Tragic Book Number Seven
Contributors: Joseph Dostal, C.K.Wilde, Mark Hayward, David W. Lundahl, Kurt Allerslev, Kent Winkler, Mark Wagner, Joanna Poehlman, David Heagle, Lewis Koch, Nugent J. Vitallo, Eric Jensen, Rolf Lund, Marshall Weber, Dylan Graham, Jonathan Lill, Patrick Joseph Blough Flynn, E.F. Higgins 111, Erica Harris, Sara Parkel, Gordon Borsa, Alison McDaniel, Lawrie Wenner, Peter Spagnuolo, Holton Rower, Kathyrn Gritt, Felice Tebbe, Lenore Thomas, Kay Ward, Scott Teplin, Nick Miller, Gamini Aquinas, Kimberly Zwislak, Amanda Park Taylor, Jane LeCroy, S.S.Schooler, S.L. Hoche, Amy Kavermann, Rob Harless, Bradford Reed
Size: 7" X 7"
Dylan Graham drew the cover illustrations and made the color separations, Mark Wagner of the Bird Brain Press printed the zinc plates made from the drawings on the SP-15. Sara Parkel of the Filter Press bound the entire edition of 35 in a traditional French exposed cord binding with varicolored linen thread. Most of the typography was designed by Kurt Allerslev Reynertson of Bleed inc., who also enabled the printing of color Xerox portions of the book with his workday swashbuckling. The books became progressively more complex, so too became the social aspects of working with 33 artists and writers. The collaborative nature of book production was fully explored in this issue of the Tragic Book. Participants could edition the pieces they wished to include in the book however they chose, as long as it fit the final folded format of 7" X 7". This lead to a problem when one of the pieces submitted in editioned form offended other participants to the point where they threatened to remove their pieces from the publication. Everybody who contributed got a book; though in the end, not all the work submitted was included in the edition. Shon S. Schooler donated 35 parking tickets from the city of Brooklyn for the edition. A host of processes and machines were used in the process of making the edition. Grommets, check cancellation machines, stencil machines, silkscreen, letterpress, etching, Xerox, bubble jet, Fiery Iris, typewriters, and rubberstamps were employed to make marks in the edition. Scott Teplin's fantastic, surreal editioned etchings are sumptuous, lush reminders of printmakings' history. An Audio CD of poetry and music mastered and editioned by David Heagle Last was included in the back pocket of TB#7- the first digital media to be included in the series. A true highlight of the TB series is the interactive kinetic paper engineering by Lawrie Wenner in TB#9: The reader pulls open the little oven door and in so doing causes the women to stick her head in the oven. Mordant, achingly brilliant, and perfectly produced in edition. A good balance between text/image is present in this book; though still uneven and embattled, this book holds together as a book of energetic signatures- bold, unique, different, but somehow related by the hand and eye.