Ron Padgett, "Joe Brainard's Painting Bingo" & "The Austrian Maiden"
LISTEN TO THE SHOW
Al Filreis brought together James Berger and Richard Deming (who traveled together from Yale) and Sophia DuRose to talk about two poems by Ron Padgett. The poems are “The Austrian Maiden” and “Joe Brainard’s Painting Bingo.” Our recording of “The Austrian Maiden” comes from a February 26, 2003, reading Padgett gave at the Kelly Writers House; the poem had just recently been published in Padgett’s book You Never Know (2002). The recording of “Joe Brainard’s Painting Bingo” — a poem published in Great Balls of Fire (1969) — was performed at a November 20, 1979, reading given at a location that is now (sadly) unknown. That reading in its entirety is available at Padgett’s PennSound page; the recording comes to us courtesy of the Maureen Owen Collection of Greenwich Village Poetry, now housed at the Yale Beinecke Rare Book and Manuscript Library.
April 17, 2024
Susan Bee on Segue and Roof Books
From 1980 to 1992, I worked extensively on most of the Roof and Segue Books produced during that period. I worked with the publisher James Sherry and the authors and the typesetters and cover artists. The work consisted of getting the manuscript from James and the authors, which was often very hard to procure, making sure it was proofed and edited and ready, then bringing it to Skeezo, the typesetters on 27th Street. They set the galleys on their machines. Then I’d come and pick up the Xeroxes of the galleys, proofread them, and then bring the galleys back for corrections with author’s corrections too. When the final galleys were ready. I would lay out the book by hand. I made an initial dummy for the book and then pasted up the final mechanical on boards with glue or wax. Often as in the case of Hannah Weiner’s and Bruce Andrews’ books, I would be moving around single words or letters or lines of type with an exacto knife to create shapes or odd spacing. The cover was also done by me, but with various artist’s works on them. Then the book would go to the printer and come back by US mail for blues. It was a lengthy and detailed process of production in those days without e-mail or computers to speed things along.