“I have made cuts, as an editor does, but I didn’t introduce words of my own. Even abbreviation changes content, and even character.” — Eric Bentley, as told to Per-Oskar Leu, in “Sixty-Five Years of Treason,” in Triple Canopy issue 16.
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Calling cards by Toronto-based design collective Fugitive Glue.
Above: A page from Samuel Beckett’s notebooks containing what would become Watt. (via: invisiblestories)
For more Beckett, join Triple Canopy on Monday, June 4 at 8pm for a performance of The Fizzles, an adaptation of Samuel Beckett and Jasper Johns’s Foirades/Fizzles by the Piehole theater group. @ 155 Freeman, in Greenpoint.
Francesco Clemente, Under the Hat, 1978
(via cavetocanvas)
18th-century pit stains.
A silk and linen waistcoat, in the Metropolitan Museum of Art’s collection.
In 1973 and 1974, Samuel Beckett translated a set of his prose poems, Foirades, into English as Fizzles. (The French “diarrhea” or “shit” becomes a slightly more ambiguous English.) Foirades/Fizzles entered into limited circulation as an elegant collaboration with Jasper Johns, published by Petersburg Press; in 1976, Grove Press produced an expanded run. Johns’s etchings emphasize his calligraphic and repetitive style. Of one fizzle, Marjorie Perloff has commented that the “phrasing is that of a telegram.”
On June 4, Triple Canopy will host an hour-long interpretation of Beckett and Johns’s artist book by the New York–based Piehole theater group. Incorporating theater, dance, electroacoustic sound, and live and recorded video projection, Piehole’s The Fizzles promises a compellingly imperfect meeting of media.
Above: Two works by Jasper Johns from Foirades/Fizzles, 1976.
Museum unveils Bronte’s teeny tiny early work
A manuscript by British author Charlotte Brontë that fits comfortably into the palm of a hand that fetched 691,000 pounds ($1.1 million) at a Sotheby’s auction in December, more than twice the upper estimate, went on display this week.
(via fuckyeahbookarts)
Photographs of video game landscapes by Justin Berry.
