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).
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.
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.
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]
Tonopah and TidewaterRR (for Harry Partch) is an 8.5″x11″ trifolded pamphlet with colophon by J. Mulcahy-King. It has been produced in an edition of 65 copies.
Utilizing the Chinese tonal system, J. Mulcahy-King has composed a piece with only the letter O. Mapping the articulations on a grid to correspond with instruments invented by Harry Partch, Tonopah and TidewaterRR is a sustained shifting utterance in which each shift indicates the movements of trains along the referred to line.
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.