Sippy Cup a journal of other writing sippysippysippy.tumblr.com

chapbook series 1.1 june 2015 a light shed DEREK BEAULIEU a light shed MICHAEL FARRELL roughly proofed LUKE PATTERSON over the suns disc GEORGIA GOODNOW turn your to-do lists inside out when you wash them

DEREK BEAULIEU a light shed essay & poems

a light shed

Concrete poetry, as Steve McCaffery argues in regard to bill bissetts writing, embodies an interplay of forces and intensities, both through + yet quite frequently despite, language in a flow of non-verbal energy (93). This flow, McCaffery argues, is composed of forces oppositionally related to the signifying graphism of writing (94) which struggles against the constraint mechanisms of grammar (93). This oppsoitonality in bissetts writing is indicative of a larger movement in concrete poetry. I believe this movement rejects the valorization of the representational (McCaffery 202) in favour of an economic interplay of meaning + eruption. I propose a poetic where the author-function is fulfilled both by the biological author of the text +

the technology by which it is created. Business machines & tools the printer, photocopier, shredder, scanner, three-hole punch, Letraset (dry-transfer) move beyond the role of device in concrete poetry through a poetics of waste & refuse into a role closer to that of author/reader. If Capitlism

begins when you / open the Dictionary (McCaffery 178), then concrete poetry is a means of political & economic critique upon both reading + writing practice & the capitalist means of exchange. I recognise that

I recognise that

theorizing a language outside of capitalist exchange is problematic, but what I am concerned with proposing is a writing that articulates a

as the other, reinforcing its grip

on representational language. The best

we can strive for Because [a]ll that signifies can be sold (Nichol, Catalogue 161), I am intrigued by the

poetics troubling that economic master narrative.

are momentary eruptions of non-meaning which

are then co-opted back into representation by

the very act of identification, pointing and

a power marker before it is a syntactic marker (Deleuze and Guattari 76), syntax and grammar both reinforce the master narrative. Any movement to refuse or oppose capitalism in writing only serves to reify it

possibility of a (briefly) non-signifying poetic. The 26-letter alphabet has been completely co-opted by the capitalist hegemony as a system of materialist exchange. As a rule of grammar is a power marker before it is a syntactic marker (Deleuze and Guattari 76), syntax and grammar both reinforce the master narrative. Any

I propose a poetic where the author-function is fulfilled both by the biological author of the text and the technology by which it is created. Business machines and tools the printer, photocopier, shredder, scanner, three-hole punch, Letraset (dry-transfer) move beyond the role of device in concrete poetry through a poetics of waste and refuse into a role closer to that of author/reader. If Capitlism begins when you / open the Dictionary (McCaffery, Lyrics Larynx 178), then concrete poetry is a means of political and economic critique upon both reading and writing practice and the capitalist means of

I propose a poetic where the author-function is fulfilled both by the biological author of the text and the technology by which it is created. Business machines and tools the printer, photocopier, shredder, scanner, three-hole punch, Letraset (dry-transfer) move beyond the role of device in concrete poetry through a poetics of waste and refuse into a role closer to that of author/reader. If Capitlism begins when you / open the Dictionary (McCaffery, Lyrics Larynx 178), then concrete poetry is a means of political and economic critique upon both reading and writing practice and the capitalist means of

I propose a poetic where the author-function is fulfilled both by the biological author of the text and the technology by which it is created. Business machines and tools the printer, photocopier, shredder, scanner, three-hole punch, Letraset (dry-transfer) move beyond the role of device in concrete poetry through a poetics of waste and refuse into a role closer to that of author/reader. If Capitlism begins when you / open the Dictionary (McCaffery, Lyrics Larynx 178), then concrete poetry is a means of political and economic critique upon both reading and writing practice and the capitalist means of

movement to refuse or oppose capitalism in writing only

serves to reify it as the other, reinforcing its

Concrete poetry, as Steve M

cCaffery

argues in regard to bill bissetts writing,

embodies an interplay of forces and

intensities, both through and yet quite frequently despite, language in a flow

of non-verbal energy (93). This flow

, M

cCaffery argues, is com

posed of forces oppositionally related to the signifying graphism

of writing (94) w

hich struggles against the constraint m

echanisms of

gramm

ar (93). This oppsoitonality in bissetts w

riting is not only seen in his letter-based w

ork, but also in his body of concrete poetry and is indicative of a larger

the biological author of the text and the technology by which it is

created. Business machines and tools the printer, photocopier,

shredder, scanner, three-hole punch, Letraset (dry-transfer) move

beyond the role of device in concrete poetry through a poetics of

waste and refuse into a role closer to that of

grip on representational language. The best we can strive for are momentary eruptions of non-meaning which are then co-opted back into representation by the very act of identification, pointing and naming.

movement in concrete poetry. I believe this movement rejects the valorization of the representational (McCaffery 202) in favour of an economic interplay of meaning and eruption. I propose a poetic where the author-function is fulfilled both by the biological author of the text and the technology by which it is created. Business machines and tools the printer, photocopier, shredder, scanner, three-hole punch, Letraset (dry-transfer) move beyond the role of device in concrete poetry through a poetics of waste and refuse into a role closer to that of author/reader. If Capitlism begins when you / open the Dictionary (McCaffery 178), then concrete poetry is a means of political and economic critique upon both reading and writing practice and the capitalist means of I recognise that theorizing a language outside of capitalist exchange is problematic, but what I am concerned with proposing is a writing tht articulates a poetics troubling that economic master narrative. Because [a]ll that signifies can be sold (Nichol 161), I am intrigued by the possibility of a (briefly) non-signifying poetic. The 26-letter alphabet has been completely co-opted by the capitalist hegemony as a system of materialist exchange. As a rule of grammar is

a power marker

before it is a syntactic marker (Deleuze and Guattari 76), syntax and grammar both reinforce the master narrative. Any movement to refuse or oppose capitalism in writing only serves to reify it

as the other, reinforcing its

grip on

representational language.

As the other, reinforcing its grip on

The best we can strive for

are momentary eruptions of non-meaning which are then co-opted back into representation by the very are momentary eruptions of non-meaning which are act of identification, pointing and naming. then co-opted back into representation by the very act of identification, pointing and naming.

Works cited

Deleuze, G + F Guattari (1987). A thousand plateaus. Trans B Massumi. Minneapolis: U of Minnesota P.

Nichol, bp (1994). Catalogue of the Pataphysical Hardware Company An H in the Heart: a reader. Toronto, McClelland + Stewart.

McCaffery, Steve (1986). North of intention. New York, Roof.

Dr. derek beaulieu is the author or editor of 16 books, the most recent of which are Please, No more poetry: the poetry of derek beaulieu (Wilfrid Laurier UP, 2013) and kern (Les Figues, 2014). He is the publisher of the acclaimed no press and is the visual poetry editor at UBUWeb. Beaulieu has exhibited his work across Canada, the United States and Europe and is an award-winning instructor at the Alberta College of Art + Design. He is the 2014-2016 Poet Laureate of Calgary, Canada.

derek@housepress.ca

Sippy Cup a journal of other writing sippysippysippy.tumblr.com

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