Archives for posts with tag: craig dworkin

massacre-streetOnce again, December brings an opportunity to reflect upon the year’s books. Like previous years, this “most engaging books” list is idiosyncratic and by no means reflects “the best”, only what i found most engaging and most rewarding … this is a  selection of what i considered the most fascinating / useful / generative books of the year. Seek out these volumes, every one will reward the search (and your local, independent, bookstore can help…). This is the cream of the crop for 2013:

Heimrad Bäcker. Seascape. Patrick Greaney, trans. (Brooklyn: Ugly Duckling Presse)

Jen Bervin and Marta Werner. The Gorgeous Nothings. (New York: New Directions).

Jaap Blonk klinkt. (Gent: het balanseer).

Craig Dworkin. No Medium. (Cambridge: MIT Press).

Kenneth Goldsmith. Seven American Deaths and Disasters. (Brooklyn: Powerhouse)

Jeet Heer. In Love with Art: Françoise Mouly’s Adventures in Comics with Art Spiegelman. (Toronto: Coach House).

bpNichol. A book of variations: love-zygal-art facts. Stephen Voyce, ed. (Toronto: Coach House).

Yoko Ono. Acorn. (New York: OR)

Rachel Simkover, ed. An Anthology of Concrete Poetry. (Berlin: Motto).

Nick Thurston. Of the Subcontract (York, UK / Toronto: information as material / Coach House)

Emmett Williams. Anthology of Concrete Poetry (New York: Primary Information)

Andrew Zawacki. Video Tape. (Denver: Counterpath)

Paul Zits. Massacre Street (Edmonton: University of Alberta Press)

LCLOCAL COLOUR; GHOSTS, VARIATIONS

Ola Ståhl, Carl Lindh & Derek Beaulieu
Malmö: Publication Studio Malmö / In Edit Mode Press, 2012
ISBN: 978-91-977853-4-1
Set including a series of perfect bound, paperback volumes, a book of photographs, a CD and a piece of software. First edition: 200 copies.
Release date: Dec 20, 2012
Retail price: €58

“Local Colour; ghosts, variations” takes as its point of departure, Paul Auster’s novella “Ghosts,” and, in particular, Derek Beaulieu’s reworking of Auster’s text, “Local Colour,” in which the entirety of Auster’s text has been removed, leaving only the chromatic words spread across the otherwise blank pages as coloured rectangles. “Local Colour; Ghosts, variations” picks up on the way in which Beaulieu’s piece seems to split Auster’s narrative text open by rendering it purely graphical, freeing it up, by the same gesture, to an excess and a bifurcation of meaning. Seeking to extend and amplify this ambition, the collection invites other writers, poets, musicians, and artists to implement procedures and process that allow them to do Beaulieu what Beaulieu did to Auster; that is, to split his colour rectangles open and see can be done with what is revealed. Contributors include Derek Beaulieu, Steve Giasson, Cia Rinne, Peder Alexis Olsson, Jörgen Gassilewski, Craig Dworkin, Elisabeth Tonnard, Martin Glaz Serup, Eric Zboya, Ola Ståhl, Pär Thörn, Carl Lindh, Cecilie Bjørgås Jordheim, Ola Lindefelt, Andreas Kurtsson, Helen White, Gary Barwin, Magda Tyzlik-Carver and Andy Prior.

LC-posterCOLOUR’S GRAVITY

Ola Ståhl
Malmö: Publication Studio Malmö / In Edit Mode Press, 2013
No ISBN
First edition: 200 copies
Release date: Dec 2, 2012
Retail price: €7

Double-sided poster by Ola Ståhl presenting all the colours rectangles in Derek Beaulieu’s graphical reworking of Paul Auster’s novella “Ghosts” in the order in which they appear but printed as long, slim strips on glossy paper. On one side of the poster, the nuances are those that appear in Beaulieu’s manuscript. For the opposite side of the poster, however, a cipher, the key to which was found in an hollowed out coin in Brooklyn in the 1950s, was used to create an alternate set of numeric sequences from the CMYK numbers of the colours used in Beaulieu’s piece. From these numeric sequences a different set of CMYK numbers, and thus a different set of colours, was generated. Treated the same way as the original colour series, these are the colours presented on the other side of the poster.

LC-speldosaAPPARITION

Carl Lindh & Ola Ståhl
Malmö: Publication Studio Malmö / In Edit Mode Press, 2013
No ISBN
Music box and scroll. Limited and numbered edition of 10 copies.
Release date: Dec 2, 2012
Retail price: €115

Replicating Derek Beaulieu’s “Local Colour” – a graphical reworking of Paul Auster’s novella “Ghosts” – as a scroll and cutting out each coloured rectangle, leaving only a series of tiny perforations, Ola Ståhl & Carl Lindh’s “Apparition” extends the translation process initiated in Beaulieu’s rendering graphical of Auster’s text, only here the graphical manuscript is translated into a sequence of absences – holes, punctures – reemerging spectrally as sound as the scroll is fed through the music box. Each numbered copy is fully functional and contains both music box and scroll.

borsukFor the last two years I have posted my “most engaging books” list (2011’s list, 2010’s list) with a selection of what i considered the most fascinating / useful / generative books of the year. Seek out these volumes, every one will reward the search (and your local, independent, bookstore can help…). This is the cream of the crop for 2012:

Jaap Blonk Traces of Speech / Sprachspuren. (Berlin: Hybriden-Verlag.)

Amaranth Borsuk. Handiwork. (New York: Slope.)

Amaranth Borsuk and Brad Bouse. Between Page and Screen. (Los Angeles: Siglio.)

Sophie Calle. The Address Book. (Los Angeles: Siglio.)

Natalie Czech. I have nothing to say. Only to show.(Leipzig: Spector Books)

Johanna Drucker. Druckworks: 40 years of Books and Projects. (Chicago: Columbia College)

Craig Dworkin, Simon Morris and Nick Thurston. Do or DIY. (York: information as material.)

Emma Healey. Begin with the End in Mind. (Winnipeg: Arbeiter Ring.)

Dennis Lee. testament. (Toronto: House of Anansi.)

Edouard Leve. Autoportrait. trans. Lorin Stein (London: Dalkey Archive Press.)

Silvio Lorusso and Sebastian Schmieg. 56 Broken Kindle Screens. (print on demand.)

Jena Osman. Public Figures. (Middletown: Wesleyan UP)

Tom Phillips. A Humument. 5th edition (London: Thames and Hudson.)

Nicola Simpson, ed. Notes from the Cosmic Typewriter: The Life and Work of Dom Sylvester Houédard. (London: Occasional Papers)

Barrie Tullett. A Poem to Phillip Glass. 2nd edition. (York: The Caseroom Press.)

Local Colour : Ghosts, variations

(Malmö: In Edit Mode Press, 2012)
ISBN: 978-91-977853-4-1
First edition: 200 copies
Release date: December 17, 2012
Retail price: €65

Pre-order your copy now at a discount : €50.

LOCAL COLOUR : Ghosts, variations is a collaboration between In Edit Mode Press and Canadian poet Derek Beaulieu. The publication takes as its point of departure, Paul Auster’s novella Ghosts, and, in particular, Derek Beaulieu’s reworking of Auster’s text, Local Colour, which he describes as follows:

‘Local Colour’ is a page-by-page interpretation of Paul Auster’s 72-page novella ‘Ghosts’. ‘Ghosts’ concerns itself with Blue, a private detective hired by a mysterious character named White to transcribe the actions of Black, a denizen of Brooklyn Heights living on Orange Street. As Blue reports his findings, the reader becomes more aware of the intricate relationship between Black and White, and a tactile awareness of the role of colour spreads through the narrative. With ‘Local Colour’, I have removed the entirety of Auster’s text, leaving only chromatic words—proper nouns or not—spread across the page as dollops of paint on a palette. Taking inspiration from Kenneth Goldsmith’s Gertrude Stein on Punctuation (Abaton Books, 2000) what remains is the written equivalent of ambient music—words which are meant to be seen but not read. The colours, through repetition, build a suspense and crescendo which is loosened from traditional narrative into a more pointillist construction.

Focusing on the tension created in Beaulieu’s manuscript – and alluded to in the description of his process – between the textual narrative and the relatively abstract graphical mark, and the opening it seems to provide towards a sonic realm, we are now hoping to solicit a series of textual, aural, oral, musical, and other interpretations, as well as more machinic ‘utilisations’, of Beaulieu’s manuscript. What interests us, in particular, is the way in which Local Colour seems to split Auster’s narrative text open, deterritorialising it, serially, by rendering it purely graphical, freeing it up, in the same gesture, to an excess and a bifurcation of meaning. Seeking to extend and amplify this ambition, we are now opening the project up for others – writers, poets, musicians, artists – to split Beualieu’s manuscript open, to deterritorialise the coloured rectangles of his manuscript by textual, aural, narrative, graphical and other means.

Local Colour: Ghosts, variations collects and counterposes a wide array of strategies and approaches. It features both textual and aural contributions and contributions that combine text and sound. We hope it will prove an ambitious, vigorous collection that oscillates and moves between textual narrative, graphical mark, and aural impression, exploring these different realms whilst rendering uncertain any easy distinction between them.

CONTENTS (IN PRINT) :

Derek Beaulieu, Local Colour (printed book)
Steve Giasson, Couleur Locale (printed book)
Cia Rinne, Securiousity  (printed booklet)
Peder Alexis Olsson, Title TBA (print)
Jörgen Gassilewski, After Image (print)
Craig Dworkin, Unseen Colour (print)
Elisabeth Tonnard, Monochromatic Bits (print)
Martin Glaz Serup, Title TBA (printed book)
Eric Zboya, Untitled # 1 & 2 (Local Colour) (prints)
Ola Ståhl, Colour’s Gravity (printed book and prints)
Magda Tyzlik-Carver & Andy Prior, Ghost Machine (printed booklet)

CONTENTS (ON CD) :

Pär Thörn, Sound Interpretation of Derek Beaulieu’s ‘Local Colour’(sound piece)
Cecilie Bjørgås Jordheim, First of all there is Blue, Brown and I got ham, White and Blue (this section includes education) (sound pieces)
Ola Lindefelt, Title TBA (sound piece)
Andreas Kurtsson, Voice Range, Dialect Genre (sound piece)
Helen White, Local Ghosts (sound piece)
Ola Ståhl, Colour’s Gravity (recorded speech)
Gary Barwin, Local Colour (sound piece)
Ola Ståhl & Carl Lindh, Music Box (sound piece)
Magda Tyzlik-Carver & Andy Prior, Ghost Machine (software and videos)

Last December I posted my “most engaging books of 2010” list with 13 books of poetry, 2 of fiction, 2 of theory and 2 collecteds … this year the field consisted of a vastly different array of “most engaging” books. This is the cream of the crop for 2011:

POETRY:

Baum, Erica. Dog Ear. Brooklyn: Ugly Duckling, 2011.

Bergvall, Caroline. Meddle English. New York: Nightboat, 2011.

Dworkin, Craig. Motes. New York: Roof Books, 2011.

Fitterman, Robert. Holocaust Museum. London: Veer, 2011.

Place, Vanessa. Tragodia 2: Statement of the Case and Tragodia 3: Argument. Los Angeles: Blanc Press, 2011.

CRITICISM / ETC

Bernstein, Charles. Attack of the Difficult Poems. Chicago: University of Chicago Press, 2011.

Brotchie, Alastair. Alfred Jarry: A Pataphysical Life. Cambridge: MIT, 2011.

Dworkin, Craig and Kenneth Goldsmith. Against Expression: An Anthology of Conceptual Writing. Evanston: Northwestern UP, 2011.

Gammel, Irene and Suzanne Zelazo, eds. Body Sweats: The Uncensored writings of Elsa von Freytag-Loringhoven. Cambridge: MIT, 2011.

Goldsmith, Kenneth. Uncreative Writing. New York: Columbia UP, 2011.

Norddahl, Eirikur Orn. Booby, be Quiet! Helsinki: poesia, 2011.

RE-ISSUES (each of which are finally back in print this year)

McCaffery, Steve. Panopticon. Toronto: Bookthug, 2011.

Moure, Erin. Pillage Laud. Toronto: Bookthug, 2011.

Porter, Bern. Found Poems. New York: Nightboat, 2011.

Rinne, Cia. Zaroum. Reims: le clou dans le fer, 2011.

Robertson, Lisa. Occasional Work and Seven Walks from the Office of Soft Architecture. Toronto: Coach House, 2011.

No Press is proud to announce the publication of

COPYS
By Craig Dworkin

‘My idea for these poems is that they be like cigarettes. On the one hand, briefly intense and repaying as much focused contemplation as you want to give them — each is in fact composed according to a rigorous and elided formal logic — but then also, at the very same time, merely discardable amusements: quickly read and easily forgotten, thrown away without a second thought as soon as they are finished.’ — Craig Dworkin

Originally published in the UK by Matchbox in May 2007, No press is proud to return this rarely-seen edition to print.

Published in a limited edition of 50 copies (25 of which are for sale) each copy consists of 34 loose cards in a hand-typed envelope.

Copies are available for $8.00 each (including postage).

To order, please contact derek beaulieu

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