Archives for posts with tag: counterpath

FullSizeRenderOnce again, December brings an opportunity to reflect upon the year’s publications. Like previous years, my “most engaging books” list is idiosyncratic and reflects what i found most fascinating / useful / generative. Seek out these volumes, every one will reward the search. Your local, independent, bookstore can help…. This is the cream of the crop for 2015, seriously:

  • Allemann, Urs. (trans. Patrick Greaney). The Old Man and the Bench. (Dalkey Archive Press)
  • Bök, Christian. The Xenotext (Book 1). (Coach House Books)
  • Brossard, Nicole. (trans. Angela Carr). Ardour. (Coach House Books)
  • Cage, John. Diary: How to Improve the world (You will only make matters worse). (Siglio)
  • Carmody, Teresa and Vanessa Place. Maison Femme: a fiction. (Bon Aire Projects)
  • Cobbing, William and Rosie Cooper, eds. Boooook: The Life and Work of Bob Cobbing. (Occasional papers)
  • Dworkin, Craig. Alkali. (Counterpath)
  • Garréta, Anne. (trans. Emma Ramadan). Sphinx. (Deep Vellum)
  • Goldsmith, Kenneth. Capital: New York, Capital of the 20th Century. (Verso)
  • Goldsmith, Kenneth. Theory / Théorie. (Jean Boîte Éditions)
  • Reznikoff, Charles. Testimony: The United States (1885-1915): Recitative. (finally reprinted from the 1978 edition by Black Sparrow)
  • Sousanis, Nick. Unflattening. (Harvard UP)
  • Levé, Edouard. (trans. Jan Steyn & Caite Dolan-Leach). Newspaper. (Dalkey Archive Press)
  • Waeckerlé, Emmanuelle. Reading (Story of) O. (Uniformbooks)
  • Worth, Liz. No Work Finished Here: Rewriting Andy Warhol. (Bookthug)
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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.