COLOPHON: "This book, the twentieth issued with this imprint, was designed by and printed for James and Carolyn Robertson at The Yolla Bolly Press during the summer and fall of 1994. The verse was set by hand in the Bembo types at the Press by Jocelyn Webb. The text pages were printed from the type at the Press by Aaron Johnson, who also assisted with the planning of the edition. The English text was printed on mouldmade Zerkall Halbmatt. The Spanish text was printed on Twinrocker Chapin, which was handmade for this edition. The etchings were printed by Jesus Romero and Curtis Patience on Lana Royal. The binding structure was designed for the Press by Julie Chen. Renée Menge bound the book by hand at the Press. Of the one hundred forty-one copies in the edition, one hundred twenty-one were offered for sale. Copies 1 to 85 are each enclosed in a slipcase. Copies lettered A to X are each accompanied by one unbound print and enclosed in a slipcase. Copies bearing roman numerals I to XII are each accompanied by a suite of twelve unbound prints and enclosed in a box. The remaining twenty copes are reserved for the Press and the artist. The publishers acknowledge with gratiude the assistance of Eliot Weinberger, Paule Anglim, and the Department of Art at California State University, Hayward, without whose cooperation this book would not have been possible. This is copy 5."
Signed by Octavio Paz, Eliot Weinberger and Enrique Chagoya.
FROM PROSPECTUS: "In this edition, we have produced a livre d'artiste in which the best of the original Spanish text and Beckett translations are combined with the work of a contemporary Mexican artist. We invited painter and printmaker Enrique Chagoya to create artwork exclusively for this book. Chagoya has selected twelve works by eleven poets and has produced a suite of twelve etchings to accompany the poems. Eliot Weinberger, who is Octavio Paz's American translator, as well as a critic and essayist, has written an introduction in which he traces the rather peculiar history of the orginal anthology, and includes a critcal commentary on Beckett's work as translator. He has also provided us with the orginal Spanish texts for the poems, which were not included in the earlier edition published by Indiana University Press. Our edition concludes with notes by Octavio Paz on each of the poets and an unusual afterword prepared especially for this edition. . . . Each of the twelve poems is accompanied by an etching that occupies a full page and is printed in a combination of colors, comprising the suite for this book. . . . The etchings incorporate visual material from throughout Mexico's long history. As is characteristic of his artwork, Chagoya has juxtaposed contemporary themes with classical and indigenous forms, adding yet another dimension to the book's literary content. . . . The combination of three papers at random intervals in the book required an unconventional binding. The Press invited Julie Chen to assist with the planning of a binding that would permit a random mix of papers but still lie flat, wthout resorting to structural materials other than glue and linen thread. The design that resulted was executed by hand at the Press. The covers are split boards covered in handmade Italian Roma paper with a printed image by Enrique Chagoya."
Issued in a slipcase with spine label. Hard cover book has etching on front.
Translations and notes on the poets copyright 1958 by Indiana University Press. Introduction copyright 1994 by Eliot Weinberger. Conversation with Octavio Paz copyright 1994 by Octavio Paz and Eliot Weinberger. Etchings copyright 1994 by Enrique Chagoya