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.
‘Erth’, by Hart Broudy [Domestic/Canada]
‘Erth’ by Hart Broudy [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]
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.
‘translating translating apollinaire’ by Gary Barwin [Domestic/Canada]
‘translating translating apollinaire’ by Gary Barwin [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
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