arnhem: bloknoot, 1968. First edition of 100, of which this is no. 52. Two-panel tan manila folder with flaps that’s been modified with four additional items, including an original print in color pasted down at front cover, a glassine envelope, a small blank sheet of paper, and a printed label affixed at inside verso, and a mimeographed colophon pasted down at inside recto of folder. Contents include approximately forty mimeographed leaves, most of which are A4 in size, some which are stapled together, and one sheet with a metal pin and remnants of an old balloon affixed to sheet with cellophane tape. To which is added seven additional items printed on various paper types and sizes, including two collages made with silver paper and appropriated magazine advertisements, a printed and folded advertisement, and a small, printed brochure. One contribution signed.
Issue no. 2 of bloknoot, one of the earliest assembling publications edited by Ruud van Aarsen, Robert Joseph, and G. J. de Rook. The colophon states ‘bloknoot is een kwartaalschrift dat een ontmoetingspunt wil zijn. een ontmoetingspunt van diverse stijlen; een ontmoetingspunt van beginnende en gevestigde schrijvers; een ontmoetingspunt van noord-, zuid- en niet-nederlanders; een ontmoetingspunt van proza, poëzie en essay. bloknoot zal trachten kwaliteit als enig criterium aan te wenden,’ which roughly translates to ‘bloknoot is a quarterly publication that aims to be a meeting point. a meeting point of diverse styles; a meeting point for beginning and established writers; a meeting point for northern, southern, and non-Dutch; a meeting point of prose, poetry, and essays. bloknoot will try to use quality as its sole criterion.’
This issue with contributions by Bevant, Hans Clavin, Schalk van Dam, Hans Kooger, Jan Derk Plenter, Willy Sneeuw, Paul de Vree, Kees Vriens, Meta van Ijzer, Robert Joseph, Gerrit Jan (G. J.) de Rook, Maarten Beks, Rien van de Heuvel, Johnny the Selfkicker, Piet van Steenbergen, Toon Verstappen, Ruud van Aarsen, Berten de Bels, Jim van de Herik, Marijke, Johan Sonneville, Hans de Vries, and Herman de Vries. A few contributions of note include two typescript concrete poems by Hans Clavin, two typescript concrete poems by Paul de Vree, three pieces by Joseph, including a hand-colored piece of artwork with a strip of medical bandage tape affixed over letterforms, a concrete poem by G. J. de Rook titled ‘knalpoëzie,’ which roughly translates to ‘pop poetry’ consisting of small words on paper applied to a red balloon that’s dried up and deteriorated over time next to a pin, both of which are taped onto a sheet of paper, an abstract geometric composition made of connected lines by Herman de Vries that’s signed on the back by the artist, a typescript five-page speech titled ‘Componeren met afgewend gellat’ which was delivered by Maarten Beks at Herman de Vries’ exhibition ‘Rationele Structuren van Herman de Vries,’ a typescript three-page essay titled ‘De Grafkelder’ by Ruud van Aarsen, a poem printed on a label by Berten de Beis, a folded sheet promoting ‘TELEPOËZI’ which was a poetry event where listeners could call in to hear prerecorded poems by established and up-and-coming poets alike—the editorial staff for this new-fangled technology included poets Meindert Bijlsma, Josse de Haan, Reinder R. v. d. Leest, Meta van Ijzer, and Pier van Dijk, whose name has been added in ink by hand in place of Geart van der Zwaag, and two A4 collages made with silver paper and appropriated magazine advertisements of green peas by Hans de Vries. Scarce and lovely.
A complete example except for the work by Ad Gerritsen, which we have not been able to identify. We presume it’s the small sheet attached to inside cover, which in other examples we’ve seen has the word ‘bloknoot’ stenciled on it. In this example the small sheet of paper is blank. Lastly, and not listed in the colophon, is the printed glassine envelope by Hans Clavin affixed to inside cover. It originally contained an edible poem which often stained adjacent works in other examples we’ve seen. In this example, the bottom of the empty glassine envelope is torn, so it’s presumed the edible portion was present at one point, but is now lacking. The idea of Clavin’s poem, however, remains.
Contents very good with age toning, bumps to corners, and rust to staples which have also caused indents to a few of the pages. The red balloon by de Rook has deteriorated and crumbled over time, with some of the balloon material offsetting onto two adjacent contributions. Folder good only with bumps to corners, age toning, a 5 cm (2") closed tear along lower left spine, several small blank white stickers affixed to upper half of left spine to reinforce it, and a small 1.5 cm (0.75") closed tear along lower front cover margin resulting in the cover print and folder being torn simultaneously. Top-right corner of colophon has been torn diagonally from the cover, but is still attached at remaining three corners.
Ref. Perneczky, Géza, ed.: ‘ASSEMBLING MAGAZINES 1969–2000.’ Budapest, Árnyékkötök Foundation, 2007, pp. 181. Item #963