20140710

SAY HELLO TO YOUR LAST CHAPBOOK! ALEXIS ALMEIDA, OREN SILVERMAN & SARA RENEE MARSHALL


And the second book of this July 10, number 3 in this year’s Say Hello to Your Last Chapbooks series: Alexis, Oren & Sara’s Halves, with poems by Alexis Almeida, Oren Silverman and Sara Renee Marshall.

Because this one has three halves and thus a lack of symmetry, it had to become a traditional single signature, sewn codex. But there is still a retina-searing surprise inside.






From the colophon:

This book was made for a reading by Alexis Almeida, Oren Silverman & Sara Renee Marshall on July 5, 2014, part of the Say Hello to Your Last Poem! series. If only we were allowed to talk about that.

Many hands & eyes go into each of these rapid chapbooks. Noel Black assisted with proofreading, Corie Cole helped with binding and other intangible aspects.

This book was designed, printed & bound by the NewLights Press. The text pages were laser printed. The covers were letterpress printed from lead type and MDF/chipboard collagraphs. All of the paper is from the French Paper Company, made with recycled content and hydroelectric power. The text typefaces are Adobe and ATF Garamonds. The modular titling lettering is another variation of a design by NewLights. 100 copies were made.

About the authors:



Alexis Almeida teaches creative writing at the University of Colorado, where she is at work on an MFA in poetry. Her translations and poems have appeared, or are forthcoming in Likestarlings, La Vague, The Ampersand Review, Aufgabe, and elsewhere. She lives in Denver.


Oren Silverman lives in Denver. His most recent work can be found in the critically-acclaimed chapbook Alexis, Oren & Sara's Halves from the NewLights Press.


Sara Renee Marshall hails from the southwest. She is the author of a chapbook, Affectionately We Call This The House, and her poems appear places like Colorado Review, Omniverse and Octopus. Sara is headed to Athens, Georgia to pursue a PhD at the University of Georgia.


Alexis, Oren & Sara’s Halves

Say Hello to Your Last Chapbook! 2014, No. 3



Poems by Alexis Almedia, Oren Silverman & Sara Renee Marshall


36 pages, saddle stapled pamphlet



7” x 5.25” (closed)

Laser printed interior, cover letterpress printed from lead type and chipboard collagraphs

Edition of 100 


2014



$8 (plus shipping)



SAY HELLO TO YOUR LAST CHAPBOOK! CJ MARTIN & JULIA DRESCHER


Today, on this day, July 10, 2014, the NewLights Press is releasing two new chapbooks from the Say Hello to Your Last Chapbook! Series. The first is CJ’s Half / Julia’s Half, poems by CJ Martin and an essay (excerpt) by Julia Drescher.

This accordion dos-a-dos edition features variable covers printed from a flexible matrix of unfixed vinyl strips stretched across a plexiglass block. Here are some of the covers:







From the colophon(s):

This book was designed & printed by the NewLights Press. The text pages were laser printed and the covers were letterpress printed from lead type, flexible vinyl collagraphs and chipboard collagraphs. All of the paper is from the French Paper Company, made with recycled content and hydroelectric power. The text was set in Adobe and ATF Garamonds. The modular title lettering was designed by NewLights. 100 copies of the book were made.

This book was made for a reading by CJ Martin and Julia Drescher on Saturday, June 21, 2014, as part of the Say Hello to Your Last Poem! reading series in Colorado Springs, Chris and Julia’s new home. It seems that with each book our star-cross’d crew grows, and we are so grateful: folded, collated and stapled by Marina Eckler, Noel Black, Corie Cole, Aaron Cohick, CJ Martin, Julia Drescher and Natalia Jaeger. Thank you for reading.






About the authors:

C.J. Martin is the author of Two Books (Compline, 2011), as well as four chapbooks: 2012 (Supersuperette, 2013), Unused Cover (Portable Press @ Yo-Yo Labs, 2013), 1978 (Self-published, 2010); WIW?3: Hold me tight. Make me happy (Delete Press, 2009); Lo, Bittern (Atticus/Finch, 2008) and CITY (Vigilance Society, 2007). For the past two years, he has been working on broadside collaborations with poets who do visual art. His essays and reviews have appeared in ON: Contemporary Practice, Jacket2, American Book Review, and elsewhere. He lives in Colorado Springs, CO, and works as a bookbinder. With Julia Drescher, he publishes Further Other Book Works.



Julia Drescher is the author of the chapbooks Plural Bell (LRL Textile series) and Birds Of Paradise (Ypolita Press) and her most recent poems may be found, or are forthcoming, in Aufgabe, Dusie, Likestarlings, the *belladonna chaplets series and Omniverse. She lives in Colorado Springs.



CJ’s Half / Julia’s Half

Say Hello to Your Last Chapbook! 2014, No. 2



Poems by CJ Martin & and essay Julia Drescher
40 pages, saddle stapled dos-a-dos binding

7” x 5.25” (closed)

Laser printed interior, cover letterpress printed from lead type, chipboard collagraphs and unfixed vinyl strip collagraphs

Variable edition of 100 

2014

$8 (plus shipping)


20140611

A JAB AT THE HEADS



The newest issue of JAB (The Journal of Artists’ Books), #35, has a short, thoughtful paragraph (& a color photo!) about The Heads of My Family, My Friends, My Colleagues, by Justin Sirois, in the “Books Received” section. The mini-review was written by Columbia College Chicago MFA student & Print Production Fellow Levi Sherman. This issue of JAB is pretty phenomenal—it is mostly artists’ books, six of them, to be exact.

Here is the full text on The Heads:

Justin Sirois has a knack for writing with, about, and for digital technology, so it is a pleasant surprise to see NewLights Press adapt his new book of poems The Heads of My Family, My Friends, My Colleagues to a letterpress printed codex that is perfectly suited to the content and style of the writing. On each page, black type is framed by dizzying, RGB-colored pixelesque patterns constructed out of en quads. Eight-bit tiles are knocked out of these borders, and like the poems themselves refer to online communication in their style, though the text itself also holds explicitly to the conventions of writing on the web and on cell phones. The book is as surprising as the poetry it contains, including blind embossed verses set on the interior spine fold—a thoughtful use of the double pamphlet structure. The book evokes a reading experience similar to browsing online—a schizophrenic, rhizomatic tour of sex, politics, pop culture, and everything in between, The writing, first-person and conversational, is engaging and holds the book together despite the breadth and obscurity of topics. This is a book that knows its audience and speaks powerfully both to and about them. (LS)

Thanks Levi! Thanks JAB!

20140519

SAY HELLO TO YOUR LAST CHAPBOOK! DIVYA VICTOR & MATHIAS SVALINA


The first installment of our summer reading series here in the Springs, Say Hello to Your Last Poem! happened this past Friday (5/16/14). And the first chapbook of the year happened as well, featuring work by Divya Victor & Mathias Svalina.





Like the Anna/Anselm book, this is an accordion-style, dos-a-dos chapbook. Digital interiors (with more experiments in modular title lettering) and letterpress (sort of) covers. “Sort of” letterpress because one of the layers was printed with an experimental, woven matrix—more on that in a later post.





From the colophon(s):

This book was designed & printed by the NewLights Press. The text pages were printed with lasers and the covers were letterpress printed from lead type, gel medium collagraphs and a flexible lettering matrix woven from painted chipboard and vinyl. All of the paper is from the French Paper Company, 100 percent recycled and made with hydroelectric power. The text was set in Adobe and ATF Garamonds. The modular title lettering was designed by NewLights. 100 copies of the book were made.

This book was made for a reading by Divya Victor and Mathias Svalina on Friday, May 16, 2014, as part of the Say Hello to Your Last Poem! reading series. It was amazing. Where were you anyway? Folded, collated and stapled by our extended mountain-town family: Marina Eckler, Noel Black, Corie Cole and Aaron Cohick. Thank you for reading.

About the authors:

Mathias Svalina is the author of three books, most recently The Explosions from Subito Press. Big Lucks Press will release his book Wastoid in 2014. He is an editor for Octopus Books. 





Divya Victor is the author of Things To Do With Your Mouth (Les Figues, 2014), Partial Derivative of the Unnameable (Troll Thread, 2005) Goodbye John! On John Baldessari (2012) and PUNCH (2011) from Gauss PDF; and the chapbooks UNSUB (2014), Hellocasts by Charles Reznikoff by Divya Victor by Vanessa Place (2011), and SUTURES (2009). Her book Natural Subjects is the 2014 winner of the Bob Kaufman Award, selected by Anselm Berrigan and is forthcoming from Trembling Pillow Press. Her poetry, poetics, and criticism have appeared in Dusie, Journal of Commonwealth & Postcolonial Studies, Crux, and P-QUEUE, among others. She earned a PhD from the University at Buffalo, and she currently lives in Buffalo where she is a teaching artist for Just Buffalo Literary Center and a writer for Jacket2.



Divya’s Half / Mathias’s Half


Say Hello to Your Last Chapbook! 2014, No. 1



Poems by Divya Victor & Mathias Svalina


40 pages, saddle stapled dos-a-dos binding



7” x 5.25” (closed)

Laser printed interior, cover letterpress printed from lead type, gel medium collagraph and woven, vinyl lettering matrix

Edition of 100 


2014



$8 (plus shipping)
 

20140506

SOME ANNOUNCEMENTS. OH THIS TIME


Just keeps on coming, going. Yesterday, May 5, 2014, was the "observed birthday" of the NewLights Press. 14 years old now. Always unbelievable, always a kick in the gut as I think about all of the work that still needs to be done. Writing-reading of which, here are some announcements about things upcoming:



A title for the little magazine of one-word poetry, fiction and non-fiction has been chosen. The name will be: REAEDR

That was not one of the entries submitted, so no big winner of the contest was chosen. But to show our appreciation each entrant will receive a free subscription for the first year or four issues, whichever is more. Thanks to everyone who sent in ideas. More details on REAEDR and very importantly how to submit will be coming soon.



 Summer is looming in the CO, which means that we will be starting up our summer reading series SAY HELLO TO YOUR LAST POEM! very, very soon. Which means more chapbooks too. The first will be another dos-a-dos book, shared by Divya Victor and Mathias Svalina. The book will be available at the reading on May 16, and then released to the weird world on Monday, May 19.

The images in this post, of more modular letterforms, both printed and woven, have a lot to do with current investigations. The woven letters were made in a paper weaving/encoding workshop taught by the wonderful Emily Larned (of ILSSA fame) at Colorado College last month. Emily's visit was part of a series of programs connected to a letterpress/book arts/socially engaged art class taught by Bridget Elmer (also of ILSSA fame).

Flexible, woven, articulate printing matrices is the next step. Reports on that coming soon.


20140211

CONTEST!!! NAME OUR SOON-TO-BE JOURNAL OF ONE WORD POETRY, FICTION, & NON-FICTION

One of the firstish big NewLights Press plans for Year 14 is to launch a journal of one word poetry, fiction and non-fiction. First step: an awesome name for said awesome journal. & that’s where you come in, reader. Submit your ideas for names via email to newlightspressATgmailDOTcom, or by messaging us on our Facebook page. [Ed. Note: I don’t see contact info for comments to this blog, hence the submissions via email & FB.] We will post submissions periodically as they roll in below in updated versions of this post. We can’t guarantee a winner will be chosen from the submissions, but if there is a winner, that person will get a free lifetime subscription to the journal.

Entries! (updated on 02/14/14 at 10:00 AM)

Soli
Oddments
Singletons
Constraints
Mono
Brevity
Palabra
CROWBAIT
Unalone
Economy
Bullseye
Plop
OOZER

This journal is something that’s been incubating a long time, begun actually in 2003 with the piece below (re-posted from the NewLights digital archives). Info for how to submit to the journal itself will be coming in the near future. The plan is to get two issues out by the end of this year, then four starting next.


20131101

NOW (NON)LIVE ONLINE: 99 WAYS TO DIE

In honor of the Day of the Dead, here is a digital facsimile of another NewLights Press classic, 99 Ways to Die.



We’re calling this a digital facsimile, as opposed to a digitally archived version of the book, because it is not composed of scans of the actual printed pages, as most of our digital books are. The real book is a little more than 200 pages (100+ sheets of paper with the versos unprinted) and that thick spine plus a shoddy hand “perfect binding” means that the book is extremely fragile, and does not open anywhere near flat enough to scan. [I wonder if there any copies of this still out in the world, still mostly intact.] Hence the digital “facsimile,” meaning that the book, with all of its wobbling and inconsistency, has been rebuilt on the computer. Perhaps it is effective, perhaps not. But here it is. & in a way, this is the third version of the book.

99 Ways to Die is, unofficially, the first NewLights Press book. The very first version predates the press, predates even the idea of the NewLights Press. Or perhaps the idea of the press emerged with the book. Although the thing itself was terrible, barely a book at all.

I’ve written before, on this blog & elsewhere, about how NewLights was started during/after a zine/bookmaking class my sophomore year of college. The text of 99 Ways to Die is from an assignment in that class, given by the poet John Yau, to write three poems: “10 Things to Do in Baltimore,” “10 Things Not to Do in Baltimore” and a list poem of our choice. My choice, because my roommate and I listened to a lot of metal, was “99 Ways to Die.”

I had so much fun writing the poem (with input from a few friends) that I wanted to try making it into a little book. I bought some Oaktag [yes!] paper for the covers, carved a tiny linoleum block image of the grim reaper and set up and printed the pages at quarter-sheet size to be saddle stapled. I’m not sure how many copies I tried to do, but not a lot. I hand printed the linoleum with the Speedball brand of water-based block printing ink, which, as some of you cringing readers might know, essentially never dries. So the prints came out okay, but quickly disintegrated into clouds of black fingerprints after repeated viewings. (The grim reaper used on the cover reproduced above is a screenprinted version pulled directly from one of those original block prints.) & the binding, oh the binding. One of the first things I learned about bookbinding was that a normal stapler is not long enough to reach the spine of even a quarter-sheet size book. In tandem with that I also learned not to wait until right before class to try to bind. [Current & future students of mine, this is solid advice.] So I just cut all of the pages down the spine and stapled them to the top of the back cover, clipboard style. It was not pretty.

But it worked. & the enthusiasm about that “prototype” version among my peers & friends & professors led me to maybe get more serious about this bookmaking thing. & after that, my life was quickly & wonderfully ruined.

Oh, & in case you’re wondering about the title and the epigraph:

 

20131009

THE 2013 DELUGE OF AWESOMENESS SALE!!!


UPDATE: The full sale of all NewLights Press items ended on Monday, 10/14/13, but the flood broadsides shown below will continue to be sold, and all of the money from those will continue to be donated. The sale has been successful. Thank you to everyone who participated & supported.
 

The floods that ravaged the state of Colorado a few weeks ago were widely reported in the news. The waters have since receded, and the headlines are focused on other matters. But the work of rebuilding and mitigating future disasters is long and arduous, and help is still needed. The recent, massive wildfires across the state have left many areas extremely vulnerable to flooding, and it will likely be decades until the burn scars return to normal, with vegetation that can hold the soil together and ground that can absorb water.

Always the question: What can we do? Always the answer: What we do. 

So in that spirit the NewLights Press is excited to announce the 2013 DELUGE OF AWESOMENESS SALE. For the next four days, until 12 AM on Monday, 10/14/13, all money from the sales of any NewLights Press item will be donated to flood relief and mitigation efforts in Colorado, both up north in the Boulder area and here in the Pikes Peak Region.

And of course there is a new, featured item in the sale: a limited edition letterpress printed broadside, written, designed and printed by a group of students at The Press at Colorado College.




2013 Colorado Flood Broadside
by Ashley Johnson, Patrick Lofgren and Katie Smith

Letterpress from lead type, collagraph and linoleum 

Edition of 90 

10.75” x 14.75”

2013

$10

You can view the rest of the available books here and broadsides here.

Thank you for reading, thank you for your help.

20130708

SAY HELLO TO YOUR LAST CHAPBOOK: ANNA MOSCHOVAKIS & ANSELM BERRIGAN


About a year ago, I wrote about how happy I was that Noel Black & I started a reading series here in the Springs. Now, I am even happier to announce that we are also doing a chapbook series in conjunction with those readings, and the first one is out.



It’s a small, dos-a-dos book with new poems by Anna Moschovakis and Anselm Berrigan. The poems in the book were written sort-of-collaboratively by the two poets: they came up with a list of titles and then chose to write poems using titles from that list. The book itself is simple, rough & ready, and in many ways marks a return to the fast, ephemeral productions that took place in the early years of the NewLights Press.



From the colophon(s):

The interior pages were printed on a home laser printer and the covers were letterpress printed from vinyl collagraph blocks and lead type. All of the paper is from the French Paper Company, 100% recycled and hydroelectric. The text was set in Adobe and ATF Garamonds, and the titling type is a modular face designed by NewLights. 100 copies of the book were made.

This book was made for a reading by Anna Moschovakis and Anselm Berrigan on Friday, July 5, 2013, as part of the Say Hello to Your Last Poem reading series. The book was folded, collated & bound by the Say Hello to Your Last Poem 3rd Battalion, 22nd Armored Division: Marina Eckler, Noel Black, Corie Cole and Aaron Cohick, stationed in Colorado Springs and Manitou Springs.




About the authors:

Anna Moschovakis writes and translates from the mountains of upstate New York and sometimes from Brooklyn. Her most recent books are You and Three Others Are Approaching a Lake and The Jokers by Albert Cossery, which she translated from the French. She teaches at Pratt Institute and is on faculty at the Milton Avery Graduate School of the Arts at Bard College. She is also a long-time member of the Brooklyn-based publishing collective Ugly Duckling Presse.

Anselm Berrigan is the author of six books of poetry, including Notes from Irrelevance, and Skasers (with John Coletti). A new chapbook, Sure Shot, has just been published as a little magenta thing by Overpass Books. He is the poetry editor for The Brooklyn Rail & lives in New York City, where he was supposedly raised.



Anna’s Half / Anselm’s Half
Say Hello to Your Last Chapbook! 2013, No. 1



Poems by Anna Moschovakis & Anselm Berrigan

36 pages, saddle stapled dos-a-dos binding


7” x 5.25” (closed)


Laser printed interior, cover letterpress printed from lead type and vinyl collagraph


Edition of 100 

2013


$5 (plus shipping)
OUT OF PRINT

[Editor’s Note: You may notice that the colors in the images look a little strange. You are correct. The covers of the book were printed in fluorescent pink ink on pink paper, which caused the automatic color correction on the scanner to do strange things. But I decided to keep those strange effects, because they seemed more “accurate” than the muted pinks resulting from removing the color “correction.” They’re hot pink—that’s all you really need to know.]