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.