Craig Saper is Professor of Language, Literacy, and Culture Doctoral Program at the University of Maryland, Baltimore County (UMBC). He has published widely on modernist and experimental arts and is the author of The Amazing Adventures of Bob Brown (2016), Intimate Bureaucracies: A Manifesto (2012), Networked Art (2001) and Artificial Mythologies: A Guide to Cultural Invention (1997).Saper has also curated exhibits on experimental forms of publishing, and he re-started a small press as a form of conceptual publishing, Roving Eye Press.

Auteur-Publishers shows us that the editorial and production work of small press publishers is not peripheral to literature but constitutes authorship in its own right. By naming this practice “infrastructuralist poetics,” Saper offers a compelling framework for understanding how design, typography, materiality, distribution and infrastructure have shaped avant-garde writing across the twentieth and twenty-first centuries. Among the book’s most illuminating aspects is its treatment of Dick Higgins, whose editorial and typographic experiments at Something Else Press exemplify the publisher’s role in aesthetic production, not as a passive conduit for authorial expression but as an active force in shaping literary form.

• List of Figures1. Opening a Small Press2. Craft: Letterpress Rubric (Kelmscott in Chicago)3. Concept: Mock-Up and Editions (Information As Material)4. Experiment: Point and Type (Hours Press)5. Object: Bound and Boxed (The Modern Editions Press)6. Event: Intermedia and Dingbats (Something Else Press)7. Process: Open Access and Means of Production (Punctum Books)8. EndpapersAppendix: A (Very) Few Examples of Small Press PublishersNotesIndex

Craig Saper is Professor of Language, Literacy, and Culture Doctoral Program at the University of Maryland, Baltimore County (UMBC). He has published widely on modernist and experimental arts and is the author of The Amazing Adventures of Bob Brown (2016), Intimate Bureaucracies: A Manifesto (2012), Networked Art (2001) and Artificial Mythologies: A Guide to Cultural Invention (1997).Saper has also curated exhibits on experimental forms of publishing, and he re-started a small press as a form of conceptual publishing, Roving Eye Press.

Auteur-Publishers shows us that the editorial and production work of small press publishers is not peripheral to literature but constitutes authorship in its own right. By naming this practice “infrastructuralist poetics,” Saper offers a compelling framework for understanding how design, typography, materiality, distribution and infrastructure have shaped avant-garde writing across the twentieth and twenty-first centuries. Among the book’s most illuminating aspects is its treatment of Dick Higgins, whose editorial and typographic experiments at Something Else Press exemplify the publisher’s role in aesthetic production, not as a passive conduit for authorial expression but as an active force in shaping literary form.

• List of Figures1. Opening a Small Press2. Craft: Letterpress Rubric (Kelmscott in Chicago)3. Concept: Mock-Up and Editions (Information As Material)4. Experiment: Point and Type (Hours Press)5. Object: Bound and Boxed (The Modern Editions Press)6. Event: Intermedia and Dingbats (Something Else Press)7. Process: Open Access and Means of Production (Punctum Books)8. EndpapersAppendix: A (Very) Few Examples of Small Press PublishersNotesIndex

Craig Saper is Professor of Language, Literacy, and Culture Doctoral Program at the University of Maryland, Baltimore County (UMBC). He has published widely on modernist and experimental arts and is the author of The Amazing Adventures of Bob Brown (2016), Intimate Bureaucracies: A Manifesto (2012), Networked Art (2001) and Artificial Mythologies: A Guide to Cultural Invention (1997).Saper has also curated exhibits on experimental forms of publishing, and he re-started a small press as a form of conceptual publishing, Roving Eye Press.

Auteur-Publishers shows us that the editorial and production work of small press publishers is not peripheral to literature but constitutes authorship in its own right. By naming this practice “infrastructuralist poetics,” Saper offers a compelling framework for understanding how design, typography, materiality, distribution and infrastructure have shaped avant-garde writing across the twentieth and twenty-first centuries. Among the book’s most illuminating aspects is its treatment of Dick Higgins, whose editorial and typographic experiments at Something Else Press exemplify the publisher’s role in aesthetic production, not as a passive conduit for authorial expression but as an active force in shaping literary form.

• List of Figures1. Opening a Small Press2. Craft: Letterpress Rubric (Kelmscott in Chicago)3. Concept: Mock-Up and Editions (Information As Material)4. Experiment: Point and Type (Hours Press)5. Object: Bound and Boxed (The Modern Editions Press)6. Event: Intermedia and Dingbats (Something Else Press)7. Process: Open Access and Means of Production (Punctum Books)8. EndpapersAppendix: A (Very) Few Examples of Small Press PublishersNotesIndex