Monday, December 20, 2010
Thursday, December 16, 2010
Read the rest of Nathaniel G. Moore's review in Broken Pencil here.
Wednesday, December 15, 2010
Sunday, December 12, 2010
Thursday, December 9, 2010
Wednesday, December 1, 2010
OPEN HOUSE at 5 King Street in Kingsville
Tuesday December 14th, 12pm - 8pm
Come join us at our new location. Have a tour, check out the letterpress, eat a cookie. Palimpsest has been publishing and providing graphic design services for over 10 years. It is celebrating by opening its doors and having a sale.
Monday, November 29, 2010
To be published in fall 2012 by Palimpsest Press
Image Submission Call
We are looking for artistic photography that represents this area. Some suggestions might be interesting characters, vistas, architecture, old barns or churches, fence rows, railway yards, factories, fruit stands, festivals, or marinas. We are not looking for postcard pictures of flowers.
Step #1—Query by email first with a few low-res jpeg files (.72 or 150 dpi).
Step #2—If you get the go ahead then please mail us a disk. The disk should have a maximum of 12 tiff images, and they are to be high-res at 300 dpi.
Text Submission Call
We are looking for poetry or prose-poems that relate to this area and convey a distinctive voice. We are not looking for rhyming, clichéd, sentimental or distinct religious writing.
Step #1—Query by email first with 2 -3 pages of text pasted into the body of the email. No attachments please.
Step #2—If you get the go ahead then please mail us a hard copy of your work (12 pages maximum). If we want to use a poem, we will ask for a digital version for typesetting.
Submissions accepted from September 1, 2010 until January 31, 2011. Submission Email: email@example.com
Contributors will be paid with copies of the book.
Thursday, November 25, 2010
Saturday, November 20, 2010
Tuesday, November 16, 2010
The Pet, Walter Deverall, 1852. Oil on canvas.
She stands in a doorway, on the threshold
between home and garden, peers inside
a bird cage. Yet another type of enclosure.
It is no wonder they love their captor—
well fed and doted upon, the canary is full of melody,
the dog lazily snuffles at your feet. No cares gnawing
at the bone. All kindness and kisses.
So you think.
___________Protection has its costs.
Birds flounder in sorrow. Wings clipped,
they feel for the hand reaching in as one feels toward
a punishing god. Yes, they are pampered, given teeny
treats, fed daily morsels until docile and blithely paunch.
The dog, taught to beg for affection, must always
be pleasing. If it disobeys, the hand that now lovingly
strokes the ear’s soft cushion of fur, will strike
quick as lightening. Pain pulsing
through its skull, the high pitched yelps, its nose
rubbed into the mess it made.
Thursday, November 4, 2010
Monday, November 1, 2010
Tuesday, October 26, 2010
Monday, October 25, 2010
But despite my best attempts at diplomacy, I have received many angry notes in response to my rejection letters. People have accused me of everything from “only choosing authors who are willing to play the game”(I have no idea what that means) to “not knowing quality writing if it bit me in the face”. I have been called “cruel” and “indifferent”. Once, in an extremely long-winded letter, I was denounced for being like this poor guy’s ex-girlfriend “who gets hurt by assholes and then cries on my shoulder.” I’m not exactly sure what this has to do with his poetry submission, other than he believes women reject him wrongly, but I think his troubles are greater than this since he felt inclined to send a stranger a four-page long woe-is-me letter. However, all this nastiness got me thinking about honesty and our willingness to put it out there despite the costs. My version of charitable falsehoods provoked such fury that I doubt it would have been worse if I had said it was bad. I think people read through the niceties and assume you are saying something negative, so what happens when I really mean it, when I think the work does have potential but requires some more editing. Then what? Perhaps it comes across as dishonest when I’m not being dishonest. Sincerity is a hard thing to come by, and I don’t think as a culture we value it enough.
But where does honesty cross the line? When we don’t ask for the opinion, but it is given anyway? (“You should change before we leave. Those pants don’t look good on you”).
When the opinion is perceived as cruel? (“Why? You’re saying I look fat”).
But is it only a perception? Perhaps the person is too sensitive. (I’m insecure about my having a big ass).
Perhaps there is no cruel intent. (He thought that you’d look better in a different pair of jeans. Maybe the ultra low-rider ones that show your crack when you bend down was not your best decision.)
If the opinion was not intentionally cruel, but is none-the-less perceived as cruel, is it cruel? I guess that depends on whom you are asking. Reality is what we make it, and the reality may be that despite your intent the person finds your comment cruel. So, in the end, that has nothing to do with you. You have no control over another’s perception of reality. Your truth is based on what you know and the other person’s truth is based on his/her experiences. Ask your sibling to describe a shared event from your childhood, and you’ll see what I mean. Truth is always filtered.
I know that I am not comfortable telling someone that they are a bad writer, or even that I find their writing to be bad. I guess I am not comfortable with presenting my opinion in such unflinching terms, that is, to label it good or bad. And, for the record, I am not talking about reviews, as that is part of the literary debate and a whole other discussion. I am only referring to rejection letters and how to word them appropriately. As a publisher, I have to decide what is worthy of publication and what is not. This is not a purely subjective matter, but there is some subjectivity involved. There are many worthy titles, as I deem them, but I simply don’t have the funds and resources to publish them all and looking back over the last decade I know that my aesthetics have changed. I don’t think that my opinions are so varied, but they are fluid, and they have evolved over the last decade. But running a press means that I have to make business decisions, which requires making value judgments on a manuscript: the value to my press, the value to Canadian literature, the value to the market. Regardless of my passing judgment, which I do all the time, actually labeling a work “bad” leaves, um, a bad taste in my mouth. Perhaps I am spineless, a CanLit coward, but I think there is a certain egotism that goes with such definitive pronouncements that I simply don’t possess. So be it. In the end, I am not interested or comfortable labeling work good or bad. Frankly, I find the discussion on subjectivity and how we determine worth, either as individuals or as a community, much more interesting.
As far as cruelty goes, I never intend it with the rejection letters I send out, but seem to inflict it anyway. If I give too little then I am “indifferent” and if I give my honest opinion I am “cruel”. It seems the only good response is, “I love it and want to publish it without changing a word”. Well, if that is what you want, all I have to say is good luck with your self-publishing venture. In the end, I will continue to write very little on my rejection forms, as going through hundreds of submissions really is quite tedious and time consuming. Occasionally, if I have the time and deem the work worth the extra attention, I’ll offer some general critique and hope the person takes it for what it is — only one person’s opinion. Ignore it, consider it, refute it, do with it what you will, but when you submit your work to a publisher at a press or journal you are asking us to judge your work and, with that, there is risk.
P.S. — please stop sending me hate mail. Wasn’t askin’ for your opinion anyway.
And by the way, low-riders that show your thong or pants slung down under your ass isn’t flattering on anyone.
Wednesday, October 20, 2010
A window frame reclaimed from my husband's office. It received (not so much a restoration) but a good cleaning. I like the, um, rustic feel of it. I plan on hanging it from chains in my letterpress studio and placing wooden type on the dividers.
This, oddly enough, is a file cabinet. It looks a bit like an apothecary cabinet but is actually a horizontal filing system. I've never seen one before and it is quite impractical as the drawers have to be completely removed to take any files out. But I think it is beautiful and will use it anyway. Practical is as boring as Mary Jane flats.
Sunday, October 10, 2010
“Jordan Troutt has penned a witty and re-readable book of deadpan rhymes… With silly wit that’s a hairsbreadth from nonsense, Troutt seems to channel the spirit of Lewis Carroll … Sarah Preston-Bloor’s whimsical illustrations are an ideal complement to the verses, colourfully depicting wide-eyed little darlings in a variety of misadventures. This is the kind of book you’ll thumb through for a giggle even when the kids aren’t around.”
— Our Children Magazine
“Troutt perfectly blends an upper level alphabet book with rhymes to produce a humorous selection of poetry. The illustrations are expressive and go hand-in-hand with the poems. This collection of rhymes is very entertaining and full of silly fun, making it great for storytelling.”
— Resource Links
Friday, October 1, 2010
Read the entire review here.
Tuesday, September 28, 2010
Chapbook edition of 60
The keyhole reveals the collage end sheets.
Framed explores the life of Elizabeth Siddal, who was married to the Pre-Raphaelite artist Dante Gabriel Rossetti. From the working class, Siddal’s association with influential artists and their upper-class patrons was dramatic and life altering. As a model, then pupil, she quickly developed artistic ambitions. Although she became a painter and poet in her own right, she is best known as a Victorian muse and the inspiration for her husband’s paintings. Although some supported her artistic development, including her husband and the art critic John Ruskin, they did so while upholding the doctrine that a woman’s primary duty was to her family. In Framed, Kresan regards class and gender as rigid structures that confined Siddal and the primary lens through which she was viewed.
Framed can be purchased from the Palimpsest website here.
Thursday, September 16, 2010
Chapbook edition is limited to 60 copies, signed and numbered by the author. The binding has been hand sewn with linen thread. Laser printed on Neenah columns text paper in classic natural white. Collage end papers created with text and images from Russell Ash’s Dante Gabriel Rossetti (Harry N. Abrams Inc, 1995). The cover has been laser printed on handmade St. Armand Ontario flax canal papers. Published by Palimpsest Press in 2009.
Here is a picture of some of my collage pages.
Wednesday, September 15, 2010
Read the entire article here.
Kate Braid standing under her poem on a city bus. It even has a picture of the cover of her book!
Tuesday, September 14, 2010
It is not violence but muscle –the force to do –
curled and bent and burning
They deny it. Hide it. Rip it out
with hammers and knives and guns, even crosses
if they have to.
These are the signs of the beauty of men:
set jaw, the shimmer of muscle
eager to lift beyond any limit, lost
in the wild pleasure of motion. They will move the world
with their own two hands, force it if they have to, doing
what mere thought didn’t know had to be done.
— Kate Braid
Saturday, September 11, 2010
Wednesday, September 8, 2010
Wednesday, September 1, 2010
A year ago or so I bought a gordon press from a man in Michigan for $50. Quite the deal if I can get it to work. The rollers need to be recast, there is a large crack to be brazed, and the entire thing is completely rusted. It will have to be sandblasted and then primed before the cast iron starts to rust all over again. Iron oxidizes quicker than many metals. Then it will have to be repaired and painted. I have a lot of work ahead of me. And moving something that weighs over 300 pounds isn't exactly easy. It can be disassembled but putting a thing like this back together becomes a bit of a puzzle. I can see it now... "and where does the pin thingy go?"
Thursday, August 26, 2010
With the air abuzz with discussion about the art of the book versus digitization, the LPG has decided to focus on celebrating where brick and mortar books excel at bringing the reader a special -- and unparalleled -- experience. Books that feel good in your hands. We're talking heavy paper stock, intricate design and illustration, over-the-top typography, offset printing ... all those things that book geeks like us care about on top of straight-up impressive content. Titles that are gorgeous inside and out.