Punch Press



AMARANTH, UNSTITCHED
SAMANTHA WALTON

Amaranth, Unstitched

"Employing sharp tactics, the thistled glare | berates us, lovestruck & pompous." Four-color plate pasted on Stonehenge wraps folded over black bristol. Hand-stitched. 20 pages.

Inside the U.S. only - $7

Outside the U.S. - $12





A DROLL KINGDOM
REITHA PATTISON

A Droll Kingdom

"A wave to the faux tourney and through the portcullis | with disgust ex cathedra, this quest rolls the hard road | via the exit wound." Two-tone linocut wash, silkscreen and letterpress on pale gray Stonehenge wraps folded over black bristol. Set in Fournier and Cheltenham. Hand-stitched. 24 pages.

Inside the U.S. only - $7

Outside the U.S. - $12





BOUNDARY LOOT
EDGAR GARCIA
PREFATORY NOTE BY
DENNIS TEDLOCK

Boundary Loot, back cover  Boundary Loot, front cover

In the opening statement of his preface to this inaugural collection of poems from Garcia, Dennis Tedlock writes: "Somewhere in reach of his keyboard, Edgar Garcia has feathers and shells, fragments of bone and bits of obsidian, picked up in tidal zones or the dirt of ruined cities." Letterpress and silkscreen on Stonehenge wraps folded over black bristol. Hand Stitched.

Inside the U.S. only - $7

Outside the U.S. - $12





FOUR LETTERS | FOUR COMMENTS
SEAN BONNEY

Four Letters | Four Comments

Four letters first published by Bonney between June and August 2011 at Abandoned Buildings (abandonedbuildings.blogspot.com) followed by speculative remarks on the letters from Jennifer Cooke, Pocahontis Mildew, Danny Hayward and Lara Buckerton. Two color letterpress (silver and black) on black Stonehenge paper wraps. Hand stitched.

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INEBRIATE DEBRIS
ROSA van HENSBERGEN

Inebriate  Debris

"We mute desires to mime distractions." Three poems. Letterpress on hand-stitched black bristol wraps.

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HAX
FRANCIS CROT

HAX

London, 2011 — Hackney invades the city. In no ways handmade. Trade edition. 160 pages. Cover photo: "Dalston Occupation" (intersection of Dalston Lane and Roseberry Place, Hackney) by Sean Bonney. The structures photographed have since been leveled for the construction of Crossrail Station in advance of the 2012 Olympics.

HAX adjunct HAX
mongrel freehand GOTO w/ beaver-tailed G
::
FRANCISCROT.TUMBLR.COM

Inside the U.S. only - $10

Outside the U.S. - $17





DOWN YOU GO

OR

NÉGATION de BRUIT

APRÈS DANIELLE COLLOBERT

FRANCES KRUK

Kruk 1  Kruk 2

"The most pathetic poem is small people on fire." Frontis Piece constructed by gustave morin. Two color silk screen on construction grade brown packing paper wrapped around black bristol cover. Interior printed on Mohawk Superfine. Set in Bodoni and Gill Sans. Hand stitched.

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A QUESTION MARK ABOVE THE SUN
KENT JOHNSON

? ^ Sun

"What you have in your hands is a kind of thought experiment. It proffers the idea that a radical, secret gesture of poetic mourning and love was carried out by Kenneth Koch in memory of his close friend Frank O'Hara. I present the hypothesis as my own very personal expression of homage for the two great poets. The proposal I set forward here, nevertheless, is likely to make some readers annoyed, perhaps even indignant. Some already are. A few fellow writers, even, have worked hard through legal courses to block this book's publication. The forced redaction of key quotations herein (replaced by paraphrase) is one result of their efforts; the edition's beautiful original covers have also been suppressed." —Kent Johnson, from the introduction.

Produced in edition of 100 and subsidized through advanced subscription. Cover wraps (pictured above) were two color letterpress printed on Magnani Pescia; they were soon after destroyed in an effort to preempt legal action threatened by five poets, two literary estates and one of the largest publishing houses in the US.

SUPPRESSED





SO FEW RICHARDS, SO MANY DICKS
MARIANNE MORRIS

Dicks-1  Dicks-2

"Father, Goon and Executive Fucker." Single poem. Letterpress. Black bristol wraps. Hand-stitched. 8 pages.

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JOSIAH WILBARGER: 1833
DALE SMITH

Josiah Wilbarger, 1  Josiah Wilbarger, 2

Scalped in Texas, 1833. Survived some years. Skull half exposed. Single poem. Letterpress. Bare black bristol wraps. Hand-stitched. 4 pages.

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DIVINATIONS
CARRIE ETTER

Divinations

Twenty from Divinations for Starters (forthcoming from Shearsman). Two-color letterpress on Fabriano Tiziano folded over black bristol wraps. Hand-stitched. Cover image: adaptation of Lee Bontecou's untitled 1993 mixed-media sculpture. 24 pages.

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ARCHIPELAGOS
NATALIE KNIGHT

Archipelagos

In the first of two prefaces that struggle outward to stitch the circularity of her Archipelagos shut Knight writes: "Don't let in description, this archipelagos is serene. Enter the domesticulating orating, the pronouncements, fillings and metal caskets. Enter our blunders and minis. Refer to Zeus in black."

Two-color letterpress on Fabriano Tiziano wraps folded around a black bristol cover.

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Envoy
Sotère Torregian

Envoy

Andrew Joron notes in his brief introduction, "In the present collection, Torregian remains the envoy of a utopian zone where (quoting Hediegger) the poet is 'the Shepherd of Being.' With undiminished fervor, Torregian mobilizes prose, artwork, and epistolary forms along with poetry to enact a tragicomic carnival of the imagination."

Two-color letterpress on Magnani Pescia wraps around black bristol covers. Tipped in four-color image. 40 pages. Hand-stitched.

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Untitled Broadside
Luke Roberts

Untitled Broadside

Handset and printed on Magnani Pescia scraps with Roberts during the brief December stop in Buffalo punctuating his winter 2009 tour of the Northeast, Florida panhandle and Midwest. By plane, train and foot. Diffikilted.

UNAVAILABLE




13.09.08
JOW LINDSAY & POSIE RIDER

13.09.08

Handset and hastily printed in three colors on scrap approximately four hours before Lindsay and Rider read at Rust Belt Books on Allen Street in Buffalo, June 25, 2009.

UNAVAILABLE




Two Ballads
Richard Owens

Ballads1  Ballads2

Two ballads: "Wayfaring Stranger" and "Foreign Lander." Printed on Stonehenge scrap using handset type and photopolymer plates.

UNAVAILABLE




Kintsugi
Thomas Meyer

Kintsugi

"Sit so you don't hurt the grass," says Meyer. "An impossible grace." Robert Kelly remarks in his foreword, "Tom calls the forty-eight threnodic pulses of his observation of Jonathan's dying, his own surviving, by a curious Japanese word, kintsugi, which he describes as the 'practice of repairing ceramics with gold-laced lacquer to illuminate the breakage.' So the very rupture is what is highlighted: the error becomes the meaning of the text."

Three-color letterpress on Fabriano wraps. Hand-stitched. Celadon letterpress images appearing on the cover and within the book are based on resin images generously produced for this project by Erica Van Horn in August, 2008 at Coracle Press, Tipperary, Ireland.

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Implicit Lyrics
Ben Lyle Bedard

Implicit Lyrics

"I have seen the splendor of my leaving," writes Bedard in the third of twenty-four poems which make up Book One of Implicit Lyrics, a disjunctive and highly cavalier journey through concerns surrounding silence, the lyric, and the role of love in coming to terms with the decentered shreds of the fractured subject. For Bedard meaning resides in the spaces between words, between sentences, in the disjunct, the gap, the silences that resonate in the burning whiteness of the page. These are the splendor of his leaving.

"It's not that I don't love you, I Do. I only want to stop the sun."

Saddle-stitched with two-color letterpress wraps folded over a black bristol cover.

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Susquehanna
Dale Smith

Susquehanna

This book contains the first part of Dale Smith's Susquehanna, a sustained meditation on the value of failed vision-particularly the inability of a young Samuel Taylor Coleridge to fully realize his Pantisocracy on the banks of the Susquehanna River in the early 19th century. Thinking this failure through the cultural and technological developments of the present moment, Smith develops a methodological approach within the body of the poem grounded partly in Walter Benjamin's materialist historiography and David Antin's talking meditations on anthropology.

Perfect-bound with three-color letterpress wraps. Like the Wingbow Press edition of Ed Dorn's Slinger, parts of the book were set in Caslon Old Face. Parts of the book were also set in Baskerville Old Face, Palatino Linotype, and Georgia. Interior images culled from various 18th century New England primers. Front cover image of Britain culled from John Sellers' 1690 Hydrographia Universalis. Rear cover image from Sellers' A New Systeme of Geography, 2nd Edition, also printed in 1690.

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Repatterning
Brian Mornar

Repatterning

Comprised of four poems of moderate length, Repatterning sees Mornar synthesizing the mundane, meditations on the mundane, and the poetry and critical work of others encountered while wandering through the mundane. Thinking and writing through the everyday, Mornar comes out in these poems on the other side of the everyday with the musicality of a lyric sensibility in hand. He comes "Stately, outside waiting for the bus doors to open" and finds himself situated "Between the spaces public and private". As he states in "Kleist's Puppets", "Where the garage meets the road/ I do tell the people my name".

In the foreward to this inaugural collection, Lisa Fishman writes, "The intelligence of this collection is formidable and hopeful, alive to lyric utterance, margin note, and notebook entry as themselves events and as sites of hearing: Shelley's West Wind cutting through Chicago's Hawk wind; Mornar's Oakland refuting Spenser's Ireland, everywhere the self stricken but not stricken out...."

Assembled by hand, this book includes two-color letterpress wraps folded over and bound to a black bristol interior cover. Where else can fine letterpress poetry be had for the cost of a pack of smokes.

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Soundless
John Phillips

Soundless      Soundless

John Phillips' Soundless is a sequence of six short poems concerned with the relation between silence and quiet, interior and exterior, the world apprehended through the ear and consciousness of that world. Working within a tradition further developed by Cid Corman, with whom the poet corresponded until his death in 2004, and Theodore Enslin, with whom the poet continues to correspond, Phillips' practice is unique in the British context.

This project began as a mercenary printing mission. Our aim was to produce an interesting book, appropriate to the work contained in it, quickly and using inexpensive materials. Guts printed on a laser jet printer. Covers printed on Wassau gray bristol and mounted to a heavier weight, sandy stock selected in haste. Two-color letterpress. Hand-stitched.

SOLD OUT




BILL GRIFFITHS, 1948-2007

Bill Griffiths Broadside

Printed on scraps from previous projects, it was our intention to include a copy of this broadside with each copy of Damn the Caesars, Vol. III. Bill Griffiths, whose work appears in Vol. III, passed away while the journal was at press and it seemed essential that we acknowledge this in it. Unfortunately, due to a printing error, only 16 of the broadsides appeared as they should. These 16 were sent to friends of the poet.

NOT AVAILABLE




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