Publicação
Reading and Not-Printing: Obstruction at the Crater Press
| Resumo: | I will begin this paper with a brief and partial history of American printing, detecting a shared predilection for a noticeably maverick relation to the printed page in the works (printed and otherwise) of Samuel Keimer and Benjamin Franklin during the colonial period, and the works of Walt Whitman, Emily Dickinson and Mark Twain in the nineteenth-century. I term the interrupted, dialectical printing that connects all of these writer/printers not-printing’, and offer some explanation of his term and a description of some of its manifestations. I will then move on to consider how the idea of not-printing’might be helpful for the consideration of some contemporary British and American poets and printers before concluding with a description of some of the ways that the productive constraints of such a practice have influenced my own work as editor and printer at the Crater Press. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_2 |
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| Autores principais: | Parker, Richard |
| Assunto: | Impressão Literatura Norte-Americana Poesia Britnica contempornea Tipografia Benjamin Franklin Walt Whitman Emily Dickinson Printing American Literature Contemporary British Poetry Letterpress Benjamin Franklin Walt Whitman Emily Dickinson |
| Ano: | 2014 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Instituição associada: | Imprensa da Universidade de Coimbra |
| Idioma: | inglês |
| Origem: | MATLIT: Materialities of Literature |
| Resumo: | I will begin this paper with a brief and partial history of American printing, detecting a shared predilection for a noticeably maverick relation to the printed page in the works (printed and otherwise) of Samuel Keimer and Benjamin Franklin during the colonial period, and the works of Walt Whitman, Emily Dickinson and Mark Twain in the nineteenth-century. I term the interrupted, dialectical printing that connects all of these writer/printers not-printing’, and offer some explanation of his term and a description of some of its manifestations. I will then move on to consider how the idea of not-printing’might be helpful for the consideration of some contemporary British and American poets and printers before concluding with a description of some of the ways that the productive constraints of such a practice have influenced my own work as editor and printer at the Crater Press. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_2 |
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