The erasure practices of Jen Bervin and Mary Ruefle
At the 2013 Associated Writers and Writing Programs Conference in Boston, I wandered among rows of bright, strange, and intriguing books piled high on independent poetry press tables. Hand-stamped, letter-pressed, spray-painted, ripped, sewn, and covered in tinfoil; poems shaped like boxes, poems printed on records, poems made into pop-ups or puzzles, or rolled as cigarettes — I even spotted a tiny book hidden inside a plastic egg. The small presses occupying real estate at the AWP book fair represent a fraction of the artistic output that marks what can be seen as a resurgence of the handmade book and the book as art object in contemporary poetry practice. The exciting variety of these book-object wares suggests a vital world of poetry, visual art, bookmaking, and communal production. In these composed book-works, techniques of production, including design, collaboration, and distribution, are part of the poem.