History of (m)Öthêr Tøñgué Presš

Mona herself reports that "Our press began in 1990 as an international underground literary periodical [(m)Öthêr Tøñguès] which I ran for four years after my association with P.E.N. and attending the International P.E.N. Congress in Toronto and Montreal in 1989. I would publish poetry from "mother tongue" translated into English (side by side) from writers around the world. Then I started the first Canadian poetry chapbook contest which ran for four years. We would publish beautiful limited editions of 100 copies for the 1st and 2nd prize winners for the best unpublished poetry manuscripts. We wanted to publish something that would stand the test of time longer than the usual basic designed and stapled chapbooks. Something that people would love to handle and savour as art. Something that would satisfy visual as well as intellectual needs. Judges were well-known Canadian poets such as Robert Kroetsch, Daphne Marlatt, Phyllis Webb, Marilyn Bowering,etc. Winners also received award money. After four years of the contest the press evolved into a private literary press. It was just too much work to read all those manuscripts. Since then, 1995, we have published 20 chapbooks and broadsides, two or three a year and increasing."

The letterpress equipment that fills the basement of Fertig and Haase's home in Ganges on Salt Spring once belonged to master printer Frank Pengelley of Victoria. Pengelley had worked as a master printer along with his wife for over 60 years when Haase heard about him and went to visit him. Pengelley was surprised at Haase's interest in what some would consider an obsolete trade with equipment Pengelley had been using for many years.

Soon after Pengelley passed away Haase bid on the equipment through a distant cousin of Pengelley who had no immediate family. Of the four or five bids received, Haase was the only bidder interested in saving all of the equipment and putting it to use. Much of it dates to the beginning of the last century.

After Fertig and Haase acquired the equipment and built a studio downstairs, Fertig thought to get in touch with Jim Rimmer, a master printer who teaches letter press and printed one of her books of poetry, "Releasing the Spirit" (Colophon Books) in 1982. "He has been a tremendous help," says Fertig. This was the beginning of Fertig and Haase's ongoing letterpress education. Another step was a visit to Arion Press in San Francisco. After Andrew Hoyem opened his shop to them on a Sunday, they received a great tour of the premises and were further inspired. Fertig also took several book art workshops with Claire Van Vliet, one of the best book artists in North America.

Fertig's first foray into publishing was in 1972, when a chapbook of her own poems was published by the Worker's Compensation Board. A group of injured workers printed The Illusive Unicorn, her first book of poetry written when she was 18 years old, as part of their WCB physical therapy. "They printed it, but I designed it and did the cover and illustrations," Fertig explains.

Unlike Fertig, Haase didn't always work with books. His journey from electrician to becoming a printer and illustrator began in 1995. After Haase had a bad accident working on a construction site, he was forced to change his occupation. Soon Fertig and Haase spent many months trying to convince the WCB that letterpress printing was a viable career option for Haase and that he should be retrained in it. Haase did his training with Jim Rimmer, Barbarian Press, Blackstone Press and Anderson Press. They were obviously successful in this since, as mentioned above, they have managed to produce a total of 20 chapbooks and broadsides since 1995.

site design by: Imagine That Graphics