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.
‘Confinement/Trespass’ by May Bery [Domestic/Canada]
‘Confinement/Trespass’ by May Bery [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]
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.
J. Mulcahy-King, Tonopah and Tidewater (for Harry Partch), [Domestic/Canada]
J. Mulcahy-King, Tonopah and TidewaterRR (for Harry Partch), [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)
Tanka Vol. 1, by Eileen R. Tabios, is Simulacrum Press’s second March chapbook publication. Tabios’s Tanka, Vol. 1 is a tall, slender chapbook of 20 pages, saddle stitched and printed in an edition of 75 numbered copies.
In Tanka, Vol. 1, prolific poet and reader, Eileen R. Tabios, investigates the classical Japanese tanka. Presenting a scope of work, from her early engagements with the form to increasingly stylized experiments, a progression of possibility opens in the arena of stricture. Where in the initial section we find the poems following the traditional form (as it manifests when romanized), for the following sections Tabios utilizes her MDR (Murder Death Resurrection) Poetry Generator to set the stage for reconfiguration, then excavation.
‘Tanka, Vol.1’ by Eileen R Tabios (Domestic/ Canada)
‘Tanka, Vol. 1’ by Eileen R. Tabios (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)