Copiez ce livre – Un manuel sur le droit d'auteur et les communs culturels, par et pour les artistes

Imagine words approaching a dance eyes closed or sleepwalking, words adrift beyond what can be envisioned beforehand, prompting writer and reader alike into a zone where time multiplies, where bodies grow footnotes and paper skin, savour the taste of language, attune their ears to the wavelength of blue. In a string of brief essays on her practice of writing choreographic poetry and scores, Janne-Camilla Lyster offers reflections on time, memory and the senses, on translation, punctuation and rhythm, on mistakes and crevasses, on the impossible and yet other things. What does it take to enter another form of existence, say, a chair?

Janne-Camilla Lyster is a writer, dancer and choreographer. She has published poetry, novels, essays and plays.

Weaving Language I: Lexicon is the first book in the Weaving Language series, which examines the poetics of weaving traditions through historical research as well as contemporary practices. Attempting to dismantle and rebuild commonplace understandings of the history of writing, Weaving Language focuses on fiber-based forms as a longstanding but often overlooked medium for record-keeping, storytelling, and poetry.

In Weaving Language I: Lexicon, weaving processes are mapped onto English grammar to suggest a method for reading woven works. Offering visual vocabularies as both discrete concrete poems as well as a collection of translatable terms, this book invites readers, writers, and weavers to participate by considering weaving as a system that can be decoded. Textile forms are broken into the basic building blocks of language, presented as a visual/textual lexicon.

Weaving Language I: Lexicon was initially self-published by Capone in 2012 and in 2015 re-issued in an edition of five as an artists’ book, which was awarded the Frances Mason Harris ’26 Prize from Brown University.

Essay Press’s edition makes this important work available for the first time in a trade edition. The edition has also been newly edited and significantly expanded into a multivocal work that represents the contributions of a small collective of artists including Martha Tuttle, Allison Parrish, Sarah Zapata, Adjua Gargi Nzinga Greaves, Amaranth Borsuk, and Imani Elizabeth Jackson, thanks to funding from the Oregon Arts Commission and the Ford Family Foundation. The book also includes an afterword by Kit Schluter and diagrams by Anni Albers (with permissions from the Josef and Anni Albers Foundation).

Plans are underway to similarly expand and reissue the two additional books in the series both previously published in limited editions currently out of print: Weaving Language II: Language is Image, Paper, Code, & Cloth (information as material, York, UK, 2018) and Weaving Language III: Writing in Threads (Center of Craft, Asheville, NC, 2017). The Weaving Language project has been accompanied by numerous gallery shows, including “Material Memory,” a show running from October 7 through November 9, 2022, at Nationale in Portland, Oregon, to accompany the release of the Essay Press edition of Weaving Language I.

Artists’ books from the Weaving Language series are held by the collections of the Museum of Modern Art Library in New York, NY; the Thomas J. Watson Library at the Metropolitan Museum of Art in New York, NY; the Harris Collection of American Poetry and Plays at the John Hay Library at Brown University in Providence, RI; and at the Joan Flasch Artists’ Book Collection at the School of the Art Institute of Chicago in Chicago, IL.

"I've lived a completely ordinary life, so much that I don't know how to write a transgender or queer or Appalachian story, because I don't feel like I've lived one.... Though, in searching for ways to write myself in my stories, maybe I can find power in this ordinariness."

Raised in southeast Ohio, Stacy Jane Grover would not describe her upbringing as "Appalachian." Appalachia existed farther afield—more rural, more country than the landscape of her hometown.

Grover returned to the places of her childhood to reconcile her identity and experience with the culture and the people who had raised her. She began to reflect on her memories and discovered that group identities like Appalachian and transgender are linked by more than just the stinging brand of social otherness.

In Tar Hollow Trans, Grover explores her transgender experience through common Appalachian cultural traditions. In "Dead Furrows," a death vigil and funeral leads to an investigation of Appalachian funerary rituals and their failure to help Grover cope with the grief of being denied her transness. "Homeplace" threads family interactions with farm animals and Grover's coming out journey, illuminating the disturbing parallels between the American Veterinary Association's guidelines for ethical euthanasia and the World Professional Association for Transgender Health's guidelines for transgender care.

Together, her essays write transgender experience into broader cultural narratives beyond transition and interrogate the failures of concepts such as memory, metaphor, heritage, and tradition. Tar Hollow Trans investigates the ways the labels of transgender and Appalachian have been created and understood and reckons with the ways the ever-becoming transgender self, like a stigmatized region, can find new spaces of growth.

Pathemata, Or, The Story of My Mouth is an experiment in interiority written in the pandemic studio. Something of a companion piece to 2009's Bluets, Pathemata merges a pain diary chronicling a decade of jaw pain with dreams and dailies, eventually blurring the lines between embodied, unconscious, and everyday life.

In scrupulously distilled prose, Pathemata offers a tragicomic portrait of a particularly unnerving and isolating moment in recent history, as well as an abiding account of how it feels to inhabit a mortal body in struggle to connect with others. Formally inspired by Hervé Guibert's The Mausoleum of Lovers, and conceptually guided by Gilles Deleuze's notion of artist as symptomologist, Pathemata is yet another urgent innovation from Maggie Nelson in the art of life-writing.