Granite & Cypress
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Presentation for Robinson Jeffers Association conference, on the creation of the fine art book, Granite & Cypress, a collection of Jeffers' poetry.
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Granite & Cypress
- 1. Granite & Cypress The Poem as Icon Rubbings From The Rock A Tribute to Jeffers by William Everson
- 3. In a dark corner of the Tor House Book Room. A slab of wood with an inlay of granite. Barely visible in the dim light. Behind a grate. Untouchable.
- 5. Then in a bookstore in Santa Barbara, it appears again. A book A work of art
- 7. It’s a book A book of Jeffers’ Poetry Printed on handmade paper Cypress case with Carmel Granite inlay A Poem as Icon Granite & Cypress
- 10. William Everson “As a creative man, the richest thing I can do is write a poem, and the next is to print it.”
- 11. William Everson Brother Antonius “Disciple”of Jeffers Poet Printer Teacher at Lime Kiln Press at UCSC 1971 A magnificent and varied life. 1912-1994 “As a creative man, the richest thing I can do is write a poem, and the next is to print it.”
- 12. William Everson Poet & Printer
- 13. William Everson Poet & Printer ... the craft of poetry was a single seamless whole for (Everson) from first conception to final text, and the physical beauty of finely printed verse inseparable from its spiritual and intellectual value. - R. Zaller “For with the handpress, more than any other printing device, everything resolves back to the self. When the results are spotty, almost certainly it is one’s own fault—rarely the press’s.” - Everson
- 14. Granite & Cypress, the third publication of the Lime Kiln Press, gathers together the poems that Jeffers wrote under the direct impact of stone.
- 15. Granite & Cypress, the third publication of the Lime Kiln Press, gathers together the poems that Jeffers wrote under the direct impact of stone. ... a format conceived around the imagery of rock -- not just the monuments the poet erected, but the substance itself, as a sensory image, both visual and tactile, retrieved from his contemplation of its nature, and memorialized in his verse as history’s central archetype.
- 16. Consider then, these rubbings of text and stone ...
- 17. The prospectus for Granite & Cypress, written and printed by Everson.
- 18. “Genius is fashioned in fire, and the spirit of Robinson Jeffers was no exception.”
- 19. “Stone by stone a shattered world was rebuilt on the lonely Carmel headland. Poem by poem a shaken life found its focus.”
- 20. “I want it rhythmic not rhymed. The rhythm comes from many sources: physics, biology, beat of blood, the tidal environments of life ... a desire for a singing emphasis that prose does not have.” -Jeffers “(Jeffers) extreme extension of line led to the most distinguishing feature of the book, its central concept.” -Everson
- 21. The text of Granite & Cypress in the Collected Works Volume 1.
- 22. The text of Granite & Cypress in the Collected Works Volume 1.
- 23. The text of Granite & Cypress in Everson’s edition.
- 24. The text of Granite & Cypress in Everson’s edition.
- 27. Everson’s Design Dilemma: What to do with the blank verso?
- 28. Everson’s Design Dilemma: What to do with the blank verso?
- 29. Like stone-rubbings from his tower’s lofty arch Jeffers’ poems live in yet another dimension.
- 32. Watermarks on the handmade paper from Hayle Papers in Britain
- 33. Everson’s legacy is carried on by the students he inspired to become fine book printers. They are creating their own wonderful work today. Dan Stolpe, Gary Young, Felicia Rice, Peter Thomas
- 34. “In my old age I called on the spirit of Jeffers, my early master, and inducted a generation of student printers into the ordeal of hewing out a masterpiece from the recalcitrance of type, paper, and ink. Now they are doubling back, founding their own presses, and following writers unconsciously spelling out the ethos of this region in the ineluctable articulation of the Word.”
- 35. A Canticle To The Waterbirds Everson’s Poem 1950 Fine Art Book 1992
- 36. The Poet Is Dead by William Everson
- 37. The Poet Is Dead by William Everson
- 39. The Poet Is Dead by William Everson Printed by Peter and Donna Thomas 1987
- 40. The Poet Is Dead by William Everson Printed by Peter and Donna Thomas 1987
- 41. An offer from Tor House Foundation
- 42. The Poet Is Dead Broadside Brought to you by Tor House Foundation in memory of the 50th Anniversary of Jeffers’ Passing and in honor of Everson’s Centennial Celebration Printed by Peter and Donna Thomas Limited Edition of 50 Prints on handmade paper, numbered $75 each
- 43. 10.5 x 15” handmade paper, three-deckle edge
- 44. 10.5 x 15” handmade paper, three-deckle edge
- 45. Find Tor House Foundation on Facebook for updates on Events and Special Offers Robinson Jeffers Tor House Foundation
Notas do Editor
- A quick introduction as to why I am here today. I’m a writer and photographer living in Carmel. For the last five years I have been a tour docent at Tor House, and for about 10 years a follower of Jeffers. Of my many foibles are I am interested in everything and curious about things I can’t touch. And I have an unfortunate urge to collect books. Unfortunate because my house is small and my bookshelves full. So when I see an interesting book that I can’t touch, I’m compelled to investigate. \n
- On Tor House tours we inevitably come to the old kitchen and current book room. I talk about the old kitchen, the conversion of the kitchen into the book room, the paintings, the book collection. \nBut unnoticed for several years by me, unmentioned in the docent manual, is this slab of wood in the lower shelf, in the near dark.\nPatiently waiting to be noticed. Waiting to be touched. What is it? Have any of you noticed this object on your tour? \n
- On Tor House tours we inevitably come to the old kitchen and current book room. I talk about the old kitchen, the conversion of the kitchen into the book room, the paintings, the book collection. \nBut unnoticed for several years by me, unmentioned in the docent manual, is this slab of wood in the lower shelf, in the near dark.\nPatiently waiting to be noticed. Waiting to be touched. What is it? Have any of you noticed this object on your tour? \n
- On Tor House tours we inevitably come to the old kitchen and current book room. I talk about the old kitchen, the conversion of the kitchen into the book room, the paintings, the book collection. \nBut unnoticed for several years by me, unmentioned in the docent manual, is this slab of wood in the lower shelf, in the near dark.\nPatiently waiting to be noticed. Waiting to be touched. What is it? Have any of you noticed this object on your tour? \n
- On Tor House tours we inevitably come to the old kitchen and current book room. I talk about the old kitchen, the conversion of the kitchen into the book room, the paintings, the book collection. \nBut unnoticed for several years by me, unmentioned in the docent manual, is this slab of wood in the lower shelf, in the near dark.\nPatiently waiting to be noticed. Waiting to be touched. What is it? Have any of you noticed this object on your tour? \n
- On Tor House tours we inevitably come to the old kitchen and current book room. I talk about the old kitchen, the conversion of the kitchen into the book room, the paintings, the book collection. \nBut unnoticed for several years by me, unmentioned in the docent manual, is this slab of wood in the lower shelf, in the near dark.\nPatiently waiting to be noticed. Waiting to be touched. What is it? Have any of you noticed this object on your tour? \n
- On Tor House tours we inevitably come to the old kitchen and current book room. I talk about the old kitchen, the conversion of the kitchen into the book room, the paintings, the book collection. \nBut unnoticed for several years by me, unmentioned in the docent manual, is this slab of wood in the lower shelf, in the near dark.\nPatiently waiting to be noticed. Waiting to be touched. What is it? Have any of you noticed this object on your tour? \n
- A year ago, I was visiting Ralph Sipper Books, a collector of rare books in Santa Barbara. And there is was again. \n I finally realize what the slab of cypress really is. \n
- A year ago, I was visiting Ralph Sipper Books, a collector of rare books in Santa Barbara. And there is was again. \n I finally realize what the slab of cypress really is. \n
- A year ago, I was visiting Ralph Sipper Books, a collector of rare books in Santa Barbara. And there is was again. \n I finally realize what the slab of cypress really is. \n
- A year ago, I was visiting Ralph Sipper Books, a collector of rare books in Santa Barbara. And there is was again. \n I finally realize what the slab of cypress really is. \n
- A year ago, I was visiting Ralph Sipper Books, a collector of rare books in Santa Barbara. And there is was again. \n I finally realize what the slab of cypress really is. \n
- It’s a book. Even better, it’s a book of Jeffers’ poetry. Printed with distinctive style. Handmade paper. A case of cypress wood with an inlay of Granite. It’s unique. I’m later to find out it is, as it’s creator called it, A Poem as Icon. Granite and Cypress. \n
- One hundred hand printed books. One hundred handmade cypress and granite slip cases. What would drive such a creative effort? Who would devote the time, attention to detail, and love to make a work like this? \n
- One hundred hand printed books. One hundred handmade cypress and granite slip cases. What would drive such a creative effort? Who would devote the time, attention to detail, and love to make a work like this? \n
- One hundred hand printed books. One hundred handmade cypress and granite slip cases. What would drive such a creative effort? Who would devote the time, attention to detail, and love to make a work like this? \n
- William Everson. AKA Brother Antonius. Poet, Printer. Teacher at UC Santa Cruz Lime Kiln Press, which he founded to teach the art of fine book making.. \nMany of you are familiar with Bill Everson’s works, his poems, his essays on Jeffers whom he greatly admired. Everson said that he was:\n “A disciple of the one man who didn’t need or want disciples.” He also never met Jeffers in person, only in passing on Scenic Ave below Tor House, one evening. There was Jeffers and Una walking a bulldog. Everson didn’t dare to impose. They just walked on. \n\nEverson also said: “As a creative man, the richest thing I can do is write a poem, and the next is to print it.” \n
- William Everson. AKA Brother Antonius. Poet, Printer. Teacher at UC Santa Cruz Lime Kiln Press, which he founded to teach the art of fine book making.. \nMany of you are familiar with Bill Everson’s works, his poems, his essays on Jeffers whom he greatly admired. Everson said that he was:\n “A disciple of the one man who didn’t need or want disciples.” He also never met Jeffers in person, only in passing on Scenic Ave below Tor House, one evening. There was Jeffers and Una walking a bulldog. Everson didn’t dare to impose. They just walked on. \n\nEverson also said: “As a creative man, the richest thing I can do is write a poem, and the next is to print it.” \n
- William Everson. AKA Brother Antonius. Poet, Printer. Teacher at UC Santa Cruz Lime Kiln Press, which he founded to teach the art of fine book making.. \nMany of you are familiar with Bill Everson’s works, his poems, his essays on Jeffers whom he greatly admired. Everson said that he was:\n “A disciple of the one man who didn’t need or want disciples.” He also never met Jeffers in person, only in passing on Scenic Ave below Tor House, one evening. There was Jeffers and Una walking a bulldog. Everson didn’t dare to impose. They just walked on. \n\nEverson also said: “As a creative man, the richest thing I can do is write a poem, and the next is to print it.” \n
- William Everson. AKA Brother Antonius. Poet, Printer. Teacher at UC Santa Cruz Lime Kiln Press, which he founded to teach the art of fine book making.. \nMany of you are familiar with Bill Everson’s works, his poems, his essays on Jeffers whom he greatly admired. Everson said that he was:\n “A disciple of the one man who didn’t need or want disciples.” He also never met Jeffers in person, only in passing on Scenic Ave below Tor House, one evening. There was Jeffers and Una walking a bulldog. Everson didn’t dare to impose. They just walked on. \n\nEverson also said: “As a creative man, the richest thing I can do is write a poem, and the next is to print it.” \n
- Vocare! Vocare! Everson would urge his poetry and printing students. Vocare, to Call. A vocation is what you are called to do. An avocation, what one does beyond that. Everson pursued his art from word to press as an avocation: As Professor Zaller observed: “the craft of poetry was a single seamless whole for (Everson) from first conception to final text, and the physical beauty of finely printed verse inseparable from its spiritual and intellectual value” \nEverson was a detailed and demanding printer. As he said:\n“with the handpress, more than any other printing device, everything resolves back to the self. When the results are spotty, almost certainly it is one’s own fault—rarely the press’s.” - Everson\n\n
- Vocare! Vocare! Everson would urge his poetry and printing students. Vocare, to Call. A vocation is what you are called to do. An avocation, what one does beyond that. Everson pursued his art from word to press as an avocation: As Professor Zaller observed: “the craft of poetry was a single seamless whole for (Everson) from first conception to final text, and the physical beauty of finely printed verse inseparable from its spiritual and intellectual value” \nEverson was a detailed and demanding printer. As he said:\n“with the handpress, more than any other printing device, everything resolves back to the self. When the results are spotty, almost certainly it is one’s own fault—rarely the press’s.” - Everson\n\n
- Vocare! Vocare! Everson would urge his poetry and printing students. Vocare, to Call. A vocation is what you are called to do. An avocation, what one does beyond that. Everson pursued his art from word to press as an avocation: As Professor Zaller observed: “the craft of poetry was a single seamless whole for (Everson) from first conception to final text, and the physical beauty of finely printed verse inseparable from its spiritual and intellectual value” \nEverson was a detailed and demanding printer. As he said:\n“with the handpress, more than any other printing device, everything resolves back to the self. When the results are spotty, almost certainly it is one’s own fault—rarely the press’s.” - Everson\n\n
- Vocare! Vocare! Everson would urge his poetry and printing students. Vocare, to Call. A vocation is what you are called to do. An avocation, what one does beyond that. Everson pursued his art from word to press as an avocation: As Professor Zaller observed: “the craft of poetry was a single seamless whole for (Everson) from first conception to final text, and the physical beauty of finely printed verse inseparable from its spiritual and intellectual value” \nEverson was a detailed and demanding printer. As he said:\n“with the handpress, more than any other printing device, everything resolves back to the self. When the results are spotty, almost certainly it is one’s own fault—rarely the press’s.” - Everson\n\n
- Granite & Cypress, the third publication of the Lime Kiln Press, gathers together the poems that Jeffers wrote under the direct impact of stone. The book is designed in ... a format conceived around the imagery of rock -- not just the monuments the poet erected, but the substance itself, as a sensory image, both visual and tactile, retrieved from his contemplation of its nature, and memorialized in his verse as history’s central archetype.\n
- Consider then, these rubbings of text and stone ... \nA single engraving of Hawk Tower by William Prochnow graces the frontpiece of the massive book. An impressive greeting for the reader.\n
- The prospectus, separate from the book of course, is a work of fine printing itself. We’ll spend a few minutes dissecting this all-inclusive description of the making of Granite & Cypress from the master himself. \n
- “Genius is fashioned in fire, and the spirit of Robinson Jeffers was no exception.” \nDuring the years of building Hawk Tower, 1920-1924, Jeffers wrote his first great works: Tamar, Roan Stallion, Continent’s End, and soon after the tower’s completion, Apology For Bad Dreams and Women at Pt Sur. The binding of stone to stone was analogous to binding word to word, idea to idea as he crafted his poems. As Everson states: “It is increasingly clear that the activity which effected his transformation was his handling of stone, the direct physical labor involved in building Tor House and Hawk Tower.”\n
- And Una agrees, saying “As he helped the stone masons shift and place the wind and wave-worn granite I think he realized some kinship with it and became aware of strengths in himself unknown before.” \n\n“Stone by stone a shattered world was rebuilt on the lonely Carmel headland. Poem by poem a shaken life found its focus.”\nPersonally, I can only imagine what affect the care and effort of planting each cypress, pine and eucalyptus had on his mind as well. Jeffers writes:“I was thinking Some stalks of the wood whose roots I married to the earth of this place will stand for five centuries; I held the roots in my hand,\nThe stems of the trees between two fingers\n\n\n
- “(Jeffers) extreme extension of line led to the most distinguishing feature of the book, its central concept.” -Everson \nIn order to print Jeffers’ original turnings of lines, Everson designed Granite & Cypress to print landscape format, the handmade paper sheets 11x17”. This led to other design complications. \n
- This is, of course, how most books format and print poems. The typographer decides the line turnings to accommodate the book size or his own vision of how the poem reads. \nEverson knows all too well how this works, being poet and printer. He says “You get two aesthetic maniacs on a collision course: the poet with his absolute vision of what his poem ought to look like, and the printer, knowing damn well what his book is going to look like, it’s crucifixion, really.” \n
- Granite & Cypress conceived as a tribute to Jeffers, is designed to show the correct turning of the lines as the poet intended. As he wrote them on scrap sheets of paper. Jeffers verse is set in 18 pt Goudy Newstyle type, with Castellar inline initials used to establish the opening of each poem. \n
- In Everson’s words: “The book is a synthesis of disparate but sympathetic elements.” The leaves, printed damp on a double crown Acorn handpress, present the graphic image of each poem as it emerged in the poet’s developing awareness. In keeping with the subject matter, the format is stark, glyptic, truly abrasive, recalling the feeling of perceptive readers that Jeffers’ lines truly hurt. That to experience his language is to suffer his awful accessibility to the elements. \n
- In Everson’s words: “The book is a synthesis of disparate but sympathetic elements.” The leaves, printed damp on a double crown Acorn handpress, present the graphic image of each poem as it emerged in the poet’s developing awareness. In keeping with the subject matter, the format is stark, glyptic, truly abrasive, recalling the feeling of perceptive readers that Jeffers’ lines truly hurt. That to experience his language is to suffer his awful accessibility to the elements. \n
- Everson decided early on to only print Jeffers’ poems on the recto. But that left a blank and very wide field of white on the verso. Everson knew that would be boring and tedious to the eye. So he used a unique printing technique to make use of the verso. Each sheet was skip fed, the first pull made on the naked tympan, then the damp sheet placed over it and run through the press. The second pull received a reverse imprint of itself. In the finished book the shadow of the previous poem enlivens the verso. A visual balance is achieved. \n
- According to Everson “never before has this particular possibility been extended throughout a substantial work to meet an aesthetic need.” In addition “the abstract character of the receding image gives point to the books evocative subtitle” Rubbings from The Rock. Like the stone rubbings from his tower’s lofty arch, Jeffers’ poems live in yet another dimension. \n
- Bound in San Francisco by Schuberth Bookbindery. Cover is a German-made fabric called Naturegewebe, lined with Uwa a kozo/mulberry fiber paper from Japan. As a final touch, it is finished with an spine constructed with a strip of cypress and laced with deer hide taken a creature of the Central Coast. \n
- The slipcase was designed to bring together the book’s archetypal duality: the permanence of granite wrapped in the enduring presence of cypress. The maker decided to remain anonymous. Perhaps the feat of making 100 of them made him not want to ever say “yes” to a project like that again? Regardless, it is a work of art to hold. It is hard to believe that the 100 editions were sold for a mere $250 each. \n
- Everson’s legendary attention to detail even shows up here, as the watermarks line up perfectly on each page of the book, all the way through. On the left is the screen that was used to make the sheets for Granite & Cypress. The British paper mill is closed, but the owners are cataloging and selling the screens. That is a representation of the Pope’s hand -- there is a ring on the thumb. So the papermaker told me. If you Google Hayle Papers they have an interesting youtube video of making hand made paper in the mill back when it was in operation. \n
- Everson’s legacy is carried on by the students he inspired to become fine book printers. \nThey are creating their own wonderful works today. \n\n
- Everson said: “In my old age I called on the spirit of Jeffers, my early master, and inducted a generation of student printers into the ordeal of hewing out a masterpiece from the recalcitrance of type, paper, and ink. Now they are doubling back, founding their own presses, and following writers unconsciously spelling out the ethos of this region in the ineluctable articulation of the Word.”\n
- In 1992, with Everson in the grips of advanced Parkinson’s disease, Dan Stolpe, Gary Young, Felicia Rice, and Peter Thomas created a fine art book edition of Everson’s poem A Canticle To The Waterbirds in a format similar to Granite & Cypress, to honor their teacher as well as the poem. Today, Felicia Rice creates innovative art books at her Moving Parts Press in Santa Cruz. Dan Stolpe creates mythic prints and books at Native Image Gallery. Peter and Donna Thomas make handmade paper and fine art books in their studio in Santa Cruz. And Gary Young is both poet and printer at his Greenhouse Review Press, also in Santa Cruz. I sense a pattern here. They carry on the tradition of art, writing, and bookmaking inspired by Everson. \n
- Everson’s eulogy “The Poet Is Dead” for Jeffers was first written in 1962. Revised in 1987. The opening lines of the original poem \nwere changed in the later version to include the imagery of snow. \n\n
- In the evening The dusk Stipples with lights. The long shore Gathers darkness in on itself And goes cold. From the lap of silence\nAll the tide crest’s pivotal immensity Lifts into the land. * Snow on the headland, Rare on the coast of California. Snow on Point \nLobos, Falling all night, Filling the creeks and the back country, The strangely beautiful Setting of death * For the poet is dead. \nThe pen, splintered on the sheer Excesses of vision, unfingered, falls. The heart-crookt hand, cold as stone, Lets is go down. \n
- This edition was printed by Everson students Peter and Donna Thomas, at The Good Book Press in 1987 under direction from Everson. \nThe woodblock print illustration is by California artist Tom Killian. Notice the image of Pt Lobos - in Snow. \nAnd the image, of Tor House and Hawk Tower, from the sea, in snow. \nAnd so with the thought of this poem and this book in your mind....\n
- This edition was printed by Everson students Peter and Donna Thomas, at The Good Book Press in 1987 under direction from Everson. \nThe woodblock print illustration is by California artist Tom Killian. Notice the image of Pt Lobos - in Snow. \nAnd the image, of Tor House and Hawk Tower, from the sea, in snow. \nAnd so with the thought of this poem and this book in your mind....\n
- This edition was printed by Everson students Peter and Donna Thomas, at The Good Book Press in 1987 under direction from Everson. \nThe woodblock print illustration is by California artist Tom Killian. Notice the image of Pt Lobos - in Snow. \nAnd the image, of Tor House and Hawk Tower, from the sea, in snow. \nAnd so with the thought of this poem and this book in your mind....\n
- This edition was printed by Everson students Peter and Donna Thomas, at The Good Book Press in 1987 under direction from Everson. \nThe woodblock print illustration is by California artist Tom Killian. Notice the image of Pt Lobos - in Snow. \nAnd the image, of Tor House and Hawk Tower, from the sea, in snow. \nAnd so with the thought of this poem and this book in your mind....\n
- This edition was printed by Everson students Peter and Donna Thomas, at The Good Book Press in 1987 under direction from Everson. \nThe woodblock print illustration is by California artist Tom Killian. Notice the image of Pt Lobos - in Snow. \nAnd the image, of Tor House and Hawk Tower, from the sea, in snow. \nAnd so with the thought of this poem and this book in your mind....\n
- This edition was printed by Everson students Peter and Donna Thomas, at The Good Book Press in 1987 under direction from Everson. \nThe woodblock print illustration is by California artist Tom Killian. Notice the image of Pt Lobos - in Snow. \nAnd the image, of Tor House and Hawk Tower, from the sea, in snow. \nAnd so with the thought of this poem and this book in your mind....\n
- \n
- The Poet Is Dead Broadside Brought to you by Tor House Foundation. Literally fresh of the press this last week.\nIn memory of the 50th Anniversary of Jeffers’ Passing and in honor of Everson’s Centennial Celebration Printed by Peter and Donna Thomas\n\n\n
- Limited Edition of 50 Prints on handmade paper, hand numbered, $75 each \nPlease contact me during the conference if you are interested in purchasing a broadside, or later through Tor House. \nProceeds to Tor House Foundation of course. \n\n
- Limited Edition of 50 Prints on handmade paper, hand numbered, $75 each \nPlease contact me during the conference if you are interested in purchasing a broadside, or later through Tor House. \nProceeds to Tor House Foundation of course. \n\n
- Limited Edition of 50 Prints on handmade paper, hand numbered, $75 each \nPlease contact me during the conference if you are interested in purchasing a broadside, or later through Tor House. \nProceeds to Tor House Foundation of course. \n\n
- Limited Edition of 50 Prints on handmade paper, hand numbered, $75 each \nPlease contact me during the conference if you are interested in purchasing a broadside, or later through Tor House. \nProceeds to Tor House Foundation of course. \n\n
- One more ad: Find Tor House Foundation on Facebook for updates on Events and Special Offers like this Broadside.\n
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