Derek Beaulieu

You can be a cruel word: On Fred Wah’s 'All Americans'

The frontispiece of the housepress edition (2002; 125 copies) of Fred Wah’s poem-series All Americans is a reproduction of a commemorative plate produced by the Standard Brewing Company. The illustrated souvenir dish, of the sort common in its time, has been photographed upright on a wooden stand. In consultation with housepress founder, editor, and publisher Derek Beaulieu, Wah chose to open his book by featuring the lithograph reprinted and colorized on this plate. The drawing itself was apparently made in 1863 — presumably the artist had been a witness not long after the execution by hanging of 38 eastern Dakota people at Mankato, Minnesota, on December 26, 1862. These death sentences, rendered hastily and prejudicially by a military court in reaction to the uprising of the eastern Dakota that had commenced in August — sentences then affirmed by Abraham Lincoln in the White House — were carried out in the largest single-day mass execution in U.S. history.

The essay was commissioned by Derek Beaulieu as he prepared to celebrate 25 years of No Press and housepress. I have now received a copy of a book, entitled Paper and Thread, edited by Derek, which includes my essay about Fred Wah along with contributions by Kyle Schlesinger, Charles Bernstein, Sacha Archer, Nasser Hussain, Richard Harrison, Kit Dobson, Gregory Betts, Gary Barwin, George Bowering, Johanna Drucker, Nick Montfort, bill bissett and a number of others. The book can be purchased here. I have made a PDF version of the published essay, and a copy of the essay follows as well: 

The frontispiece of the housepress edition (2002; 125 copies) of Fred Wah’s poem-series All Americans is a reproduction of a commemorative plate produced by the Standard Brewing Company. The illustrated souvenir dish, of the sort common in its time, has been photographed upright on a wooden stand. In consultation with housepress founder, editor, and publisher Derek Beaulieu, Wah chose to open his book by featuring the lithograph reprinted and colorized on this plate. The drawing itself was apparently made in 1863 — presumably the artist had been a witness not long after the execution by hanging of 38 eastern Dakota people at Mankato, Minnesota, on December 26, 1862. These death sentences, rendered hastily and prejudicially by a military court in reaction to the uprising of the eastern Dakota that had commenced in August — sentences then affirmed by Abraham Lincoln in the White House — were carried out in the largest single-day mass execution in U.S. history.

Adore adore (PoemTalk #159)

bpNichol, 'Dada Lama' and 'A Small Song That Is His'

LISTEN TO THE SHOW

Al Filreis and PoemTalk engineer and editor Zach Carduner took to our virtual Wexler Studio and convened Tracie Morris, Douglas Kearney, and Derek Beaulieu, from Brooklyn, Minneapolis, and Banff, respectively, to talk about two sound-poem/performance pieces by poet, editor, fiction writer, sound poet, and publisher Barrie Philip Nichol, best known as bpNichol. The two pieces we discuss are “Dada Lama” of 1966 (recorded in 1969) and “A Small Song That Is His” of 1974.

Nick Montfort's hard west turn

Arriving on my desk this week — the result, apparently, of a quick visit to Philadelphia by Nick Montfort — is a remarkable excerpt from Montfort's 2018 work, Hard West Turn. This No Press pamphlet takes pages 213 through 216 from the work. Go here to find out how to acquire this or any of Nick's work. No Press is the wonderful ongoing creation of Derek Beaulieu of Calgary (now, precisely, of Banff). Hard West Turn was computer generated using text from the English Wikipedia and the Simple English Wikipedia. Information about the book can be found here.  Information about No Press can be found here. Another recent work by Nick Montfort: “Leaflet of Eden,” a sheet folded twice, printed by Nick himself, in Cambridge, on a dot matrix printer.

'Planning to Stay'

No Press (2010)

A short talk I gave at Banff, Alberta — at the Centre for the Arts there — in February 2010 was later published by No Press in Calgary, edited and typeset by Derek Beaulieu (a poet, teacher, and Poet Laureate of Calgary 2014-16). I’m grateful to Derek for having made this beautiful chapbook available. I was asked to prepare something of a manifesto for the final panel of the several-day conference called “In(ter)ventions: Literary Practice at the Edge.”

Click on the images of the chapbook pages below to see larger scans.

What is the relationship between Conceptual art and conceptual writing?

What constitutes conceptual writing is still up for debate. For more than a decade, poets and critics have been claiming, reclaiming, or disclaiming the territory of conceptual writing. Who's in? Who's out? What are its limits? Isn't all writing somewhat conceptual? Or, conversely, doesn't the very act of writing preclude any kind of pure conceptuality? But in all the back and forth, two facts remain firm. One, that conceptual writing — however we define that term — has come to represent a new avant-garde in poetry and poetics. And two, that the term conceptual writing alludes to Conceptual art. Now that we're at least eight minutes in to conceptual writing’s fifteen minutes of fame, it’s time to query that relationship. Is poetry just 50 years behind the art world? Or are so-called conceptual writers up to something else? — Katie L. Price 

U+F+O+L+A+N+G+U+A+G+E

“Poetics as a Theory of Everything." Maria Damon and Ira Livingston.
“Poetics as a Theory of Everything,” cross-stitched by Maria Damon and quoting Ira Livingston. Damon made the piece to serve as the cover image for Livingston’s book, Poetics as a Theory of Everything, forthcoming, 2014. Image courtesy of Ira Livingston and Maria Damon.

One of the central unified field theories of quantum gravity is string theory or superstring theory, where spacetime is conceived of as an ambiguous ecology. In string theory, the known universe is thought to be part of a larger wilderness of universes, the multiverse, which is comprised of multiple and perhaps infinite dimensions of space and time that are created by collisions between subatomic, vibrating membranes of energy known as open and closed strings. The theory defines the evolution of space and matter from the connections between these vibrating membranes of energy. String theorists aim to reconcile quantum mechanics and relativity into a single description of physical reality that is often referred to in contemporary physics as a Theory of Everything.

Upon reading Christine Wertheim’s mUtter-bAbel (Counterpath Books, 2014), where Wertheim tells the “story of language and some bodies of the word made flesh in a child’s imagination” through visual poems often highlighting the letter “o” and that sonically treat words as “vocal organs,” I thought about the open and closed strings in string theory and wondered if the author was—consciously or without intent—responding to the colliding, subatomic, vibrating membranes of energy that string theorists think create the multiple dimensions of the multiverse.

derek beaulieu's 'Prose of the Trans-Canada'

A 1:1 scale road map of language

beaulieu's Prose of the Trans-Canada
derek beaulieu's Prose of the Trans-Canada

derek beaulieu’s Prose of the Trans-Canada is an epic inscribed scroll, a graphemic saga as Odyssean and graphic a roadtrip as traveling the eponymous Trans-Canada highway. The 16” x 52” work is named after Blaise Cendrars’ monumental Prose of the Trans-Siberian (1913), a milestone in the history of artists books and visual poetry.

beaulieu writes that naming it after Cendrars' work, “places it within a continuity of engagements with the artist's book (as Cendrars' volume is considered an early progenitor of that form). Cendrars’ Prose of the Trans-Siberian was also a reply to the architecture of modernism: if 150 copies of Cendrars’ volume were placed end-to-end, the result would be the same length as the height of that symbol of Parisian Modernity, the Eiffel Tower.

Conceptualist ostranenie: A dialogue between Derek Beaulieu (Canada) and Natalia Fedorova (Russia)

10 August 2012

The following is an occassional dialogue composed for this occassion. Derek Beaulieu and Natalia Fedorova may not have met apart from the artifice of this conversation. Nonetheless, there is a conceit of some commonality of interest and points of divergence. This is part two of the series.

Derek Beaulieu Both my concrete poetry and my conceptual writing focus on distancing myself from subjective representation. I am fascinated by Place and Fitterman’s idea of the Sobject and by Goldsmith’s proclamation that “I am interested in subjectivity, just not my own.” Goldsmith argues that Conceptual writing is only the 2nd truly international writing movement, coming approximately 50 years after the formulation of Concrete Poetry.

Natalia Fedorova Sobjectivity translated into the post-soviet reality will read: “re-politicization of the form” as a key tendency in reanimating conceptualist ostranenie of the language from the official propaganda. History is recycling itself in the absurd Kafka-esque Pussy Riot trial that calls for the same methods today as in the Soviet times.

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