wild across the space separating time
and its endlessness
a penetration of dream:
side-cracking the bones of history
to trace a purple-bruised sky
(the marrow decay of a broken wall
around the broken house
that broke you)
stretching behind the trees,
four-leaf clover marijuana leaves
gutted animal painted roadside boundary
two of us swinging somewhere long,
deep: a forest so large
too desperate to disappear.
So naive, so stupid, so dependent, I gave him all my love, all my heart, all my self, and he returned the favor well, he returned it rather wonderfully,
He ripped me apart, then broke me down to pieces, then set my heart on fire and let me sink in my own pain.
This humble blog began some months ago, until this date we have posted 9 wonderful books about lettering, typography and calligraphy. In case you forget the gift for your graphic designer geeky friend here is a recap of all the books featured here, a perfect gift for the typophile or the amateur designer avid of know more about this beautiful discipline (click on the name of every one to see more details):
There is something immediately appealing and joyful about
these images. Horses and birds, what’s not to like? These are two pamphlets created by John Averill for the Typophiles and their Monographs series. They are another special part of the soon to be cataloged donation from our friend Jerry Buff.
From a December 1949 article in American Artist I learned that John Averill was a commercial artist and printer, who grew up with “a
dash of printer’s ink” in his blood. In an effort to keep John from the
influence of the “toughs” in the neighborhood, his father made him a printer’s
devil. John did not miss playing ball outside; he found
the printers and the work much more interesting. He cut his teeth on a
composing stick and enjoyed the wonderful tales the printers told of their travels
and their loves even if he didn’t fully understand them at the time.
He studied briefly at the Chicago Academy and worked hard at
his drawing, but typography was his love. He worked with Sears, Roebuck and
Company, Campbell Ross Studios, Lakeside Press, and the Mills Novelty Company
doing design, layout, and lettering. As a freelance commercial artist he would
drum up business by sending out samples of his art printed by commercial
printers. After seeing an ad in a national publication, he made a $50.00 investment in a small handpress and a set of type of his own and realized the freedom of doing his own printing. As an extension of his attic studio, Molehill Press was born and soon grew with the addition of a vintage platen press. Averill wrote an
article for the December 1952 issue of American Artist in which he clearly
expressed the joy he felt in printing. This joy comes through in his light-hearted writing style and whimsical linocuts.
Averill had a supportive wife, daughter, and many friends in the printing and design business. He was appreciative of the lessons he learned from his fellow artists and seemed content playing with ink and type in his studio.
From the Colophon of Typophile Monograph 24: “Should this copy, one of 325 printed for the Typophiles at the Molehill Press, be in perfect register, properly inked, without offset or thumb prints and reasonably well bound, it is to be considered purely coincidental. Printed after hours on a Jones clamshell press that escaped the scrap drives of two world wars.”