nina jane drystek’s knewro suite, a series of 3 sound poetry scores, is printed on 10″x7.5″ pieces of cardstock. Loose leaf. Published in an edition of 45 numbered copies.
The 3 scores which comprise knewro suite, bringing us back to the grid, are each striking works of a meticulously controlled concrete poetry where the merging and collision of letters exude their sonic potential. Their strength on the page is matched by the apparent difficulty of their actual performance to which various members of Quatuour Gualuour, the sound poetry group of which drystek is a member, have attested.
‘knewro suite’, by nina jane drystek [Domestic/ Canada]
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‘knewro suite’, by nina jane drystek [International]
Reading from Underneath took place at The Printed Word in Dundas, Ontario on May 23rd, 2019. The reading was organized around a visit by Sam Roxas-Chua who had made his way up from Portland and stopped for a few days in Hamilton so that friends formerly acquainted only via social media could meet (and read) in the flesh. The Readers that night were Franco Cortese (whose beautiful chapbook Teksker I’d just published and copies of which that night handed to him,) Jericha Shepai, Gavin Le Ber, myself, Sacha Archer, and of course, Sam Roxas-Chua. It was a truly wonderful night of readings and as such I felt it would be good to make the recording available here. Thanks again to all the readers and to James McDonald for opening the space to us–and apologies to Franco as the recording was only started near the end of his reading.
Franco Cortese’s ‘teksker‘, is an 8.5″x8.5″ chapbook of 18 pages. Produced in an edition of 45.
A chapbook of intense humanity, of the naked body, Franco Cortese’s teksker (a blend of the Proto-Indo-European root *teks- (“to weave; to fabricate; to make wicker or wattle fabric for mud-covered house walls”), *sker-(1) (“to cut”) and *sker-(2) (“to turn, bend”), presents the reader with multilingual lipograms that eschew the use of all vowels entirely; line-unit anagrams and multilingual lipogramatic palindromes to name but a few of the constraints which Cortese wields. If the tower of Babel was a frustration in its flood of languages, Cortese revels in that same noise, conducting it into raw beauty.
mother wretched egg skin divination water stream wither a hole in the ground from which water can be obtained the hollow where a limb joins the trunk of an animal or tree wetnurse to believe that something will happen groping form of address to any man who is elder than you the altar stone where they hunt absent soil soul bruise wing wind to point wood old wives’ tale to egg on thought any altar for sacrifices elder brother a bad smell a collection of things associated with a person or place with love to breed well to fade what period of time half continual up to rim
aba aĉa āda afa aga aha aja aka ala ama ana apa aqa ara asa ata ava awa axa aya aza aza aya axa awa ava ata asa ara aqa apa ana ama ala aka aja aha aga afã ada acá aba
ancestors rotten leather dust to discipline river time within a winglike bone a toxic by-product of improper or incomplete digestion in a direction analogous to up but along the additional axis added by the fourth dimension to devour elder brother blood scepter shadow hole hour to align on an axis palm birthmark a section of a village I to orientate distant opening a hunting deliberately interim uncle stolen to be old ruin to give birth to root cut river to lack effort to be as of fathers
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]
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‘Repetitive Poems’ by Catherine Vidler [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.
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)
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‘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)
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.