Thursday, August 13, 2015


David Dodd Lee's Sky Booths in the Breath Somewhere: the Ashbery erasure poems (BlazeVOX, 2010).

"Most of the poems I chose to erase came out of three books from A’s middle period--Hotel Lautreamont, And the Stars Were Shining, and Flow Chart," Lee explains in a very thorough interview here; he goes on: "I will say I wasn’t trying to ruin Ashbery’s originals—it felt to me like I was simply trying to take advantage of A’s genius (he’s got plenty to spare) and make something wholly separate seeming (stress here on the word 'seeming')." More info and excerpts here. Reviews here and here.

Thursday, June 11, 2015

 "for locating the room" -- Study for Green Room (May 2015) -- a poem in progress.

 materials: "Martian Green" paper, typewriter, glue.

Monday, May 11, 2015

Still image from "Clevemark Dr.," a collaborative installation by Stephanie Ellis Schlaifer and Cheryl Wassenaar (fall 2014, St. Louis), based on Schlaifer's manuscript Clarkston Street Polaroids.

"The text, visually reinterpreted by Wassenaar in cut vinyl lettering, comes from Schlaifer's poems. Sculptural objects are covered in, made from, or altered by sugar, pickling salt, or soap," according to the artist's statement at Vimeo -- plus, "walk-through" the installation, which includes the poem "When the eye saw     it appeared," below (first published in Kestral (2011)). More images and discussion at the Fort Gondo site, here.


Monday, April 20, 2015



Study for "Green Room" (April 2015) -- a poem-in-progress. I'm interested in the way the lines / stanzas of the poem can be shifted and moved from one pocket to another, allowing the book (the poem-draft) to be read in different configurations and allowing me to see new ways for this poem to progress.

The form is "X-Book with pockets" (can be found on pages 33-34 in Alisa Golden's Making Handmade Books). 

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, 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.