Perhaps if I'd started earlier, & achieved what has thus far been achieved—80 books in total, covering a range of media & with an impressive list of creators—I might still have the energy to continue. But I didn't, & I haven't; so, with sadness, I announce the last two books from Otoliths.
harry k stammer’s new book, grounds, is a sequel to his previous book tents. It continues to dig deeper into the realm of a homeless person’s mind as he/she lives in downtown Los Angeles. As Philip Primeau, of PERSISTENCIA, said of tents, “stammer mixes a sort of poetic cubism with wordplay, startling typography, and a wide array of other adventurous techniques with creative intensity rarely witnessed.” This book uses imagery and meaning to describe the various illnesses that afflict the homeless.
The Codicils is actually a number of new books, nine at least, collected into a single brick, covering Mark Young's poetry from the four years since the publication of Pelican Dreaming: Poems 1959-2008. It revisits some familiar themes — Magritte, geographies, that peripatectic Postman — but it also brings in a number of new streams & memes, & includes an essay by the poet on the universality of the stochastic methodology that lies behind his poetic canon.
The journal will continue on, & print copies of the three most recent issues, twenty-eight to thirty, are now available fromThe Otoliths Storefront where the full catalog of Otoliths books & issues of the journal can also be found.
Weds the long tradition of alphabet poems with hand-held technology without the paucity of most twitchatter.
Z has always been the one of the most difficult letters to pull off alphabet writing (second to X). I love what Chimal has invented: "Z is on the end of the Last Peninsula, before the Sea-That-Bends. Lots of people go there to finish novels, or to die." I want to go to the Sea-That-Bends on a boat without oars.
It is almost certain that these images have never been published before. Clearly, Cobbing valued the works: they are documented as to title and date in his hand-writing, on good quality laser prints; and he took care to preserve them.
The format is A4, a format, with A3, that he worked with throughout his last quarter century. Some works use other sizes, particularly B5 and B6; but generally that was achieved by trimming or photo-reduction. He composed usually on A4 and A3. Until the early 1980s, he had also used quarto (8 inches x 10 inches) and foolscap (17 inches x 13.5 inches), sometimes other "imperial sizes". In those days, his main writing and copying medium was the ink duplicator, if we exclude sound recording media. From 1984, he was a photocopy boy.
His image-composing methods were various. The ink duplication process provided multitudes of potential monotypes as by-product from ink-wet wax stencils. In both ink-duplication and photocopying (1984+), knowledge of how scanning transformed images played a large role, with and apart from papier collé. Photocopying also copes with moving objects on the glass platen.
A Cobbing original may tend towards the intangible. Output qualities, I should say "properties", varied depending where one was in the monthly copier maintenance cycle and where one was on the timeline towards machine obsolescence. He might reserve image(s) as print master(s) for future use while the rest of the print run was published. Then, at reprint, the print master might not be to hand and a copy was used. That copy might or might not be generationally identical to the missing master; or the copier might or might not do justice in some eyes to what it was copying. Yet, if the result satisfied Cobbing, simultaneously fastidious and tolerant, then that was that.