Cuneiform Press
~ Texas
(Kyle Schlesinger)

Share this page:
Kyle Schlesinger: "My primary interest is in the intersection of stunning writing and the possibility of the book as a structure. Cuneiform does not ascribe to any particular school or canon, and remains committed to publishing enduring (and ephemeral) works that negotiate the critical imagination and poetic explorations. We aspire to maintain a zeal for experimentation and fascination with the intersection of meaning and form with each publication."
New work coming soon  

Cuneiform Press Out of Print and SOLD Titles:
The Amputated Toe
By Gil Ott
New York: Cuneiform Press, 2006. Edition of 50.

16 x 25 cm; 28 pages. Illustrations by Christopher Webster of London. Book design by Kyle Schlesinger. Printed on a Vandercook 4 from photopolymer plates produced by Harold Kyle at the Boxcar Press. Text set in Scotch. Display font Dyrynk Roman from P22. Japanese side stitch binding with cloth covered boards. Edition numbered.

Gil Ott (died 2004) essayist and poet founded and directed Singing Horse Press. The journal Paper Air was published by the press from 1976 through 1990. Ott published several books of poetry. His essays focused on the role of the arts in social change.

Erik Sweet, Artvoice, The Amputated Toe Book Review: "What we have is a beautifully constructed, side-stitched book with images by artist Christopher Webster. The story unfolds over 11 pages on yellow paper with black ink.

"This brief but abstract fable has a dream-like quality, weaving together how memory interacts with performance. From the presence of the boy-deer to mysterious appendages, Ott explores the space between actor and audience. This slim volume will have you wanting more of Ott's unique visions.

"In an interview with poet CA Conrad in 2004, Ott talked about the story, which he refers to as a "fable," as being difficult to write. He said, "I had finished the book PACT, which was a collection of prose fables. And I had great difficulty finding the string which would lead me back to writing." Being called to his father's bedside helped inspire him to write The Amputated Toe. The inspiration for Toe was Ott bringing his 89-year old father to the emergency room after he accidentally lopped off his toe while trying to cut his toenails.

"What is so impressive about the book is the physicality of it; in our digital age, holding a book and feeling the weight of the covers is wonderful. With handmade stitched books, you feel the love and effort it took to put it together. The Amputated Toe is Gil Ott's last book; with this edition, Cuneiform has done a great job of honoring Ott's work. "

Kyle Schlesinger: "The Amputated Toe was produced in memory of friend, poet and publisher Gil Ott. This fable, as Gil characterized it, is part of Pact, a "unique collection of either poetic prose or prose poetics (depending on your view)" described as "a gold mine of tactile ruminations, devolving narrative, acute perceptions, and splintering syntax." Ott asks, "Whose voice is all inaudible resonance, rattling the bottles on the shelves and pressing on the scalp? Shadow without substance, angles without planes. Whose speech even as it is spoken is a memory?"
(Out of Print

Click image for more






The Books to Come
By Alan Loney
Foreword by Jenni Quilter
Buffalo, New York: Cuneiform Press, 2010. Edition of 200.

5.75 x 8.75"; 138 pages. Typeface: Quadraat. Hardbound in illustrated boards. In illustrated dust jacket.

Cuneiform Press: "Of Alan Loney's long-anticipated collection of essays entitled The Books to Come, Johanna Drucker has written: 'Few people have mused with such imagination on the topic of the book as Alan Loney does in this volume. His reflections distill a lifetime of practice and reading, of knowing books and living with and around them. His thoughts about libraries, writing, texts, the codex, printed books, the artist's book, fine press traditions, and bibliography are at once philosophical and poetical. Though writing in the tradition of Mallarmé, Jabès and Blanchot, Loney's sensibility is contemporary and original, informed by his practice as a printer and a profound engagement with books as expressive objects and objects of contemplation.'

"Alan Loney had his first book of poems published in 1971 and began printing in 1974. ... Loney has published 11 books of poetry, and eight books of prose with a recent emphasis on the nature of the book. ... The Books to Come brings together formulations of Loney's thinking about the relations between poetry and typography for the first time."

Includes six essays by Loney:
Meditation: the printer printed:manifesto
Zephyros: the book untitled
Each new book
What book does my library make
The limits of the book as object
Exergue: destroying the books

(Out of Print)


By Kyle Schlesinger, David Abel, Bill Berkson, Johanna Drucker, Craig Dworkin, Michael Gizzi, Michael Gottlieb, Ted Greenwald, Dorothea Lasky, Hoa Nguyen, Tom Raworth, Kit Robinson, Carolee Schneemann
Chicago, Illinois: Columbia College Center for the Book, 2011.
Edition of 300.

14 x 4.75"; 13 leaves (12 bumper stickers plus title page). Letterpress printed in two and three colors. Housed in white box with title on cover. Designed by Kyle Schlesinger with the assistance of Hannah King.

Bumpers is a collection of twelve crack 'n peel bumper stickers. The project was completed while Schlesinger was artist in resident for two weeks at the Center for Book and Paper Arts at Columbia College in Chicago in the summer of 2011.

Columbia College, Interdisciplinary Arts Department, Center for Book and Paper Arts: "Bumpers is a book of bumper stickers, a mode of ephemera which likely has roots in the broadside and handbill. Schlesinger conceived of the project while living in New York, and it speaks to his interest in the relationship between public and private reading spaces, public and personal libraries, group and individual reading experiences, and the art of finding poetry in unexpected places. The project is also inspired by vernacular typography and graffiti, which is fast disappearing in urban spaces due to the increasing presence of commercial design on subways and the like.

"Schlesinger invited a number of poets and artists to compose bumpers, with criteria that the text should a) be written to be read in public, b) short, if it is to be read while the reader and/or sticker is in motion, c) need not mimic the conventions of a bumper sticker. At the same time, Schlesinger provided no guidelines or requirements in terms of content. As a result, some artists happily defied or ignored his request not to mimic the conventions of bumper stickers while others stuck to the protocol."

Kyle Schlesinger email: "On average, 120,000 vehicles drive over the Brooklyn Bridge every day. What if each displayed a poem that could be read by the 4,000 pedestrians and 2,600 bicyclists that cross the bridge as well? Poetry is all too often read alone in a library, cafe, study, or bookstore. Bumpers suggests that an effective medium has the power to bring poetry to the public sphere."

Click image to enlarge






Collaboration work:

By Kyle Schlesinger and Thom Donovan
Atticus Finch, 2005.

6 x 9", 52 pages. Design by Michael Cross.

Number 5 in the Atticus / Finch Chapbook series.

Kyle Schlesinger is a poet, scholar, book artist and proprietor of Cuneiform Press. Thom Donovan is a poet and scholar.
(Out of Print


By Kyle Schlesinger
Chicago: Cuneiform Press, 2011. Edition of 26.

8.5 x 5"; 38 pages (unpaginated). Vertical accordion structure. Printed letterpress with text set in Bulmer. Images printed in ten different colors. Hannah King, studio assistant. Bound by CJ Martin in orange cloth boards. Laid in silver four-flap wrap. Signed and numbered.

Poet and educator Kyle Schlesinger writes and lectures on typography and artists' books. Commonplace was produced during an artist's residency at the Center for Book and Paper Art at Columbia College in the summer of 2011. The poem was conceived at the "Collaboration and the Artist's Book Conference" in Caen and the images were produced in Chicago.
(Out of Print

Click image for more
Con Dot
By Ted Greenwald
Victoria, Texas: Cuneiform Press, 2014. Edition of 26.

7 x 11.5"; 64 pages. Typeset in Dax, designed by Hans Reichel. Printed on a Vandercook 4 letterpress. Printed on Crane's Lettra paper. Printed and designed by Kyle Schlesinger. Each copy in the edition contains four variegated images. Red cloth covered boards with title and author in black on front cover. Lettered and signed by the author.

Cuneiform: "Because his work always involves linguistic and formal invention, Ted Greenwald has often been associated with the Language Writers, but he is unmistakably a New York poet and even, given his street-wise sensibility and his long association with visual art and artists, a New York School poet."
(Out of Print

Click image to enlarge

By Craig Dworkin
2004. Edition of 200.

23 x 13 cm, 52 pages. Typeface is Dyrynk, designed in 1929 by the Czech book artist Karel Dyrynk, & first issued in digital form by Richard Kegler of the P22 Type Foundry. Printed offset with full page spreads, black endpapers and perfect-bound.

This is the first publication in Cuneiform's new trade edition series.
(Out of Print)

The Far Flowered Shore
By Bill Berkson
Victoria, Texas: Cuneiform Press, 2013. Edition of 100.

Three volumes in slipcase: Japan 2006 (6 x 8.75", 50 pages); Japan 2010 (6 x 8.75", 64 pages); 2006 / 2010 (6 x 8.75", 68 pages), which are full-color, hardcover facsimiles of the original 2006 and 2010 notebooks plus a third volume containing a transcript of the text typeset in Bulmer.

Bill Berkson: "The Far Flowered Shore (Japan 2006 / Japan 2010) are travel books but not diaries, and would certainly not be of any use to anyone looking to fine one's way around Japanese cities.

"Both notebooks are made by Quaderno – soft, pliable, light-weight school exercise books with blank, unlined pages, made in Italy but available elsewhere (even, it turned out, in a Kyoto department store). I filled them as usual, on impulse, scribbling down and pasting in whatever seemed worth noting, and as you see, not always about Japan. A lot of the scrawls are due to trying to write while walking. The notes cover two trips to Japan that Connie Lewallen and I made in April 2006 and again in 2010: the first to Kyoto and Tokyo, with a day trip from Kyoto to Nara; and the second to Kyoto, the 'museum island' of Naoshima and Osaka."

Berkson is an American poet, critic, teacher, and curator. In 2007Cuneiform Press printed a collection of his criticism Sudden Address: Selected Lectures 1981-2006.
(Out of Print

Click image for more

Hanging Quotes:
Talking Book Arts, Typography & Poetry

By Alastair M. Johnston
Victoria, Texas: Cuneiform Press, 2011. First Edition.

7 x 10"; 272 pages. Paperback with illustrated wraps. Cover art by Frances Butler.

Cover statement: "Conducted over the course of four decades, Hanging Quotes is a landmark oral history project comprised of nineteen interviews with pioneer book artists, typographers, and poets. Alastair Johnston's thoughtful questions evoke fascinating new stories and information from luminaries as diverse as Nicolas Barker & Robert Creeley. He discusses the transition from cast metal to digital type with the prime movers in the field: Matthew Carter, Sumner Stone & Fred Smeijers; and he takes stock of the field of artists' books in wide-ranging conversations with Sandra Kirshenbaum and Joan & Nathan Lyons, while his ground-breaking interviews with Dave Haselwood, Holbrook Teter, Bob Hawley, Walter Hamady, & Graham Mackintosh shed new light on the history of the book in the 20th century.

"Alastair Johnston, a native of Glasgow, Scotland, moved to California in the 1970s. On April Fool's Day 1975, he and artist Frances Butler founded Poltroon Press in Berkeley. Johnston is the author of Alphabets to Order (British Library, 2000), three bibliographies of San Francisco Bay Area small presses (Auerhahn, White Rabbit & Zephyrus Image) and co-editor of William Loy's Nineteenth-Century American Designers & Engravers of Type (Oak Knoll, 2009). His many articles on artists' books and typography have established him as an authority in the field."


Edited by Sarah Campbell
Buffalo, New York: Cuneiform Press, 2007. Edition of 250.

23 x 13 cm; 120 pages. Designed and typeset in Quadraat by Kyle Schlesinger.

Cuneiform Press: "With the intent of marking and celebrating Howe's years of teaching, the contributors to this volume were asked specifically to comment on her pedagogy and their experience of being her student at the State University of New York at Buffalo where she taught from 1988-2007.

"Contributors include: Nathan Austin, Sarah Campbell, Barbara Cole, Richard Deming, Thom Donovan, Logan Esdale, Zack Finch, Graham Foust, Benjamin Friedlander, Peter Gizzi, Jena Osman, Kyle Schlesinger, Jonathan Skinner, Juliana Spahr, Sasha Steensen, and Elizabeth Willis. Edited by Sarah Campbell with an introduction by Neil Schmitz."
(Out of Print)


By Ulf Stolterfoht
translated from German by Rosemarie Waldrop
Buffalo, New York: Cuneiform Press, 2007. Edition of 250.

21 x 14 cm; 20 pages. Set in Quadraat. Printed offset in two colors on Mohawk Ultrawhite Eggshell with Fabriano coverstock printed on a flatbed cylinder proof press from photopolymer plates.

Cuneiform Press: "Ulf Stolterfoht is clearly at the edge of the edge of innovative poetry in Germany today, and Cuneiform is pleased to bring Lingos VI (the poet's first book translated into English by Rosmarie Waldrop) into print. Stolterfoht's witty precision and philosophical punch are what linger in the mind’s inner ear while his terse and demanding lyrics reconfigure the limits of our language—the limits of our world.

"Ulf Stolterfoht was born 1963 in Stuttgart and now lives in Berlin with his wife and three children. He has published 3 books of poems, all called Fachsprachen [technical terms, jargons, lingos]: Fachsprachen I-IX (1998), Fachsprachen X-XVIII (2002), for which he received the Hans-Erich-Nossack-Förderpreis and the Christine Lavant-Preis respectively, and most recently Fachsprachen XIX-XXVII (2004), which received the Anna-Seghers-Prize in 2005. Rosmarie Waldrop’s translation of Lingos I-IX will be published by Burning Deck in fall 2007."


Meditatio: the printer printed: manifesto
By Alan Loney
Introduction by Steve Clay of Granary Books
2004. Edition of 200.

22 x 14 cm, 50 pages. Printed offset and perfect bound.

Penny Griffith (poetry reviewer and editor): "Alan Loney — poet, writer and hand printer — is a fine communicator and a superb craftsman who has found fulfillment since moving to Australia from New Zealand in 2001. Fortunately, Alan has reconsidered his earlier decision to no longer create hand-printed works, and this thoughtful essay asks many questions about what is involved in being committed to the ‘old technology.' Meditatio is a graceful reconsideration of the role of typography in relation to art, the reader, and the world of the book and reading."
(Out of Print)


By David Pavelich
Buffalo, New York: Cuneiform Press, 2003. Edition of 100.

15.5 x 10.5 cm, 16 pages. Printed in copper, red, purple, violet, black and blue inks and pamphlet-sewn. Printed letterpress in 12 pt. Chancery Light on handmade Zerkall Ingress paper. Cover paper bright yellow Ingress from the Fabriano Mills of Italy.

David Pavelich's first chapbook.

Of his poetry, Laura Sims, Contributing Editor says: "Written in spare lines, it moves fluidly through the minutiae of the everyday world to question, 'quietly fight,' and attempt to map the self’s composition and place in the world. Dave’s joy in and attention to language are equally intense; the exactness of his phrases adds to the scope of his imaginative and emotional wanderings."
(Out of Print)

Poems and Pictures:
A Renaissance in the Art of the Book (1946-1981)

By Kyle Schlesinger
New York: The Center for Book Arts et al., 2010.

7.5 x 9.625"; 110 pages. Softcover. Glossy illustrated wraps.

Poems & Pictures is the catalog printed for the traveling exhibition curated by Kyle Schlesinger. Each work in the catalog is presented with an essay about the artist and work as well as an image. It includes a bibliography, Checklist of the Exhibition, and an index.

Alexander Campos, Executive Director, The Center for Book Arts: "This exhibition examines the place where language and visual art collide, blurring the relationship between form and content, and seeing and reading. Over 90 artworks were drawn from a broad range of presses in operation between 1945 - 1981, all committed to presenting provocative writing with imagery that is equally as stimulating. Additionally, the exhibition features a selection of contemporary work by artists and presses, from the 1990s to the present, in order to provide examples and a possible trajectory of the contemporary mergence of language and art."

Kyle Schlesinger, introduction: "The exhibit features over 60 books, as well as paintings, collages, periodicals, and ephemera. Many of the works explore fundamental relationships between: form and content; seeing and reading; writing and drawing; and the extraordinary occasions when these things and activities fuse, introducing a third element."
Schablone Berlin
By Kyle Schlesinger and Caroline Koebel
Buffalo, New York: Cuneiform Press / Chax Press, 2005. Edition of 500.

8 x 5.5"; 156 pages. Typeset in Gill Sans, Delarrofont Stencil, Whitebold & Weltron Urban by Kyle Schlesinger. Photography by Schlesinger and Koebel. Full-color and perfect bound with illustrated glossy wraps.

Kyle Schlesinger and Caroline Koebel: "In September 2004 while living in Berlin we began working on a study of the stencil (Schablone) in Berlin, Germany. Our research has been published in the form of a book entitled Schablone Berlin ... The book consists of two sections. It begins with a substantial essay that explores the aesthetics and politics of the Schablone as a form of street art writing specific to Berlin, while placing this phenomenon in an informed cultural and technological context. It continues with a representative selection of approximately 80 images culled from photographs of over 600 different stencils."

Johanna Drucker, Subculture communication (Schablone Berlin) (review), Afterimage March - April 2006: "Schablone Berlin, by Caroline Koebel and Kyle Schlesinger, documents this activity of stenciling, and in its pages works to replicate some sense of the views and sightlines that occur in the urban setting. The photographs displayed in this book record actions taken in real time and in a real space. Thus the format of the book suggests documentary work, not photographic protocol. The printed images bleed to the edges, as if to insist that the world they come from continues beyond the frame. The lens frames their presentation, as a gesture of showing, offering, pointing, rather than as an act of photographic composition. The varied textures and colors of walls, residue of stains and wear, create palimpsestic layers. Responses scribbled and others rubbed out call attention to the history of provocative exchange. Not static icons, but instruments of intersubjective exchange, the stenciled images are communicative expressions. They assume a public and circumstantial audience. The trail of activity that connects artist and audience, artist and landscape, and image to image across the gaps of walking, glancing, coming unaware on an already familiar icon in a new location, is inscribed in the way the book structures its own intertextual play. ...

"Equal parts subjective impression and theoretical analysis, the introduction by poet-critics Koebel and Schlesinger draws the threads of printing history and graffiti subversion together in a moody rumination on appearance and disappearance, the ephemerality of these signs, their public role, and the physicality of their rapid production. The subtext of the book is a comment on cultural difference, on the conviction that somehow alternative culture – radical, subversive, activist, and chaotically but collectively organized – is thriving in Berlin in a way that it has been expunged from the sanitized and surveilled spaces of contemporary America. If that is true, we have something more urgent to learn from this book than how to appreciate this stencil art."

(Out of Print)


Click image for more











Scratch Space
By Andrew Levy
Buffalo, New York: Cuneiform Press, 2004. Edition of 100.

22 x 18 cm, 16 pages. The cover was printed on a Vandercook 4 in 24 pt. Palatino and silk-screened onto Fabriano cover-stock, while the text is set in 12 pt. Palatino and printed using electrostatic reproductive technology on heavy off-white paper. Pamphlet-sewn.

Scratch Space was printed and published on the occasion of Andrew Levy’s reading in Buffalo, New York on 21 April, 2004 in the Wednesday @ 4 Plus Series. Copies were distributed for free at the reading.

Levy is the editor with Bob Harrison of the arts & poetry journal, Crayon. He lives in New York City and works as outreach & education consultant for the Columbia University Nanocenter.
(Out of Print)



By Bill Berkson
Buffalo, New York: 2007. Second Trade Edition.

23 x 15.5 cm; 114 pages. Set in Scala. Illustrated wraps. Designed by Kyle Schlesinger.

Cuneiform Press: "In this stunning collection of lectures spanning twenty-five years, Berkson addresses subjects as various as Walt Whitman, Frank O'Hara, Philip Guston, Dante, and the sublime.

"Bill Berkson has worked as a poet, critic, editor and publisher, teacher, and curator for over half a century. His recent books of poems include Fugue State, Gloria (with etchings by Alex Katz), Hymns of St. Bridget (with Frank O’Hara), and Our Friends Will Pass Among You Silently. Other recent publications include a selection of criticism, The Sweet Singer of Modernism & Other Art Writings, and an epistolary collaboration with Bernadette Mayer, What’s Your Idea of a Good Time: Letters & Interviews 1977-1985. He lives in New York and San Francisco and has taught at the San Francisco Art Institute since 1984. He is a corresponding editor for Art in America and was Paul Mellon Fellow for 2006 at the Skowhegan School of Painting and Sculpture."
Paperback trade edition (SOLD)
Hardcover edition, out of print



Two Wrongs
By Ted Greenwald and Hal Saulson
Buffalo, New York: 2007. Paperback edition of 250.

7 x 10"; 60 pages. Typeset and designed by Kyle Schlesinger. Dimensions of the images true to the original works of art. Fonts (Palatino and Michelangelo) designed by Hermann Zapf. Gray metallic covers printed letterpress. Images and text printed offset. Handsewn in two signatures with the assistance of Michael Cross, Richard Owens, and Andrew Rippeon. Also available in two other formats: hardcover edition of 20 printed on pure cotton rag paper in full colour; and, deluxe hardcover edition of 10 housed in a slipcase with a small book handwritten by the author on the index cards that he uses to compose his poems.

Cuneiform Press: "In the work of Ted Greenwald, tradition is never more than an extension of innovation, history never more than an engagement with the present, the commonplace never more than an extension of the extraordinary.

"Building on New York's remarkable history of painter and poet collaborations, this striking art and text project features nearly thirty paintings and poems by two seasoned artists. Because his work always involves linguistic and formal invention, Ted Greenwald has often been associated with the Language Writers, but he is unmistakably a New York poet and even, given his street-wise sensibility and his long association with visual art and artists, a New York School poet."
Deluxe (SOLD)

What Is?: Nine Epistemological Essays
By Johanna Drucker
N.p.: Cuneiform Press, 2013. Edition: 500.

5 x 8.2"; 140 pages. Printed in two colors. Perfect bound. Hardcover, cloth over boards with title and author embossed on front cover.

Craig Dworkin: "For decades, Johanna Drucker’s work – as a theorist, printer, art historian, poet, literary critic, and designer – has been set apart by her mastery in each of those fields. With the broadened perspective of recent research into digital media and complexity theory, and with a full awareness of the historical dimensions of our current understanding of 'materiality,' the series of nine conceptually linked essays in What Is? again leverages Drucker’s positions across disciplines to show us how little we know about the most familiar concepts: from letters and words to documents and books and their digital futures – and why knowing more really matters."

Cuneiform Press: "Johanna Drucker is the inaugural Breslauer Professor of Bibliographical Studies in the Department of Information Studies at UCLA. She is internationally known for her work in the history of graphic design, typography, experimental poetry, fine art, and digital humanities. In addition, she has a reputation as a book artist, and her limited edition works are in special collections and libraries worldwide."

These essays are collected here for the first time, but all had previous life in a journal and/or at a conference.

By Ron Silliman
2004. Edition of 250.

19 x 12 cm, 16 pages. Softcover. The text is set in Perpetua, and printed offset on 100% cotton sheets. Fabriano dust-jacket with wrap-around image (each one a little different), handsewn into a sturdy black cover with double end-papers (also from Italy).

Cuneiform Press is pleased to present "Woundwood" Ron Silliman's 25th book. This is the first publication from the press to utilize a combination of offset, photopolymer plates and handset type.
(Out of Print)


Page last update: 08.30.18


Home | About Us | Contact Us | New Arrivals | Fine Press & Artists' Books | Broadsides | Miniature Books | Resource Books | Order/Inquiry

   Copyright © 2013 Vamp & Tramp, Booksellers, LLC. All rights reserved.