Friday, March 20, 2015

From As We Know (Subito Press, 2014), a collaborative project by Andy Fitch and Amaranth Borsuk. As We Know "repositions erasure procedures at the origins of (rather than in response to) a published text. Here Amaranth Borsuk has taken Andy Fitch’s summer diary and reshaped 60 passages...into a new type of collective confessional/constructivist collage that brings her own voice into the text and foregrounds the tensions of authorship," according to the As We Know website.

See more images of the project at The Volta and Matter, discussion here and here, a conversation between Borsuk & Fitch here.

Sunday, March 1, 2015

From Anne Gilman's The Jolly Balance (2009, 2012), based on drawings made in a handwritten physics journal from 1918. "The Jolly Balance was a phrase I found in the original physics journal and refers to an instrument that measures specific gravity. I use it to refer to our attempt to balance all the parts of our lives on a day-to-day basis," she explains at the Center for Book Arts website, here

Gilman's 2012 "site-specific installation: a series of a multi-panel, interactive drawings...reads like a book on a wall," according to Art In New York City. More here, and here. View more amazing photos of The Jolly Balance and other projects on Gilman's website

Sunday, February 15, 2015

the ‘Infinite Jest Project’ by Corrie Baldauf (photo by PD Rearick)

1) An image from Corrie Baldauf's Infinite Jest Project, flagging all the colors in David Foster Wallace's novel Infinite Jest (Little Brown, 1996). "'It started as a tool, which is how someone would start drinking coffee or doing cocaine,' Baldauf says at Hyperallergic. 'But once the tool resolved the problem of not reading it, that was when it became an obsession.'" See more photos of the project on Baldauf's site, and read more here and here.

Infinite Jest p. 215 "Canadians"

2) From Jenni B. Baker's ongoing erasure project Erasing Infinite, here. "I only work with one page at a time. I scan each of the pages in as a JPG, which I open up in Photoshop and look at independently without the context of the pages that come before or after," Baker explains in an interview. Read more at HuffPost, here, and see images on Baker's site, here.

P.S. Baker is the founder of The Found Poetry Review -- take a peek.

The Infinite Atlas Project

3) The Infinite Atlas Project (2012- ), "an independent research and art project seeking to identify, place and describe every possible location in David Foster Wallace's Infinite Jest." Check out their site!

Saturday, January 31, 2015

Snow Flakes (Green Chair Press, 2013)

Susan Angebranndt's Snow Flakes (Green Chair Press, 2013), artist's book of Emily Dickinson's poem "Snow flakes." "Snow flakes." is included in Dickinson's handwritten and handbound Fascicle 80 (image below, from the amazing online Emily Dickinson Archive), ~1858.

"I liked the idea of counting snowflakes, which seems like such an impossible task," Angebranndt explains on her blog, here. Hop over for more details, and links to a free Emily Dickinson typeface. More images at Green Chair Press.

"Snow flakes."  

Sunday, October 5, 2014

E. M. M.'s  A Little White Shadow (Brown & Gross, 1889) 
Mary Ruefle's A Little White Shadow (Wave, 2006)

"A Little White Shadow, it turns out, is a book replicating—and containing—another book.... E.M.M. is Emily Malbone Morgan, a writer and philanthropist who wrote and self-published the novella A Little White Shadow, a Christian-themed inspirational tale of a young heiress summering in Italy, to raise money 'for the Benefit of a Summer Home / for Working Girls.'"

      —read the rest of my essay '"Destroying' the Text to Create the Poem" over at Post45. More images of Ruefle's work are here and here. Also, check out Mary Hickman's essay "Defaced/Refaced Books: the Erasure Practices of Mary Ruefle and Jen Bervin" over at Jacket2, here

Friday, June 13, 2014

Janet Malcolm's collage "Abyss (from the Emily Dickinson Series)", 2013, with text from Marta Werner's Emily Dickinson's Open Folios: Scenes of Reading, Surfaces of Writing (University of Michigan Press, 1996).

"During the winter, spring and summer of 2013 I made collages that yoked Marta's transcriptions of the Dickinson fragments with images with images I cut out of store-bought books on astronomy," Malcolm explains in Granta, here; see more images on Slate, here.

Also, Radical Scatters: Emily Dickinson's Fragments and Related Texts, 1870-1886 (University of Michigan Press, 2000), viewable at the Dickinson Electronic Archives. Of particular interest: the images in "Mutilations: what was erased, inked over, and cut away," here.

Sunday, June 8, 2014

From my own recent folded-poem project: 

"For the desperate song, the need in the night"


one star = one line of the poem

Monday, November 25, 2013

One of  Francesca Capone's Poem Weavings (undated). See more images here and here and here. Some discussion with Capone here.

Sunday, September 22, 2013

Alastair Noble's Blake Illuminated (2002), here. Noble explains how "slots in metal pages replace the words" of William Blake's poem, "Earth's Answer" from Songs of Experience (1794). See more of Noble's wonderful sculptures here (definitely check out Zang Tumb Tumb!), read some discussion of his sculptural work here.
Blake's own illumination of "Earth's Answer"

Wednesday, August 21, 2013

John Eric Broaddus's High Time (1986). "I had no qualms about eliminating the entire text," Broaddus explains here. View more of his work here, here, and here; watch Johanna Drucker discussing his work here, a list of exhibitions here.

Friday, July 19, 2013

Susan Porteous's The Essential Gandhi (Green Bird Press 2012). "By finding books written about Gandhi and systematically spinning each page to make a continuous paper thread, the record of his life become intertwined with the spinning process. Each spun book is wound onto an antique spool of the appropriate size and the title of each work is appropriated from the book used in its creation," she explains here. More on her website, here.

The Essential Gandhi (Vintage Books 1962, 2002)

Monday, June 3, 2013

Donna Ruff's "May 16, 2011," -- "'I like to cut away or remove parts of pages so that there is a kind of conversation between what is printed on the page and what is removed--the positive and negative space are equally important,"' she explains at The Huffington Post,here. More images here; Ruff's blog, here, and her website with more altered paper projects here. "I’m attracted to paper’s fragility and pristine beauty- yet my work involves scarring, incising, burning and puncturing its surface," here.

Thursday, April 18, 2013

Ros Rixon's "Violence in the Art," which looks to be from John Fraser's Violence in the Arts (Cambridge UP, 1974). "I am often asked if I think of the idea before I find a book or the other way around? I tend to work both ways," Rixon explains. More altered books and sculptures on her site, here

Tuesday, April 2, 2013

Darkness, 2012
We might have missed Yedda Morrison's interactive erasure exhibit, but we can get our very own copy of her full-length book Darkness (Make Now, 2012), an erasure of Joseph Conrad's Heart of Darkness (1899). A group of student responses to her work, other reviews and reactions here and here. My previous post with a link to Morrison's Chapter 1, here.
The 1950 Signet Classics edition of Conrad's Heart of Darkness

Friday, March 22, 2013

A mixed-media miniature from Karen Green's "Tiny Stampede," here. Green explains, "I've been making this "found poetry" for years. I thought I invented it, but found out later I most definitely did not. Some of these are taken from a poetry anthology--I cut out just the first lines and spent an afternoon or two rearranging them. Then I got into a trance and cut those up and rearranged those. Trances are hard to come by these days; I am happy for those hours. And yes, "to give sorrow words", sneakily, using the words of others who tried to do the same," in an interview here (and also here).
Green's forthcoming book including similar visual/poetic work Bough Down (Siglio Press 2013), is an "unusual narrative constructed of crystalline fragments of prose interspersed with miniature collages." Some discussion of Bough Down here. See/read some images and excerpts here, here and here. More with Green here and here, a previous publication, Here/Gone (2008), here.