Black Sun Press
In April, 1927, they founded an English language publishing company, first called Éditions Narcisse, after their black whippet, Narcisse Noir. They used the press as an avenue to publish their own poetry in small editions of finely made, hard-bound volumes.
They printed limited quantities of meticulously produced, hand-manufactured books, printed on high-quality paper. Publishing in Paris during the 1920s and 1930s put the company at the crossroads of many American writers who were living abroad. In 1928, as Éditions Narcisse, they printed a limited edition of 300 numbered copies of "The Fall of the House of Usher" by Edgar Allan Poe with illustrations by Alastair.
In 1928, they found they enjoyed the reception their initial works received, and decided to expand the press to serve other authors, renaming the company the Black Sun Press, following on Harry's obsession on the symbolism of the sun. The press rapidly gained notice for publishing beautifully bound, typographically flawless editions of unusual books. They took exquisite care with the books they published, choosing the finest papers and inks.
They published early works of a number of writers before they were well known, including James Joyce's Tales Told of Shem and Shaun (which was later integrated into Finnegans Wake. They published Kay Boyle's first book-length work, Short Stores, in 1929. and works by Hart Crane, D. H. Lawrence, Ezra Pound, Archibald MacLeish, Ernest Hemingway, Laurence Sterne, and Eugene Jolas. The Black Sun Press evolved into one of the most important small presses in Paris in the 1920s. After Harry died in a suicide pact with one of his many lovers, Caresse Crosby continued publishing into the 1940s.
Read more about this topic: Harry Crosby
Famous quotes containing the words black, sun and/or press:
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—Eldridge Cleaver (b. 1935)
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A heap o’ sun an’ shadder, an’ ye sometimes have t’ roam
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—Edgar Albert Guest (1881–1959)
“It is in the nature of allegory, as opposed to symbolism, to beg the question of absolute reality. The allegorist avails himself of a formal correspondence between “ideas” and “things,” both of which he assumes as given; he need not inquire whether either sphere is “real” or whether, in the final analysis, reality consists in their interaction.”
—Charles, Jr. Feidelson, U.S. educator, critic. Symbolism and American Literature, ch. 1, University of Chicago Press (1953)