Thanks, Catherine. When I can get out a current rush, I will look at some small press printings I have of Fanny Howe to see how she was initially presented the work. I know there fascistic, righteous designers out there - ones with whom I have worked, fought, etc. - but book designers/typographers folk (a disappearing breed) are a quite different sort, at best sensitive to content, tone, et al. (For me and many poets, Charles Olson's Letters to Origin is seminal in terms of these concerns. I want to doubt that UC Press Design over road Fanny on this. I shd write and ask her at a later point. Post Moderism - at least my interp of that up for grabs term - permits the poet the play and intersection of several typographic approaches to the text.
--- On Tue, 1/5/10, Catherine Daly <[log in to unmask]> wrote:
From: Catherine Daly <[log in to unmask]>
To: [log in to unmask]
Date: Tuesday, January 5, 2010, 5:14 PM
well, it was kind of amazing to me how the U of C graphic design for
Fanny Howe selected dramatically changed the experience of reading her
poems, making them more the same than more discrete; they initially --
presumably with her input -- had been presented quite differently,
with varying line spacing, page breaking, and, yes, caps...
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