Please donate to the Priscila Uppal Memorial Fund, which supports a Fellowship in Creative Writing at York University. Priscila was a great mentor, colleague, friend, author and teacher — she will be missed by so many.


X-Peri features 9 samples from my Vexations Vol.4 … and a review by Nathan Spoon of my a, A Novel.

new from Ireland’s REDFOXPRESS is COUNTER/WEIGHT, a collection of letraset-based visual poems which explore fractures and remnants, pieces and crumbs in symmetrical radiation …

derek beaulieu’s Fragmentum is a 5×7″chapbook of 6 pages printed in an edition of 55 copies. A sturdy little chapbook printed entirely on cardstock and bound with a butterfly clip for a slightly different navigational process.

In Fragmentum, beaulieu continues to probe the possibilities of his favorite medium, letraset. Moving away from his signature compositions consisting of recognizable letters which spread across the page like topographical landscapes, the pieces in Fragmentum embrace the broken, fragmented inevitability of the aging medium to present abstract forms where letter fragments combine to build a sculptural asemic language.

In March I was delighted to deliver a lecture in the INSIDE/OUT series at The School of Art, Architecture & Design at Leeds Beckett University. Great thanks to Simon Morris, Leeds-Beckett University and the Laurence Sterne Trust for making my visit possible. The entire lecture is now available online, and you can watch it here . .

new from No PRESS:

aeiou by Franco Cortese

Produced in a limited edition of 50 copies, 20 of which are for sale.


to order, please email derek beaulieu at

from the author’s afterword: “aeiou is an attempt to venture as close as possible to the lipogrammatic limits of language. Each of the poems in this small chapbook comprise a multilingual lipogram composed exclusively of the collected one-letter words of each of the five vowels in the English language, borrowed from a wide variety of languages and strung together according to the structures of English grammar. As such, these poems are also an attempt to embody the limit case of lipograms, in the sense that they each eschew the use of all letters save one. Each lipogrammatic poem is followed by its cognate English translation. The majority of these poems are necessarily multilingual, with the exceptions of “è” and “-i”, which are composed of the Romanized “pinyin” and “rōmaji” transcriptions of Chinese and Japanese logograms, respectively.”

This winter I had the opportunity to spend a week guest teaching students at the  School of Art, Architecture and Design at Leeds Beckett University. With students Christopher Allen-Geraghty, Rosie Blyth, Lauren Brown, Isaac Goode, Ben Newbould, Athanasios Raptis, Jaydon Rowbottom, Thomas Small, Harvey Steele and Imogen Wood (with great thanks to Simon Morris and Jo Hammil; and Christian Bok for contributing a inspiring text for the graduates   ) we created a series of visual images which are now being used to promote the graduate exhibit … welcome to BEAUTIFUL THINKING!


Whether attempting to stem boredom during a long trip or experiencing the excitement of exploring historical time periods or far-away places, the pre-digital toy View-Master served as a transport to another place. Like writing, it was a way of seeing. Along the way, it provided delight and entertainment.

Kursiv #1-7 exhaustively uses every letter from a single sheet of dry-transfer lettering to create a suite of fragile typographic snowflakes. Each image, suspended within glassine film as part of a View Master slide, suggests a logo for an impossible business – or an alien script – caught between one dead media and another.