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Curvd H&z

Ottawa, ON

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Tell us a bit about your press.

How did you start?
by accident: someone i knew had a rubberstamp typesetting kit they didn’t want & gave it to me when i expressed interest.

Who are your influences, in Canada and beyond?
as a publisher: Nelson Ball (Weed/Flower Press), Barbara Caruso (Seripress), Henri Chopin (Ou), bpNichol (Ganglia Press, Underwhich Editions).

What is your mission?
no mission but a delight in participating as a cultural factotum.

What about small press publishing is particularly exciting to you right now?

the same thing as always: the lack of imposed restrictions that allows for more fully explorational publishing procedures.

How does your press work to engage with your immediate literary community, and community at large?

Curvd H&z is motivated entirely by the whim of its editor, who generally solicits work from or offers publication directly with artists in the immediate community & beyond. some publicational projects are coëlaborative but most artefacts are produced through the singular attention & development of the editor/printer, either as monographs or as part of the “a sort of a magazine” INDUSTRIAL SABOTAGE, which varies format with each issue.

Tell us about three of your publications. What makes them special, needed, and/or unique?

INDUSTRIAL SABOTAGE 61, edited by jwcurry (2o11)
this is the 2nd to be dedicated to Barbara Cruso & is comprised of a collection of concrete/visual poetry prints cut in rubber & printed by jwcurry & housed in a handmade cloth-covered board portfolio. the prints are by Daniel F.Bradley, Jonathan Brannen, Stephen Cain, Judith Copithorne, Arthur Cravan, jwcurry/Renee Rodin, Wharton Hood, G.Huth, Brian David Johnston, Mark Laba, Peggy Lefler, R.D.Macpherson, bpNichol, Peter Norman, Joe O’Sullivan, Søren Truhlar, & John Vieira. it also introduces a display alphabet for the titling developed & cut in rubber by curry, since adapted to a multitude of morphological possibilities.

HOLIDAY, by bpNichol (1999)
dating from the late’6os & submitted to curry as a challenge in the mid’8os (as 2 inconsistent maquettes), it took some 15 years to figure out how to sync the versions, solve the binding path maze & printing logistics before issuing this concrete poetry origami/popup book (1st hinted at with Nichol’s 5¢ Mini Mimeo SAIL in 1968)

LAND IS DOWN, by jwcurry (1989)
the cover describes the source for this 2-colour concrete poetry improvisation in typographic violence, overprinted entirely by handset & printed rubberstamp. the book has also come to generate a score for a somewhat intense performance text for duo.

How have the current multiple global crises impacted your work with the press?

it hasn’t.


INCISIONS cover

INCISIONS
M.B.Duggan
1985


THE MOUSE cover

THE MOUSE
Brian Dedora
1986


voice cover

voice
Mark Laba
1984