No Press is proud to announce the release of three new publications:
“Exercizes (Louis-Ferdinand Céline)” by Ola Ståhl — a trio of typewriter-based visual translations of Céline; published in a limited edition of 60 copies (only 28 of which are for sale). Each copy if handsewn into hand-typed, found paper covers.
“Uncreative Manifesto (2005)” by Nyein Way — a manifesto of conceptual writing from Myanmar and the basis for Way’s investigation of the international potential of conceptual writing. Produced in a limited edition of 80 copies (of which only 38 are for sale).
“Manifesto of Yellowism” by Marcin Lodyga and Vladimir Umanets. The key document in the emergence of “Yellowism“, the internationally notorious “autonomous phenomenon in contemporary culture.” Produced in a limited edition of 80 copies (of which only 38 are for sale).
All three of these limited edition items are now available for $6 total (including postage); please email email@example.com to order copies.
No press is proud to announce the publication of Last Words from ‘Sentences My Father Used’ by Charles Bernstein.
Produced in a limited edition of 80 handbound copies, Last Words from ‘Sentences My Father Used’ is produced on 4 gate-folded long, narrow pages.
“Last Words from ‘Sentences My Father Used’ takes the final word in each of the 179 lines of “Sentences My Father Used” from Controlling Interests (New York: Roof Books, 1980, reprinted 2004). It is published here for the first time and will be collected in Recalculating (Chicago: University of Chicago Press, 2013).” — Charles Bernstein.
Last Words from ‘Sentences My Father Used’ is available for $5. Please email firstname.lastname@example.org to order.
Local Colour : Ghosts, variations
(Malmö: In Edit Mode Press, 2012)
First edition: 200 copies
Release date: December 17, 2012
Retail price: €65
LOCAL COLOUR : Ghosts, variations is a collaboration between In Edit Mode Press and Canadian poet Derek Beaulieu. The publication takes as its point of departure, Paul Auster’s novella Ghosts, and, in particular, Derek Beaulieu’s reworking of Auster’s text, Local Colour, which he describes as follows:
‘Local Colour’ is a page-by-page interpretation of Paul Auster’s 72-page novella ‘Ghosts’. ‘Ghosts’ concerns itself with Blue, a private detective hired by a mysterious character named White to transcribe the actions of Black, a denizen of Brooklyn Heights living on Orange Street. As Blue reports his findings, the reader becomes more aware of the intricate relationship between Black and White, and a tactile awareness of the role of colour spreads through the narrative. With ‘Local Colour’, I have removed the entirety of Auster’s text, leaving only chromatic words—proper nouns or not—spread across the page as dollops of paint on a palette. Taking inspiration from Kenneth Goldsmith’s Gertrude Stein on Punctuation (Abaton Books, 2000) what remains is the written equivalent of ambient music—words which are meant to be seen but not read. The colours, through repetition, build a suspense and crescendo which is loosened from traditional narrative into a more pointillist construction.
Focusing on the tension created in Beaulieu’s manuscript – and alluded to in the description of his process – between the textual narrative and the relatively abstract graphical mark, and the opening it seems to provide towards a sonic realm, we are now hoping to solicit a series of textual, aural, oral, musical, and other interpretations, as well as more machinic ‘utilisations’, of Beaulieu’s manuscript. What interests us, in particular, is the way in which Local Colour seems to split Auster’s narrative text open, deterritorialising it, serially, by rendering it purely graphical, freeing it up, in the same gesture, to an excess and a bifurcation of meaning. Seeking to extend and amplify this ambition, we are now opening the project up for others – writers, poets, musicians, artists – to split Beualieu’s manuscript open, to deterritorialise the coloured rectangles of his manuscript by textual, aural, narrative, graphical and other means.
Local Colour: Ghosts, variations collects and counterposes a wide array of strategies and approaches. It features both textual and aural contributions and contributions that combine text and sound. We hope it will prove an ambitious, vigorous collection that oscillates and moves between textual narrative, graphical mark, and aural impression, exploring these different realms whilst rendering uncertain any easy distinction between them.
CONTENTS (IN PRINT) :
Derek Beaulieu, Local Colour (printed book)
Steve Giasson, Couleur Locale (printed book)
Cia Rinne, Securiousity (printed booklet)
Peder Alexis Olsson, Title TBA (print)
Jörgen Gassilewski, After Image (print)
Craig Dworkin, Unseen Colour (print)
Elisabeth Tonnard, Monochromatic Bits (print)
Martin Glaz Serup, Title TBA (printed book)
Eric Zboya, Untitled # 1 & 2 (Local Colour) (prints)
Ola Ståhl, Colour’s Gravity (printed book and prints)
Magda Tyzlik-Carver & Andy Prior, Ghost Machine (printed booklet)
CONTENTS (ON CD) :
Pär Thörn, Sound Interpretation of Derek Beaulieu’s ‘Local Colour’(sound piece)
Cecilie Bjørgås Jordheim, First of all there is Blue, Brown and I got ham, White and Blue (this section includes education) (sound pieces)
Ola Lindefelt, Title TBA (sound piece)
Andreas Kurtsson, Voice Range, Dialect Genre (sound piece)
Helen White, Local Ghosts (sound piece)
Ola Ståhl, Colour’s Gravity (recorded speech)
Gary Barwin, Local Colour (sound piece)
Ola Ståhl & Carl Lindh, Music Box (sound piece)
Magda Tyzlik-Carver & Andy Prior, Ghost Machine (software and videos)
“In Stanley Kubrick’s 1980 film adaptation of Stephen King’s The Shining, author Jack Torrance slowly loses his grip on sanity while ensconced in a winter-long residency as caretaker for the seasonally-closed Overlook Hotel. Over the season Jack, a struggling novelist, uses the solitude (interrupted only by his wife Wendy and son Danny) to attempt to construct his new novel. Only a few pages of Torrance’s efforts are revealed in The Shining, but every page consists wholly and entirely of the phrase “All work and no play makes Jack a dull boy” repeated ad infinitum over a presumably several-hundred-page manuscript. In the filmic reveal of Torrance’s creative masterpiece, Wendy emotionally collapses as she finally realizes the extent of her husband’s crumbling rationality. Under the mental anguish of this Sisyphean task of nonlinearity, Jack Torrance’s grip on reality is weakened, much as readers feel the strain of such a non-traditional manuscript.”
Rabble, an imprint of Insert Blanc Press, is co-edited by Holly Myers and Mathew Timmons. Rabble prints single author issues of critical essays of about 1500 words on a subject of the author’s choosing. The subject will be an artwork (or series of artworks), but broadly defined: could be visual art, literature, music, architecture, film, design; could be contemporary or historical. The essay will be printed in pamphlet form, with room for a couple full color images, and distributed at a reasonable price.
Rabble seeks to be a venue through which to interrogate the nature of criticism, a laboratory for prodding at the boundaries of criticism as a form. The idea is to begin with a framework that reduces criticism down to its two fundamental components—the thing that’s been made and the person who responds to the thing that’s been made (i.e., the art work and the critic)—and then to invite a lot of smart people to take up that framework as they see fit. We’re not looking for the average book or exhibition review, but something that tests out a new direction, whatever that means to the individual author.
We have great confidence in the potential of Rabble to make a lasting contribution to the cultural discourse on the West Coast and beyond. It is our hope that, in charting a path between the two prevailing poles of the genre—the ever-narrowing shutters of print journalism on the one hand and the ponderous obscurity of the academy on the other—Rabble will go some way in restoring the sheer excitement of criticism.
“A Marriage Tract by Marie Stopes” by Sheila Heti.
Published in an edition of 80 handbound numbered copies, only $4ea.
from the author’s afterword:
“At one point in my novel, Ticknor, the character of George Ticknor reads a “marriage pamphlet” which is handed to him by a woman in the street. I wrote up the marriage pamphlet but I never put it in the book. One Christmas, I turned it into a little hand-sewn pamphlet and sent it to dozens of friends. This is the pamphlet’s second iteration. The text was borrowed and adapted from the writings of Marie Stopes (1880—1958), a controversial birth control reformer and sex education advocate. [...] This pamphlet is dedicated to the young men and women who once gathered at 1223 Bathurst Street in Toronto, where we were joyously developing a “morality… in a time of innocence … insufficient to bring [us] happiness through the course of [our] life.” —Sheila Heti
to order, email derek beaulieu at email@example.com
In addition to getting married, taking a few day honeymoon in San Francisco and working on several essays and pieces of writing, the latest news around here includes:
a new chapbook of mine entitled Untitled (for billy mavreas) is now available from Puddles of Sky Press. A link to the press’s Facebook site is here.
I recently had an article on concrete poetry in the latest issue of Uppercase magazine
26 Alphabets (for Sol LeWitt) is still available in both print ($20) and digital ($0) editions.
No press is proud to announce the publication of “4am” by Eryk Wenziak, “Helvetica Neue” by Emma King, “2 poems” a leaflet by Kye Kocher, “The Winnipeg Cold Storage Company ” by Jon Paul Fiorentino and “Scrapple” by Jacob Spector (and a few more!) … rob mclennan reviews a few recent No press editions here.
NO PRESS is proud to announce the publication of “pentaphtong” by Jaap Blonk. Published in an edition of 50 copies, this leaflet will be available at readings (and via the post) through-out the spring; keep an eye out!