Recorded on Monday, March 28, 2022.
I spoke to Joakim Norling, the publisher of Timglaset Editions of Sweden. We learn about the evolution of the press from its beginnings as a fanzine to a publisher of books and other visual poetry publications from broadsides to chapbooks. Joakim discusses the relationship between his early love of music, and Dada, concrete poetry and visual poetry. He had started a book publishing business with friends for books on music, poetry and fiction from the music scene.
He discusses why he wants to publish things. We talk about the description from some time ago on Bandcamp, and how the description goes with the work published. He discussses various people he’d found out about in visual poetry. He became interested in the idea of abstract art with letters or abstract writing. I ask about a definition of visual poetry. Joakim covers some examples of language, including cryptic cartography.
We talk about our experience making Judith: Women Making Visual Poetry. Joakim talks about internationalism and the early concrete poetry movement. Diversity is one of Timglaset’s principles, including not having a uniform layout and design. He works with the author to develop the design. I speak of my own experiences working with Joakim on Revelation and Judith.
I ask about why he used interscrews from Manchester Automatic Machining for Vilde Valerie Bjerke Torset, Pareidolia – Dotremont’s Daughter and where he obtained the screws from. I ask about the process of putting the book together and other publications that took a lot of time and work to make.
I ask about preferences for handbound or printed work. Timglaset will go to 3 fairs in the next while: BABE in Bristol, UK; Miss Read in Germany and Malmö Artists’ Book Biennial . I ask about why it’s good for Timglaset to be at book fairs.
I draw some Timglaset publications from my big bag of Timglaset work and we discuss them, including Gary Barwin’s Quantum Typography, #8 Lists, 4 Nordic Visual Poets, I Dream of a Forest. But it’s a Process (anthology). He mentions forthcoming publications coming out in 2022. We talk about how great we have worked together and how much happiness and satisfaction JUDITH has brought us.
Note of Praise
With whimsy, flexibility, expertise & creativity, Timglaset Editions makes fine work & plays an essential role in the discipline of visual poetry. From precise concrete to imaginative asemics, Timglaset pays homage to the past, celebrates the present & provides readers with an idea of what’s to come. Joakim Norling with his one-person press is prolific, productive & seemingly tireless. I believe he’s brought European and North American visual poets & enthusiasts closer than we were before through Timglaset Editions. It’s always a pleasure to receive the works in the mail, whether they are bound by bolts, inserted in a little brown paper bag or beautifully stitched. I look forward to many more.
Thanks to Joakim Norling for being on the show, to Charles Earl for processing, to Jennifer Pederson for music production on the intro and outro & to you for listening & sharing the podcast.
Stay tuned for next month’s episode when I speak to Kyle Flemmer of the Blasted Tree & the rest of this year when I speak with more small presses from Canada, UK and USA.