No Press is excited to announce the publication of:

TWENTY-FIVE TYPEWRITERS

TWENTY-FIVE TYPEWRITERS brings together 25 exciting poets each exhibiting a different perspective on the typewriter as a compositional tool. TWENTY-FIVE TYPEWRITERS features work by Charles Bernstein, Ege Berensel, bill bissett, Amaranth Borsuk, Judith Copithorne, Joy Drury Cox, Brian Dedora, Paul Dutton, Amanda Hurtado, Nasser Hussain, Karl Kempton, Dirk Krecker, Brandon Locher, bpNichol, Lina Nordenstrom, Astra Papachristodoulou, Fatima Queiroz, petra schulze-wollgast, Dani Spinosa, Kevin Stebner, Hiromi Suzuki, Barrie Tullett, CDN Warren, Sam Winston, and Julia Ziegler.

This limited edition of 75 copies (only 49 of which are for sale) will go very quickly and is available for $10 including postage. To order your copy email derek@housepress.ca

New from NO PRESS!:

26 Voices / January Interlude

by Karl Kempton

a beautiful edition of 26 typewritten images, each responding to a letter of the alphabet; a tour de force.

published in an edition of 60 handsewn copies, $8 (including postage).

contact derek@housepress.ca to order

order your copy of FLOURISH OF LIBERTY, and support Shandy Hall ; an exceptional collection of visual responses to ‘The Flourish of Liberty’ in Tristram Shandy (Vol IX p.17), only 47 copies available for purchase.

“Quarters” – a tiny (2048 byte) animated visual poem by Nick Montfort and myself has just been posted as part of Taper #5 … check it out!

Ally Fleming embroidered my visual poetry on her jean jacket – cool!

New from NO PRESS:

3 LIMWRECKS FOR _____ _________OVICH

by Stuart Ross

Published in an edition of 60 handsewn copies; $3.50ea (including postage), email derek@housepress.ca to order your copy today!

New from NO PRESS!:

Un Coup de Des Jamais n’Abolira le Hasard (((Sun-O)))

by Sam Sampson

published in an edition of 60 handsewn copies, $8 (including postage).

contact derek@housepress.ca to order

“My response takes the form (scaffolding) of measuring each Mallarmé line on the page and approximating the font size. Each of my bullet pointed lines is an approximation of his line and the spatial dimension of the page represents the flow of his work. As Mallarmé’s poem is a form of metaphysical gambling, his sentences reproduce the sensation of being both in and outside time, a type of prismatic subdivision, and I wanted to respond to this rhythm and arrangement of the poem by using the original text such that each of my pages reproduces collaged text from the exact same page of Mallarmé’s poem. The Gallimard manuscript is the source, but it also brings into context a voice, a conversation from 1962 onwards where Roger’s inscription (his name) leaves a mark in time. As with Mallarmé, I wanted the fungibility of time – the timeliness of a toss of the dice and the timelessness of chance. I wanted the poem to somehow capture, as Mallarmé had described it, ‘the invitation of the great white space’, and the successive, incessant, back-and-forth motions of our eyes travelling from one line to the next, and beginning all over again.” — Sam Sampson

the new issue of The Fiddlehead features cover art by Rhys Farrell and myself: a sneak preview from our forthcoming Guillemot Press edition. (photo courtesy Alice Burdick)

i’m honoured to be part of the editorial board for INSCRIPTION: : THE JOURNAL OF MATERIAL TEXT – THEORY, PRACTICE, HISTORY. Order your copy or download free PDFs of the entire issue…

Listen to Ezequiel Zaidenwerg’s podcast as he translates my manifesto “Please no more poetry”