Guest Artist, Kevin Carman

Working with guest artist, Kevin Carman, on a book, fly fly fly, that contains striking linoleum cuts and a meandering rant through a scary, yet familiar dream-scape. Plans are in the works to have a book release party at Art City in Ventura on the first Friday of October.

Pictured is the book cover sheet that will be glued to boards. The spine of the book will run down the center of this sheet and there will be exposed stitches stabbing right through the bird's body.  It was printed on the Vandercook using a split fountain (two ink colors applied at opposite ends of the roller).

http://vimeo.com/45813018

The hand had stirred her mind.

Yma still doesn't feel very comfortable gripping a pencil, but she never tires of dictating. Recently we've been gathering her dictated compositions into a collection that we'd like to make into a book. In going through the work I noticed that Yma created two writing games that we can present in her book: the "hand game" and the "speak for the trees game." Both of these games sprung out of the moment very organically and were instant classics. We were cruising through the Avenue of the Giants in Humboldt County, feeling the cool breath of the ferns when Yma informed us in a languid tone that she would let us know what the trees were saying.


Speaking for the Trees

The sticks of the lemon tree in the riverbed
the trees in the river
the bridge over the rocky path

The scroll is on the cave of the beast
the thousand scrolls of love

papyrus, frames of fresh bamboo

we can get through all this
we have passed it & know that it is true

"Speaking for the trees" reminds me of a book we have called Who Speaks for Wolf about a tribe of Native Americans who are in competition with wolves for the space they occupy. I've also heard of Shamans speaking on behalf of places and animals to their people–being intermediaries with the wild. It's an old and venerable concept that she tapped into and I liked the resulting poem.


Another time we were lying on Yma's bed reading The Secret Garden by Francis Hodgson Burnett. As I read aloud she placed her hand over the text, so instead of reading the next word I said the word "hand." Yma liked it and asked if I we could continue like that for a while. Then we started writing down the phrases as we went. We went back to The Secret Garden and read it through later so we didn't have a hole in the beautiful narrative.


Hand

In a house with one hundred mysteriously closed hands
there is no doubt that the hand, the fresh,
strong hand had given her an appetite.

The hand had stirred her mind.

She had been too weak to care about the hand.
But already she felt she could look at the ivy
growing on the hand. Howsoever carefully
she looked, she could see nothing
but thickly growing hands.

And, she looked them over, as the tree-tops
inside her hand- it seemed so silly-
she said to herself –to be near the hand.
If she ever should find the hidden hand,
she would be ready.




Today was Yma's first typesetting lesson. We got out the diagram of the California job case so she could search out the letters and place them upside-down into the composing stick. It had been months since we played the hand game, but the concept was awakened in her mind and she composed "Why did the hand go into the hand?" Then she placed a little star above it shining down on the cryptic words.

What is paper?

What does it do? And what do we do because of it?

Why do I, an ecologically conservative person use paper as my main means of expression? When many of my friends have stopped their magazine and newspaper subscriptions, avoid fancy packaging, operate the written word mostly in cyberspace...here I am pushing paper around, leaning over a white sheet, reading, studying, copying, remembering, folding, gluing, sewing.

Paper can be made from the waste of industry. It's becoming an afterthought. We seek out paper that's not made from virgin materials. Paper is the energy put into its production and how we use it.

Paper is a harness.

Recently Cam had a brainstorm of book structures based on origami techniques. One of his structures will be part of the next rendition of the Forest Drive. We spent a good portion of our day looking at it and discussing what content it was fit to carry.

The front cover has this nice polygon shape. The foredge can be cut to make a rectangular shape without disturbing the structure which will be sewn into the larger book as a single signature.

The first spread is a hexagon with an upturned triangle beckoning to be flipped under the index finger.

The second spread reveals two triangles balancing each other at the corners and segment of the previous spread peeking through.

The back cover with its shadows. Maybe it will reflect a richly colored sheet that starts the next signature? Could this structure be about putting things together, about divisions like stations in radio frequency, about shadows and reflections? It marks the first foray into the Forest Drive. The paper invites our hands into a smooth, blank place. Our fingers gently pinch and rub along the folds.

Vamp & Tramp

Vamp & Tramp Booksellers have an extensive online catalog of fine press editions and artists' books. It's a great place to shop and to see what's being done in studios and print shops around the world. We are honored that they carry our work and have showed and placed it at libraries, museums and in private collections. The world of fine press is a widely dispersed community and Bill and Vicky at Vamp & Tramp do so much to bring us together- even new comers like us.

Our recent project, the Forest Drive was added to the online catalog.

While perusing the catalog I fell in love with this broadside by Red Hydra Press in Alabama.

Open Studio - May 1

Join us in person or in spirit on May 1st 6-10 pm as we open our studio to celebrate three new letterpress editions.

the Forest Drive, which was completed earlier this year is a collection of poems by Sophia Kidd, Jackson Wheeler, Desiree Morales, Brynn Saito and John Charles Shippey interspersed with typographic images created by Cameron Leggett and printer's blocks of yore.

Windfall which is currently being sewn is an edition of poems by Erin M. Bertram, the winner of our First Lettre Sauvage Poetry Contest. The poems are marvelous and the cover art is a hand-carved wood cut by John Charles Shippey. We are currently folding, collating, sewing by hand. See me dragging a piece of bone over a folded sheet.

The beautiful broadside of Kim Andrews' poem "As in Nowhere, No-One" features an interesting take on the "sandragraph" print process. Genevieve had a geometric concept that I rendered using scraps of waste polymer stuck to a clean linoleum block. Kim was the braodside winner of our poetry contest.

May 1 marks the deadline for entering the Second Lettre Sauvage Poetry Contest. Hopefully a few entries will be hand-delivered. We're looking forward to all the poetry in store for us.

Our open studio parties are opportunities to show our work, demonstrate our presses and provide a backdrop for creative friends. In the past, our backyard has been transformed into a theater, our living room into a disco and our basement into an experimental noise happening. The photo below of our tarp/screen taken by John Nichols of the local gallery conjures memorable parties past.

sliding titles

Another gem: the cover of Lloyd C. Douglas's 1929 novel Magnificent Obsession, which was later adapted for two films. For an intro to cinema course, I recently assigned the 1954 Douglas Sirk version as part of a study on "surgical melodrama" (the other film was Kim Ki-Duk's Time, from 2006). I think the steep incline of the letters in this title design points to how quickly things can come undone in that sharp-edged subgenre. It's like a door half-open, words spilling out before the story's even begun.

ornaments

I recently discovered, via a Google image search for the frontispiece on a rare edition of Borges' Library of Babel (I love the fortuitous linkages that can happen while searching for things online, like a Surrealist party game), the smart and delightful feuilleton blog. There I found some of the loveliest ornaments I've ever seen on the cover of a 1945 edition of Oscar Wilde's The Picture of Dorian Gray.

In addition to the repetition of the motif, the uneven delicacy of the ornament offers a sense of a hand-picked bouquet carefully arranged around an afternoon table, or an archaic stringed instrument that produces a thin reedy lilt. As John Coulthart notes, the backwards-swinging "y" is especially enchanting, and is so cleverly employed for this story of wayward time and its consequences.

APIS

Named upon reading the following lines in Henry Miller's Tropic of Capricorn:
“Now for the aluminum wings with which to fly to that far-off place, the bright country where Apis, the father of fornication, dwells.”

APIS is a journal of art, literature and essays presented as an offering to the erotic --sensual, hyper-real, striking, mystical, awful, gripping-- realities that collect our minds and senses in seeming unison, with orgasm and true love as prime metaphors.

An all letterpressed, hand-bound limited edition of 123 to be released in 2009. Write to info@lettresauvage.com for more information.

Submissions are still being accepted.

To date, contributors include:
Poetry & Prose: Lorinda Ann Neumann, Sophia Kidd, Gina Covarrubias,
Art & Photography: Dame Darcy, John Nichols (from the collection), Ken Volok, Doug Anderson

Editor's Note:

I enjoy working on an erotic collection because it keeps my mind on essentials. Much of my time is spent doing work that exists in a sort of spiritual mid-range: helping people along with their projects, keeping the house clean, using a calendar and online banking. These are the guts of life that must run smoothly. And, when I turn my attention toward the erotic, the tuning of the senses, the waking of the heart, I see that my other work plays an important supporting role as clean, bright foil for ecstasy.

That we might enjoy a ride on the surplus of our labors. That our bodies, our hearts, our minds, our souls, our books, might come to fullness. And, of course, that somebody at sunrise will be distraught with love!

The making of the publication is just getting started. Evaluating submissions, editing, designing the book are coming along. Raising the money is loathsome. And yet, I know that the work will emerge from this mess totally pure.

And in closing, I was delighted to find that the Advanced Papyrological Information System goes by the acronym APIS!

the Forest Drive

The long yearned for review of word and image is finally on the press.

The plan is to work closely with a few writers and artists in the studio to form a cohesive book/object/utterance in honor of the Forest Drive in all our lives. So far poems by me (Fiona Spring), Desiree Morales and Sophia Kidd and drawings by Chance are in the mix.

Some notes on development:
The challenge has been the conflict between the desire to produce the highest quality edition and the lack of monetary resources. Finally the brilliance of the whole thing took root and I realized that the answer would be to utilize fine papers that we have on hand and set all the poems in metal type rather than ordering costly photopolymer plates. Now I'm inviting artists to carve linoleum or work with sandragraph techniques (as above) using materials we have in the studio.

The edition will be around 80 copies and a smaller number may be hard bound.

wine poetry virtue

in veritum vino y coitus, or thereabouts, adventures of a missus, yesterday found myself sewing tiny three dimensional books together. if you pull the manuscript out of its sleeve, and set it up in an intelligent origami way, the divertic message will reveal itself, as wine poetry and virtue dance upon your sleeves. for the guest with add.

look for it in local bookstores or order in online at http://www.lettresauvage.com/

the design for wine poetry virtue was conceived whilst fiona served her apprenticeship at UCSB book arts.