Edward Kulemin’s Cash Register Poems are presented in a simple 3×5.5″ single stapled bundle. 9 pages, full colour, printed on one side–replicating the common sight of end of the night receipts collected and stapled at our favourite stores.
This collection of asemic writing brings us into the heart of our purchasing centered lives where our movements leave a paper trail. Kulemin, having picked up this paper we accumulate, has reengaged these non-creative sites of record with invigorating graffiti–in this case the language of exasperation, and hope.
‘Cash Register Poems’ by Edward Kulemin (Domestic/Canada)
‘Cash Register Poems’ by Edward Kulemin (International)
Amanda Earl’s The Book of Ruth is an 8.5×8.5″ chapbook of 6 sheets of cardstock, printed on one side. With a simple cover and back of reflective gold coloured cardstock, the chapbook is bound with loose binder rings.
Amanda Earl’s series, The Vispo Bible, which has been appearing in serial through various small presses, is an ongoing project in which Earl, confronting the Holy Bible, reshapes the Old and New Testaments. Book by book, chapter by chapter, Earl presents a re-imaged feminist vision of these patriarchal texts by digitally sculpting each chapter into strikingly sensual visual poems. Here is the Book of Ruth.
‘The Book of Ruth’ by Amanda Earl (Domestic/Canada)
‘The Book of Ruth’ by Amanda Earl (International)
May Bery’s work Confinement/Trespass has been published in an edition of 30 broadsides (18×24″). Following the signs, the work has been folded similarly to a road map.
Using a map of Richmond, Quebec as a starting point and canvas/page, May Bery has intervened in and interrupted the placid function of the map with her asemic paragraphs and bold borders. The paragraphs create isolated language zones which in turn echo Arabic, mathematical signs (the universal language), and noise. Confinement/Trespass does more than suggest the tie of language to identity and identity to belonging–it asserts the presence of peoples, the feeling of trespass and the fact of diversity.
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 round head fastener 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.
‘Fragmentum’ by derek beaulieu [Domestic/Canada]
‘Fragmentum’ by derek beaulieu [International]
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, ADDDA, [Domestic/Canada] FOLDED
Sacha Archer, ADDDA, [Domestic/Canada] UNFOLDED
For international orders please email simulacrumpress at gmail dot com and we can determine the shipping cost.
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, ‘The Penman, A Serious Writer’, [Domestic/Canada]
Dawn Nelson Wardrope, ‘The Penman, A Serious Writer’, [International]
Simulacrum Press presents 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.
‘on tractatus one’ by Jaap Blonk (Domestic/Canada)
‘on tractatus one’ by Jaap Blonk (International)
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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