MODELS [of Economic Recovery] by Sacha Archer is an 7.5″x7.5″ loose leaf collection containing a suite of four rubber stamped concrete poems. It has been produced in an edition of 40 chapbooks.
The suite of concrete poems which makes up MODELS [of Economic Recovery] found its genesis in an article on CBC.ca that’s headline reads, V, W, U or L? Here’s what kind of shape Canada’s economy will be in coming out of COVID-19. The four letters, V, W, U and L were used by experts to show simplified models of possible economic outcomes. In MODELS, each concrete poem uses one of the 4 letters respectively, following the same line of thought, but with drastically different results. These are visceral and intuitive, sculptural questions of the uncertain future.
‘MODELS [of Economic Recovery]’ by Sacha Archer [Domestic/Canada]
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‘MODELS [of Economic Recovery]’ by Sacha Archer [International]
In July, 2019, Simulacrum Press was proud to publish knewro suite by Ottawa based poet nina jane drystek. knewro suite, as a print publication is comprised of three stark and striking concrete poems which serve as scores for sound poems. At the time of publication there was no extant recording of the sound poems–the scores could be viewed, the articulation of them imagined. Long awaited, drystek has released a recording of the suite (with an added sound poem, wennow) on bandcamp as performed by Conyer Clayton, jw curry, Chris Johnson and, of course, drystek herself. The delay in the performance and recording of knewro suite was not due to a lack of effort—on the contrary—it was a dedication to a successful performance of the pieces which are, according to jw curry and Chris Johnson, remarkably difficult. Open your earmind and let your ear drum, because knewro suite does not disappoint.
Listen and/or purchase the recording of knewro suite HERE. Purchase the print publication of knowro suiteHERE.
Found Words From Olivetti by hiromi suzuki is an 8.5″x8.5″ 12 page chapbook which consists of 10 typewriter poems. It has been produced in an edition of 40 chapbooks.
The 10 typewriter poems which make up Found Words From Olivetti find hiromi suzuki extracting moods and situations from the typewriter with the same seeming naturalness and ease as we have seen in her collages and gifs. That the typed concrete poems have been photographed lends them an atmosphere evocative of film noir–and indeed, a cinematic narrative does seem to surface as the reader moves through the sequence of poems.
‘Found Words From Olivetti’ by hiromi suzuki (Domestic/Canada)
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‘Found Words From Olivetti’ by hiromi suzuki (International)
Hart Broudy’s new collection, ‘Erth’ collects eight unbound 5×7″ pieces of visual/concrete poetry.
The conspicuously absent A in the title of Hart Broudy’s collection Erth gives a hint towards how the reader will encounter the alphabet in this series. While Earth can refer to both soil and planet, and certainly the textures within these pieces connect to such references, the Erth that is presented by Broudy delivers us to a different plain.
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.
Andrew Brenza’s waterlight is $20.00 (CAD) before shipping.
To purchase a copy of waterlight please contact Simulacrum editor Sacha Archer at email@example.com to determine shipping costs.
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.
Gary Barwin’s translating translating apollinaire is an 8.5″ x 11″ chapbook of 12 pages printed in an edition of 50 numbered copies.
The title translating translating apollinaire should be a little bit too familiar. Of course, bpNichol published his translation experiments, focusing on a single poem of Guillaume Apollinaire, with just this title in 1979. In fact, bpNichol’s first published poem was titled Translating Apollinaire.
Gary Barwin is one of those people lucky enough to have had the opportunity to study under Nichol. It is no surprise then that Barwin has, without masking it in any way, continued Nichol’s project of translating Apollinaire, a project which Nichol himself said was “an open-ended, probably unpublishable in its entirety, piece“. This seems about right. It is as if the concept in and of itself is a seed to an infinite number of books. Here is one of them–a great one.
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
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Sacha Archer, ADDDA, [Domestic/Canada] UNFOLDED
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For international orders please email simulacrumpress at gmail dot com and we can determine the shipping cost.