But first, attention should be brought to the general design & presentation of the WORK series. The cover (front & back), is always marked by a Web-quality image, enlarged & grainy, the subject of the image easily identifiable, but having no direct relationship with the work within. Images have included: ceramic painted chicken seated on eggs (sea shells), battered flattened empty manilla envelope stamped with 'opened for inspection by usps,' partial diagram of numbered rotating multiple gear system, and most recently, giant asian bride smiling down at knees-tucked-to-chest kissy-face asian groom cupped in her hands (or miniature knees-tucked-to-chest kissy-face asian groom seated in the cupped hands of smiling asian bride staring down at him).
The title is offset to the lower-right vicinity of the cover, followed by the issue number. Initially, the typeface varied, (some kind of New Courier for Issue No. 2), but has, for the last 4 issues, stayed with a large all-Majuscule IMPACT typeface, always outlined, recently in blue, previously in white, with widths varying. The recent issue's title seems have some kind of raised outline, though it seems too faint to be embossed.
The back cover of WORK uses whatever typeface is on the front. Listed are the names of the 4 poets included, preceded by "featuring," which in some issues is followed by a colon. In the recent issue, the ampersand has been removed, whereas it was previously lodged between the 3rd and 4th names listed (vertically). Also, offset to the lower right corner of the back cover is "$3."
The issues opens with the initial poem on the recto, the verso left bare. Each contributor's name is printed in the top right corner of the page on which his or her writing begins. In the initial issues, the names were set in what appears to be Bank Gothic, but was streamlined to match the IMPACT of the cover. There is no set number of pages for each contributor, allowing past issues to range from 28 to 44 pages (including covers).
On the final spread of each issue, the recto is always bare, and the verso holds an image abstracted as a partial background, an issn#, and contact information.
The background images have included: a rectangle of pixilated grey interrupted by half of a heavy-brush painted butterfly or a heavy-brush painted ship's bow and its dwarfed shadow on the water's surface, a maybe Japanese influenced minimalist pagoda like table lamp with no wires attached, a 3 figured many-parted cockroach Guantanamo or a rocket ship that insects are secretly building, and an angled chart of downward ships with different mast & sail arrangements identified by numbers & roman numerals.
I will not take the time to list which cover images correspond with which back page images.
The issn # is 1941-2673, though only WORK no. 6 lists the same # as an ISBN.
Issue 6 also includes two spelling of Their(r)y Brunet. Issue 6 is the best issue.
The contact information is stated as such (though line breaks vary):
please address all correspondence to:
Each issue has two staples along the spine, is printed on medium weight paper, with the cover printed on a light photostock or laserstock.
The words poetry, poem, or poetic are never mentioned.
The editor/publisher name is never mentioned. (It's David Horton).
There is no biographical or contact information for the contributors.
There is no information as to the date of publications.
The images used in the WORK issues may suggest a poetics of difficult categories, (re)numbered systems, and complicated mechanisms of/for beneficial and frustrated appliances.
WORK no. 6 is great!
William Moor's absolutely non-abstract abstracts of NEW PATENTS for copying & encoding techniques.
Thierry Brunet's text is many-referenced & m.i.s.h.m.a.s.h.e.d. lyricisms.
Tony Perniciaro's text is better than poetry, replete with water-colored line drawings & a sense of humor.
Contact David Horton to purchase WORK no. 6. Email email@example.com
Deep Oakland also has scanned versions of issues 1 through 3 (out of print).
My next post will be about Uche Nduka's eel on reef.