To mark the occasion of the digital reissue of Big Allis, editors Neilson and Grim have written the following introductory notes alongside commissioned reflections on the magazine by designer Jean Foos and a few of the magazine’s many contributors.
The idea of bringing Big Allis to a new readership occurred to me one summer afternoon last year while combing the Jacket2 Reissues archive. I am grateful to Danny Snelson for deeming Big Allis worthwhile to “go big” and be added to the J2 bill. Danny and Amelia Bentley have been artful and meticulous with getting Big Allis safely stored in a user-friendly repository.
Below is a substantial extract of “La poésie au format Zuk,” an interview of Royet-Journoud by Jacqueline Pluet on the subject of Zuk, published in issue 5 of La revue des revues in the spring of 1988. The interview can be found in full in Eric Pesty's Claude Royet-Journoud. Une Bibliographie Tome 1, 1962-2003. For more information on that publication, see here.
The Jacket2 edition of this interview is excerpted and translated by Abigail Lang.
Opening an email conversation on Chain with editors Spahr and Osman, I sent the following two introductory questions:
1) In the final issue of Chain, you note that the intellectual (and actual) climate in Buffalo prompted you to begin the magazine. The first issue — one of only three edited while you were both in Buffalo — presents a brilliant response. Originally slated to publish writing by women, Chain no. 1 features an editorial forum on editing magazines, a transcription of a panel on the ethics of small press publishing, and a series of poems composed via chain letters. Perhaps we can begin with a conversation on your plans for this first issue. What role did you see Chain performing in the poetics community at the time, in Buffalo and further afield?
2) The editorial forum in the first issue is particularly illuminating — offering a fascinating survey of female editors on gender and the work of editing. You interrogate the format of Chain itself in a following section entitled “Editors' Notes: Frameworks,” writing:
It is impossible to make a frameless frame (although that is the vision from which this project derived). We have instead begun the journal with a forum that takes a look at how and why journals are created and in what ways questions of gender have informed those decisions. It sounds absurd to edit a journal that's about the editing of journals — a nightmare of self-reflexivity — and yet it is a way of creating a body that shows its own skeleton.
How do the preliminary editorial statements from the first issue read to you now? Opening with this intensive self-reflexivity, in what ways did surveying experienced editors inform your own editorial position(s)?
In response, I was cheered to learn that these questions in particular were addressed in a short statement the editors penned for OEI magazine. We've decided to reproduce that document in full here. The statment can be read as a retrospective introduction to Chain from the persepective of 2008, resurfacing along with the magazine online today.
In the final issue of Chain — which I am thrilled to launch on the newly redesigned Reissues platform — editors Juliana Spahr and Jena Osman begin by sharing some facts about the magazine. Perhaps the best summary of the journal's output, I'd like to reproduce “Some Facts About Chain” in its entirety here. You can find the full issue — placing this segment in conversation with the contents of the “facts” issues of the magazine — here.
Culminating in an all-Flarf twelfth issue, Combo is known to have been the first print publication to gather a full collection of Flarf poems. Published in the same year as K. Silem Mohammed’s Deer Head Nation (poems from which were also first published in Combo) the magazine stands as the original print vehicle for the listserv-generated poetry movement. Magee’s Flarf manifesto “Mainstream Poetry” is first published here, and the editor’s and contributor’s notes are ideally suited to the collection (see Combo no. 12). As Jordan Davis writes in his 2004 Village Voice article “O, You Cosh-Boned Posers!”:
Magee's small-press magazine Combo broke the flarf story first, in early 2003. A significant finding in that issue, currently required reading for Charles Bernstein’s literature students at the University of Pennsylvania, is that Google searches on the phrase "aw yeah" yield more socially acceptable results as the number of w's in "aw" increases.