Books On Books Collection – Francesca Capone

we have a trick that we call language. Actually, we have many kinds of language, each of which is based on a formal system of codes and/or symbols through which we represent states of the world.
Frank R. Wilson, The Hand (2000)

Weaving Language: Language is Image, Paper, Code & Cloth (2018)


Weaving Language: Language is Image, Paper, Code & Cloth (2018)
Francesca Capone
Perfect bound paperback. H230 x W155 mm, 116 pages. Acquired from Book Depository, 10 October 2020. Photos: Books On Books Collection, shown with permission of the artist.

Weaving Language examines the poetics of weaving traditions through historical research as well as contemporary practices. Attempting to dismantle and rebuild commonplace understandings of the history of writing, Weaving Language focuses on fiber-based forms as a longstanding but often overlooked medium for record keeping, storytelling, and poetry. The book is both a mapping of instances that exemplify textile poetics from the beginning of time to the present day, as well as a creative experiment in utilizing textile as code. Capone invites the reader to experience textile as something to be read, along with its tactile and visual functions. — from the book jacket.

Sadly, Weaving Language: Language is Image, Paper, Code & Cloth (2018) aka WL II is only a third of the trilogy sought after for the collection (the other two are out of print). Its brilliant content and typography make the absence more acute. As its table of contents shows, WL II is also composed of three parts. Initially the first part seems to be a chronologically organized commonplace book with a rich collection of quotations from primary and secondary sources (citations in gray), with some guiding comments interspersed from Capone. But with the source material printed in black, the citation lines in gray and author’s comments in blue, the feeling turns to that of holding a patchwork quilt or the Bayeux tapestry of weaving’s history. The image below provides an example of the color-coded typography, including the single and apt exception in red.

Photos: Books On Books Collection.

Capone’s choice not to reproduce an image of Elizabeth Parker’s sampler stitched in red (see below) but rather to use type and red ink draws subtle and effective attention to how the book’s own visual motif underpins the way Capone weaves her choices of content together into a unified fabric.

Linen, embroidered with red silk in cross stitch (c. 1830)
Elizabeth Parker (1813-89)
H858 x W744 mm. Photo: Victoria & Albert Museum, Textiles & Fashion Collection, T.6-1956.

The second part — “Woven Codes” — begins like a “how to” book with a key page followed by examples. Structurally more profoundly, it links to the first part’s concluding quotation of a quotation: the poet Susan Howe citing Gertrude Stein’s “Sentences” notebooks, in which she wrote “Think in stitches”. The link is made by coding three selections from Stein’s Tender Buttons into three forms — gridded writing, an erasure poem and then a woven draft. Again, aptly, Capone chooses for her samplers “A Cloth”, “A Paper” and “A Drawing”. The next two pages — one illustrating the grid-based coding of Braille, one showing the method of tying coded Quipu knots — also reach back into the first part to pick up threads introduced by citations of Joyce Carol Oates and David Antin.

The last page of this black-and-white section of “Woven Codes” alludes even more subtly to the first part. The page’s text describing the illustration below it reads

The weaving of alternating S and Z twisted yarns results in a historically sturdy cloth composition.

Among the patchwork sources in the first part, there is a brief quotation from one of Roland Barthes’ lectures in which he “introduced the metaphor of ‘unthreading’ for the act of describing”. Could the weaving of “S and Z” yarns refer to Barthes’ S/Z, the seminal structuralist deciphering of codes of meaning in Honoré de Balzac’s short story “Sarrasine”? Only if “historically sturdy” is tongue in cheek, as the post-structuralists would have it. Allusion notwithstanding, this illustration of sturdy woven cloth sets us up for the more colorful concluding section of “Woven Codes” in which Capone demonstrates the color coding of various verse forms such as the sestina (below).

By pairing the drawn plan with the front and rear views of the woven sestina from Dante and then pairing a right-reading setting with a reversed setting of the poem in color-coded type, Capone underscores her equation of language = image, paper, code and cloth.

The third part of the book — “Weaving>>Writing” — brings all of the elements together in reverse: fabric comes first and is translated into words. It is a reversal that depends on Weaving Language I: Lexicon, in which Capone set out the code where “fiber informs pronouns, weave structure informs verb, interlacing and tapestry techniques are prepositions, color informs nouns & adjectives, and any two colors beside each other result in conjunctions”.

Five of Capone’s woven>>written poems are followed by five works by artists Ruth Laskey, Alicia Scardetta, Tauba Auerbach, Kayla Mattes, and New Friends (Alexandra Segreti and Kelly Rakowski). As individually whole works, they are not illustrated here. To view them, buy WL II from its publisher Information as Material or a bookstore or consult a library. As mentioned, WL I is out of print, perhaps hampering a fuller appreciation of the ten woven>>written poems. With WL III also now out of print, perhaps Information as Material will come to the rescue and make it possible for Books On Books to complete its set of the trilogy without dropping a stitch.

Further Reading

Capone, Francesca. Weaving Language I: Lexicon (Portland, OR: East Egg Press, 2012).

Capone, Francesca, ed. Writing in Threads: Weaving Language III (Troy, NY: Publication Studio Hudson, 2015).

Costello, Lindsey. “Francesca Capone: Think of Seashells at Nationale“, 60 Inch Center, 2018.

Snack, Rachel. Interview with Warp & Weft Magazine, 2020.

Wilson, Frank R. The Hand (New York: Random House International, 2000).

Your thoughts?

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.