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You'd be a Stranger, Too
Fiction. "In serial dioramas of 'strange unpacking,' Weston Cutter's Stranger invents a singing human science. With Nabokovian care, here are homes and lots and bodies, objects, inverted for their layers, laid open both in witness and design. Here is a calculus of hidden hours and the light of those and what was made between us. Here is a huge eye"—Blake Butler. "Stories built from carved, chiseled, and finely-wrought sentences—Weston Cutter's hand with prose is deft and intricate, and at times dazzling"—Aimee Bender.
All Black Everything
Weston Cutter's poems are ecstatic--reaching out, pulling an eyelid over, pulling everything in. Emerson's transparent eyeball and Ashbery's convex mirror combine in symphony, with the Peterson's Field Guide to North American Birds for a libretto and a train derailment for an orchestra. That's Cutter's address. Keep walking till you see light streaming from the chimneys and the windows every moving thing is crowded in. What's inside: more zoology than zoo, more everything than ever. --Jake Adam York Cutter's world is vividly and joyfully detailed--here be licking and willows and liquor and birds and and and--but his book's central subject is its thrilling syntax, which rushes wild, stops sho...
Careful
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Town of Weston
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The Doctor T. J. Eckleburg Review No. 18
"Eclectic selection of work from both emerging and established writers...." (The Washington Post), Eckleburg is a collection of stories, poetry, translations, and artwork by award-winning and emerging talents such as Rick Moody, Stephen Dixon, Cris Mazza, and Eckleburg's 2013 Gertrude Stein Award in Fiction winner, Jill Birdsall. Eckleburg No. 18 is a textual and graphic innovation for both the traditionalists and nonconformists.
The Oldhallian
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Weston and Charlot
Edward Weston (1886–1958) was one of the most celebrated photographers of the twentieth century. Jean Charlot (1898–1979), a classically trained French artist best known for his murals, woodcuts, and paintings celebrating Mexican culture, played a key role as a participant and chronicler of the Mexican Renaissance. This book, based on letters that Weston and Charlot exchanged from the early 1920s until Weston’s death in 1958, documents a friendship that says as much about art—about photography and fresco, practice, criticism, and history—as it does about the intersection of a number of fascinating characters, the ups and downs of the correspondents’ daily lives, the pursuit of their dreams and aspirations, and the support and encouragement they gave each other. Lew Andrews crafts a multivalent narrative that reconfigures our understanding of Weston, Charlot, and their era, shedding new light on specific events and artwork. While giving us rare insight into the everyday life of these artists, this work also supplies an important chapter in the history of twentieth-century art and photography, seen close up and from the inside.
History of the Town of Winchendon
Reprint of the original, first published in 1868.
