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order my new chapbook, “ABC – An ABeCeDarium” from Malmo, Sweden’s Timglaset editions

Do you remember your first alphabet? It might have come in the shape of a book with funny pictures depicting animals and objects beginning with a, b, c etc. Or maybe it was a school poster with all the letters, both capitals and lowercase, in an easy to read font. The alphabet is forever inscribed in all of us as the beginning of all reading and writing and that is what makes Derek Beaulieu’s ABC – An ABeCeDarium so special. It’s not an alphabet for novices but rather one for those who are eager to relearn what an alphabet can be and how it can be used.

In ABC Beaulieu uses two outmoded techniques – ink and dry transfer letters – to create an alphabet which is far removed from the one we learned at school but no less beautiful. The dry transfer letters are old and seem to be falling apart, their outlines fractured and parts of individual letters missing completely, creating a kind of beauty which is perfectly in tune with a society where the meaning of words and sentences seem to be crumbling. The ink adds another layer of refreshing destruction to these ragged letters. Blots, splashes and stains further obscure their original shapes. This is indeed an ABeCeDarium, an alphabet so original and strange that it requires a neologism. Browsing through a list of words with the same suffix I stop at crematorium, planetarium and sanitorium. They seem all to have some sort of kinship with Beaulieu’s ABeCeDarium.

Derek Beaulieu, ABC – An ABeCeDarium, 32 pages with 26 plates printed in black and white, handbound with a handmade cover. Edition of 99 copies. 8 EUR + postage.

Photographs of my translation / resetting of Mallarme’s “Un Coup de Des” currently on exhibit at the 48th Poetry International Festival – Rotterdam (photos courtesy Amy Catanzano).

 

George Elliott Clarke, Canada’s Parliamentary Poet Laureate, features my work in his “Poem of the Month” series . . .

“Tin Soldiers” — one of my typewriter concrete poems, animated by Arn McBay

download Michiel Koelink, Jon Ståle Ritland and David Jonas’s 3DPoetryEditor & write in virtual space.

Mallarme’s “Un Coup de Des” (here in English translation by Robert Bononno and Jeff Clarke from the 2015 Wave books edition) is a foundational text for the exploration of page design, typography & type size and the tension of varied directions in reading. Using 3DPoetryEditor , I have tossed Mallarme’s poem in to the tempest of stormy digital waves, the lines of the poem left to eddy and crash against each other, creating a whirling tension of recombinant text.

 

Watch  my translation of Un coup de Des … [youtube 15:10-16:12)

Why is regular poetry so safe, and what is experimental poetry going to do about it? This week it’s all about visual poetry on No Good Poetry‘s Podcast, so make sure to follow the show notes and see what we are talking about. We are joined by Derek Beaulieu, visual poet and curator of the visual poetry section on UbuWeb. 

CBC Radio Calgary includes my entreaties to students in “so what’s your spiel?“18555960_10158700879445704_1402173398318773445_n.jpeg

 

NOW AVAILABLE FOR PRE-ORDER!

Derek Beaulieu’s a, A Novel is an erasure-based translative response to Andy Warhol’s eponymous novel. Beaulieu carefully erases all of the text on each page of the original work, leaving only the punctuation marks, typists’ insertions and onomatopoeic words. The resultant text is a novelistic ballet mécanique, a visual orchestration of the traffic signals and street noise of 1960’s New York City. This
visually powerful half score/half novel highlights the musicality of non-narrative sounds embedded within conversation.

Published in the autumn of 1968, Andy Warhol’s a, A Novel consists solely of the transcribed conversations of Factory denizen Ondine (Robert Olivo). Ondine’s amphetamine-addled conversations were captured on audiotape as he haunted the Factory, hailed cabs to late-night parties and traded gossip with Warhol and his coterie. The tapes were transcribed by a small group of high school students. Rife with typographic errors, censored sections, and a chorus of voices, the 451 pages of transcription became, unedited, “a new kind of pop artefact”. These pages emphasize transcription over narration, chance over composition.

In his book, Derek Beaulieu offers a radical displacement of Andy Warhol’s work. He erases the novel’s speaking characters — members  of the mid-1960s New York avant-garde — and preserves only the musicality of their conversations. Beaulieu perfectly provides a tangible example of Theodor Adorno’s theory elaborated in his essay “Punctuation Marks” (1956), in which he argues that punctuation marks are the “traffic signals” of literature and that there is “no element in which language resembles music more than in the punctuation marks”. This visual poetry is accompanied by an essay by Gilda Williams, “Breaking Up is Hard to Do. Men, Women, and Punctuation in Warhol’s Novel a”. Her deep knowledge of both Andy Warhol’s work and the history of contemporary art explores the complicated history of the original novel and highlights the urgent and precise spirit of Derek Beaulieu’s work—the work of an artist who situates Uncreative Writing at the core of contemporary literature and also shows in his book a feminist gesture.

Commissioned by Jean Boîte Editions, a, A Novel is an unseen project that explores the most contemporary forms of Uncreative Writing in an impressive set of 451 pages of visual poetry. a, A Novel is the first book by Derek Beaulieu published in France.

Was very excited to be part of the final dinner in the Making Treaty 7 Common Ground Dinner Series last night. Making Treaty 7 explores the historical significance of the events at Blackfoot Crossing in 1877, while investigating the consequences and implications of Treaty 7, 140 years later. Over a fabulous meal at the Tsuu T’ina Nation’s Grey Eagle Restaurant we discussed the artistic and cultural implications of Treaty 7 and how we perceive the land.

At the dinner I premiered my artistic response to Making Treaty 7:

For the creation of Seven Approximate Circles, the seven participants in the “Safety & Security” discussion group of the Common Ground Dinner Series were asked to bring a small pebble from “home” (however they defined the word). I then traced each pebble once with ink diluted in the water of Calgary’s Bow River (and applied with a horse hair brush) and six additional times with graphite – 7 tracings per pebble. Echoing the treaty number of the Calgary region (Treaty 7), the 7 sacred teachings and the changing vision of home; Seven Approximate Circles leaves their gestures open, searching for closure; lines bent in healing discussion.

 

 

 

 

 

 

 

 

This final dinner also included work by a number of artists, including an installation by Tamara Cardinal on the crest behind Grey Eagle