A poem of mine, "Pleasure Dome," was published in a gorgeous letterpress production of The Common Press, of which the Kelly Writers House is a partner. The book is called Philacentrik and it's a catalogue of nine views of Philadelphia. It is also the first Common Book, an annual project by the Common Press, the letterpress studio at Penn; Common Books will be produced to showcase the integration of writing, printmaking and design at the press." Here is a scan of my poem and the illustration on the facing verso. The Writers House imprint within the Common Press collaborative is called "The 15th Room Press".
Friday, September 18, 2009
letterpress pleasure dome
A poem of mine, "Pleasure Dome," was published in a gorgeous letterpress production of The Common Press, of which the Kelly Writers House is a partner. The book is called Philacentrik and it's a catalogue of nine views of Philadelphia. It is also the first Common Book, an annual project by the Common Press, the letterpress studio at Penn; Common Books will be produced to showcase the integration of writing, printmaking and design at the press." Here is a scan of my poem and the illustration on the facing verso. The Writers House imprint within the Common Press collaborative is called "The 15th Room Press".
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
