Ted Greenwald : Later Lately

Ted Greenwald’s book of poems, Later Lately, was printed and designed by Crane Giamo and Kyle Schlesinger under the R&B label in the spring of 2015. The book was typeset in Gil Sans Light and printed on a Vandercook 4 letterpress. The paper is Crane’s Lettta. The comb binding was executed by the printers. There are about 50 copies, of which ten are for sale.

Read More
Kyle Schlesinger : Beyond Repair

Each of the twenty-six signed copies in this variegated multiple edition is a unique print on Crane’s Lettra 100% cotton paper measuring eighteen by twelve inches. Shipped flat or rolled at your request, these prints are only available at Marfa Book Company and direct from the press.

Read More
Kyle Schlesinger : Jumpshot (for Tom Raworth)

Each of the twenty-six signed copies in this variegated multiple edition is a unique print on Crane’s Lettra 100% cotton paper measuring eighteen by twelve inches. Shipped flat or rolled at your request, these prints are only available at the Marfa Book Company and direct from the press.

Read More
Kyle Schlesinger : Dream

Each of the twenty-six signed copies in this variegated multiple edition is a unique print on Crane’s Lettra 100% cotton paper measuring eighteen by twelve inches. Shipped flat or rolled at your request, these prints are only available at the Marfa Book Company and direct from the press.

Read More
Jim Dine : Poems to Work On: The Collected Poems of Jim Dine

I swore I would never write another blurb, but Jim Dine’s Collected Poems has pulled me temporarily out of blurb retirement. The same verve that drives his paintings drives these poems, and added to it are a wonderfully goofy playfulness and a no-holds-barred, slightly scary exhilaration. Arp, Schwitters, and Picabia, move over.

—Ron Padgett


In the flutter of blue alcohol flame a figure enters its shadow asking where do you keep all the things / that don’t fit in your mind? Characters appear, vanish, reappear in the darkness but there is no space behind language. A mountain opens and red is registered. I’ve carried Jim Dine’s first book Welcome Home, Lovebirds through many moves since 1969. Now almost half a century later I have the delight of being again in that mind. The poems are as direct as brush-strokes, as casual as conversation, as passionate as loss. The background shifts. “The Short History of New York” beautifully nails that. London in the 1960s is palpable; Paris, Rome, flicker. Friends share the space. “Portrait” is a concisely brilliant one of Robert Creeley. Kenneth Koch, a hometown boy, makes occasional appearances. But all these are tones, not the foreground that is the restlessness, the questioning, the observation inhabited by the reader. For me a particular pleasure of these poems has been the privilege of at times perceiving the world as a painter — Jim Dine made my eyes feel. Poems To Work On is not only “NIGHT’S / FRIABLE / RAGE, but making life / without reason /is the reason/ for a /common dream.” Writing well worth reading.

—Tom Raworth

Hardcover. 290 pages. Edited, with a foreword, by Vincent Katz.

Includes color illustrations by the author.

ISBN: 978-0986004032


I was born in 1935. The real story is that I didn’t meet poetry till I was 19 when my sculpture professor, Dave Hosteller, at Ohio University, played Dylan Thomas reading his poems an a Caedmon “LP” record. He also gave me Under Milk Wood (Thomas’s radio play) to listen to.

During my early 20s, I made performances in New York with colleagues in the “downtown” art world. My most elaborate work, called Car Crash, was a cacophony of sounds and words spoken by a great white Venus with animal grunts and howls by me. Five years later, I illustrated Ron Padgett’s translation of Apollinaire’s The Poet Assassinated. Meeting Ron introduced me to his work and the works of other poets he admired. At the same time, I met and fell in love with Robert Creeley. His was, to me, all about poetry. He was generous with his thoughts, but it was his Massachusetts-accented voice that was the poetry. I read Ted Berrigan’s The Sonnets. It was 1966, and I started to write poetry full force around then.

I went to England in 1967 and met the poet-printers Asa Benveniste and Tom Raworth. Asa wanted to publish my poems. He did. The book was called Welcome Home Lovebirds. There were a lot of letters and postcards written between me and U.S. poets. In London, there was much talk around Asa about poetry and Asa’s history as a poet and publisher of poets. He was, I guess, 10 years older than me.

I started to write every day and continued till about 1972 when I stopped. I’m not clear why, but I began again around 1990 when I met Diana Michener. She is a very inspirational character, and her eccentric big soul understands all I’ve written since. We have read together in public over the past 12 years with the New York poet, Vincent Katz, who has befriended my poems. I have learned from his personal vision.

Many of my poems are written first on long sheets of paper tacked to the wall. Some are 8 or 9 feet long, and I write in charcoal or crayon and then “white out” when I want to change a word, with a mixture of white pigment mixed with shellac. I also can cut out a line with a box cutter and lose it or use it in another place in the poem by glueing it or stapling it to the paper on the wall. This technique is a lot like the way I draw. Correcting and erasing are important tools, for my poems and my drawings.


                                                                                    — Jim Dine, 2014

Read More

Sommer Browning : The Circle Book

Sommer Browning sees things we don’t see, even if they’re right in front of us. That’s what distinguishes the great thinkers of our time! They look at the stars and they ask, “How is that I can see?” They look at the color of a flower and say, “How is that this is red?” Sommer Browning looks at a circle and sees a urethra. She sees a “view of my head from a second story walk-up.” She sees the abyss. And a pizza. Her humor is so unpretentious, so unique—yet outrageously minimalistic, that it achieves a kind of scientific greatness.

The Circle Book shows how even the most basic shape—a circle—can be transcended by the power of language. What’s happening when we look at a circle and see the body of Christ? Something hilariously mystical.

 — Bianca Stone

Paperback. 208 pages.

ISBN: 978-0986004049

Read More
Ted Greenwald : Con Dot

Ted Greenwald’s book of poems, Con Dot, was printed and designed by Kyle Schlesinger at the Cuneiform Press between 2013 & 2014. The book was typeset in Dax, designed by the experimental composer and typographer Hans Reichel, and printed on a Vandercook 4 letterpress. Each copy in the edition contains four variegated images. The paper is Crane’s Lettta. CJ Martin performed the binding in Colorado Springs. There are 26 copies, each lettered and signed by the author.

Read More
Dale Smith : Slow Poetry in America

In Slow Poetry in America, Dale Smith pursues an attitude and a world-view in which the self is experienced as a series of screens. Personal memory vanishes into temporal experiences of culture, and narrative coheres in a language that attempts to track time, the apprehension of what it means to be alive now. (2014)

Read More
Johanna Drucker : What Is?: Nine Epistemological Essays

“For decades, Johanna Drucker’s work—as a theorist, printer, art historian, poet, literary critic, and designer—has been set apart by her mastery in each of those fields. With the broadened perspective of recent research into digital media and complexity theory, and with a full awareness of the historical dimensions of our current understanding of ‘materiality,’ the series of nine conceptually linked essays in What Is? again leverages Drucker’s positions across disciplines to show us how little we know about the most familiar concepts: from letters and words to documents and books and their digital futures—and why knowing more really matters.’

— Craig Dworkin

“In these meticulous interrogations, Johanna Drucker takes us on journeys of relentless, informed, and thorough thought regarding the nature of the mind made visible—what us graphic designers would identify with as typography or graphesis. Reading these essays through the eyes of graphic design, each one resonates with expanded understandings—for one, of typography as transformative ‘imaginative energy’ and not just thought’s mirror. I hope every MFA graphic design student will read these essays and be inspired to understand the significance of their discipline, but more importantly be inspired towards the imaginative possibilities in their work to which Drucker pays such devoted tribute.”

— Louise Sandhaus

“In What Is?, Drucker traces the invisible thread that links letters to writing to books to the digital age. In so doing, she makes sense of emerging technology and the way it has insinuated itself into the culture of book making, writing, and reading. Drucker’s grand arguments are based on modest means. In this case she is starting with the humble letter. But, by probing the philosophy of language as well as the rhetoric of art, she builds toward a broader picture. In the end, her investigation concludes with nothing less than a new understanding of digital materialism.”

— Elizabeth Guffey

Hardcover. 140 pages. Two-color printing throughout.

ISBN-13: 978-0986004025

Read More
Mimeo Mimeo #8 : Curator’s Choice

Mimeo Mimeo #8: Curators’ Choice features 16 bibliophiles on 6 highlights from their personal or institutional collections. Contributors include Steve Clay, Wendy Burk, Tony White, Brian Cassidy, Thurston Moore, J.A. Lee, Michelle Strizever, Adam Davis, Michael Basinski, Joseph Newland, Alastair Johnston, Tate Shaw, Michael Kasper, Steve Woodall, Molly Schwartzberg, Nancy Kuhl, James Maynard, and the Utah posse (Becky Thomas, Marnie Powers-Torrey, Craig Dworkin, Emily Tipps, Luise Poulton, & David Wolske) (2013)

Read More