CONTACT WITH POETS

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Eno, Brian. “Ambient Music.” Liner notes. Music for Airports / Ambient 1. Polydor, 1978. CD. Fitterman, Robert. Holocaust Museum. Denver: Counterpath, 2013. Print. _____. Now We Are Friends. New York: Truck Books, 2010. Print. Fowler, S.J. “Maintenant #52: Cia Rinne.” 3:AM Magazine. Web. 18 August, 2015. Gilmore, Alan. Erik Satie. New York: W.W. Norton: 1992. Print. Goldsmith, Kenneth. Uncreative Writing: Managing Language in the Digital Age. New York: Columbia University Press, 2011. Print. Gomringer, Eugen. “From Line to Constellation.” Trans. Mike Weaver. Concrete Poetry: A World View. UbuWeb. Web. 10 September 2013. Hajnoczky, Helen. Poets and Killers: A Life in Advertising. Montreal: Invisble, 2010. Print. Hicks, Carola. The Bayeux Tapestry. The Life Story of a Masterpiece. London Random House, 2008. Print. Hodell, Åke. Orderbuch. Stockholm: Rabén & Sjögren, 1965. Web. 14 August 2015. _____. CA 36715(J). Stockholm: Rabén & Sjögren, 1966. Web. 14 August 2015. Howell, James. Proverbs in English, Italian, French and Spanish. Web. 14 August 2015. Jordheim, Cecilie Bjørgås. “Barcode.” Web. 14 August 2015. _____. “We Built This City.” The New Concrete: Visual Poetry in the 21 st Century. Eds. Victoria Bean and Chris McCabe. London: Hayward Publishing, 2015. 46–47. Print. _____. “How Does it Sound?” Web. 14 August 2015. _____. Partitur. Oslo: Glemmeboka, 2010. Print. Kay, Emma. Worldview. London: Book Works, 1999. Print. Keller, Jean. The Overlook Manuscript. Ed. Phil Beuhler. Np: Blurb, Nd. Print. King, Stephen. The Shining. New York: Doubleday, 1977. Print. LeWitt, Sol. “Paragraphs on Conceptual Art.” Web. 4 December 2013. _____.“Sentences on Conceptual Art.” Web. 4 December 2013. McLeod, Scott. Understanding Comics: The Invisible Art. New York: HarperPerennial, 1994. Print. McLuhan, Marshall. Counterblast. Toronto: McClelland & Stewart, 1970. Print. Nichol, bp. “Catalogue of the ’Pataphysical Hardware Company.” An H in the Heart: A Reader. Eds. George Bowering and Michael Ondaatje. Toronto: McClelland and Stewart, 1994. 161–168. Print. _____. The Martyrology Book 5. Toronto: Coach House Press, 1982. Print. NourbeSe Philip, M. Zong! Toronto: The Mercury Press, 2008. Print. Ono, Yoko. Grapefruit: A Book of Instructions and Drawings. New York: Simon and Schuster, 2000. Print. 123
Perloff, Marjorie. “Afterword.” Beaulieu, Derek. flatland: a romance of many dimensions. York, UK: information as material, 2007. 105–109. Print. _____. Unoriginal Genius: Poetry By Other Means in the New Century. Chicago: University of Chicago Press, 2010. Print. _____. Untitled [backcover blurb] in beaulieu, derek. Kern. Los Angeles: Les Figues, 2014. Print. Place, Vanessa. Echo. Calgary: No Press, 2011. Print. _____.“Poetry Is Dead, I Killed It.” Web. 24 October 2013. _____. Tragodia 1: Statement of Facts. Los Angeles: Blanc, 2010. Print. Pound, Ezra. “Canto XX.” The Cantos of Ezra Pound. New York: New Directions, 1996. 89–95. Print. _____. “Canto LIII.” The Cantos of Ezra Pound. New York: New Directions, 1996. 264–274. Print. Reznikoff, Charles. Holocaust. Los Angeles: Black Sparrow, 1975. Print. _____. The Poems of Charles Reznikoff 1918–1975. Ed. Seamus Cooney. Boston: David R. Godine, 2005. Print. _____. Testimony: The United States (1885-1915) Boston: David R. Godine, 2005. Print. Rinne, Cia. notes for soloists. Stockholm: OEI Editör, 2009. Print. _____. zaroum. Helsinki: self-published, 2001. Print. _____. zaroum / notes pour soloistes. Reims: le clou dans le fer, 2011. Print. _____ and Joakim Eskildsen. The Roma Journeys. Göttingen: Steidl. 2007. Print. Robbe-Grillet, Alain. “A Future for the Novel.” For a New Novel: Essays on Fiction. Trans. Robert Howard. New York: Grove Press, 1965. 15–25. Print. Scott, Jordan. blert. Toronto: Coach House Books, 2008. Print. Shields, David. Reality Hunger: A Manifesto. New York: Knopf, 2010. Print. Simpson, Natalie. accrete or crumble. Burnaby: Line Books, 2006. Print. _____. Dirty Work. Calgary: No Press, 2005. Print. _____. Dirty Work. Edmonton: above/ground press, 2008. Print. _____. Thrum. Vancouver: Talonbooks, 2014. Print. Smithson, Robert. “Cultural Confinement.” Robert Smithson: The Collected Writings. Ed. Jack Flam. Berkeley: University of California Press, 1996. 154–156. Print. _____. “A Heap of Language.” Robert Smithson: The Collected Writings. Ed. Jack Flam. Berkeley: University of California Press, 1996. 61. Print. _____. “Language to be looked at and/or things to be read.” Robert Smithson: The Collected Writings. Ed. Jack Flam. Berkeley: University of California Press, 1996. 61. Print. 124
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THE UNBEARABLE CONTACT WITH POETS
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if p then q classics 41 Fulford Str
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For Madeleine
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That’s not writing “That’s no
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transcend transcribe transfigure tr
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(1966) and the people mover: a demo
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creating an inundation of descripti
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face. another takes one in the hand
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and correspondence bervins work in
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gysin and burroughs collaborations
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* judith copithorne has published o
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ties with middle english in the gen
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how does it sound? 1. why would one
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tical analysis content is subsumed
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populations around public squares w
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pageant, these rows of lines or vin
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[...] when i let the letters shift
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juring of texts within texts czechs
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these contemporary concrete and con
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codes and QR Codes to expedite the
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a little-known second line (as incl
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script is no longer the fictional o
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Poetic Representations of the Holoc
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have picked any period because the
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transcript is a collection of page
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ments which eerily reflect Bäcker
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You’re out of Excuses 17 years ag
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Type Cast: Darren Wershler Can’t
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we are blinded to the media technol
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Visuality and Conceptualism Instead
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ping. Over a year I mapped the occu
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Auster’s 1986 novella Ghosts. Wri
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populace once a month. Each month t
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duced by stripping away all sense o
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Page 120: Acknowledgements These essays, in v
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