Simulacrum Press #8: ‘Tanka, Vol. 1’ by Eileen R. Tabios

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Tanka Vol. 1, by Eileen R. Tabios, is Simulacrum Press’s second March chapbook publication. Tabios’s Tanka, Vol. 1 is a tall, slender chapbook of 20 pages, saddle stitched and printed in an edition of 75 numbered copies.

In Tanka, Vol. 1, prolific poet and reader, Eileen R. Tabios, investigates the classical Japanese tanka form. Presenting a scope of work, from her early engagements with the form to increasingly stylized experiments, a progression of possibility opens in the arena of stricture. Where in the initial section we find the poems following the traditional form (as it manifests when romanized), for the following sections Tabios utilizes her MDR (Murder Death Resurrection) Poetry Generator to set the stage for reconfiguration, then excavation.

Eileen R. Tabios loves books and has released over 50 collections of poetry, fiction, essays, and experimental biographies from publishers in nine countries and cyberspace. Her other 2018 poetry collections include HIRAETH: Tercets From the Last Archipelago; MURDER DEATH RESURRECTION: A Poetry Generator; and One, Two, Three: Selected Hay(na)ku Poems. She is the inventor of the poetry form “hay(na)ku” whose 15-year anniversary was celebrated at the San Francisco Public Library in 2018. Translated into eight languages, she also has edited, co-edited or conceptualized 15 anthologies of poetry, fiction and essays as well as served as editor or guest editor for various literary journals. Her writing and editing works have received recognition through awards, grants and residencies. More information is available at http://eileenrtabios.com

Tanka, Vol. 1 can be purchased here.

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Simulacrum Press #7: ‘2068’ by Sacha Archer

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Simulacrum Press releases it’s first chapbook of the month of March (of which there will be two). Sacha Archer’s 2068 is a pocket sized chapbook produced in an edition of 55 numbered copies each running 52 pages (printed on one side).

Time and the poem. Time and life. Whichever way you come at it, time molds the state of matter, it’s perceived value, it’s relevance. Does the poem increase in value with time—is the poet aiming for immortality? 2068 uses the time limit of expiration dates to observe the poem under pressure. How does the poem on page change when it has expired, when it’s only content is it’s allotted life-span? And when it has expired—has it? Also, inevitably, 2068 is a mirror of our own mortality.

Sacha Archer is an ESL instructor, childcare provider, and writer, as well as being the editor of Simulacrum Press (simulacrumpress.ca). His work has appeared in journals such as filling Station, h&, Politics/Letters, Queen Mob’s Teahouse, NōD, Timglaset, Utsanga, Matrix, Uut Poetry and Otoliths. Archer’s first full-length collection of poetry, Detour, was recently published by gradient books (2017), followed by Zoning Cycle (Simulacrum Press, 2017). His most recent chapbooks are, Philosophy (Simulacrum Press, 2018), The Insistence of Momentum (The Blasted Tree, 2017), and upROUTE (above/ground press, 2017). He has a chapbook of visual poems forthcoming from Inspiritus Press entitled TSK oomph. He reviews, interviews and writes what he pleases at sachaarcher.wordpress.com. Archer lives in Burlington, Ontario.

2068 can be purchased here.

 

 

Simulacrum Press #6: ‘Running credit checks with no shame now’ by Daniel f. Bradley

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Simulacrum Press enthusiastically let’s loose on the world Daniel f. Bradley’s Running credit checks with no shame now. Printed in an edition 45, this colourful, saddle stitched chapbook spans 38 pages.

With it’s title lifted from the lyrics of Nelly’s Ride with Me, Daniel f. Bradley puts forth Running credit checks with no shame now. Using ‘the’ as a sign post, Bradley navigates a mass of lines encountered on the information highway to compose a driving poetic sequence framed by a question of ownership, possession, and the hierarchy which arises from these. Punctuated by Bradley’s continuing refusal to claim copyright, the spirit of open sharing dreams a mobility where borders/limits are a tool of creation, not of restriction.

Daniel f. Bradley has been writing and making books since the mid 1980’s in Toronto. He has a couple of collections of poetry, including the sharp corners, (the expert press, 1999) and pornographic novel (fdriveshesaid@gmail.com, 2014). Bradley is a staunch supporter of the independent d.i.y. small press, having almost the entirety of his published work from the micro section of the small press petri dish. He lives with his girlfriend and their almost teenage daughter.

Running credit checks with no shame now can be purchased here.

 

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Simulacrum Press #5: ‘9 Sonic Malfunctions’ by Rosaire Appel

Scan2018-01-24_110552_005Simulacrum Press is proud to release its fifth publication (and second of 2018), 9 Sonic Malfunctions by Rosaire Appel. Printed in an edition of 50, Malfunctions is a fine 20 page, saddle stitched chapbook.

Starting with Rosaire Appel’s 2012 publication, See Songs, this 20 page chapbook, 9 Sonic Malfunctions, continues Appel’s investigation into the belief that not only can the eye see, but also hear. Comprised of 9 scores, the intensity of the line in Malfunctions will submerge you in these visual/aural landscapes where our base concepts of reading and sensory function are challenged.

 

Rosaire Appel is a digital artist/ photographer/ writer and analog draw-er. She lives and works in New York. Appel uses language as a fluid substance capable of assuming any form… Her investigations often originate in ink drawings that are later assembled in visual books. Recent books include “Marking Time” published by Press Rappel, “Intersections” an abstract comic travelogue, published by Adverse (Paris), and ‘Zinc Zanc Zunc, an asemic conjugation’  published by Post-Asemic Press. Appel’s drawings and prints have been in many local and international exhibits. Her website is: www.rosaireappel.com

9 Sonic Malfunctions can be purchased here.

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Simulacrum Press #4: ‘Philosophy’ by Sacha Archer

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Simulacrum Press presents Philosophy, a chapbook of visual poems by Sacha Archer. Printed in an edition of 50, Philosophy was produced with 5 different colour covers, each with a unique scrap torn from a book of philosophy which had fallen into disrepair.

In Philosophy, Archer takes Arthur Rimbaud at his word when he writes “…we have Medicine and Philosophy, household remedies and folk songs rearranged“. Cutting and rearranging the lyrics of popular folk songs as they appear on their respective album jackets, a short series of crawling visual poems have been composed.

Sacha Archer is an ESL instructor, childcare provider, writer, and visual artist, as well as being the editor of Simulacrum Press (simulacrumpress.ca). His work has appeared in journals such as filling Station, h&, BlazeVox, illiterature, NōD, Timglaset, UTSANGA, Matrix, Word for/Word and Otoliths. Archer’s first full-length collection of poetry, Detour, was recently published by gradient books (2017), followed by Zoning Cycle (Simulacrum Press, 2017). His most recent chapbooks are, The Insistence of Momentum (The Blasted Tree, 2017), and upROUTE (above/ground press, 2017). He has a chapbook of visual poems forthcoming from Inspiritus Press entitled TSK oomph. He reviews, interviews and writes what he pleases at sachaarcher.wordpress.com. Archer lives in Burlington, Ontario.

Philosophy can be purchased here.

 

Simulacrum Press #3: ‘Ham Hat So Off’, by John M. Bennett

 

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On the heals of the last Simulacrum publication comes a poster of a captivating visual poem, Ham Hat So Off, by the revered John M. Bennett. Published in an edition of 10 full-colour posters, each 20×26″ on 230 lb paper.

Bennett needs no introduction. Prolific visual/ avant-garde poet who just can’t help but produce breath-takingly fresh, raw, intense work. Ham Hat So Off is no exception. This work, presenting a pair of calligraphic scrawls, reminiscent, in their presentation, of Asian calligraphies on hanging scrolls exhibits the fine tuned chaos of Bennett’s signature hand.

John M. Bennett has published over 400 books and chapbooks of poetry and other materials. He has published, exhibited and performed his word art worldwide in thousands of publications and venues.  He was editor and publisher of LOST AND FOUND TIMES (1975-2005), and is Founding Curator of the Avant Writing Collection at The Ohio State University Libraries. Richard Kostelanetz has called him “the seminal American poet of my generation”. His work, publications, and papers are collected in several major institutions, including Washington University (St. Louis), SUNY Buffalo, The Ohio State University, The Museum of Modern Art, and other major libraries. His PhD (UCLA 1970) is in Latin American Literature. His latest books are Select Poems, Poetry Hotel Press/Luna Bisonte Prods, 2016; The World of Burning, Luna Bisonte Prods, 2017; Poemas visuales, con movimientos con ruidos con combinaciones (with Osvaldo Cibils), Deep White Sound, 2017; and The Sweating Lake, Luna Bisonte Prods, 2017.

www.johnmbennett.net
http://library.osu.edu/sites/rarebooks/avantwriting/
http://www.lulu.com/spotlight/lunabisonteprods
http://johnmbennettpoetry.blogspot.com/

 

Ham Hat So Off can be purchased here.

Simulacrum Press #2: ‘Ululation’ by Robert Keith

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Simulacrum Press is excited to present its second publication, a substantial chapbook of more than 50 pages: Robert Keith’s Ululation. Produced in an edition of 75 copies with sewn binding.

To define a word one must use more words. Let me explain… but, as Robert Keith begins his long poetic tumble down the rabbit hole of language, “where to begin…”? Just as Alice tumbled, bewildered, down the earthy throat of associations, so does the reader of Ululation, a web of language that is self-propelling and unforgiving. A dizzying investigation into meaning and clarity in the midst of absurdity.

R. Keith is a persona that works with visuals, texts, poetics, fiction, and exophonic writing. He is the author of four collections of poetry, and five chapbooks. His collection of Visual poetry Chicken Scratch was published in 2017 (eyeameye books) Forthcoming is his 1st novella in 2018.

Ululation can be purchased here.

 

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Simulacrum Press #1: ‘Zoning Cycle’ by Sacha Archer

IMG_4971The inaugural publication from Simulacrum Press is Sacha Archer’s Zoning Cycle. It is in an edition of 5 boxes. Each box contains 370 light-weight, loose cards.

In Zoning Cycle, each day of the year is allocated a unique set of 4 co-ordinates. Each set of co-ordinates acts to demarcate an event-zone which is active only on its given day. All speech which occurs within an active event-zone is part of the poem; a poem located somewhere between the imagined and the actual.

Sacha Archer is an ESL instructor, childcare provider, writer, and visual artist.. His work has appeared in journals such as filling Station, h&, illiterature, NōD, FIVE:2:ONE, UTSANGA, Matrix, and Word for/Word. Archer’s first full-length collection of poetry, Detour, a conceptual work with the Dao De Jing as the source text, was published by gradient books (2017). His most recent chapbooks are, The Insistence of Momentum (The Blasted Tree, 2017), and upROUTE (above/ground press, 2017). He reviews, interviews and writes what he pleases at sachaarcher.wordpress.com. Archer lives in Burlington, Ontario.

Zoning Cycle can be purchased here.

 

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SIMULACRUM

Simulacrum Press is now! Be… be… be… beginning! And welcome, all who somehow find yourselves at this press.

Simulacrum Press is run solely by Sacha Archer (sachaarcher.wordpress.ca). So, yes, it is a (very) small outfit and will do what it can with the means it has. I am extremely excited to see what this little experiment is to become–as it is an experiment–I am proceeding through the dark. Simulacrum will be publishing chapbooks, broadsides and ‘special projects’–and likely, a little later on, I’ll begin full-length print-on-demand collections–but not at this time.

What kind of work will Simulacrum publish? I’m looking generally for experimental, avant-garde works of POETRY POETRY and only POETRY. But what poetry is exactly… In theory I’m looking for works of poetry which do not really resemble poetry–and that that is vague is, perhaps, good.

Obviously, as time moves forward, the works published through Simulacrum will serve as more and more of a guide for the kind of work I’m looking for–hopefully never arriving at an overtly clear definition.

Who knows what will happen.

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