Gregory Betts — If Language and Haikube

If Language
107 pages; 8.75×5.25 inches; paperback
ISBN 9780973818164
Second printing
$20 | BUY NOW

Haikube
44 pages; 5.5×5.5 inches; stapled and bound into wrappers
ISBN 0 9739742 4 9
Second printing
$15 | BUY NOW

8-Ball: Gregory Betts

Jonathan Ball interviews Gregory Betts

“Projects, such as Haikube which was a collaboration with Hallie Siegel and Matt Donovan, begin over dinners, discussions, coffee, tea, emails, phone calls, and then drafts, and then discussions, and then more dinners, and then letters, phonecalls, interaction with owners of CNC engraving machines and the final selection of wood type (ebony) which determines the limits of character spacing which shapes the overall limitation of the text, which leads to rewrites, more discussions, a bottle of wine, the production of prototypes which allows us to see the poems in the world, which allows us to immediately identify huge weaknesses, fundamental flaws, in our original ideas, which crises leads to new drafts, more dinners, more emails (a positive flurry of them at this stage), which leads to a second prototype, which leads to procurement of financing (or at least the solicitation of the same), production, and the creation of the first real draft of the object on borrowed money, forcing us to commit to the finality of the words and design on the cube, the occasion of which leads to an evening spent rotating the cube and jotting down favourite poems created by the movable sides of the cube, the resultant poems of which are consequently sent to Filling Station, GEIST magazine, and a couple other places who publish the poems (in full and accurate typographic splendour) which leads to a chapbook by BookThug of the original six plus other favoured poems produced by the aleatoric rotation of the cube, which sells out before the actual launch date of the art objects at the Olga Korper Gallery, creating a pressing need for a second edition of the chapbook, which Jay MillAr redesigns in response to a book he saw in New York, and which I take to Ottawa to launch, about a month before the actual exhibition in Toronto.”

Read the full interview here.

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