Life keeps hurtling forward, bursting forth. It’s spring in California, the jasmine’s come in and the streaky roses. It’s been raining hard all morning; just now it stopped abruptly. Lyn writes in My Life, “she observed that detail minutely, as if it were botanical. As if words could unite an ardent intellect with the external material world.” This is Lyn, vitally observing, drawing it all into relation, the mind and the world, botanical, passionate. Making words hold life, making words as life. “Such that art is inseparable from the search for reality,” she writes.
Susan Bee on Segue and Roof Books
From 1980 to 1992, I worked extensively on most of the Roof and Segue Books produced during that period. I worked with the publisher James Sherry and the authors and the typesetters and cover artists. The work consisted of getting the manuscript from James and the authors, which was often very hard to procure, making sure it was proofed and edited and ready, then bringing it to Skeezo, the typesetters on 27th Street. They set the galleys on their machines. Then I’d come and pick up the Xeroxes of the galleys, proofread them, and then bring the galleys back for corrections with author’s corrections too. When the final galleys were ready. I would lay out the book by hand. I made an initial dummy for the book and then pasted up the final mechanical on boards with glue or wax. Often as in the case of Hannah Weiner’s and Bruce Andrews’ books, I would be moving around single words or letters or lines of type with an exacto knife to create shapes or odd spacing. The cover was also done by me, but with various artist’s works on them. Then the book would go to the printer and come back by US mail for blues. It was a lengthy and detailed process of production in those days without e-mail or computers to speed things along.