Xexoxial editions has just published a selection of my visual poetry entitled Kern as the latest issue of Xerolage Magazine …. check it out!
Lori Emerson and I are proud to have edited Writing Surfaces: Selected Fiction of John Riddell through Wilfrid Laurier University Press. Copies are now available to order through your local independent bookstore.
No Press is proud to announce the release of three new publications:
“Exercizes (Louis-Ferdinand Céline)” by Ola Ståhl — a trio of typewriter-based visual translations of Céline; published in a limited edition of 60 copies (only 28 of which are for sale). Each copy if handsewn into hand-typed, found paper covers.
“Uncreative Manifesto (2005)” by Nyein Way — a manifesto of conceptual writing from Myanmar and the basis for Way’s investigation of the international potential of conceptual writing. Produced in a limited edition of 80 copies (of which only 38 are for sale).
“Manifesto of Yellowism” by Marcin Lodyga and Vladimir Umanets. The key document in the emergence of “Yellowism“, the internationally notorious “autonomous phenomenon in contemporary culture.” Produced in a limited edition of 80 copies (of which only 38 are for sale).
All three of these limited edition items are now available for $6 total (including postage); please email derek@housepress.ca to order copies.
For the last two years I have posted my “most engaging books” list (2011’s list, 2010’s list) with a selection of what i considered the most fascinating / useful / generative books of the year. Seek out these volumes, every one will reward the search (and your local, independent, bookstore can help…). This is the cream of the crop for 2012:
Jaap Blonk Traces of Speech / Sprachspuren. (Berlin: Hybriden-Verlag.)
Amaranth Borsuk. Handiwork. (New York: Slope.)
Amaranth Borsuk and Brad Bouse. Between Page and Screen. (Los Angeles: Siglio.)
Sophie Calle. The Address Book. (Los Angeles: Siglio.)
Natalie Czech. I have nothing to say. Only to show.(Leipzig: Spector Books)
Johanna Drucker. Druckworks: 40 years of Books and Projects. (Chicago: Columbia College)
Craig Dworkin, Simon Morris and Nick Thurston. Do or DIY. (York: information as material.)
Emma Healey. Begin with the End in Mind. (Winnipeg: Arbeiter Ring.)
Dennis Lee. testament. (Toronto: House of Anansi.)
Edouard Leve. Autoportrait. trans. Lorin Stein (London: Dalkey Archive Press.)
Silvio Lorusso and Sebastian Schmieg. 56 Broken Kindle Screens. (print on demand.)
Jena Osman. Public Figures. (Middletown: Wesleyan UP)
Tom Phillips. A Humument. 5th edition (London: Thames and Hudson.)
Nicola Simpson, ed. Notes from the Cosmic Typewriter: The Life and Work of Dom Sylvester Houédard. (London: Occasional Papers)
Barrie Tullett. A Poem to Phillip Glass. 2nd edition. (York: The Caseroom Press.)
The kind folks at in edit mode press have sent some photographs of some of the pieces in the new edition of Local Colour : Ghosts, variations
Pre-order your copy now at a discount : €50.
Seen of the Crime: essays on conceptual writing [PDF] is now online through ubuweb (and thank you so much to Snare Books for the original edition):
No press is proud to announce the publication of Last Words from ‘Sentences My Father Used’ by Charles Bernstein.
Produced in a limited edition of 80 handbound copies, Last Words from ‘Sentences My Father Used’ is produced on 4 gate-folded long, narrow pages.
“Last Words from ‘Sentences My Father Used’ takes the final word in each of the 179 lines of “Sentences My Father Used” from Controlling Interests (New York: Roof Books, 1980, reprinted 2004). It is published here for the first time and will be collected in Recalculating (Chicago: University of Chicago Press, 2013).” — Charles Bernstein.
Last Words from ‘Sentences My Father Used’ is available for $5. Please email derek@housepress.ca to order.
The publication of bill bissett’s Rush: what fuckan theory; a study uv language in 1972 firmly ushered Canadian poetics into the postmodern era. Out of print for 40 years – and reissued here complete with an interview with bissett about the book’s creation and a critical afterword by derek beaulieu and Gregory Betts – Rush embodies a collagist, multi-conscious approach to art that recognizes no division between the work and the world, the author and his sexuality, his breath, his influences; the theory and the practice. Arguing that “a new line has started,” Rush captures the urgency of a new model of production that resists the closure and mastery of any one mind. It is an elegant rejection of aesthetic ego and all presumptions of authority. Rush: what fuckan theory; a study uv language is a vital, vocal protest against business as usual and the exploitation of the individual from one of Canada’s most important avant-garde poets.
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