SEPT 5th is John Cage’s birthday, and in honour over the next few days i’ll post some links, downloadable PDFs and cool stuff:

and a mountain of more stuff here at Monoskop

and

4 lines

my “Please, No more Poetry” and “That’s not writing”  have both been translated in to Romanian by Yigru Zeltil for Tomis magazine onlinetomis_alb_avada-1

Typewriters in transit! More soon on a new project with Richard Harrison and Kit Dobson at Mount Royal University …CrSP5xsUEAAeyjX

I teach my creative writing students that the best means of promoting their work is to participate within a network of distribution that can seem counter-intuitive. They should give their work away.

Using an extended metaphor, I believe that publishing practices and assertions of copyright is akin to contemporary zoos. Throughout the world zoos are struggling to maintain attendance rates which allow economic sustainability. Zoos require that visitors come to them, pay a fee and view the animals from a safe distance. The animals are kept behind bars (figurative or literal) and are out of contact; they are mere displays. I playfully propose that in order for zoos (and, by metaphorical extension, authors) to assert a new relevance they should release a breeding pair of underfed animals upon the general populace once a month. Each month this breeding pair would wreak havoc on the city. The population would want to learn everything they could about the rampaging animals. The animals meanwhile would devour passersby, breed and evolve unexpectedly. These animals would be joined by other competitive—and equally aggressive—members of the evolutionary food chain (a pride of lions and a dale of hippopotami for example).

In other courses, my students are taught to “professionalize,” to build marketability, and to treat their work with a sense of exclusivity. I completely disagree. By treating their work like my metaphorical zoos, they will allow their art to metastasize in unpredictable and exciting means, interacting with the digital landscape in ways that are truly contemporary.

With these releases in to the contemporary ‘wild,’ zoos and zookeepers would be a radically new, and slightly dangerous, resource. The best way of creating an audience for contemporary poetics is to release work online, giving the audience unfettered access to the text’s future.      

In the last few days I’ve started posting free downloadable PDFs of  many of my publications, including most of my full-length books. I believe that today’s reader seeks their writing in different forms and that reading has taken on different shapes, by releasing books as
PDFs in to the collective commons, writing can better engage with new, liquid, forms of reading.

I believe that this will encourage new readers (and may even lead to increased sales of physical copies).

I believe that releasing my writing online for free encourages new and unexpected ways of people engaging and responding with the writing; it  will encourage experimentation and reaction. Its kinda like a student going off to university and leaving the nest: they live in residence,
they get a piercing, they dye their hair, they learn and grow and change — and they become different people. They return home changed, with new ways of seeing the world. I’m excited to see what my writing learns when it travels and returns home.

I’ve seen this in action — the day after I started to release my writing as downloadable PDFs, a fibre artist in eastern Canada wrote
to ask if she could embroider my poems on the side of her high-top sneakers … something I would have never thought of.

I encourage every author i’ve published through housepress or no press (and everyone else too) to scan your publications & release them online as a free PDFs.

So here you go, I’m giving it all away.

#beyourownpirate

Links to downloadable PDFs of some of my publications, help yourself:

IV. 08/13/97 (“her fear of the silence after she spoke”). Ottawa: above/ground, 1998. [broadside]

portrait 4. Ottawa: above/ground Press, 1999. [broadside]

“State of the (E)Art: or, what’s wrong with internet poetry?” Object 10, 2002. [article, co-written with Russ Rickey] (courtesy UBUWeb)

with wax. Toronto: Coach House Books, 2003. [9 page excerpt only, courtesy Coach House Books]

Stanzas #38 “Calcite Gours 1-19.” Ottawa: above/ground, 2004.

TISH Magazine 1961-1969: another “sense of things.” [MA thesis, University of Calgary, 2004]

“an afterwords after words: notes towards a concrete poetic.” 2004. (courtesy UBUWeb)

frogments from the frag pool: haiku after basho. Toronto: The Mercury Press, 2005. Co-written with Gary Barwin.

“Fidgeting with the Scene of the Crime.” Open Letter, 12:7 (2005). [article] (courtesy UBUWeb)

8 prints. Calgary: No Press, 2006. [chapbook]

Flatland: a romance of many dimensions. York, UK: information as material, 2007. (courtesy UBUWeb)

Local Colour. Helsinki, Finland: ntamo, 2008. (courtesy Eclipse)

How to Write / How to Edit. UBUWeb: Publishing the Unpublishable, 2008 (courtesy UBUWeb)

chains. Kingston, PA: Paper Kite Press, 2008.

“Linguistic Fragmentation as Political Intervention in Calgarian poetry.” Revista Canaria de Estudios Ingleses, 56; April 2008. [article]

26 Alphabets (for Sol LeWitt). Ed. Derek Beaulieu. Calgary: No Press, 2009.

. Cork, Ireland: default Press / dusie chaps, 2009. [chapbook]

wild rose country. Ottawa: above/ground Press, 2009. [broadside]

This is Visual Poetry. Kingston, PA: Paper Kite Press, 2010. [chapbook]

Silence. Ireland: redfoxpress, 2010.

Seen of the Crime: essays on Conceptual writing. Montréal: Snare, 2011. (courtesy UBUWeb)

Untitled (for Billy Mavreas). Toronto: puddles of sky press, 2012. [chapbook]

All work and No Play Makes Jack a Dull Boy. Los Angeles: Insert Blanc Press, 2012. [chapbook]

RUSH: what fuckan theory; a study uv language. bill bissett. Toronto: Bookthug, 2012. (Co-edited with Gregory Betts.) [8 page excerpt only, courtesy Bookthug]

Kern. West Lima, WI: Xexoxial Editions, 2013. [chapbook]

The Design of Purposes. Calgary: No Press, 2013. [chapbook]

Please, No More Poetry: The Poetry of derek beaulieu. Ed. Kit Dobson. Waterloo: Wilfrid Laurier University Press, 2013.

Writing Surfaces: Selected Fiction of John Riddell. John Riddell. Waterloo: Wilfrid Laurier University Press, 2013. (Co-edited with Lori Emerson.)

Please, No More Poetry. Edmonton: Red Nettle Press, April 2014. [letterpress broadside series]

Kern. Los Angeles: Les Figues Press, 2014.

a small stack. Digital chapbook, 2014. Co-written with Brian Larossa. [chapbook]

six ways to ruin your day. Portland: press-press-pull, 2014. [chapbook]

Text Without Text: Concrete Poetry and Conceptual Writing. [PhD Dissertation, Roehampton University, 2014] (courtesy Roehampton University)

The Unbearable Contact with Poets. Manchester, UK: If P then Q, 2015. (courtesy If P then Q)

Game of Life: a user’s manual. Calgary: Space Craft Press, 2015. [chapbook]

SLOT no. 11. Stockholm, Sweden, November 2015. [chapbook]

I Dream of Bookstores. Calgary: Pages Press, 2015. [broadside]

Give ‘er. Ottawa: above/ground Press, 2015. [broadside]

Calgary Reads Little Free Library Passport. Calgary: Calgary Reads, 2015. [chapbook]

a light shed. Melbourne, Australia: Sippy Cup, 2015. [digital chapbook, scribd]

B&W 6&7. Barrie: afterwords, 2016. [chapbook]

En Vision av Linjeland. Stockholm: Chateaux, 2016. (translated by Peter Thörneby) [chapbook]

Erasing Warhol. Calgary: Spacecraft Press, 2016. [chapbook]

a a novel. Calgary: No Press, 2016. [chapbook]

The Duchamp Opening. Calgary: No Press, 2016. [broadside]

La Disparition. Calgary: No Press, 2016. [broadside]

ascender / descender. Ireland: redfoxpress, 2016.

Vexations Book 1. Calgary: No Press, 2016.

 

 

Rachel Defay-Liautard’s ASMR Editions has just published my Since 2005 I have edited and published no press, a small dedicated to publishing whatever the hell i feel likein an incredible individually handwritten edition … gorgeous!

more info on ASMR editions (and to order copies)FullSizeRender FullSizeRender[1] FullSizeRender[2]

I recently found online that South Korea’s Soojin Lee has animated El Lissitzky’s classic “Prouns” (full link here)

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Aug. 9, 2016 — The nostalgic tippity tap of typewriters could be heard downtown on Tuesday as some of the city’s leading wordsmiths came together for an afternoon of on-the-spot poetry.

Described as “Pop-Up Poetry,” the event featured Micheline Maylor, Richard Harrison, Cassy Welburn and I — producing custom poems at a breakneck pace, using vintage typewriters.

The on-site experiment was inspired by a group of typewriter poets from Texas. It was intended to create awareness around the Poet Laureate, the city’s rich literary scene and the people behind the words. Mount Royal presented the event, with support from Downtown Calgary and Calgary Arts Development.

Emiko Muraki, Director of Community Investment and Impact for Calgary Arts Development, highlighted the Poet Laureate’s role in spreading the word — both literally and figuratively. “The Calgary Poet Laureate is an artistic ambassador for Calgary, presenting at civic events and producing literary works that reflect our city and its citizens,” Muraki said. “Over a two-year term, the Calgary Poet Laureate makes over 100 public appearances in Calgary and beyond, at readings, literary or civic events, workshops and conferences, interacting with colleagues, aspiring writers, media and audiences.”

more information:

The Mount Royal University press release

Pop-up poetry permeates perfunctory prose in Calgary (Metro Calgary)

Taking poetry to the streets of Calgary, typewriter in hand (Calgary Herald)

Taking poetry to the streets of Calgary (Calgary Sun)

CBC Homestretch Calgary Radio

Poets hit Stephen Ave during the lunch hour

Pop-up Poetry rises downtown

CBC News

 

University of Calgary Press tours Calgary’s Little Free Libraries & my passport-stamp  concrete poem series CoyxGO2WYAAQvXP CooN2otWgAAMark CoeKu8mWAAA2U14 CoteSbDXgAA4ORU CooM_tOWgAAkgPK CojUT6yWgAAtY2h-thanks!