Repetitive Poems by Catherine Vidler is an elegant collection of 4 visual poems, each in full colour. Measuring 8.5 x 5.5″, Repetitive Poems is printed on card stock and bound with a single fastener in a limited edition of 45 chapbooks.
With Repetitive Poems, Catherine Vidler gives us her love of colour and meticulous forms, honing in on the effects of repetition applied to geometric forms. Repetition, of course, is an important poetic device, harkening back to the earliest oral traditions–repetition, yes–but repetitive? Repetitive connotes monotony, something these powerful crystalline logos refuse.
‘Repetitive Poems’ by Catherine Vidler [Domestic/Canada]
‘Repetitive Poems’ by Catherine Vidler [International]
Ben Robinson’s Mumbles in Hollywood, California is an 18 page, 5.5″ x 4.25″ pocket size chapbook. Saddle stitched.
Only recently has Ben Robinson begun to experiment with language from the depths of the internet. Mumbles in Hollywood, California extracts language from closed captioned interpretations of mumbles and gibberish within vapid YouTube videos, then re-frames and re-configures that material. As Bern Porter, master of founds, once wrote, “When you are dealing with waste, how do you avoid using crude material? So, you have to find the artistic value in crude” (Found Poems, by Bern Porter).
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)
waterlight by andrew brenza is a 17×6.5″ chapbook of 10 pages printed in an edition of 45 copies.
Coupling a more traditional lyric poem with lavish spreads of concrete poetry, andrew brenza has written a sequence, a poem, that delivers you back to the natural world, the surface of a body of water, where we can gaze down and lose ourselves in the light of language, or be engulfed by its noise. Landing somewhere between the serenity of isolated nature and the white noise of a TV screen, this is a reading experience of body in place.
‘waterlight’ by andrew brenza [Domestic/Canada]
‘waterlight’ by andrew brenza [International]
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]
Volodymyr Bilyk’s Lisa Simpson Poems is a 40 page chapbook in which each page has been recovered from various discarded books. Produced in an edition of 50.
Originally intended to be paired with photographs for a project that fell through, the poems in this chapbook were delivered to the editor superimposed onto images of Lisa Simpson–hence the title. Moving to text as ambient image, Bilyk’s poems have been placed on pages from discarded books. The poems themselves are difficult to describe. The writing process which Bilyk employs–an ongoing metamorphosis of certain, now unrecognizable, texts–gives us poems which thrash language with itself. Remaining composed, the poems bleed images.
Voloymyr Bilyk ‘Lisa Simpson Poems’ (Domestic/Canada)
Volodymyr Bilyk ‘Lisa Simpson Poems’ (International)
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 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.
‘Running credit checks with no shame now’ by Daniel f. Bradley (Domestic/Canada)
‘Running credit checks with no shame now’ by Daniel f. Bradley (International)