is offering a unique and original series of limited edition hand printed
Postcards of Women Poets
from Old Goat Art
Series One features the poets Sappho, Edna St. Vincent Millay, and Kathy Acker.
Postcards are individually printed by hand
on re-purposed commercial utility cardboard
using a combination of carved linoleum blocks and stencils.
Each series is limited to 25 sets of 3 postcards each,
numbered and signed with the Old Goat seal,
and available for purchase in the initial Spring offering
at $25 per set (see How To Order for details).
Individual postcards are available as “artist proofs” at $10 each.
Nualláin House, Publishers, as a private venture, publishes fiction and poetry in limited editions. Nualláin House, started in 2011, has in print two genre novels (Western and crime fiction), six poetry selections, and one anthology of Japanese linked verse. The year 2011 also marked the centennial of Irish writer Brian O’Nualláin’s birth, known also as Brian O’Nolan, and by his most famous pseudonym, Flann O’Brien, author of At Swim-Two-Birds, The Third Policeman and The Dalkey Archives. Such coincidence was taken to be an auspicious sign for the literary enterprise thus named. Over the years the perception of what publishing at a POD (print on demand) scale required grew into the understanding that commercial viability was less important than the publishing process itself. It also led to a questioning of the basic premise of publishing as a commercial venture in the age of the electronic commons. What Nualláin House provides on demand is a repository of the written word available to interested parties in a nearly antiquated cash and carry format. The editions are offered at a moderate affordable price whose sole object is to cover production costs. Back in 2011 Nualláin House acquired ten ISBNs (International Standard Book Numbers), nine of them have been assigned to books since published. That leaves one last number. What will it be?
In the online media world, the potential for spinoffs and subsidiaries is limited only by the amount of energy (and time) devoted to ensure their continued existence. Along with its print operation, Nualláin House provides cover for Parole, the blog of The New Black Bart Poetry Society.
Parole has posted regularly since 2013 with commentary, criticism, reviews, and essays on the subject of poetry. The New Black Bart Poetry Society is not a school of poetry nor does it endorse or espouse a particular philosophy of poetry. The Society will entertain most any presentation on the art of poetry, its past, its present, and its future (see Conditions of Parole). Explications, delineations, categorizations, taxonomies, and various sundry groupings of poets and their work are of vital interest to the Society membership.
In considering the advantages of blogs and online publishing, Nualláin House has looked to the serial novel as an opportunity to develop an ancillary approach to the presentation of literary fiction as a work in progress. The online serial presents a visceral experience that has the density and complexity of a scripted series paralleling the newspaper feuilletons of 19th Century Paris, and the American pulps of the 1920’s and 30’s.
Ode To Sunset, A Year In The Life Of American Genius is an serial online fiction about dying and death, about a poet who is not quite Charles Baudelaire, not quite Charles Bukowski, who looks like a well worn Alex Trebeck but with the pit bull demeanor of a Mickey Rourke. It takes place mostly in a city not always quite Frisco. This is not autobiographical or a roman à clef, but it is satirical, playful, and inevitably deadly serious. An eight second David Mamet pitch could be rendered as “A Confederacy of Dunces meets A Fine Madness with voice over by George Steiner.”
Bamboo Leaf Studio is a result of an avid interest in Asian art and design. Begun as a passion for collecting prints and paintings, reproductions and originals, it eventually developed into a gathering of tools and materials in a small space designated as “studio.” Following were attempts at the production of works in imitation of and improvisation in a laboratory of received and subsequently original ideas. The outcome has been the somewhat regular creation and fabrication of limited edition objets d’art which include handmade poetry editions, prints, broadsides (in collaboration with Iota Press) and poem cards.
Nualláin House, Publishers has evolved into an artistic non-commercial venture, a boutique press if you will, in which access to ongoing creative processes is granted through a web portal. Essentially the material is free. However, a percentage of the production and shipping cost is included in acquiring a facsimile. Any “overage” is applied to future projects for which, starting from zero, a value can be contemplated.
And it is for that very non-commercial reason that you won’t find Nualláin House, Publishers titles for sale on Amazon unless they are through a second party. Nualláin House titles are available exclusively through the publisher and this site. This applies for items from Bamboo Leaf Studio as well—Parole and Ode To Sunset are available for the browsing, subscription free, at each of their own sites. Nor will you find a shopping basket or convenient checkouts payable with a credit card. Both listing on Amazon and through point of sale accounts such as PayPal involve a third party interface which requires a fee (or operation tax, if you will). If Nualláin House, Publishers was truly a business then perhaps it would absorb these fees as a cost of doing business. On the other hand your personal info is not entered into a data base to be sold or mined which would happen if we used Amazon and/or point of sale software. If shipping is charged, it covers the cost of materials (labels and envelopes) and postage. With more than one book or title ordered, as per our policy, the purchase includes free shipping . A check, money order, cash payment (plus stamp & envelope) is a minor inconvenience to stay out of the clutches of the corporate data mining overlords. Orders can be placed by email at nuallainhousepublishers (at-sign) gmail (dot) com. Repeat customers (donors) will be invoiced with the title(s) ordered with payment expected upon receipt. For those new to Nualláin House, Publishers, orders will be shipped upon receipt of payment.
Best of the Season from Nualláin House, Publishers, and thanks in advance for your support.
The poems of Exile In Paradise are derived from a lifelong appreciation of Chinese poetry. Originally published as a selection in limited edition by Bamboo Leaf Studio in 2010, this further iteration of eighty poems by Pat Nolan marks an almost fifty year creative engagement in comparative literature with Chinese prosody. Chinese poetry is image rich and largely dependent for its overall effect on the juxtaposition of these images in a discontinuous thread that is not unlike the successive frames of film. Each of the poems in Exile In Paradise finds its origin in a line translated from an ancient Chinese poet. The body of the poem consists of an improvisation from that line with the aim of using elements of Chinese prosody such as parataxis and parallelism while being cognizant that Chinese nouns have no number, verbs have no tense, few if any conjunctions or prepositional indicators, and that each line contains its own integrity, apart from any overarching discursive intent. The poems of Exile In Paradise, while clearly original, endeavor to achieve a synthesis between a historically distant culture and the contemporaneous radically different literature of today.
from the introduction to Exile In Paradise by Pat Nolan: Some fifty years ago a friend loaned or gifted me Kenneth Rexroth’s One Hundred Poems from the Chinese, and as is commonly acknowledged a loaned book is often an unintended gift. The immediacy of these translations rests on their plain spoken imagism. Undoubtedly much of that is due to Rexroth being of the Williams-Pound tell-it-as-you-see-it persuasion of American poetry. The gift was my introduction to Chinese poetry. What at first was merely idle curiosity has become a lifelong passion leading me to read just about everything I can find relating to Chinese poetry, from Witter Bynner to Mike O’Connor. Over the years I have assembled a library of anthologies and collections beginning with Arthur Waley’s Translations from the Chinese and Robert Payne’s The White Pony to more current editions complied by translators Burton Watson, Jonathan Chaves, David Hinton and Red Pine (Bill Porter). With each collection or critical study I learn something new.
In traditional Chinese painting the relationship between language and the visual appear naturally equivalent because both are represented with the same medium, ink and brush. This pictorial art stems from the single hand designing the original, and the aesthetics behind the strokes used to inscribe an ideogram are the same as those used to denote the leaves of a tree, roiling waters, and the bulk of an escarpment. Because of the unique pictorial character of the ideogram, it occupies the picture plane as an integral part of the composition. A poem or homily is supported by the visual element as the depiction is fixed by its semantic component. Consequently the representations accompany each other as a symbiosis of connotation. The Mustard Seed Garden Manual of Painting, a seventeenth century Chinese handbook of brush and ink examples, is a catalog of such a standardization of technique.
It is not uncommon for the ideogram to be the sole presence of an brush and ink composition, its innate pictorial quality suggestive of an elemental nature. As well, the fog obscured peaks of a landscape hint at unspoken transcendence. The art of ink and brush, word and picture, has currency in most Asian cultures, certainly not the least in that of Japan’s where it is widely practiced and appreciated.
As with any inspiring piece of art there is the desire to draw attention to the uniqueness of its creativity and to make it available to a wider audience through mechanical means no matter how primitive. Japanese artists popularized the reproduction of this particular aesthetic of word and image through their uniquely perfected development of relief printing.
Relief printing was derived from rubbings made on paper or cloth of the inscriptions and images on the tombs of ancient rulers and holy men. The idea of generating an image or an image of a text through the use of charcoal or ink from a unique template is genius in all its natural simplicity. The worthy homilies of great minds were carved in stone for anyone who wished to view them. Those who wanted to be reminded of these applicable sayings and possess them in a material way resorted to reproducing them on a portable medium. It wasn’t a large leap from tombs and steles to planks of wood inscribed with characters and representations of a natural aspect, often suggested by the grain of the wood itself. The carved relief image slathered with soot based ink allowed for the reproduction of editions to benefit a literate and appreciative culture.
A few thousand years later the aesthetics of the original practice of relief printing has undergone profound change in that its objective is primarily artistic, subject to the decadence of values and their renewal as objets d’art. For that reason, something might be designated a faux koan if its original purpose as a paradoxical form used to abandon ultimate dependence on reason and enter into sudden intuitive enlightenment has been parodied. Or it can be termed a borderline haiga if the essential spontaneity of the haikai spirit is painstakingly reproduced through a series of planned mechanical steps.
Pat Nolan came to printmaking through an avid interest in Japanese Ukiyo-e prints, amassing in the process a large collection of monographs, museum catalogs, and anthology representations of floating world artists who were popular in Japan in the 18th to the late 19th century. The subdued palette of basic colors reminded him of the Sunday funny papers and comic books that were his consuming interest as a youngster. Japanese prints of that era, in their design and presentation, were the epitome of the illustrator’s art, sophisticated and quite modern for their time and culture. As Nolan learned more about the art of Japanese printmaking he began to appreciate 20th Century Japanese print artists and the powerful simplicity of their black and white images. Print artists such as Munakata Shikō, Un’ichi Hiratsuka, and Okuyama Gihachiro seemed to embody the modern élan while maintaining their deep connection with tradition. Nolan’s obsession with the Japanese prints was kicked up a notch when he began collecting affordable reproductions of the Edo masters as well as original work by contemporary artists.
Inevitably, the next level for Nolan was to try his hand at making prints of his own. He had better luck carving linoleum blocks than he did with wood, and chose the path of least resistance. He decided to work with and/or adapt the Japanese motifs with which he had become so familiar, applying the history and techniques he had studied.
“I had the idea of making Buddhist inspired prints featuring what I call faux koans (“Kicked a clump of dirt—my return address” or “The more you know the more you know”) since historically some of the earliest Japanese prints were devotional depictions of Buddhist saints or precepts sold to pilgrims traveling to various shrines and temples. They are faux koans in the sense that they imply an ironic intent and emphasize mystification rather than clarification. I was also particularly impressed by the seemingly effortless and spontaneous prints produced by contemporary artist Kan Kozaki working in the spirit of Munakata, and whose techniques I sought to appropriate. Many of Kozaki’s prints feature a haiku by the 20th Century haiku poet Santoka which also encouraged me to feature language with my images.”
Nolan’s prints emphasize the contrast of black and white, and are printed with water soluble ink on unbleached mulberry washi, allowing the uncarved portions of the block define the picture plane. The blocks are printed by hand using a variety of barens and multiple inkings. Water color is sometimes added to the verso of some prints while stencils and stamp inks are used to achieve subtle effects on others.
The linoleum block prints presented by Bamboo Leaf Studio are made available in partnership with Nualláin House, Publishers. To purchase a print please go to the How To Order tab on the menu bar for payment options. Shipping is included with each purchase.
Publisher’s Note: Ambitions are often put in perspective with the passage of time. The goal of publishing Pat Nolan’s satirical novel, Ode To Sunset, A Year In The Life Of American Genius in 2016 will unfortunately be unmet due to a number of considerations, not the least of which is financial. In the meantime, installments continue to be published at odetosunset.com and the entire novel posted thus far is available in manuscript form for anyone suitably idle and curious to peruse.
Free shipping (US only) and a deep discount on the Nualláin House, Publishers back list.
(offer ends December 31, 2014)
Order all four titles and save even more!
Get all four Nualláin House titles for just $50!! Save almost $20!!!
with every purchase get a limited edition signed broadside featuring the poem Advice To A Young Poet from Pat Nolan’s Your Name Here and an original linoleum print of Dylan Thomas from Pat Nolan’s Smoking Poets series
How To Order send cash, check or money order (made out to ‘Pat Nolan’) to Nualláin House, Publishers Box 798 Monte Rio, CA 95462 and indicate the title(s) you are purchasing
Nualláin House, Publishers in partnership with Bamboo Leaf Studio is offering two new prints from Pat Nolan’s Smoking Poets series
Also available from Bamboo Leaf Studio are a selection of Pat Nolan’s Buddhist-inspired prints
All linoleum block prints are hand printed on unbleached mulberry washi
and signed by the artist with his seal.
Order through Nualláin House, Publishers Box 798, Monte Rio, CA 95462
Make check or money order payable to Pat Nolan.
Add $5 for shipping and handling for each order.
Nualláin House, Publishers, in partnership with Bamboo Leaf Studio, is offering limited edition linoleum prints of Smoking Poets, an ongoing series of author prints by Pat Nolan. The smoking poets in this in series include Blaise Cendrars, Pierre Reverdy, Dylan Thomas, Samuel Beckett, Ted Berrigan, Charles Bukowski, Roberto Bolaño, and the muse of amusement, Marcel Duchamp.
The Smoking Poets
Blaise Cendrars, edition of 50, 5×7” (12.7×17.78 cm) printed on unbleached mulberry paper, $30 US each
Samuel Beckett, edition of 50, 5×7” (12.7×17.78 cm) printed on unbleached mulberry paper, $30 US each
Pierre Reverdy, edition of 50, 4×5” (10.16×12.7 cm) printed on unbleached mulberry paper, $25 US each
Dylan Thomas, edition of 50, 4×5” (10.16×12.7 cm) printed on unbleached mulberry paper, $25 US each
Ted Berrigan, edition of 50, 5×7” (12.7×17.78 cm) printed on unbleached mulberry paper, $30 US each
Charles Bukowski, edition of 50, 5×7” (12.7×17.78 cm) printed on unbleached mulberry paper, $30 US each
Roberto Bolaño, edition of 50, 5×7” (12.7×17.78 cm) printed on unbleached mulberry paper, $30 US each
Marcel Duchamp, edition of 50, 8×10 (20.32×25.4 cm) printed on unbleached mulberry paper, $40 US each
How To Order: Send check, money order, or cash to Nualláin House, Publishers Box 798 Monte Rio, CA 95462. Include $5 shipping for single prints. Purchase more than one print and receive free shipping. Make checks and money orders payable to ‘Pat Nolan.’ Special offer: purchase all the Smoking Poets and receive the Marcel Duchamp print free, compliments of Bamboo Leaf Studio.
I first came to print making through an avid interest in Ukiyo-e prints, in the process amassing a large number of monographs, museum catalogs, and anthology representations of floating world artists who were popular in Japan in the 18th to the late 19th century. The subdued palette of basic colors reminded me of the color funny papers and comic books that were a consuming interest when I was a youngster. The more I learned about the art of Japanese print making, the more I came to appreciate 20th Century artists and the powerful simplicity of black and white prints in the hands of masters like Munakata, Unichi, and Okuyama. My by-now obsession with Japanese prints was kicked up a notch when I began collecting affordable reproductions of the Edo masters as well as original work by contemporary artists. The next level was to try my hand at making prints of my own. I had better luck carving linoleum blocks than I did wood and took the path of least resistance. I knew I wanted to work with and/or adapt the Japanese motifs I was familiar with. I had the idea of making Buddhist inspired prints featuring original homilies (“Kicked a clump of dirt – my return address”) since some of the earliest Japanese prints were devotional prints sold to pilgrims traveling to various shrines and temples. I also wanted to attempt portraits of literary personages, poets primarily, in the manner of Kabuki actor prints. My emphasis is black and white, printing with water soluble ink on mulberry paper, and, in most instances, letting the uncarved portions of the block define the picture plane. The blocks are printed by hand using a variety of barens and multiple inkings.
The Smoking Poets idea came to me after I had completed the Samuel Beckett print. As the idea took shape and I searched for images of poets smoking, I visualized it as an on-going series with the muse of amusement, Marcel Duchamp, as the centerpiece of this modern literary conclave.
Lyre Liar, a poem by Pat Nolan, was published by Bamboo Leaf Studio in 2012 in a limited numbered edition of 12 signed by the author with his seal. The cover is printed on a heavy weight Reeves print paper and folded as a clamshell as the platform for the fanfold poem. A band of washi with the author’s seal secures the clamshell closed. The endpapers are Japanese silkscreened patterns imported from Kyoto. Lyre Liar measures 9×7.75 inches (22.7×19.6 cm) open and 9×3 7/8 inches (22.7×9.8cm) closed. The fanfold poem is printed on an unbleached washi and measures 9×20.5 inches (22.7×52 cm) fully extended. Lyre Liar is out of print in this edition.
The selection of poems in Exile In Paradiseare derived from a lifelong appreciation of Chinese poetry. Each of the poems finds its origin in a line from an ancient Chinese poet. The body of the poem consists of an improvisation from that line with the aim of using elements of Chinese prosody such as parataxis and parallelism while being cognizant that Chinese nouns have no number, verbs have no tense, few if any conjunctions or prepositional indicators, and that each line contains its own integrity, apart from any overarching discursive intent. Chinese poetry is image rich and largely dependent for its overall effect on the juxtaposition of these images in a discontinuous thread that is not unlike the successive frames of film. The poems in Exile In Paradisemakes use of this ancient prosody to achieve a synthesis between an historically distant culture and the contemporaneous radically different literature of today.
Exile In Paradisewas published by Bamboo Leaf Studio in 2009 in a limited edition signed by the author with his seal. Most of the covers are made from repurposed ‘stick & strings’ wallpaper samples and vary with each copy. A few of the covers were printed on a distressed heavy weight print paper using a stencil design. The endpapers are Japanese silkscreened patterns imported from Kyoto, as are the binding strips. The illustrations accompanying the poems are reproductions from a nineteenth century block printed Japanese compendium of seals and calligraphic signatures of ancient Chinese painters in the possession of the author. Exile In Paradisemeasures 5.5×8.5 inches (14×21.5 cm) and is bound with a traditional four hole Japanese style binding. The poems were printed on a limited supply of discontinued Gainsboro text stock. Exile in Paradiseis out of print in this edition.
The Nolan Anthologyof Poetry,Volume II was published by Fell Swoop in 2003. The first Nolan Anthology of Poetry was published in 1993 by the same New Orleans publisher. Volume II (Fell Swoop #64) The Modern Era was printed in an unspecified print run using basically the same 8.5×11 stapled binding format as the first volume though designating them as “volumes” may be a bit of overstatement as each is only twenty pages in length printed on a single side of the page. The cover design by the author was meant to replicate the pocket poetry books of the French publisher, Gallimard under the NRF (Nouvelle Revue Française) imprint. Volume II, as did Volume I, represents a sampling from a variety of the author’s poetry manuscript unpublished at the time. Since then the poems in the tanka sequence Light Years have been included in a handmade limited edition chap book entitled Carved In Stone (Empty Head Press, 2013). The Chinese style poems were published as a selection entitled Exile In Paradise (Bamboo Leaf Studio, 2009), also as a handmade limited edition. The prose poems were included in a handmade chap book entitled Intellectual Pretensions(edition de Jacob, 2009).
A word about Fell Swoop magazine whose stated mission, as per Editor Reverend XJ Dailey, is to destroy contemporary American poetry: this year marks the 30th Anniversary of their fitful yet courageously tenacious low tech existence. They (3rd person plural used advisedly) will publish their 130th issue this November. Past featured authors and contributors to Fell Swoop magazine include Andrei Codrescu, Aram Sayroyan, Bernadette Meyer, The Clark Coolidge, Sir Thomas Weigel, Richard Martin, Camille Martin, Lady Alice Notley, and Keith Kumasen Abbott to name just a few. As an unpretentious and somewhat anachronistic photo copy (xerographic) publication, Fell Swoop harkens back to the more innocent days of the mimeograph revolution when such prehistoric publications as Fuck You, C, Blue Suede Shoes, The End, Life of Crime, and The World roamed the humid fecund swamps of Am Po’s armpit. Though based in New Orleans, they represent one of the last unapologetic bastions of the New York School of Poets scattered to the four (or five) corners of the poetry universe after the passing of the Grand Himself, Ted Berrigan. Fell Swoop keeps the flame alive to light another Chesterfield. Their post-Katrina address is Po Box 740158 New Orleans, LA 70174. Send them a bunch of cash, in one fell swoop.