CONTACT WITH POETS

Recommendations

Info

DEREK BEAULIEU THE UNBEARABLE CONTACT WITH POETS
if p then q classics 41 Fulford Street, Old Trafford, Manchester, M16 9PX www.ifpthenq.co.uk ifpthenq@fsmail.net Published by if p then q if p then q classics is part of the wider if p then q family Text and cover image © Derek Beaulieu 2015 THIS IS A FREE DOWNLOADABLE COPY. A PERFECT BOUND COPY IS ALSO AVAILABLE FOR PURCHASE. ISBN 978-0-9571827-8-3
Page 2: THE UNBEARABLE CONTACT WITH POETS
Page 8: For Madeleine
Page 12 and 13: That’s not writing “That’s no
Page 14 and 15: transcend transcribe transfigure tr
Page 16 and 17: (1966) and the people mover: a demo
Page 18 and 19: creating an inundation of descripti
Page 20 and 21: face. another takes one in the hand
Page 22 and 23: and correspondence bervins work in
Page 24 and 25: gysin and burroughs collaborations
Page 26 and 27: * judith copithorne has published o
Page 28 and 29: ties with middle english in the gen
Page 30 and 31: how does it sound? 1. why would one
Page 32 and 33: tical analysis content is subsumed
Page 34 and 35: the output resembles aerial photogr
Page 36 and 37: swordsmith. let’s name this pagan
Page 38 and 39: [...] when i let the letters shift
Page 40 and 41: juring of texts within texts czechs
Page 42 and 43: these contemporary concrete and con
Page 44 and 45: codes and QR Codes to expedite the
Page 46 and 47: a little-known second line (as incl
Page 48 and 49: script is no longer the fictional o
Page 50 and 51: Poetic Representations of the Holoc
Page 52 and 53: have picked any period because the
Page 54 and 55:
transcript is a collection of page
Page 56 and 57:
ments which eerily reflect Bäcker
Page 58 and 59:
You’re out of Excuses 17 years ag
Page 60 and 61:
Type Cast: Darren Wershler Can’t
Page 62 and 63:
we are blinded to the media technol
Page 64 and 65:
Visuality and Conceptualism Instead
Page 66 and 67:
ping. Over a year I mapped the occu
Page 68 and 69:
Auster’s 1986 novella Ghosts. Wri
Page 70 and 71:
populace once a month. Each month t
Page 72 and 73:
duced by stripping away all sense o
Page 74 and 75:
focuses on the geographic layout of
Page 76 and 77:
lock of assigned colour. The viewer
Page 78 and 79:
With now we are friends Fitterman h
Page 80 and 81:
as they may be are not only constan
Page 82 and 83:
the same prohibitions—moral, alim
Page 84 and 85:
not. At every moment, a continuous
Page 86 and 87:
a sentence overheard by a witness
Page 88 and 89:
The Text Festival: An Interview wit
Page 90 and 91:
silence what about the visual art c
Page 92 and 93:
highpoint was the headline gig with
Page 94 and 95:
and text function as objects on dis
Page 96 and 97:
materiality, and it’s quite liber
Page 98 and 99:
language from myriad sources snaggi
Page 100 and 101:
Having said all that, I think there
Page 102 and 103:
the categories themselves are a bit
Page 104 and 105:
Simpson: I think the difference may
Page 106 and 107:
ly, I’ve been writing almost excl
Page 108 and 109:
head ... so then, what lines are ap
Page 110 and 111:
sistent publisher to include full c
Page 112 and 113:
lations and so on) that we refer to
Page 114 and 115:
technologies and tools. I do worry
Page 116 and 117:
useful affinity between the politic
Page 120:
Acknowledgements These essays, in v
Page 123 and 124:
_____. Draft Notation. New York: Gr
Page 125 and 126:
Perloff, Marjorie. “Afterword.”
Page 128 and 129:
v
show all

CONTACT WITH POETS

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?