PRINT magazine’s Steven Heller says: “Just what I’ve been waiting for.”
De Villo Sloan in Asemic Front says: “TYPO is not another contribution to the wax museum of official culture. The editors interweave selections from what poet Ron Silliman calls the post-avant with the historic avant garde and esoteric visual-verbal examples from earlier centuries. Included are new iterations and genres in the continuum such as asemics, digital collage, neo-concrete and visual poetry as well as typographical innovations rooted in Lettrism. Accessible and highly enjoyable prose complements the flow of images.”
In this issue: Marc-Alain Barbot; Tom Barrett; Michael Betancourt; Isabelle B.L; Restif de la Bretonne; Mamie Caton; Norman Conquest; Caroline Crépiat; Art Dandy; farewell debut; Ange Degheest; Jean-Pierre Duffour; Luc Fierens; Jack Granath; Isidore Isou; Amy Kurman; Claude Nicolas Ledoux; Giambattista Palatino; Raymond Queneau; Reese Saxment; Karen Shaw; Doug Skinner; Corinne Taunay; John J. Trause; Tristan Tzara; Cal Wenby; and Femke van der Wijk.
6 x 9 inches; 148 pp.; paperback; $14.95 ISBN: 979-8-9869224-5-4
LATEST NEWS:
Typo: Journal of Lettrism, Surrealist Semantics, & Constrained Design is the first in a promised (irregular) series of anthologies devoted to oddities of typographic design history, extending from now to the 1400s, including mnemonic devices, “Forty-Five First Letters” (they’re real!), “Surrealist Sign Language,” asemic writing, and lots more from Doug Skinner, Norman Conquest, Raymond Queneau, Isadore Isou and other contributors. Visually fun to look at and filled with interesting historical factoids about printing. — i arrogantly recommend… by Tom Bowden, BOOK BEAT
TYPO in PRINT
TYPO hits the top of the charts on Amazon
RAVE REVIEW
“The first issue of TYPO … has arrived at an ideal moment in the evolution of avant garde and experimental art and writing. The monuments of the 20th century avant garde such as DaDa, Surrealism, Lettrism and Oulipo are enjoying healthy interest in the digital age, inspiring the creation of new genres.TYPO provides fresh insights and perspectives on these movements.
TYPO is not another contribution to the wax museum of official culture. The editors interweave selections from what poet Ron Silliman calls the post-avant with the historic avant garde and esoteric visual-verbal examples from earlier centuries. Included are new iterations and genres in the continuum such as asemics, digital collage, neo-concrete and visual poetry as well as typographical innovations rooted in Lettrism. Accessible and highly enjoyable prose complements the flow of images.”
“Some naive lovers of semantics believe that if only our rulers, our saviours (of all sorts), could understand the meaning of their own pronouncements, they would amend their ways. What an illusion! They, the saviours, know the mechanism of Language much better than all the Semanticists, Linguistic philosophers, and Logical formalists put together. That’s how they know how to use it to play upon the prejudices of the mob: you and me.”
—Stefan Thermerson (from his essay “The Aim of Aims”)
Stefan Themerson (1910-1988) defied simple categories; he was a legendary European writer, publisher, philosopher, and filmmaker. Together with his wife, Franciszka, they founded Gaberbocchus Press, the gold standard for avant-garde literary presses. This collection, edited by Paul Rosheim, gathers previously hard-to-find texts dealing with many of his principal concerns: ethics, semantics, conformity, misguided prejudice, and intuitive human decency. Also included are drawings by Franciszka, and an insightful introduction by art historian Nick Wadley.
PRAISE FOR STEFAN THEMERSON
“This writer is in the company of Carroll and Queneau, a master of controlled inconsequence…” —Guardian
“What an extraordinary writer Stefan Themerson is.” —Punch
“Stefan Themerson has an absolutely elegant sense of humor.” —New York Times
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