Plainfiled, VT 1998: I interviewed alumnus Will Hamlin about living and learning at Black Mountain College and he told me about the print shop where he had learned typesetting from Joseph Albers. He recalled, “[Albers] hated periods after abbreviations because they called attention to themselves and were always too black.” He retrieved a pamphlet he had printed by hand for a student production of Chekhov's The Cherry Orchard shortly after the College moved to the Lake Eden Campus in the late 30s. The experience was as simple, beautiful and authenticating as the object itself. I bought a George Prouty & Sons platen press (manufactured in Boston in 1889) a few weeks later. With a light snow falling, we strapped the press down to a three-quarter ton truck with come-alongs. The press made its way out of a barn in Waterbury and we planted it in a converted milking shed. The early experiments in printing books were full of blunders and wonder — broken chases, inky fingers and dropped cases. There was no instruction in typesetting at the time, so we followed in the tradition of “finding out for ourselves.” We printed the College's literary review, compost-toilet instructions for the Ecology house, broadsides for the Hubris reading series, stationery for Gertrude Stein, and a few short poems. For me, typography was the ideal intersection for poetry, sculpture and visual art. I remember building up the letters of William Carlos Williams’ “A poem is a small (or large) machine made of words” early on. New York City ten years later: We publish poetry, artists' books and books-about-books from time to time. Locally, we offer instruction in letterpress printing, the history and art of the book, and frequently work in conjunction with other printers, publishers, poets and literary organizations. We believe that the independent press is the only way the face of literature has, or will ever, change. We aspire to continue publishing poetic works of merit and innovation, and thank you for your interest in Cuneiform. cuneiform press artists' books poetry kyle schlesinger letterpress typography ron silliman woundwood sarah campbell I have imagined a center wilder than this region susan howe gregg biglieri reading keats to sleep sleepy with democracy ted greenwald three 3 two wrongs bill berkson sudden address selected lectures moonlighting a book of closings ulf stolterfoht lingos craig dworkin dure andrew levy scratch space johanna drucker from now derek beaulieu with wax david pavelich outlining patrick durgin color music gil ott the amputated toe luisa giugliano chapter in a day finch journal literary fine press private press abs online goddard college robert creeley poetics program P22 buffalo vandercook 4 four wnybac alan loney the printer printed