This is a variation of the dirty/clean mimeo discussion.
Getting beyond inking and typography, what is the significance to how Diane Di Prima/Leroi Jones, Jeff Nuttall, and da levy approach the stencil page?
How does their mimeo style reflect their poetic styles and thoughts on writing and art?
What does it mean for a self-proclaimed radical like Ed Sanders to have such a conservative approach to printing?
With the exception of APO-33 the layout of his page is generally simple, unobtrusive; the very definition of the crystal goblet. That said Sanders presented some of the most arresting images in mimeo: the demon cover of Fuck You 5/7 or the Warhol Couch cover come to mind. But this is cover art not the printed page. Did Sanders not care, did he not have the artistic ability? Was mimeo all about ease of distribution, speed and self-promotion and not looked upon as a form of art in itself?
Ted Berrigan folded up C Press and C Magazine after the publication of The Sonnets by Grove Press in 1967. Does Ted Berrigan's simple style in C Magazine highlight the fact that printing in mimeo was always about self-promotion and not an aesthetic choice?
Did the content of a levy poem determine his decision to go dirty or clean? Or did he write a poem with the prior knowledge of how he was going to ink it?
The wine is decanted so choose a glass, sit down, make yourself comfortable and discuss.
JB
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)
MIMEO MIMEO #7: THE LEWIS WARSH ISSUE is the first magazine ever devoted in its entirety to poet, novelist, publisher, teacher, and collage artist Lewis Warsh. Warsh was born in 1944 in the Bronx, co-founded Angel Hair Magazine and Books with Anne Waldman in 1966, and went on to co-found United Artists Magazine and Books with Bernadette Mayer in 1977. He is the author of over thirty books of poetry, fiction and autobiography, the Director of the MFA program in Creative Writing at Long Island University in Brooklyn, and as you’ll soon discover, so much more. Includes an introduction by Daniel Kane, an interview conducted by Steve Clay, 10 new stories, 5 new poems, dozens of photographs and collages, and an anecdotal bibliography.
OUT OF PRINT
MIMEO MIMEO #6: THE POETRY ISSUE is devoted to new work by eight poets who have consistently composed quality writing that has influenced and inspired generations since the golden era of the mimeo revolution. Contributors include Bill Berkson, John Godfrey, Ted Greenwald, Joanne Kyger, Kit Robinson, Rosmarie Waldrop, Lewis Warsh, and Geoffrey Young. Cover art by George Schneeman.
OUT OF PRINT
MIMEO MIMEO #3: THE DANNY SNELSON ISSUE examines the relationship between structuralism and the poetries of the mimeo era by presenting a detailed analysis of Form (a Cambridge-UK magazine published in 1966) and Alcheringa (a journal published by Boston University in 1975), two exemplary gatherings that illuminate the historical, material and social circumstances under which theory informed art (and vice versa) in the early works of some of today's most celebrated experimental writers. Also includes a special insert, The Infernal Method, written, designed and printed by Aaron Cohick (NewLights Press).
OUT OF PRINT
MIMEO MIMEO #2: features Emily McVarish on her artist's book Flicker; James Maynard on poet Robert Duncan's early experiences as an editor and typesetter; Derek Beaulieu on the relationship between the influential Canadian poetry journal Tish and Black Mountain College; and an extensive interview with Australian poet and typographer Alan Loney conducted by Kyle Schlesinger. Cover is by Emily McVarish.
OUT OF PRINT
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