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Quill pen, linotype, computer: does howyou write affect whatyou write? In with wax, derek beaulieu spurns the sentence and woos the phrase, the image and the language of printing, weaving fragments together to address the question of how publishing and printing affect writing. The result is a series of poems - marvellous hybrids of visual, Language and lyrical poetry - that are sure to im press.
In the late 1960s, Andy Warhol set out to turn an ordinary book into a piece of pop art. He said that he wanted to create a 'bad' novel 'because doing something the wrong way always opens doors'. The result was this astonishing account of the famously influential group of artists, superstars, addicts and freaks who made up the world of Warhol's Factory. It begins with the fabulous Warhol superstar Ondine popping pills and follows its characters as they converse with inspired, speed-driven wit and cut swathes through the clubs, coffee shops, hospitals and whorehouses of 1960s Manhattan.
Poetry. Art. Proposed as a collection of imaginary logos for the corporate sponsors of Borges' Library of Babel, KERN balances on a precipice between the visual and nonsensical, offering poems just out of meaning's reach. Using dry- transfer lettering, derek beaulieu made these concrete pieces by hand, building the images gesturally in response to shapes and patterns in the letters themselves. This is poetry closer to architecture and design than confession, in which letters are released from their usual semantic duties as they slide into unexpected affinities and new patterns. KERN highlights the gaps inside what we see and what we know, filling the familiar with the singular and the just seen with the faintly remembered.
Since the beginning of his poetic career in the 1990s, derek beaulieu has created works that have challenged readers to understand in new ways the possibilities of poetry. With nine books currently to his credit, and many works appearing in chapbooks, broadsides, and magazines, beaulieu continues to push experimental poetry, both in Canada and internationally, in new directions. Please, No More Poetry is the first selected works of derek beaulieu. As the publisher of first housepress and, more recently, No Press, beaulieu has continually highlighted the possibilities for experimental work in a variety of writing communities. His own work can be classified as visual poetry, as concrete poetry...
This short fiction collection is a paradigm of prosody where writing is sampling, borrowing and cutting-and-pasting, a mash-up meets literature.
In Writing Surfaces, derek beaulieu and Lori Emerson present a collection of John Riddell’s work. Riddell’s poems and short stories are a remarkable mix of largely typewriter-based concrete poetry mixed with fiction and drawings. Riddell’s oeuvre fell out of popular attention, but it has recently garnered interest among poets and critics engaged with media studies (especially studies of the typewriter) and experimental writing. Riddell is best known for his short fiction pieces “H” and “Pope Leo: El Elope,” a pair of graphic fictions written in collaboration with, or dedicated to, bpNichol. However, his work moves well beyond comic strips into a series of radical fictions. Ridd...
beaulieu pushes the limits of poetry and poetics, challenging the status quo of the genre and the politics of language.
Manifestos by artists, authors, editors, publishers, designers, zinesters explore publishing as artistic practice. Contributors AND Publishing, Oswald de Andrade, Archive Books, Art-Rite, Rasheed Araeen, Tauba Auerbach, Michael Baers, Bibi Bakare-Yusuf, Ricardo Basbaum, Derek Beaulieu, Bernadette Corporation, Riccardo Boglione, Bombay Underground, Jorge Luis Borges, bpNichol, Kate Briggs, Broken Dimanche Press, Eleanor Vonne Brown, Urvashi Butalia, Ulises Carrión, Mariana Castillo Deball, Paul Chan, Chimurenga, Arpita Das, Anita Di Bianco, Guy Debord, Constant Dullaart, Craig Dworkin, Ntone Edjabe, Zenon Fajfer, Marina Fokidis, General Idea, Annette Gilbert, Girls Like Us, Gloria Glitzer, M...
Since the beginning of his poetic career in the 1990s, derek beaulieu has created works that have challenged readers to understand in new ways the possibilities of poetry. With nine books currently to his credit, and many works appearing in chapbooks, broadsides, and magazines, beaulieu continues to push experimental poetry, both in Canada and internationally, in new directions. Please, No More Poetry is the first selected works of derek beaulieu. As the publisher of first housepress and, more recently, No Press, beaulieu has continually highlighted the possibilities for experimental work in a variety of writing communities. His own work can be classified as visual poetry, as concrete poetry...