Although unremarkable in its production values, 13 March 1911 enters the collection as a brilliant composite with roots in OuLiPo, Grangerism and the collage technique, Walter Benjamin’s Illuminations and The Arcades Project and Stéphane Mallarmé’s “The Book, Spiritual Instrument”. The date is the birth date of Smyth’s grandfather, and it is what confronts us in a photographic detail of a newspaper masthead.
From OuLiPo, Smyth takes the rule of constraint to guide his creation. The constraint is that the content presented must refer to events occurring on 13 March 1911 and in chronological order. Added to the constraint are citability of each source, which often takes Smyth to the Internet and Wayback Machine. Although focused on a single day in time, the writer, book and reader fly back and forth as if tethered together in a time machine composed of print and digital reference material.
Strictly with Grangerism, there should be a previously published book into and onto which the reader/actor inserts, pastes and attaches clippings relevant to the book in hand. Instead of a book in hand, Smyth has a date in hand to which the clippings accrue. And in keeping with this non-material target for Grangerizing, Smyth’s collage technique eschews visual and physical overlapping, rather it lies more in overlapping different types of sources of “data”: newspaper articles, classified ads, advertisements, Captain Scott’s journal, weather reports, obituaries, theater reviews and much more.
In a sort of reversal of Benjamin’s unpacking his library, Smyth packs snippets from history into this one book that turns on his grandfather’s birth date. It is not that Smyth can recreate him with all these snippets, or that the reader can ever know the man from those snippets — anymore than a reader of every single book in Benjamin’s library could recreate Benjamin or know him from doing so.
Like Benjamin in Arcades, Smyth is a collector of fragments by which he tries to make the past present. But Smyth’s time machine is also richly multi-dimensional — especially in its being digitally and print powered. What Smyth gives himself and the reader is an extended moment of recognizing the wide-flung welter around any of us at any time and the wryness, despair, amusement, inspiration and poignancy of trying to define, find and memorialize others (however close) or ourselves by that welter — however retrievable or citable the elements of it.
Finally, Smyth gives us one day’s proof of Mallarmé’s dictum: “everything in the world exists to end up in a book”. And so it ends up in the Books On Books Collection.
Information as Material (Smyth’s 13 March 1911 is a publication with IAM, which offers works from authors such as Derek Beaulieu, Francesca Capone, Craig Dworkin, Andrew Dodds, Sharon Kivland, Simon Morris and Nick Thurston).
… 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 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.