Martin Buber : Power and Love

Martin Buber (1878–1965), the Austrian-born Israeli Jewish philosopher best known for his existential philosophy of dialogue, was also a poet. Typeset in Gerard Unger’s Swift with art by Courtney Cook, “Power and Love” was printed letterpress in two colors on Crane’s Lettra 100% cotton paper measuring eleven and a half by seventeen and a half inches. Edition strictly limited to seventy copies signed and numbered by the artist. Shipped flat or rolled at your request, these broadsides are only available direct from Cuneiform Press.

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Steve Clay & Kyle Schlesinger : Threads Talks Series

Threads, a series of talks devoted to the art of the book, includes poets, artists, and publishers. It explores and enriches relationships between various strands of book culture that are often approached in isolation: poetry and writing; visual and performing arts; collaboration; design; printing; independent publishing; literary history; critical theory; and material culture.

The premise for the series was very similar to the kind of interdisciplinary approach to the book that has interested us all along. A book is never more successful than the relationship between its parts; the philosophical and material connections between writing, art, design, typography, translation, and distribution is more significant than excellence in any isolated area.

The talks were originally recorded before a small studio audience, then made available to the public on PennSound, and are now collected here in written form for the first time.

Threads began in March 2009 and concluded in October 2012. There were twelve speakers: Alan Loney; Charles Alexander; Simon Cutts; Buzz Spector; Jerome Rothenberg; Cecilia Vicuna; Jen Bervin; Kathleen Walkup; Johanna Drucker; Keith Smith; Richard Minsky; and Emily McVarish.

Edited by Steve Clay and Kyle Schlesinger. A co-production with Granary Books.

Paperback. 194 pages. Full color throughout.

ISBN: 978-1-887123-84-6


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Jon-Michael Frank : How’s Everything Going? Not Good

I feel therefore I die. I think therefore I suck. Somehow I was born in this book.

— Sommer Browning

Jon-Michael Frank’s twisted take on life will make you laugh, then cry, then do one of those laugh-cry hybrids that really freaks everyone out.

— Colin Nissan

A co-production with Ohio Edit.

Paperback. 98 pages. Full color throughout.

ISBN: 978-0-692-53193-852195

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Anca Cristofovici & Barbara Montefalcone : The Art of Collaboration: Poets, Artists, Books

Always a space for experimentation, the book has been a platform for innovative collaboration since its invention, and never more than in the modern erawhen painters, poets, editors, typographers, and binders have each contributed to the production of works whose whole becomes something far more than its parts. The essays in this volume address some of the main threads of collaboration in American and French poetry and printing, where the livre d’artiste flirts with the artist’s book in imagining the page, the text, the codex as a vital scene of exchange. Each of these authors has been involved in this field in a professional and/or creative manner, and each speaks from experience with substantive authority.

Johanna Drucker,
Breslauer Professor of Bibliographical Studies, UCLA


The Art of Collaboration brings together the perspective and insight of a distinguished international community of poets, artists, publishers, scholars and curators, drawing from their rich diversity of experience to identify a useful framework for documenting and understanding the recent history and practice of the age-old tradition of collaborating with text and image. This collection is an invaluable tool whose very presence is a brilliant example of its subject.

Steve Clay
Granary Books

The essays collected in this volume originate from a symposium that took place at the University of Caen, France, in March and April 2011, entitled ‘Collaboration and the Artist’s Book: a Transatlantic Perspective,’ one of the first in Europe to be organized for literary and cultural studies. The participants included American poets and artists who have produced significant work in the field (some since the sixties), together with American and French scholars, independent publishers of artists’ books, and library and museum curators.

Contributors include: Anca Cristofovici, Barbara Montefalcone, Antoine Cazé, Olivier Brossard, Michael Siebenbrodt, Vincent Katz, Bill Berkson, Susan Bee, Raphael Rubinstein, Gervais Jassaud, Pascal Poyet & Françoise Goria, Kyle Schlesinger, Antoine Coron, Constance Lewallen, Charles Bernstein & Richard Tuttle.


Edited by Anca Cristofovici & Barbara Montefalcone.

Hardcover. 198 pages. Full color throughout.

ISBN: 978-0-9860040-5-6

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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.

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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.

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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.

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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.

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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

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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

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