Archives for posts with tag: concrete poetry

antonovskyNo Press is proud to announce the publication of a rare opportunity to gain insight in to the range of visual poetry produced in Ukraine. rarely seen in North America, these authors seek dialogue with contemporary international practice while responding to the tradition of visual poetry in Eastern Europe.

TWO FROM UKRAINE a collection of visual poems by Andrí Antonovsky and Volodymyr Bilyk

Each copy of TWO FROM UKRAINE includes:

Scobes by Volodymyr Bilyk (a 16-page visual poetry suite in a hand-stitched edition)

робота така робота by Andrí Antonovsky (a 16-page full-colour collection of Antonovsky’s visual poetry collages in a hand-stitched edition)

bilykComadots by Volodymyr Bilyk (a 4-page visual poetry suite pamphlet)

all of which are gathered in a rubber-stamped envelope and published in a strictly limited edition of 60 copies.

TWO FROM UKRAINE is now available for $12ea.

To order please email derek beaulieu

pattern-05No Press is proud to announce the publication of Braydon Beaulieu’s FLIGHT PATTERNS.

Produced in a limited edition of 60 hand-bound copies.

Through simple iconography, Flight Patterns maps Beaulieu’s reading patterns while reading Batwoman: Elegy – a visual poetry exploration of reading patterns and panel-ology wher action is suveyed by teh barest of lines and graphic gestures.

FLIGHT PATTERNS is now available for $4ea.

To order please email derek beaulieu

vp_header11UbuWeb’s Visual Poetry section has just been updated with over 80 new texts including exceedingly rare editions of d.a.levy’s magazines The Buddhist Thirdclass Junkmail Oracle and The Marrahwanna Quarterly and Ed Sander’s Fuck You: A Magazine of the Arts. Complementing these magazines are PDFs of scarce editions by Canadian visual poets David UU, John Riddell and bpNichol; Americans Johanna Drucker and Rosmarie Waldrop and International practicioners such as Max Ernst, Marcel Broodthaers and Bob Cobbing. This update focuses on small press magazines and highlights rarely-seen radical work in collage, overprinting and machine-based visual poetry.

UbuWeb began as an online repository for concrete and visual poetry scanned from aging anthologies and re-imagined as back-lit transmissions from a potential future. As the archive has progressed, the concentration on visual poetry has waned in favour of an reconnoitering of diverse avant-gardes. UbuWeb’s Visual Poetry section exposes little-seen exemplars of historical praxis and models of contemporary insight to a wider audience. This section includes anthologies, ephemeral publications, criticism and sporadic journals dedicated to visual poetry. Due to the elusive and ephemeral nature of concrete and visual poetry publications, there is a perceived lack of innovation in the genre. Without exposure to radical practice, artistic precedent and innovative models, concrete poets too often fall back upon familiar tropes and unchallenging forms. UbuWeb’s Visual Poetry section is not presented under the rubric of historical coverage or indexical completeness, but rather as a document of isolate moments of what Haroldo de Campos argued was a “notion of literature not as craftsmanship but [...] as an industrial prcoess” where the poem is a “prototype” rather than the “typical handiwork of artistic artistry.” — derek beaulieu

beaulieu-emersonCounterpath is seeking performance, film, sound, writing, and
visual work that directly responds to or reads Writing Surfaces: The
Selected Fiction of John Riddell (2012, Wilfrid Laurier University
Press).
John Riddell’s work embraces game play, unreadability and
illegibility, procedural work, non-representational narrative,
photocopy degeneration, collage, handwritten texts, and gestural
work. His self-aware and meta-textual short fiction challenges the
limits of machine-based composition and his reception as a
media-based poet.
Riddell is best known for “H” and “Pope Leo, El ELoPE,” a pair of
graphic fictions written in collaboration with, or dedicated to,
bpNichol, but his work moves well beyond comic strips into a
series of radical fictions. In Writing Surfaces, derek beaulieu and
Lori Emerson present “Pope Leo, El ELoPE” and many other works
in a collection that showcases Riddell’s remarkable mix of largely
typewriter-based concrete poetry mixed with fiction and drawings.
Riddell’s oeuvre fell out of popular attention, but it has recently
garnered interest among poets and critics engaged in media studies
(especially studies of the typewriter) and experimental writing. As
media studies increasingly turns to “media archaeology” and the
reading and study of antiquated, analogue-based modes of
composition (typified by the photocopier and the fax machine as
well as the typewriter), Riddell is a perfect candidate for renewed
appreciation and study by new generations of readers, authors, and
scholars.
Counterpath will host an evening of approximately 5 performances of 10-15 minutes each on
December 14, 2013, at 7 p.m.

Please send a proposal of not more than 250 words to Counterpath
program coordinator Oren Silverman (os@counterpathpress.org) by October 31, 2013.

_225x300_thekakofonie005The best thing about any poetry reading is the beer — and now you can have both in one handy combination.

The fine folks at Broken Dimanche press have revamped their website and have a few copies remaining of “The Kakofonie 005″ by Eric Zboya and myself in an edition of 60 copies.

There were a very limited number of bottles which were filled with small-brew craft beer brewed by Olivier Maarschalk.

Now there are only bottles without beer available for €10. For more information, or to order, go here.

No PRESS is proud to announce the publication of

False Friends

by Helen Hajnoczky

A poetic engagement with Hungarian folk art, vocabulary and translation, False Friends is a delicate combination of full-colour visual poems and lyrical explorations of the false freinds of translation. Produced in a strictly limited edition of 50 handbound copies (only 23 of which are for sale) at $4 each – to order, email derek@housepress.ca

from False Friends:

hajnoczky(Q)

it may seem adequate,

like a sword piercing a shield

in some chivalric tale,

but dust off any old book

and when you look inside

all you’ll find is questions.

is it a treasure map?

did it ride in from france?

is it a spear that slipped

through the ribs of your language,

thousands of years ago,

or is it a thorn in your heel

that you only just noticed?

trade your old tomes

for other volumes

and hunch over the pages

like a medieval monk,

search for its provenance

like a modern scholar.

or trade your leather bound books

for paperbacks

and stop asking questions.

Mount Royal University student Andrea Johnston has just posted a brief article on the challenges of close-reading visual poetry at the Canadian Creative Writers and Writing Programs (CCWWP) blog. You can read “The Problem of Reading Visual Poetry” here.

201114_L-91x300Gary Barwin has just posted an essay on my “Prose of the Trans-Canada” on Jacket2: “derek beaulieu’s Prose of the Trans-Canada is an epic inscribed scroll, a graphemic saga as Odyssean and graphic a roadtrip as traveling the eponymous Trans-Canada highway.

How Read - gallery view How Read - gallery view How Read - Flatland How Read - Flatland How Read - The Newspaper How Read - The Newspaper How Read - Local ColourHow Read - Niagara Arts Centre How Read - Untitled How Read - The Alphabet

xerolage_52_front_coverXexoxial editions has just published a selection of my visual poetry entitled Kern as the latest issue of Xerolage Magazine …. check it out!

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