Coracle Press ~ Ireland
(Simon Cutts & Erica Van Horn)



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Patrick Eyres: " Over the years Coracle has developed through numerous phases of activity in places as various as London (1975–1987) and subsequently Liverpool, Norfolk, Italy and Ireland. The consistent intention has been to involve artists, editors, poets and writers in the creation of an eclectic synthesis of word, image and print that could flourish in book form through exploration of metaphor, allusion, paradox and irony. "
   

Books about Coracle Books
Boxes of Coracle books
Bookworks by Simon Cutts
Bookworks by Erica Van Horn
Bookworks by Susan Howe
Living Locally series by Erica Van Horn

 
   
The Window Paintings
Stephen Skidmore & a poem by John Bevis
Ballybeg - Wien: Coracle & Galerie Hubert Winter, 2015. Edition of 200.

5 x 8"; 32 pages. Casebound. Paper over boards. 7 plates. Numbered.

www.johnbevis.com (accessed 5/28/15): "A poem in six sections to accompany the monochrome paintings by Stephen Skidmore of the rooftop and treetop view from his window in Acton, West London, published by Coracle and Galerie Hubert Winter at time of an exhibition of the paintings in Vienna, spring 2015

"The Window Paintings follow on from Stephen Skidmore’s exquisite series of Rain Paintings, which looked down from the window of his bedsit – or ‘studio apartment’ – to the uneventful street below, its pavements and parked cars and blurry hints of apartment walls. Sometimes the focus strayed no further than the drops of rain fused to the window glass itself. Now, a new series of paintings looks up from the same viewpoint to treetops, rooflines and clouds, in almost colour-free compositions that re-examine the scarce variations of a view both mundane and ominous of the suburban dormitory.

"The poem written to accompany the paintings is in six sections. It has a jagged, almost improvised quality which marks a departure from the author’s previous essays. Fragments of past lives of occupants of the room are imagined in a series of interactions between the view from the window, whether studied or glimpsed, and what is going on inside, in a montage described by Simon Cutts as ‘a cold-war narrative'."


Galerie Winter: "What can be said about such an artist? His fellow student Simon Cutts provides us a comprehensive insight into Stephen Skidmore´s pictorial inventions: since almost 40 years the artist has lived and worked in a tiny apartment in London. In the first years he painted with gouache and acrylic , then started to use oil. Small sized paintings. In the early days, his landlady told him he couldn´t have pictures on the wall, so he kept them under his bed. Now it is too late for that.

"From his living - bedroom at Avenue Crescent in Acton, West London, - renamed due to tenancy law into 'studio apartment’ – he painted looking through the rain on the window melancholic blurred street scenes , Rain Paintings. Now the same contemplating, blue view is captured by defoliated trees over the roof ridges, expecting the upcoming spring. ... A glance at the world outside the artist's comfort zone, reduced to black and white."

$25

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The Free Music Machine Drawings of Percy Grainger
with an introduction by Wilfred Mellers
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2014.

220 x 300mm; 72 pages. Casebound with illustration tipped on front cover. Numbered. The book was designed by Colin Sackett, printed in England by Axminster Printing Company and casebound by Stuart Settle.

www.wikipedia.com (accessed 1/10/2015): "Percy Aldridge Grainger (8 July 1882-20 February 1961) was an Australian-born composer, arranger and pianist. In the course of a long and innovative career he play a prominent role in the revival of interest in British folk music in the early years of the 20th century ...

"Among various new ideas, Grainger introduced his so-called 'free-music' theories. He believed that conformity with the traditional rules of set scales, rhythms and harmonic procedures amounted to 'absurd goose-stepping', from which music should be set free. ... He believed that ideally, free music required non-human performance, and spent much of his later life developing machines to fulfil this vision."


This Coracle publication contains 22 drawings by Percy Grainger for the Free Music Machines he developed with Burnett Cross.

Simon Cutts became interested in the drawings over 35 years ago. "I was aware of the effect of the drawings on younger artists, musicians and writers ... Their interest resides in the possibility and potentiality of drawing to form a narration. ... This potentiality, the notation of drawing, has been at the core of many inventors and artists' work, a constructed narrative that sustains enough of a belief in their suggested new world."
$50

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51 Drawings
By Bill Culbert
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2013.
Edition of 300.

260 x 210 mm; 64 pages. Casebound with 2-color blocking. Numbered.

Coracle: "51 drawings were made over the last thirty years using Parker 51 reservoir and cartridge fountain pens, mostly on pieces of A4 office paper. They were selected and edited by Bill Culbert and Simon Cutts from drawings of Pens & Corkscrews, Shades & Lamps, Chairs, Tables & Other Furniture, Bottles & Glasses, Instructions for Installations, Diagrams & Listings, in January 2013."

Bill Culbert is noted for his painting, photography, sculpture, and installation work and was New Zealand's representative at the 2013 Venice Biennale.
$60

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One
By Yoko Terauchi
Clonmel, Tipperary, Ireland: Coracle, 2012. Edition of 20 + 6 proofs.

600 x 560 cm (22 x 24") sheet, folded to 300 x 140 (5.5 x 12"). Laid in cloth-covered clamshell box with title information blocked in grey foil on spine. Signed and dated by the artist.

Coracle: "The most recent of the special format works made by Yoko Terauchi and Coracle over the years, beginning with Terra in 1984, and followed by Ebb & Flow in 1988, Cuckoo in 1992, coil/join in 1994, and now one, 2012. Here the interior sheet of red paper is folded tightly and then burned by a heated stainless steel cone once to form 64 holes of diminishing dimensions when the sheet is opened, each charred at the edges from the burn."

Yoko Terauchi (1954 - ) is a British visual artist. She is professor at Aichi University of the Arts and a Daiwa Foundation Award recipient.

Her work deals with questions posed to the concept of "one." That is, what is the one, the whole? Is each part a whole or do the parts make the whole?
$625

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Toscano
By William Roth
Tipperary, Ireland: Coracle Books, 2011. Edition of 95.

4.125 x 5.75"; 8 pages. Photocopy with letterpress. Sewn pamphlet binding. Paper wrappers with title on front cover. Color frontispiece tip-in of cigar image. Slipped into acetate pocket.

A short story about friendship and a last cigar.

Colophon: "An edition of 95 copies with a few proofs on the occasion of the author's ninety-fifth birthday in September 2011."

Erika van Horn: "William Roth turned 95 last September. The Toscano book was a birthday gift from us to him. He had written the piece some years before on the occasion of a friend's death, and since he and Simon shared a love of cigars, which neither of them can smoke anymore, he gave Simon the text to read. We loved it.

"He has been involved with the arts and with politics for his entire life. ... A graduate of Yale, he started The Colt Press with Jane Grabhorn while still a student. He sort of always wanted to be a writer but instead was a businessman who supported the arts in innumerable ways, with scholarships, subsidies and purchases both in the USA and in Ireland. ... He ran unsuccessfully for governor of California.


"A full and wonderful life … not the history of your usual book artist!"

$18 (Last 3 copies)
   
   

tree on the outside
By William Minor
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2010.
Edition of 300.

4.5 x 5.875"; 156 pages. Offset printed. Perfect bound. Dark green folding self-wrappers with letterpress titles. Design and production by Simon Cutts.

Minimalist poetry by William Minor. The small book begins with no title page. It launches into the poetry from the first turn of the page.

$15


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Black Bob
By Colin Sackett
Clonemel, Tipperary, Ireland: Coracle, 2008. [Edition of 200.]

4.5 x 6.75"; 124 pages. Letterpress printed. Paper over boards casebound.

A reprint in green covers of the original edition (1989), which had blue covers.

Black Bob, a fictional Border Collie from Selkirk, Scotland, originally appeared in The Dandy, a long-running children's comic, in 1944. This revision of the narrative version of comic art consists of one spread, showing the dog and his master heading three sheep by a rural stream, repeated 63 times. The title information that appears on the front board is repeated but reversed on the back cover.
$80

 


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Driven Out, Ditched, & Deserted
By Jason Clark
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2008. Edition of 300.

5.125 x 6.75"; 36 pages. Offset interior with letterpress cover. Drawings and postscript by Jason Clark. Introductory poem "Autobahn Children" by Cralan Kelder. Number three in the flaps poetry series

Jason Clark, statement: "My notebooks trace the interaction between drawing and its subject, the way it can inflect on it its own language, and conversely, the way a drawing interprets a subject as its own vernacular. In a monotone drawing everything is pushed to one extremity or another. The subject, striving to remain legible, contrives dialect for the drawing: hash-marking to suggest middle tones and outline where details would otherwise have been washed out. These contrivances are mental constructions, quite alien to the world of the eye.

"The subjects I'm drawn to in my projects are Trees/Lines, of power lines and telephone poles amongst groups of trees, or Drive-Out, Ditched and Deserted, of cars abandoned in the wilderness, and the yet unnamed project of Army tanks that decorate the lawns of urban and suburban VFW meeting houses.

"Drawn on location in ink, this book is as much a document of abandoned cars I've found while hiking in the woods of northern New England as it is a record of drawing decisions. The cars, abandoned along old logging grounds, ditched down ravines, driven in up to their wheel-wells in sandpits, burned and bullet-ridden, and left to disintegrate and then integrate into nature, are a dear armature for my work which tracts the edge where mark-making and legible image merge."


Jason Clark graduated from Massachusetts College of Art. He currently resides in Vermont.
$15


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The Purification of Fagus sylvatica var pendula
By Paul Etienne Lincoln
Ireland / New York: Coracle / Granary, 2005. Edition of 600.

8.5 x 10.25"; 50 pages. Offset printed in two colors. The images are printed on coated stock, the text on Snowden Cartridge. Casebound in Avon midnight blue clothhes.

Colophon: "The Purification of Fagus sylvatica var pendula was produced and first exhibited for the exhibition Crossing the Line, organized by The Queens Museum of Art, June 24 - October 7, 2001."

Paul Etienne Lincoln, from the beginning of The Purification of Fagus sylvatica var pendula: "Situated at the perimeter of Weeping Beech Tree Park in Queens, New York, was a small pavilion looking on to a stump of the oldest weeping beech in America. In 1847 Samuel Bowne Parsons, a Quaker and a nurseryman, purchased a shoot of weeping beech, Fagus sylvatica var pendula, in Belgium, while traveling in search of unusual plants. On his return to the United States he planted the shoot at the site of the stump, then part of Parson's nurseries. Every weeping beech in America is descended from this one tree. Regrettably, the stump is all that remains, as shortly after this venerable tree's 150th anniversary in 1997 it died and was cut down. The tree had, however spawned seven progeny, which still grow in a circle around the original beech."

Granary: "Comprised of text, diagrams, and 50 black and white photographs, The Purification records the series of experiments and performance which detail the afterlife of a specimen of local vegetation. It is emblematic of Lincoln's inquiry into the origin and production of memory and our ethereal relationship to that intangible evidence of our consciousness. In this pursuit, Lincoln has employed diverse forms and themes, ranging from examination of historical figures to detailing anything from New York City infrastructure to 'household' machines that dispense gin-and-tonics (mixed at varying strengths).

"Over the past two decades, Lincoln has committed himself to creating complex installations, recordings and documentation on a wide range of subject matter. The Purification follows his investigation of the weeping beech as a way of detailing the process of examination and history-writing, which is ever shifting and defining the world around us."
$40


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Fredson Bowers & the Irish Wolfhound
By J.C.C. Mays
Clonemel, Tipperary, Ireland: Coracle, 2002. [Edition of 500.]

5.75 x 7.75"; 86 pages. Printed four-color offset. Printed endpapers. Casebound with embossed inlay on cover. Includes notes and index.

Coracle Press: "Jim Mays suggests that Anglo-American bibliography would be different if Fredson Bowers had not passed over the distinctive features of the Irish book as he theorized his subject.

Umbrella, Volume 26, no. 1 May 2003: "A tribute to Fredson Bowers, one of the most famous Anglo-American bibliographers. This is a pithy essay by Jim Mays, who has worked most of his life at University College Dublin. It is an accumulation of thoughts about books, about Irish culture, about the 1500-year history of the book in Ireland as the most extensive and continuous in Europe, and Mays argues for broadening the prevailing consensus about the creation and transmission of knowledge in the Western world."

Marta Werner: "In the bucolic but still wild climes of South Tipperary, Fredson Bowers's wolfhound, ready defender of the flock of Anglo-American bibliographers, may meet up with another kind of wolf-hound, a dog crossbred with a wolf and ready to send the flock scattering."
$35 (Last three copies)

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The Pig Poems
Three Poems Concerning Larionov's Provincial Life Series
By Spike Hawkins & (this woman) Erica Van Horn
Tipperary, Ireland: Coracle Press, 1999. Edition of 175.

9.5 x 11.75"; 34 pages. Letterpress printed in two colors. Casebound in bookcloth with title, author, and image printed on front board.

Colophon: "These poems were first published in Spike Hawkins' Poems, Tarasque Press, Nottingham 1966."

Spike Hawkins, Liverpudlian poet, uses pigs in the work of Russian impressionist painter Mikhail Larionov as inspiration for three poems - "Target," "Liddled" and "Boiler." Each poem is accompanied by a different image, some version of a thick black ring (a gear? or gears?).

The Pig fell over the upturned
motor car
The Pig fell over the upturned
motor car
Drunk! said Pig
Drunk!

$70


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poets.org: "Susan Howe was born in 1937 in Boston, Massachusetts. She is the author of several books of poems and two volumes of criticism. Her most recent poetry collections are The Midnight (2003), Kidnapped (2002), The Europe of Trusts (2002), Pierce-Arrow (1999), Frame Structures: Early Poems 1974-1979 (1996), The Nonconformist's Memorial (1993), The Europe of Trusts: Selected Poems (1990), and Singularities (1990)."

 

Poems Found In a Pioneer Museum
By Susan Howe
Ballybeg, Grange, Tipperary, Ireland: Coracle, 2009. Edition of 300.

3.875 x 5.125"; 35 unbound leaves. 32 letterpress cards. Printed on Canaletto Liscio paper. Two green boards to segregate the poems from the front and back interiors. Two-piece dark green cloth covered binder's box with the title of the book imprinted in the top.

Colophon: "I copied these poems, almost verbatim, from typed identification cards placed beside items in display cases at Salt Lake City's Pioneer Memorial Museum founded in 1901 by the Daughters of Utah Pioneers. The artifacts and memorabilia in their collection date from 1847 when Mormon settlers first entered the Valley of the Great Salt Lake until the joining of the railroads at Promontory, Utah in 1869."

Minimalist jewels presented in Coracle's elegant style.

43: Hair cut from Joseph Smith
Jr. by Mary Ann Smith Stratton
just before he was taken prisoner.
It was given to Henriette Keyes
Whitney Hale, pioneer of 1847.
It was the only thing she had left
from the journey across.

$40

 

 

 
   

Bedhangings II
By Susan Howe
Clonemel, Tipperary, Ireland: Coracle, 2002. Edition of 300.

5 x 6.25"; 26 leaves. Letterpress with printed endpapers. Casebound with embossed inlay on cover.

In Bedhangings II distinguished American poet Susan Howe (American Book Award Winner, Guggenheim fellowship, member of the Academy of Arts and Sciences) teases meaning from the movement of language.

Secrecy let me light you in
In shadow something other
echoed and re-echoed only

The dark who can veneer it
That conjoint abstraction will
come to snow let us go back

$45


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Kidnapped
By Susan Howe
Clonemel, Tipperary, Ireland: Coracle, 2002. Edition of 300.

5.5 x 8.125"; 98 pages. Offset with five 4-colour tip-ins. Casebound in illustrated dust jacket. Photographs by Peter Hare and Susan Howe.

A dense mélange of memoir, essay, and poetry - all revolving around reading - Kidnapped (the allusion and pun are exemplary) is an early version of Howe's much acclaimed The Midnight.

Susan Howe, interviewed by Jon Thompson of Free Verse: "I don't think I would have noticed the ramifications of obsolete interleafs in old volumes had I not been brought up in a household where everyone loved books and where the theatre and lecturing was of central importance. Authors such as Eliot, Woolf, Wilde, Yeats, Synge, and Joyce were as familiar as bread and butter, but so were Dickens, George Eliot, Tolstoy, Hugo, the Brontës, Thackeray, and Jane Austen. You might say that the interleaf in Uncle John's copy of The Master of Ballantrae is a punctum. Through it I conjure up everything I feel about odd volumes as uncanny objects. The semi-transparent sheet is a curtain or maybe a scrim. On one side is the author of 'Dr. Jekyll and Mr. Hyde,' A Child's Garden of Verses, Kidnapped and Ballantrae; on the other, an assortment of real personalities who surrounded my childhood. That obediently disobedient thin piece of paper can transport me anywhere. If it were a character it would be Bartleby."

Reader of poetry this book
contains all poetry THOOR
BALLYEE in seven notes for
stage representation May
countryside you reader of
poetry that I am forgotten
Long notes seem necessary
Unworthy players ask for
legend familiar in legend
the arrow king and no king

$60


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Simon Cutts is a poet, artist and editor who began Coracle in the early 19702. He began making work through concrete poetry.

   

Nymphaes
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle Books, 2016. Edition of 120.

7.25 x 3"; 3 gate-folds. Printed digitally. Casebound with purple and yellow end papers. Numbered.

Coracle: "In order that the Water Lilies might be accommodated in the Musée de l’Orangerie in 1927, the paintings had to be worked in sections. For the purposes of instantaneous tonal perception, Monet painted false seams onto the canvas, thus rendering the exact seams indistinguishable. What was made as an astute gesture on the part of Monet, becomes upon further reflection an irony of the whole theoretical aims of the Impressionist movement: a spectator is made used to seams. Camouflages. Gemma Three, London 1968-1972."

Simon Cutts: “The inter-relation of the pages and pastings is only atmospheric, and is a model of walking through rooms where a diagramatic camouflage and deception is happening.I suppose it is a book as some sort of architecture, and there is no explanation to it, only a being lost in rooms and flaps.”
$40


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aglio 6 olio
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle, 2015. Edition of 200.

4 x 5.75"; 8 pages. Digital print and letterpress. Laminated cover. Saddle stitch (stapled) binding.

Coracle: "aglio 6 olio, from 1983, was one of the 81 books salvaged from the fire in the Mackintosh Library at the Glasgow School of Art on May 23rd 2014. This was the only Coracle book to be affected, and was photographed by the Librarian, Mr. Duncan Chappell in June 2015. "
$8

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Construction Storage Despatch
The Work of Martin Rogers
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle Books, 2015. Edition of 300.

22 x 16.5 cm; 74 pages. Four-colour offset. Case bound.

Coracle: "Martin Rogers, printer, sculptor, and publisher, was the exemplar of a condition that had become prevalent after the nineteen-sixties. He had moved the physical materials of his work to the production of multiple objects in printed form, to books and publication, eventually embracing the idea of publishing as the platform for the work. At the same time, in the way he avoided the side-track, even the cul-de-sac, of the so-called artists book, he becomes emblematic of that repositioning. With his book we attempt to site this as a different model. The work moves from its Construction through Storage to its Despatch into world as Publication."

Contents include "From Construction to Publication" essay by Simon Cutts; three essays ("Construction," "Storage," "Despatch") by John Bevis; a section on RGAP (Research Group for Artists Publications) with inventory of books and editions, collaborations, exhibitions and events; and closing essay ("bagatelle") by Simon Cutts.
$18
 
 
The Translated Latrine Inscriptions of The Palazzo Davanzati
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle Books, 2015.
Second edition, 300 copies.

4 x 5.75"; 12 pages. 4-page laminated cover. Saddle-stitched binding. Printed digitally.

Originally printed in 1993 in an edition of 200 copies as a cloth covered hardback.

Johanna Drucker, 1993 edition Project Statement: "The book contains transcriptions and translations of graffiti found in the latrines of the Palazzo Devanzai which was built in Florence in the 14th century. Some of the inscriptions are dated, some are not, all are translated. The book also provides a floorplan of the interior of the Palazzo showing where the graffiti were found. The book is a slim, elegant work, designed with a clean and minimalist aesthetic, as a curiously human document through its traces of experience and expression captured from the walls and obscurity."

Simon Cutts, afterword: "The Palazzo Davanzati in Via Porta Rosa, Firenze, … contained not only one of the first sewage systems, but also perhaps the first graffiti in the form of inscription on the lavatory walls. These may have been produced by citizens, who whilst waiting their turn to be assessed for land valuation, killed time and found an outlet for their impatience by writing on the walls. All of the inscriptions were made by unskilled hands, often devoid of the most rudimentary notion of spelling. The words also prove difficult to decipher both because they are at times barely distinguishable from the plaster surface, and because they have often been superimposed over each other. On occasions, as a result of an unusual character being included in the word, doubts are raised as to whether a number of them have been adulterated by later additions."
$10

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Mr S Mills visits the Kröller-Müller
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle Books, 2014. Edition of 300.

16 pages including laminated wrappers; 105 x 150 mm (4.25 x 5.75"). Saddle stitch (i.e., stapled) binding.

Coracle: "Variations on the title-line of Stuart Mills' almost last book anyone who thinks can draw a chair imposed on the cover image of his book, recto/verso, of the poet himself sitting in a Mies Van der Rohe in the Museum in Otterlo."
$10

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a line only a word
By Simon Cutts
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2013.
Edition of 200.

4.75 x 6.25"; 4 Japanese-fold double pages glued to the spine of the book. Paper covers with title on front cover.

Coracle: " Permutational poem for Robert Lax and Cid Corman made translucent and only readable in certain conditions of light and air."
$15

 


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Affinity
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle / Peter Foolen Editions, 2011.
Edition of 300.

7 x 8"; 40 unnumbered pages. Printed in duotone offset lithography by R. Booth, Penryn, Cornwall. Photographs of the A boats of the Everard Line taken from The Allen Collection. Hardback linen covers with embossed block printing in 3 colors. Design by Simon Cutts and Peter Foolen.

Another of Simon Cutts' wonderful but maddening simple and confounding productions. This book combines images of the ships from Everard Line whose names begin with A (Affinity is notably – or not – not present) and a letter on the subject of concrete poetry from idiosyncratic and combative Scottish poet and artist Ian Hamilton Finlay to Pierre Garnier.

As is usual with Coracle productions, there is much to be pondered and learned – and enjoyed – from this mix of particularity and peculiarity.
$40


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The Manifestation of the Poem
By Simon Cutts
[Clonemel, Tipperary, Ireland]: Coracle, [2011]. Edition of 100.

5.375 x 8.25"; 138 unnumbered pages. Ribbon marker. Red linen covered boards. Title information stamped on spine.

The only text of the book is this: "The book is the manifestation of the poem." At the books beginning, the text is printed in reverse on the recto, but shows through, in proper order, on the next verso. Midway through the book, there is a switch: the text is printed in reverse on the verso, but shows through in proper order on the preceding recto.

The purity and playfulness of this book document yet again a subject that has fascinated Simon Cutts: finding the objective correlative for concrete poetry in the book.
$100

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Six Jugs
of Bill Culbert
With interleavings by Simon Cutts
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2011. Edition of 125.

5 x 7.5"; 24 pages. Inkjet and letterpress on Canaletto paper. Casebound. Numbered.

Coracle: "The images of six jugs of Bill Culbert from 1980 used in miniature. They exist both as objects and photoworks in their original format and here are placed alongside interleavings by Simon Cutts."

broken glass cut / to an ellipse / & polished / to the beaded / meniscus / of a pour.

Bill Culbert works in sculpture, installation, and photography. He has collaborated with Simon Cutts on several books including "Some More Notes on Writing and Drinking."
$55

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Some More Notes on Writing and Drinking
By Simon Cutts & Bill Culbert
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2010.
Edition of 175.

4.25 x 5.875"; 64 pages. Offset with letterpress and additions, rubber stamp, tip-ins. Each with original drawing by Culbert and a holographic poem by Cutts. Casebound 150 x 110 in blue cloth. With 3-color blocking images on top board of a Parket 51 pen with silver cap and on back board of a black bone-handled corkscrew with silver spiral.

Coracle: "Contains drinking notes for Vignobles Brunier's failed 2002 Vieux Telegraphe Châteauneuf and what became of it, together with fermentation notes on Boekenhoutskloof Syrah."

Colophon: "This book is inscribed by the artist and author using their favourite Parker fountain pen. Each book contains drawings by the artist and a poem by the author."

The precursor to "More Notes" was "Some Notes on Writing and Drinking" 1992. This 2010 edition again brings together the writer's tools and the drinker's tools - pen and corkscrew.

Bill Culbert, the artist, is originally from New Zealand but left in 1957 to study at the Royal College of Art, London. He works in sculpture, installation, and photography. The subject of his work is light. He has produced several pieces reflecting the play of light and wine.

Simon Cutts, author, is one of the founders of Coracle Press.
$85

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onglet
By Simon Cutts
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2009. Edition of 125.

5 x 7"; 32 pages. Letterpress printed. Cutting and embossing. Casebound, sewn binding, cloth over boards. Title stamped on front cover. Ribbon marker. Numbered.

Coracle Press: "Elaboration and demonstration of the term onglet with much hand-finishing as the only means of production. Companion volume to the earlier eclogues, but the metaphoric structure of the book works here as a more linear device."

The French onglet receives a Simon Cutts and Coracle treatment – as a single-leaf cancel, a tab or thumb index, a guard, a miter joint or box, a thumbnail groove, the unguis of a petal, [his mother's] embroidery thimble, and a hanger steak. In Printed in Norfolk: Coracle Publications 1989-2012 John Bevis refers to onglet as "playful" and "a unique testament of crazy logic."
$55

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An English Dictionary of French Place Names
By Simon Cutts
Tipperary, Ireland: Coracle, 2004. Edition of 300.

6 x 8.5"; 144 pages. Offset in two colours with letterpress tab-index. Casebound in green leather with title stamped on front board. Green ribbon book mark attached.

This books looks like a guidebook. Instead, it's a poetic record of travel to France by Simon Cutts and Erica Van Horn from 1989 to 2004. The book is outfitted with green alphabetical tabs that index the names of French cities and towns alphabetically. Next to each city's name is a number identifying its department (that is, its region, what would be a state in the US). A map of these departments is included along with a few photographs and the instruction to "pronounce all French place names as in English."

Simon Cutts: "The poem's manifestation becomes the book itself, the particular book form the physical metaphor of the poem. "
$55

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Namenlosen
By Simon Cutts & Colin Sackett
Docking, Norfolk, England: Coracle, 1993. Edition of 130.

7.5 x 10.25"; 56 pages. Letterpress in two colours with blind-embossing. Casebound paper over boards.

Simon Cutts: "Namenlosen is the word for those shipwrecked who have no name - Naufragiste in French. So my book with Colin Sackett presupposes several mythic names from the annals of Modernism lie on the seabed stacked on top of each other as the printed impression dissipates through the pages of each section. It presupposes they are lost at sea, in the welter of other names and information.

"As to the Yeti of the cover, there is no clear answer, but the whole seems to work on a level of tactility and the physicality of letterpress printing and ink."

$45

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Utopiary
By Simon Cutts & Karl Torok
London: Coracle, 1988. Edition of 50.

10 x 15"; 32 pages. Letterpress printed on Somerset mould-made paper. Eight computer generated and altered images printed by a paint-jet printer. Half bound in green and brown cloth. Paper title on front board.

The portmanteau title – utopia and topiary – is apt for this combination of minimalist poetry and manipulated images.
$150

 

 


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Coracle is a small publishing press directed by artist and writer Erica Van Horn and poet, artist and editor Simon Cutts from what was a small farm in between the hills of South Tipperary Ireland, since 1996.

My Ironmongery
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Books, 2015. Edition of 100.

21.5 x 14 x 2.2 cm (8.5 x 5.5" x 1"); 214 pages. Printed digitally in two colours. Stab-stitched binding with laminated wrappers. Numbered.

Coracle: "An inventory of many of the metal forms found and drawn by Erica Van Horn as a potential index of their acquisition and use and a hardware catalogue for further identification."
$40

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Modern Dutch Interiors
By Erica Van Horn & Simon Cutts
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2014.
Edition of 150.

15 x 10.5 cm; 36 pages. Bound in cloth over boards with sample tipped on front board. Numbered.

A collection of Dutch envelope interiors sent by Peter Foolen to Erica Van Horn.

Afterword: "These from the Netherlands have a consistent simplicity and plain-ness. They employ reduced repetition, asymmetry, and even at times a formal randomness approaching camouflage. The use of a single firm yet impenetrable colour makes them different from the interiors of other countries. They bring the nineteenth-century origin of the printed envelope interior as a means of hiding the contents of the envelope into our time."
$25

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Leftovers
By Erica Van Horn
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Erica Van Horn, 2013. Edition of 124.

4 x 5.75"; 8 pages. Pamphlet style with sewn binding. In illustrated wraps. Numbered. Iron on tape with artist's adhered to colophon.

Simon Cutts: "Another bit of stylised ephemera, made from Erica's high school name labels left over and a description of their place and purpose. Edition size based on what was left over."

Erica Van Horn, Leftovers: "I have 124 of these name tapes. This must be the end of a roll. Either my mother gave up on the iron-on tapes and went back to the woven version, or ... Why I have them here and now, is another question."

Nancy Kuhl, The Book Remembers Everything: "A distinctive feature of Erica Van Horn's work is the frequent recycling of materials left over from other projects or salvaged from daily life ... In addition to documenting her working process and the effort involved in bookmaking, Van Horn's practice of re-using saved and salvaged fragments reveals the ways such fragments make meaning. Histories and narratives can be embedded in ephemeral bits and pieces; scraps can carry substantial information. Re-worked and altered image and text fragments become visual representations of the incomplete and irregular nature of memory."
$15

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The Life of St. Anthony of Padua
Patron Saint of Lost Things
By Erica Van Horn
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2013. Edition of 200.

6 x 6.5"; 36 pages. Sewn binding. Bound in orange cloth boards with stamped titles on front cover and spine. Numbered.

Reproductions of 13 altered postcards of the Life of St. Anthony of Padua from paintings by Johnson Sabattini.

The left page of each spread contains a descriptive caption in Italian and English, the right contains the postcard, which has been altered to leave only the saint himself and one or two crucial (?) elements – a column, an urn, a book (Bible?), a severed leg. Postcards 7 and 8 have been "lost" and are represented by a blue rectangle.

Playing with the stamp of sanctity (once at least) conferred by books? Playing with the inevitable abstraction of reality by word and image? The first page announces "The Eliminations." The images eliminate so much of the original painting that we have a best a hint of the original, a sketch of a sketch. It's the gap between the lived and the portrayed (by words and images) that can be only breached by faith, belief?

Such is the power of art, and the artist, to evoke so much from so little.
$20

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Flight Path
By Erica Van Horn
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2011. Edition of 6.

5.25 x 6.75 x .75"; 6 pages. Accordion. Letterpress. Blue cloth covered boards.

Erica Van Horn: "Flight Path came about as a continuation of my love of the concertina. The book can be seen both page-by-page and as a long panorama of activity. Since 1983, I have worked with both folded paper and casebound concertinas. In the case of Flight Path, the hand-painted pages of sky are the ground for the embossed letter-pressed airplane. The piece is a continuation from Antwerp Airport (1993, edition 35), where I used photo copy on hand-painted pages."

Erica Van Horn, additionally: "My painted pages were cut to size and a block was made from my drawing. He [Simon Cutts] then had the tricky job of placing the planes as close as possible to my plans, using our little Adana press. Once they were dry, the pages were then glued down in order. I am quite thrilled with the results as I like the ephemeral nature of the paint with the solidity of the printed plane and the rigid boards."

Nancy Kuhl, "Narrative and Pattern" from The Book Remembers Everything: The Work of Erica Van Horn: "In her books, Erica Van Horn often explores the elements of visual narrative and the ways those elements of visual narrative might be exploited and subverted within the linear structure of the book. In an entirely modern reinterpretation of the heavy use of patterns found in the borders and backgrounds of much Medieval art, the recurrence of visual patterns frame and shape scenes and figures, underscoring what might be thought of as plot in visual narratives. ... Van Horn's frequent use of the accordion format, which looks and functions like a book but can also be unfolded to reveal a many-paneled panorama, provides her narratives with a page-by-page pace while also calling to mind the scope and grandeur of panoramic images."
$825


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mending
four printed drawings by Erica Van Horn
with poems by Thomas Meyer
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2011. Edition of 80.

7.25 x 9.5"; 44 pages. Case bound cloth over boards. Ribbon-tie closure.

Colophon: "Drawings are printed from letterpress blocks and their repairs made in gold thermography. Earlier paler silhouettes of them accompanied the poem 'Kintsuge' from Punch Press in 2008. Texts published here are extractions taken from a later, longer version of the same poem, 'Kintsugi,' from Flood Editions in 2011."

"kintsugi:
the Japanese practice of repairing ceramics
with gold lace lacquer to illuminate the breakage
traditionally brought out in November for special use
to celebrate the repairs and return to utility"


Artist Erica Van Horn is one of the founders of Coracle Press.

Poet Thomas Meyer lives in the woods in western North Carolina. He is executive director of the Jargon Society, founded by his late partner, Black Mountain poet Jonathan Williams.
$175

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An Album of Interiors
By Erica Van Horn
Tipperary, Ireland: Coracle, 2008. Edition of 175.

6.5 x 9.25"; 36 unnumbered pages. Letterpress press with fifteen oval cut tipped-in samples of envelope interiors. Casebound in red bookcloth with Illustrated endpapers of envelope interior patterns.

The Book Remembers Everything / The Art of Erica Van Horn Exhibition, Beinecke Library: "For more than fifteen years Erica Van Horn has collected, considered, cataloged, and displayed paper envelope interiors, creating a large-scale, ongoing art project that includes bookworks, collages, and works on paper, public installations, and paper ephemera. 'The only function of an envelope interior,' Van Horn tells us, 'is to hide the contents of the envelope.' In focusing careful attention on this most invisible example of visual pattern and image, Van Horn reveals the irony of her statement even as she transforms the envelope interior’s function. As what she calls 'emblems of materiality and tactility' in an increasingly electronic world of information, Van Horn finds the continued use of content-obscuring envelopes 'a cause of much surprise and wonder.' The works in Van Horn’s 'World of Interiors' elevates a mundane and daily material to the category of fine art. The value Van Horn places on both the simple visual patterns and the very paper on which they are printed calls attention to the role of beauty in a world of disposable products and objects; by exposing the interiors of printed envelopes and repurposing them in works of art and books, Van Horn upsets our expectations about her seemingly ordinary materials and about fine art, printing, and books. ... "

An Album of Interiors is one of the bookworks from this fifteen-year paper envelope collection odyssey. Examples of envelope interiors include those used by The Salvation Army, Replacements, LTD, and Scottish Widows.
$70

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Stiles & The Pennine Way
By Erica Van Horn
Docking, Norfolk, England: Coracle, 1993. Edition of 100.

9.25 x 14.25"; 2 leaves. Letterpress text printed onto endpapers. Offset Illustration in three colors. Casebound with folio ties and titles printed in green on front board.

The Book Remembers Everything / The Art of Erica Van Horn Exhibition, Beinecke Library: "An unusual daily travel journal, Stiles & the Pennine Way, records an eleven-day-long walking trip in England; seven day of the trip were spent walking the Pennine Way, a trail ranging across the Pennine Mountains. To keep from getting bored and as a way to distract herself from the steady rain, Van Horn kept track of the stiles she passed through or over along the walk by making hash marks on the sleeve of her raincoat with a waterproof pen. 'I was very tidy about my little group of tally marks,' Van Horn writes of her second day on the trail, 'and found myself admiring my sleeve a lot through the afternoon, especially since it was raining hard and I had to keep my head down.' Though the book includes Van Horn’s prose narrative about her trip, her drawing of her sleeves interrupts the text in its center; in this way, Van Horn suggests that the marks and the practice of making them are at least as important as the straightforward description of the journey."
$75

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Books about Coracle, Simon Cutts, and Erica Van Horn.

 
The Poems of Simon Cutts and Stuart Mills
The unit of the work is the word
By Peter Jones and Susan Taylor
Clonmel, Tipperary, Ireland: Coracle, 2015.

5 x 7"; 24 pages. Printed digitally. Saddle stitch (stapled) bound.

Coracle: "Illustrated catalogue of an exhibition at Spare Room 33, Canberra Australia in November and December 2014, containing sections of introduction, the form of the poem and the subject of the poem, together with a list of works included in the display of poetry, poem cards, poem objects, books, booklets, and journals of Simon Cutts and Stuart Mills."
$8

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Printed in Norfolk Coracle Publications 1989 - 2012
designed by Colin Sackett
Sheffield: RGAP (Research Group for Artists Publications), 2012. Open Edition.

5.5 x 5.875"; 96 pages. Perfect bound in illustrated covers (cover image of Aglio 6 Olio, or The Garlic Book).

The catalogue was published in conjunction with a traveling exhibition with four stops in the United Kingdom during 2012 of Coracle's work.

Coracle Press: "The catalogue has been designed by long-term Coracle collaborator, Collin Sackett, and includes articles by Coracle director, Simon Cutts, writer, poet and critic John Bevis, and an introduction by Andrew Wilson, Curator of Modern and Contemporary British Art at Tate Britain."

Cover blurb: "For more than 35 years, Coracle has produced artists' books, critical works, editions and ephemera. Printed in Norfolk tells the story of this contemporary small press in all its manifestations as printer, publisher, bookshop and gallery. The emphasis here is on the years 1989 - 2012, when, under the direction of Simon Cutts and Erica van Horn, a symbiotic working relationship between in-house production, the commercial practices of Norfolk printers Crome & Akers, and binder Stuart Settle, signalled a new standard for the small press."
$18
 
   
The Book Remembers Everything
The Work of Erica Van Horn
By Nancy Kuhl
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle / Granary Books, 2010. [Edition of 1500.]

7.125 x 5.125"; 128 pages. Illustrated endpapers and pastedowns. Illustrated paper covered boards. Editorial design by Simon Cutts. Layout design by Colin Sackett.

Introduction: "The Book Remembers Everything developed as a result of a 2010 exhibition of the outstanding collection of Erica Van Horn's work in the Yale Collection of American Literature at the Beinecke Rare Book and Manuscript Library at Yale University, including early works on paper, elaborately illustrated unique books, and printed and editioned works in a wide variety of formats. Like the exhibition, this book represents aspects of the artist's development over more than thirty years, exploring common elements throughout the extensive body of her work; it also extends the work of the exhibition by including new books and collaborations from Van Horn's recent work and additional examples of unique bookworks from early periods. ...

"A chronological bibliographic checklist of works featured in The Book Remembers Everything makes visible both the artist's persistent attention to her subjects and the development of her creative process over time."

The Book Remembers Everything
organizes the work under the following six headings: DAILY DETAIL , WORDS FOR LIVING LOCALLY, LEFTOVERS , WORLD OF INTERIORS, NARRATIVE AND PATTERN, and IDENTITY AND LIKENESS.

All quotations of Erica Van Horn are from her books or from personal correspondence with Nancy Kuhl.
$25
 

Simon Cutts and Erica Van Horn have been publishing as Coracle Publications for more than 25 years. This section includes samplers of books produced during that time.

   
Ephemera Series I
BySimon Cutts
Clonmel, Tipperary, Ireland: Coracle, 2016. Edition of 200.

4.25 x 6"; 6 books in slipcase. Digitally printed. Each laminated and stapled. Lightweight cardstock slipcase with paper title on side.

The first 6 books in Coracle's digitally printed color series.

Mr S Mills visits the Kroller-Muler by Simon Cutts (2014)
I always have an audience for my work by Erica Van Horn (2014)
The Translated Latrine Inscriptions of The Palazzo Davanzati / Simon Cutts (2015)
aglio 6 olio by Duncan Chappell and Coracle (2015)
The Traveler Restaurant Union CT by Erica Van Horn & Simon Cutts (2016)
The Pencils of Matsutani by Takesada Matsutani (2016)
$25

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Coracle - Small Formats
By Simon Cutts & Erica Van Horn
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2015.

9 x 12.5 x 2.5" cloth-covered clamshell box with title embossed on spine containing 10 books.

Ten Coracle publications brought together in one box:

        Petits Airs for Margot (1986) by Simon Cutts
        Docking Competitions (1996) by Erica Van Horn
        lines from walls (1996) by Simon Cutts
        The Cot Notebook (2004) by Thomas Cuddihy
        eclogue (2004) by Simon Cutts
        onglet (2009) by Simon Cutts
        Poems Found in a Pioneer Museum (2009) by Susan Howe
        with and without (2009) by Erica Van Horn
        Some More Notes (2010) by Simon Cutts & Bill Culbert
        Modern Dutch Interiors (2014) by Simon Cutts & Erica Van Horn

$425


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A Sampler of Smaller Publications from Coracle
By Simon Cutts & Erica Van Horn
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2012.
Edition of 125.

26 books published by from 1989 to 2012 in a sturdy 11.75 x 14.5 x 2" card box.

1989 by Erica Van Horn (1991)
8 Old Irish Potatoes by Simon Cutts & Erica Van Horn (2011)
After Brancusi by Simon Cutts & Erica Van Horn(2010)
A Canticle for Fred Sandback by Simon Cutts(2003)
Driven Out, Ditched & Deserted by Jason Clark (2008)
FeuillesAlbumesques by Simon Cutts (1982)
Folded Napkins by Erica Van Horn (2006)
Footnotes to a Manual of Shaker Furniture by Simon Cutts (1984)
Forty Funghi by Harry Gilonis with Erica Van Horn(2008)
The A. Goldsworthy Productions by Simon Cutts (2012)
Italian Lesson No.13: Identificazione by Erica Van Horn (1994, 1989, 1992)
Led Astray by Language by Jiri Valoch et al (2006)
Letters from Brno by Jiri Valoch (2010)
A Little Book of Cockles by Laurie Clark & Carla Phillips (2004)
New Potatoes by Helen O’Leary and Paul Chidester (2005)
Palpa by Simon Cutts (1989)
peuran by Harry Gilonis (2007)
Petits-airs for Margot by Simon Cutts (1987)
Rusted by Erica Van Horn (2004)
Short-cuts by Simon Cutts & Erica Van Horn(2011)
Some Alternatives to Flock by John Bevis(2008)
Some More Words for Living Locally by Erica Van Horn(2011)
Sourcebook by Simon Cutts(2004)
Tin Funnel Jug & Dish by Simon Cutts & Erica Van Horn(2005)
With My Left Hand by Erica Van Horn (2006)
With or Without by Erica Van Horn (2010)

There may be a substitution for an item as there are limited quantities for some editions.

A rich stew from this consistently fascinating and rewarding press.
$275


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The Book Remembers Everything: "In her Living Locally series, Van Horn celebrates the landscape, culture, and community of her adopted home in rural Tipperary, Ireland. Collecting, documenting, and illustrating the regional language of the area, Van Horn both acknowledges her position as a kind of outsider (a 'blow in,' in the local slang, referring to 'anyone who moves here from somewhere else') and locates herself firmly within the community."

   
Above
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Books, 2016. Edition of 250.

6.5 x 9"; 24 pages. Letterpress printed in two colors. Case bound. Numbered.

Coracle: "A collection of more of Living Locally, some seen as postcards, from the ongoing series which continues as a translation of the vernacular speech of where the author lives."

The title of no. 35 of the Living Locally series comes from the phrase "Above the Bed". In the author's part of the world "When someone is in bed he is said to be Above in the Bed." Van Horn muses as to what the phrase actually means. She also explores other regional word usage such as "A Hot Drop", "The Long Acre", and "The cock's step".
$40

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I always have an audience for my work
Living Locally No. 31
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Books, 2015. Edition of 300.

105 x 150mm; 12 pages. 4-page laminated cover. Saddle-stitched binding. Printed digitally.

Van Horn continues the series with this picture book of black and white cows grazing contentedly in the Irish countryside.
$10

 


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Natural Cheese
Living Locally No. 33
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Books, 2015. [Edition f 300].

5 x 6.5"; 20 pages. Photocopy with letterpress. Handsewn with pictorial wrappers.

The Book Remembers Everything: "In her Living Locally series, Van Horn celebrates the landscape, culture, and community of her adopted home in rural Tipperary, Ireland. Collecting, documenting, and illustrating the regional language of the area, Van Horn both acknowledges her position as a kind of outsider (a 'blow in,' in the local slang, referring to 'anyone who moves here from somewhere else') and locates herself firmly within the community."

This is number 33 in the Living Locally series. It contains short snippets about food and drink observations from the artist about her local community. She begins with an observation about the Michelstown Cheese Factory's doors labeled "Natural Cheese" and "Processed Cheese." She continues with notes on the emptying of the sugar bowl, the ritual of tea, the purchasing dirty carrots, and other local curiosities.
$15

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BUS
Living Locally No. 29.
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Books, 2014. Edition of 200.

5 x 6.75"; 20 pages. Pamphlet stich binding with illustrated paper wrappers. Paper title label on cover.

The Book Remembers Everything: "In her Living Locally series, Van Horn celebrates the landscape, culture, and community of her adopted home in rural Tipperary, Ireland. Collecting, documenting, and illustrating the regional language of the area, Van Horn both acknowledges her position as a kind of outsider (a 'blow in,' in the local slang, referring to 'anyone who moves here from somewhere else') and locates herself firmly within the community."

In No. 29 of the series Van Horn talks about the different people she meets on several bus trips as she goes about her normal activities around the Irish countryside. She writes of language, landscape, and personalities.
$12

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Tea
Living Locally No 25
By Erica Van Horn
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2013.

4 x 5.75"; 16 pages. Pamphlet style with saddle stitch binding. In brown paper wrappers.

Nancy Kuhl, The Book Remembers Everything: “The Living Locally series celebrates the landscape, culture, and community of Van Horn’s adopted home in rural Tipperary, Ireland. …

The 25th in the Living Locally series Van Horn discusses the various aspects of tea culture in her community.

Beinecke Library, Yale University: “Erica Van Horn regularly draws the subject of her work directly from the fabric of her daily life, her domestic and artistic work, the simple household objects at hand, the day-to-day aspects of familiar relationships… Her attention to the ‘everyday’ is also an act of recording that which is most important to her; Van Horn creates work that serves as an aid to memory and acts as a hedge against the inevitable passing of one day to the next… and celebrates the significant but often unnoticed habits and customs of family and friendship, the exquisite qualities of home, the work of making art.”
$10

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Some More Words for Living Locally
Living Locally No.18
By Erica Van Horn
Tipperary, Ireland: Coracle Books, 2011. Edition of 200.

4 x 6"; 24 pages. Photocopy and letterpress in 5 colors. Illustrated wraps. Hand sewn binding. Paper title label on front cover.

A sequel to the earlier edition of 2002, with more involved contexts and narratives.

The Book Remembers Everything / The Art of Erica Van Horn Exhibition, Beinecke Library: "In her Living Locally series, Van Horn celebrates the landscape, culture, and community of her adopted home in rural Tipperary, Ireland. Collecting, documenting, and illustrating the regional language of the area, Van Horn both acknowledges her position as a kind of outsider (a 'blow in,' in the local slang, referring to 'anyone who moves here from somewhere else') and locates herself firmly within the community. The Living Locally series also calls attention to Van Horn’s sheer love of the curious and quirky turns she finds in English, the aurally pleasing sound combinations, the paradoxically conflicting meanings from one locale to another, and the language’s endless flexibility and transformability."

The car mechanic always reminds me
that I am not from here. It has become
a bit of a game for him. When I say Two
Thirty, he says Half Two. Then I ask if
that isn't what I just said. He says No,
you said Two Thirty. Here it is Half Two.

$18


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Page last update: 10.09.16

 

   
  
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