Latenza is a 8.5×14″ broadside by Francesco Aprile. It has been produced in an edition of 50.
In Latenza, Francesco Aprile’s glitch work harnesses the moment between desire’s push and the point of arrival, redefining that very point of arrival where the fulfillment of action has already gone too far. Considered in the field of visual poetics might this be an echo of the space between word and meaning, thought and writing? Suspended in the between where mood dominates, there is a sense of moving toward an ambient poetics.
Francesco Aprile (Lecce, Italy) is freelance journalist, poet and visual-poet, essayist. In 2010 he became member of the literary movement called New Page-Narrativa in store, that has founded in 2009 by Francesco Saverio Dòdaro; he worked as a press agent, secretary, editing exhibition and critical works of the authors belonging to this movement. Since march 2013 the cure of this movement has been at two voices: F. S. Dòdaro-F. Aprile, but currently he is the director of New Page (since august 2016). In April 2011 he founded the group of artistic research Contrabbando Poetico, subscribing the first manifesto. He is the co-founder of Unconventional Press (2012, with Cristiano Caggiula) and the magazine of experimental languages www.utsanga.it (2014, with Cristiano Caggiula). He is the author of code poetry/poetic algorithm (since 2010), asemic cinema/asemic film (since february 2016), visual poetries, asemic writing, glitch and literary glitch, asemic-glitch writing, theory about informatic-poiesis and informatic punctuation, theory about latency in literature (Exegesis of a renunciation and so on), writing error, abc asemic book. Since 2016 he is included in ADA-Archive of digital art (Danube University, Krems).
Latenza can be purchased here.
ADDDA is a 12×17″ print by Sacha Archer. The last of three works printed in Tianjin, China, ADDDA has been produced in an edition of 25 copies.
Chosen from an ongoing series of collages by Sacha Archer, ADDDA continues Archer’s exploration of compositional techniques as applied to concrete poetry. In his collage work, the animal (and representational) is always trying to push through–sometimes more, sometimes less evidently. In these works, and ADDDA is no exception, there is a persistent tension between the letter, form and gesture.
Sacha Archer is a writer and visual artist, as well as being the editor of Simulacrum Press. Archer’s first full-length collection of poetry, Detour, was published by gradient books (2017), followed by Zoning Cycle (Simulacrum Press, 2017). His most recent chapbooks are 2068 (Simulacrum, 2018), 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 Ontario, Canada.
ADDDA can be purchased here.
Dawn Nelson Wardrope’s chapbook, The Penman, a Serious Writer is a 13 page, perfect bound chapbook of visual poems. The second of two full colour chapbooks which were printed in Tianjin, China while editor Sacha Archer was “on vacation” (the first being Jaap Blonk’s on tractatus one), Wardrope’s chapbook has been printed in an edition of 50 numbered copies.
Within the pages of The Penman, a Serious Writer, Dawn Nelson Wardrope has crafted a series of visual poems which take the form of vortexes and organic movements. Juxtaposed with these are poems which echo the traditional line in their linear layout, but which, anchored resolutely in the visual, radiate a pulse and aura where punctuation and the letter, dislodged from the sentence and the word, do all the heavy lifting.
Dawn Nelson Wardrope is a visual poet. Her work comes to us in many different forms. A concrete poet, a collage artist and a mail art enthusiast, Dawn is the author of Remnants of the Red Ribbon Sect and Fisherwoman. Much of her work has been published in magazines such as Sonic Boom (cover artist also), Angry Old Man, Experiment-O, Utsanga, Otoliths, Timglaset and Renegade. Her work is widely seen on Facebook where she publishes regularly.
The Penman, A Serious Writer can be purchased here.
Simulacrum Press presents it’s 9th publication, on tractatus one, by Jaap Blonk. A 7×7″ perfect bound chapbook of 24 pages in full colour, on tractatus one has been printed in an edition of 55 numbered copies.
Looking back to his days as a young student, Jaap Blonk, in his on tractatus one, revisits Ludwig Wittgenstein’s Tractatus Logico-Philosophicus in a series of visual meditations which focus on the first statement of that text. Within on tractatus one the reader finds that much debated statement, “The world is all that is the case” in a number of permutations from which Blonk has produced stunning visual translations via mathematical sequences.
Jaap Blonk (born 1953 in Woerden, Netherlands) is a self-taught composer and poet. His unfinished studies in mathematics and musicology mainly created a penchant for activities in a Dada vein, as did several unsuccessful jobs in offices and other well organized systems. In the early 1980s he discovered the power and flexibility of his voice, and set out on a long-term research of phonetics and the possibilities of the human voice. At present, he has developed into a specialist in the creation and performance of sound poetry, supported by a powerful stage presence. He performs and gives workshops worldwide on a regular basis. With the use of live electronics the scope and range of his work has acquired a considerable extension. From his sound poetry scores he developed an independent body of visual work, which has been published and exhibited.
on tractatus one can be purchased here.
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.
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 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 (email@example.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.
Simulacrum 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.
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.
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.
Ham Hat So Off can be purchased here.