Archives for posts with tag: visual poetry

img_2597 img_2598 img_2617 img_2610 img_2615 img_2609I am honoured that one of my visual poems has been spray-painted in the plaza next to Calgary’s Pages Books!


Spray-painted in special bio-degradable ink, this stencil will only be visible when it rains (let’s hope for a rainy autumn), the rest of the time it will be unapparent underfoot. The YYC LITERARY SIDEWALKS initiative, funded and spearheaded by Rosemary Griebel at the Calgary Public Library and Shelley Youngblut at Wordfest will eventually bring 11 different stenciled literary moments to Calgary’s streets …

George Murray’s features my visual poem “Game of Life: A User’s Manual”:


antonovskyNo Press is proud to announce the publication of a rare opportunity to gain insight in to the range of visual poetry produced in Ukraine. rarely seen in North America, these authors seek dialogue with contemporary international practice while responding to the tradition of visual poetry in Eastern Europe.

TWO FROM UKRAINE a collection of visual poems by Andrí Antonovsky and Volodymyr Bilyk

Each copy of TWO FROM UKRAINE includes:

Scobes by Volodymyr Bilyk (a 16-page visual poetry suite in a hand-stitched edition)

робота така робота by Andrí Antonovsky (a 16-page full-colour collection of Antonovsky’s visual poetry collages in a hand-stitched edition)

bilykComadots by Volodymyr Bilyk (a 4-page visual poetry suite pamphlet)

all of which are gathered in a rubber-stamped envelope and published in a strictly limited edition of 60 copies.

TWO FROM UKRAINE is now available for $12ea.

To order please email derek beaulieu

Jonathan Ball has just written a capsule review of John Riddell’s Writing Surfaces (which Lori Emerson and I edited) online at the Winnipeg Free Press:

Calgary’s Derek Beaulieu and Colorado’s Lori Emerson have selected a variety of experimental fictions by John Riddell (that most resemble visual poems) in the collection Writing Surfaces (Wilfrid Laurier, 158 pages, $20).

The title is best reading as if “surfaces” were a verb, so that the book presents an implicit argument that writing “surfaces” despite the sense that Riddell is attempting to destroy the possibility of writing. One sequence literally finds Riddell feeding poems he has written into a shredder and presenting images of the unreadable, shredded text.

Riddell’s experiments remain radical, whereas much similar work from the period seems dated. Writing Surfaces thus recovers Riddell’s reputation while reframing his oeuvre in a contemporary context.


Mount Royal University student Andrea Johnston has just posted a brief article on the challenges of close-reading visual poetry at the Canadian Creative Writers and Writing Programs (CCWWP) blog. You can read “The Problem of Reading Visual Poetry” here.

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xerolage_52_front_coverXexoxial editions has just published a selection of my visual poetry entitled Kern as the latest issue of Xerolage Magazine …. check it out!

UbuWeb began as an online repository for concrete and visual poetry scanned from aging anthologies and re-imagined as back-lit transmissions from a potential future. As the archive has progressed, the concentration on visual poetry has waned in favour of an reconnoitering of diverse avant-gardes. UbuWeb’s Visual Poetry section exposes little-seen exemplars of historical praxis and models of contemporary insight to a wider audience. This section includes anthologies, ephemeral publications, criticism and sporadic journals dedicated to visual poetry. Due to the elusive and ephemeral nature of concrete and visual poetry publications, there is a perceived lack of innovation in the genre. Without exposure to radical practice, artistic precedent and innovative models, concrete poets too often fall back upon familiar tropes and unchallenging forms. UbuWeb’s Visual Poetry section is not presented under the rubric of historical coverage or indexical completeness, but rather as a document of isolate moments of what Haroldo de Campos argued was a “notion of literature not as craftsmanship but […] as an industrial prcoess” where the poem is a “prototype” rather than the “typical handiwork of artistic artistry.” — derek beaulieu

NO PRESS is proud to announce the publication of “surprising poetry” by Judith Copithorne, one of the pioneer Canadian Concrete poets. Published in an edition of 100 copies, this leaflet will be available at readings (and via the post) through-out the spring; keep an eye out!

No Press is proud to announce the publication of

By Eric Zboya

The Noble Gases is excerpted from a larger manuscript entitled “The Periodic Table” in which Zboya represents every element in a braille-influenced representation of each element’s name and atomic layout. A minimal, elegrant suite of visual poems.

Published in a limited edition of 50 copies (25 of which are for sale) each copy is printed on linen paper and handbound.

Copies are available for $3.00 each (including postage).

To order, please contact derek beaulieu