Brighton Press - Overview


Who we are Overview Books Broadsides Art Around Books Exhibitions Contact	Leah Ollman Peter Everwine Ian Tyson C.G. Hanzlicek Brian D. Cohen Robert Cremean Public & Private Collections	What follows here is by way of dealing with the questions raised about my relationship with Bill Kelly and Brighton Press when we were putting together our artist’s book. We worked on this project over a long period of time—several years, off and on—and in various places. It’s difficult to speak in a few sentences about the nature of what was, for me, an extraordinary period of time, but here goes: I have never had a more rewarding experience than the days I spent working with the people at Brighton Press. The physical work of putting together our book often seemed quite secondary to our conversations as we explored ideas of what we might want in such a book. Bill, who actually bore the burden of the physical labor, might disagree, but I found this absolutely exciting. Sending a manuscript to a commercial publisher usually ends a process that begins with the solitary but intimate act of writing poems. Except for a few	writing poems. Except for a few choices, perhaps, left to the poet, his poems move off into the opacity of the publisher’s house; they become invisible and no longer “at hand.” The purpose of Brighton Press seems, quite literally, to keep every facet of the creative process continually “at hand.” What was once solitary becomes rich with the continual give and take of shared work; what was intimate grows deeper in the mutual desire to envision the whole. The book we produced together belongs equally to both of us. It is, as one might expect, a beautiful book. In all truth, however, I must say that I felt some sadness when the book was finally in my hands. The work was at an end, although in some essential way it remains with me. I hope that this conveys some small sense of how privileged I felt in working with Brighton Press. -Peter Everwine

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