#letterpress broadside

[d4db0ddyk3]

Reanimator letterpress broadside by me :D

[literaryhousepress]

"I'll make you a comb for every hair on your head."

Edward P. Jones will be visiting the Rose O'Neill Literary House on Thursday, February 28 at 4:30 p.m. to give a reading from his Pulitzer Prize-winning novel The Known World! To celebrate, we will debut a brand-new broadside featuring an excerpt from that novel.

On Thursday, the author will sign the entire edition and then they will be available for purchase! Come to the reading to get your copy or keep a look out for when it is available for purchase online in the following days. 

[literaryhousepress]

Here is Amy Hempel signing the full stack of broadsides! Proceeds from all broadsides purchased at the reading this evening will be donated to the Deja Foundation, which rescues dogs from high-kill shelters and finds them new homes. 

Thanks to all who bought broadsides tonight! We raised $160 for the puppers at Deja Foundation! 

[literaryhousepress]

We’re prepping to print our next broadside!

Paper? ☑️  Photopolymer plates? ☑️  Ink? ☑️  Vandercook? ☑️

Let’s do this!

[thegroaningbook]

Li-Young Lee Broadside — “Every Circle Wider” The Poetry Center of Chicago March 26, 2003

Limited edition letterpress broadside featuring Li-Young Lee’s poem “Every Circle Wider,” printed for his reading at The Poetry Center of Chicago.

Edition of 50. Signed and numbered.

Visual field and concentric circle motif by KC Clarke.

The circular design echoes the poem’s central movement — widening inheritance, voice at the edge of knowing, the trembling between memory and silence.

Inscribed by the poet.

[thegroaningbook]

Ron Padgett broadside, “Embraceable You,” Poetry Center of Chicago broadside program, March 19, 2002 Letterpress broadside, signed, limited edition of 50 copies

This letterpress broadside was produced for Ron Padgett’s reading at The Poetry Center of Chicago on March 19, 2002, during KC Clarke’s tenure as Executive Director.

The diamond-shaped atomic lattice in the broadside was created by Clarke for use as the visual field of the print.

The broadside features Padgett’s poem “Embraceable You,” printed in handset type on Somerset paper. The edition was designed in collaboration with Amy Rowan and issued as part of the Poetry Center’s reading series.

Each copy was signed by Padgett and numbered in an edition of fifty.

[thegroaningbook]

Correspondence from Lisel Mueller regarding KC Clarke broadsides “Mary’s Field” and Skyscraper, 2002–2003

Beginning in 2002, KC Clarke produced limited broadsides of his poems “Mary’s Field” and Skyscraper, which he distributed privately as seasonal cards.

In response, Lisel Mueller wrote of the architectural imagery:

“Perhaps you were thinking of the Sears Tower or the Hancock… the first image in my mind was the Wrigley Building… always so festively lit at night.”

In a letter dated January 5, 2003, she acknowledged receipt of “Mary’s Field,” noting its imagery and setting.

Courtesy of KC Clarke archive.

[thegroaningbook]

Lisel Mueller Broadside — Sometimes, When the Light — The Poetry Center of Chicago, April 17, 2002, with photos from the reading

This letterpress broadside was produced for Lisel Mueller’s reading at The Poetry Center of Chicago on April 17, 2002.

Mueller, a founding member of the Poetry Center and recipient of the Pulitzer Prize for Alive Together, had largely withdrawn from public readings. Her appearance at the Center marked a rare return and carried quiet significance within the Chicago literary community.

The broadside features her poem “Sometimes, When the Light,” printed in an edition of fifty copies. The image accompanying the poem was created by KC Clarke from a photograph he took of the abandoned Marshall Field Jr. mansion on Prairie Avenue in Chicago. Once part of the city’s historic Prairie Avenue district, the mansion stood as a remnant of an earlier civic and architectural era. Its presence alongside Mueller’s poem establishes a quiet correspondence between memory, structure, and disappearance.

The broadside was designed and produced by The Poetry Center of Chicago in collaboration with master printers using traditional letterpress methods.

Each broadside was signed and numbered by Mueller. These works extended the reading into physical form, allowing the poem to exist simultaneously as language, object, and civic artifact.

Photographs from the evening document Mueller signing books and broadsides following the reading, as well as a portrait with Poetry Center Executive Director KC Clarke.