Collaborations with poets Octavio Paz / John Cage Joseph Brodsky selected pages
Galway Kinnell Paz / Cage/ Brodsky Dennis Brutus Eric Bentley back >>
Galway Kinnell Paz / Cage/ Brodsky Dennis Brutus Eric Bentley back >>
"1972" by Joseph Brodsky
“1972”, A poem by Joseph Brodsky with 6 color woodcuts by Ilse Schreiber-Noll, bilingual, 23 ½”x 15 ½ “, 1989. Conceived, printed and bound by the artist in an edition of eight copies on white Arches Cover. The artist wrote out the English translation by hand while Ardis Press supplied the Cyrillic type for the original Russian which was printed on the letterpress. The two manuscripts were then engraved and printed in black and red, respectively and appear side by side. The unbound sheets are laid in a brown linen covered drop-back box lined with a mono print. Signed by poet and artist
Reading John Cage by Octavio Paz and “White on Blanco” by John Cage translated by Eliot Weinberger.
With woodcuts and Monoprints by Ilse Schreiber-Noll,
22”x 15”, 1989. bilingual. Conceived, printed and bound by the artist in an edition of 14 copies. In this book all participants join voices in a complex bilingual counterpoint of mutual admiration. Octavio Paz’s poem Reading John Cage printed both in Spanish and in brilliant English translation by Eliot Weinberger is responded too by Cage, himself, in verses titled White on Blanco. Cage terms his handwritten poem a “Mesostic”, a form which permits reading down through the center of the verse as well as left to right. Eliot Weinberger completes the triad with his own “mesostic” on Paz and Cage. The type for the spanish printed on the letterpress is Baskerville. John Cage handwrote the mesostic for this book which then was reproduced from the original manuscript by photo offset. Housed in a sepia linen drop-back box.
Signed by poets, artist and translator.
“1972”, A poem by Joseph Brodsky with 6 color woodcuts by Ilse Schreiber-Noll, bilingual, 23 ½”x 15 ½ “, 1989. Conceived, printed and bound by the artist in an edition of eight copies on white Arches Cover. The artist wrote out the English translation by hand while Ardis Press supplied the Cyrillic type for the original Russian which was printed on the letterpress. The two manuscripts were then engraved and printed in black and red, respectively and appear side by side. The unbound sheets are laid in a brown linen covered drop-back box lined with a mono print. Signed by poet and artist
Reading John Cage by Octavio Paz and “White on Blanco” by John Cage translated by Eliot Weinberger.
With woodcuts and Monoprints by Ilse Schreiber-Noll,
22”x 15”, 1989. bilingual. Conceived, printed and bound by the artist in an edition of 14 copies. In this book all participants join voices in a complex bilingual counterpoint of mutual admiration. Octavio Paz’s poem Reading John Cage printed both in Spanish and in brilliant English translation by Eliot Weinberger is responded too by Cage, himself, in verses titled White on Blanco. Cage terms his handwritten poem a “Mesostic”, a form which permits reading down through the center of the verse as well as left to right. Eliot Weinberger completes the triad with his own “mesostic” on Paz and Cage. The type for the spanish printed on the letterpress is Baskerville. John Cage handwrote the mesostic for this book which then was reproduced from the original manuscript by photo offset. Housed in a sepia linen drop-back box.
Signed by poets, artist and translator.