallet.


Hardcover. 176 pages. Full color throughout.


ISBN: 978-0-9893132-4-7


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Tate Shaw : Blurred Library : Essays on Artists’ Books

Despite the fact that the field of artists’ books has grown steadily since the mid-sixties, the discourse has been largely under-theorized. Blurred Library: Essays on Artists’ Books, is a stunning collection of the most revered essays by Tate Shaw, the Director of Visual Studies Workshop. For years, Shaw’s contributions to the field of artists’ books as a theorist, artist, writer, historian, and teacher have been celebrated internationally, but have largely gone undocumented, until now. Shaw’s versatility as a scholar and artist allow him to take a holistic approach to his subject that is historical, conceptual, anecdotal, contemplative, and engaging. Blurred Library is an indispensible contribution to the field of artists’ books, essential reading for emerging and seasoned artists and scholars alike. Lavishly illustrated throughout by photographer Doug Manchee.

Tate Shaw is the Director of Visual Studies Workshop (VSW), Rochester, NY, a nonprofit organization supporting artists’ books, photography, and the media arts. He is also an Assistant Professor at The College at Brockport, SUNY where he directs the Master of Fine Arts program in Visual Studies at VSW. Shaw makes artists’ books, writes essays, organizes symposia on books, and is co-publisher of the small imprint Preacher’s Biscuit Books.

Paperback. 208 pages.
ISBN: 978-0-9860040-6-3

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A People’s Curriculum for the United States

A People’s Curriculum for the United States is a public poster project written, printed, and distributed by the people and for the people. A People’s Curriculum for the United States asks what America needs to (re)learn in this political climate? What’s missing from the American Curriculum under this regime? Peace? Civil Rights? Close Listening? Kindness? If you could teach America something, right now, in just a word or two, what would it be?

Printed letterpress from wood type in two colors on heavy-duty poster board. Background colors will vary. 18 x 22 inches. Shipped flat from Austin, Texas. Please contact us for special prices on orders of twelve or more. If you would like a particular poster, please specify. Posters are handmade in small editions, so supplies are limited.

Interested in bringing A People’s Curriculum for the United States Letterpress Workshop to your community? Send us a query for details.

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