The Post-Apollo Press’ name came from the Apollo program that took man and women to the moon. This unreachable destination — the symbol of the sky — for it is the companion of the night, was made possible by the Apollo program. I thought at the time, the same way I think today, that for mankind to leave gravity and head for the universe, was the beginning of a new era. Therefore, we could count the years with The Post-Apollo, the way we did with BC and AD. — Simone Fattal, publisher


Drawings by Simone Fattal with original colors for each book

“In this series, Simone Fattal has made possibility for an extended family of distinct individuals to meet ‘at a table’ as it were, exchange words, and be heard, by you and me. There is the intimacy and an evocation of the shared forum of magazine appearance, and yet that space and time of a small book for construction and development of Archibald’s singular/multiple, theme. As objects, these ‘tablets’ are clear, solid, inviting, they fit in one’s hand, and can be read at a sitting (or standing) as one thing. Or carried along as nettlesome/haunting company for the day. Related and differentiated by the publisher’s varied cover design, texts in the series as a whole make available defining instances of what writing can be in our time. I like them immediately and am gathered into what is being said on the page.” —Robert Grenier

When Max Jacob gleefully announced “the miniscule is the enormous” he could have been referring to the contemporary poetry series published by the Post-Apollo Press. These perfect bound books fall midway between a chapbook and a standard volume; their diminutive size, however, belies a much larger purpose, which is to make available a generous range of innovative writing and promote new modes of thought for apprehending the world. Post-Apollo authors share an aesthetic of radical disruption, a loosening of syntactical connections that allows experience to happen rather than make sense — work that delights in a fluid alternation between subject and object, signifier and signified, and contributes to a heightened awareness of the ways in which language shapes reality. Nevertheless, each book offers an acutely different approach. Tom Raworth’s Meadow is as different in technique and phrasing from Eleni Sikelianos’s Book of Tendons as a bagpipe differs in sound and shape from a balalaika; Claude Royet-Journoud’s powerfully compressed images are as dissimilar from Lyn Hejinian’s vigorously discursive lines as an anvil differs in kind and function from an aorta. — John Olson, Rain Taxi 05/01/2000


Drawings by Etel Adnan

“I got very interested in some drawings that Etel made for a magazine in Germany that were going to accompany some of Heiner Muller’s writings and her own. I particularly liked these drawings and I asked her to make drawings in the same spirit for Post-Apollo, which could be used as cover art. For each book, Etel creates a new drawing, which is of course not an interpretation of the text but seems to me to be best allied with that particular collection.The choice is always due to an intangible, unexplainable intuition. I wanted to start a new series to house longer poems that could not fit in the diminutive format of the first series. This second series actually started with Undying Love or Love Dies by Jalal Toufic. I had asked Lyn Hejinian to write a blurb, for Undying Love and asked her to please write a very long blurb, because she would be alone on the page. I had begun to get weary of the convention that wanted to align a series of short blurbs, and so by giving more space I would have one opinion that carried a real analysis, and appreciation. This series in my opinion is just as valuable as the first one. The drawing is recognizable as it is in the same vein, and by the same artist and the format stays the same. The change is in the colors.” — Simone Fattal, Publisher