(2 ppt. files; Hebrew title on the CD runs the wrong way.) • PowerPoint file 1: Book covers Slide 1) The cover of my first book: "The Book of Dreams", a children’s book written in rhymes. This is my first book with my name before I was married and became Efrat Mishori. My last name before I got married was Sadaka, my family name. This is an illustrated fairytale in verse. I illustrated this. Slide 2) This is my first poetry book – “Efrat Mishori, Poems 1990-1994" - and it is a self published, limited and signed edition. In this book, I presented a variety of poetry modes: I mixed experimental neo-dada poetry with old classical forms of poetry like ancient ballads. It is the original; there are no more copies of this. The date that is stamped on the back is the date of the reading event I held in the art gallery Artifact with the avant-garde musician Arik Shapira. The edition was sold completely out in the reading event. For this book manuscript I won the Ron Adler's First Book Award. It was a competition for anonymous poetry writers and the world famous Israeli poet Yehuda Amichai was one of the judges. With the prize money I was able to make a second edition. This poetry book is actually a home made book. I controlled the means of production: I printed the poems with my home printer, drew in the marks and paid to have copies made by a printing house. It was a political and aesthetical statement. With this book I broke through to the literary world. One of the best critics, Menahem Ben, described it as “one of the most original and daring poetry books to be published in the past few years”. As I said, I had a special show that went with this book and it was my breakthrough to the literary world. A new literary magazine "EMDA" tried to imitate the loose outlook. After this book the publishing house Hakibutz Hameuchad came to me and asked me to sign a contract with them for the second book.

Slide 3) This is my second poetry book "As Far As Efrat". Although I released it through a publishing house I kept the original home-made layout and I used the same means of production that I used for my first poetry book. With this book I made a pattern of design and the publishing house made it this way and only put their logo on it. It was an inner literary political act in that I controlled all of the means of production, to use Marx literally. I was claiming that the whole book and all its physical, acoustic, and visual aspects are equal components in the process of producing the meaning. All of the participants in the process of producing the meaning are the sounds, optic, characteristics of language. The image (on the cover) is of me. Slide 4) “Bites of Little Fish” (showing front and back cover of poetry collection available in the second ppt. file on CD no. 1). This cover is a product of collaboration between me and my husband who is a painter. The front cover is a work of art: He took a picture of his real shoes and called the work “Working Shoes” as a gesture to Van Gogh. The back part of the cover is a visual poem. It’s a grid which uses the last sentence of Hamlet in the Hebrew monologue the “p”. There are two “p”s -- poetical paranoia and Freudian paranoia. Like Allen Ginsberg with the concept of ‘Poetic Paranoid’ and in Hamlet. It was a play on this. I didn’t know when I did this but there is a known article by Edgar Allen Poe called “Poetic Principle”. Baudelaire quoted Poe but without mentioning that it was from Edgar Allen Poe. After Baudelaire published and translated essays of Poe into French he omitted the original essay of “Poetic Principle” and in the preface he said “I will use what I already wrote on” and again used the same quotation without mentioning Poe. This is a kind of visual poetry when put on a grid with this one word that I play with. It is spatial. This book is of my own design. It contains pictures of my husband’s from a specific show which was held in Tel Aviv. Last year the artwork was also held in the National Gallery of Berlin. The pictures are geometrical abstracts with portraits on them. The poems do not react but there is a conversation. It raises a conversation but it is not an illustration. Slide 5) My husband designed the full cover. This is my first ‘sane’ book. It is in regular format already and I went through the regular process and I still used here a lot of visual and acoustic devices. Here I made a slight change in my writing and took another direction. I enlarged the classic direction. But still the physical lips means that the way we pronounce things has more influence and information that what they say. The movement is more important. The word comes after the movement of the lips. This takes the title of the whole book which is about repeating. Sign and Sigh-this book cover has not been added to the collection. This show was based on my first two books. The show was a combination of both books and I took the words out of the book and transferred it to the stage. They are performed loudly because a lot of the poems have a strong acoustic presence. It was a poetry performance show. Beside the poems there were two pieces which I call “works”.

Slide 6) Cover page to Mishori’s dissertation entitled “Tel-Aviv: Reality or Realization? Representation of Location as a Mode of Object-Relation: Tel-Aviv as a Transitional-Object of Avoth Yeshurun”.