Para-text presents:
para·text is a print and online publishing experiment that aims to put space between poetic texts and their paratextual frameworks.
http://www.paratext.co.uk
index to issue 3
40pp, printed in an edition of 80, January 2017, on Munken Lynx 120gsm by Hato Press.
Available for purchase here £6 (plus postage)
Paratextual matter related to the printed pieces is presented below.
019.2 Beaulieu, Derek
032.1 / 032.2 / 032.3 Chandler, Eleanor
033.1 Crewe, Sarah
002.2 Emmerson, Stephen
034.1 Evans, Amy
035.1 Jenks, Tom
036.1 Linklater, Jazmine
037.1 / 037.2 / 037.3 Welton, Matthew
038.1 White, Barrett
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These poems (dedicated to St.Catharines, Ontario-based poet and scholar Gregory Betts) were created as part of a workshop on dry-transfer lettering and poetry. Due to the unforgiving and permanent nature of this out-dated technology, these poems embrace a physical poetic, where each letter, once placed, can not be edited or shifted; the pieces require a gestural confidence in order to craft these strange, dream-like, logos for impossible businesses.
[Derek Beaulieu is the author of the collections of poetry with wax, fractal economies, chains, silence, ascender / descender, kern, frogments from the frag pool (co-written with Gary Barwin) and Please no more poetry: the poetry of derek beaulieu (Ed. Kit Dobson). He has also written 4 collections of conceptual fiction: a a novel, flatland, Local Colour and How To Write (Nominated for the W.O. Mitchell Award). He is the author of two collections of essays: Seen of the Crime and The Unbearable Contact with Poets. Beaulieu co-edited bill bissett’s RUSH: what fuckan theory (with Gregory Betts) and Writing Surfaces: fiction of John Riddell (with Lori Emerson). 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. Derek Beaulieu was the 2014–2016 Poet Laureate of Calgary, Canada.]see also: index to issue 2
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Lucky Pierrot Klimt House (interior)
[032.2] ルッキー Lucky ピエッロー Pierroti. Disappointment burger
© Eleanor Chandler
Pagina Artis, 2005, Predella of San Demenico Alterpiece, Fra Angelico.
ii. In front of the Wilton Diptych
The National Gallery London, 2010, The Wilton Diptych.
[032.3] Tangent [Eleanor Chandler lives in London. Her work can be found in Textual Practice, Prac Crit, the Suburban Review, Lighthouse and Shabby Doll House.]——————————————————————————————————
75perS HD. (2016). Jurgen Klopp Post Match Interview | Liverpool 4-3 Borussia Dortmund. Available: https://www.youtube.com/watch?v=V8gN20nkdU4. Last accessed 2nd January 2016.
Conn, D. (2013). Anfield: the victims, the anger and Liverpool’s shameful truth. Available: https://www.theguardian.com/football/david-conn-inside-sport-blog/2013/may/06/anfield-liverpool-david-conn. Last accessed 2nd January 2016.
[Sarah Crewe is a working class feminist from the Port of Liverpool. Her work has appeared in Poetry Wales, Tears In The Fence, Litmus, The Wolf, Molly Bloom and Datableed. Her latest chapbook, echolalia, is available from Litmus Publishing. She collaborates frequently with Sophie Mayer and her work can be heard at the Archive of the Now website. She is studying for a MRes in Poetry at the University of Kent.]——————————————————————————————————
[002.1] UNLUCKY, nos. 1, 3-5 & 8
UNLUCKY selects text from page 13, line 13, of non poetic works. UNLUCKY removes all punctuation and capitalises all words. Using mostly line fragments, it re-contextualises the source material making the words my own. It is an act of creative reading, as well as writing. Many lines do not get past my eyes,into and onto, typewriter and paper.
UNLUCKY is made up of 169 lines, or 13 x 13.
see also: index to issue 1
[Stephen Emmerson’s recent publications include The Journal of Baal and other visual poems (Veer, July 2016) and Family Portraits (if p then q, July 2015)]——————————————————————————————————
These poems come from the score of the at-sea poetry installation SOUND((ING))S, which follows on from the chapbook CONT. (Shearsman, 2015).
[Amy Evans is a poet and classical singer based in London. Recent publications include The Report of the Iraq Enquiry (ff press, 2017; excerpt here) and the broadside Stalking Gerard Manley Hopkins (Salient Seedling/Woodland Pattern Book Center, 2016). She teaches at the University of Kent.]——————————————————————————————————
[035.1] from The Strawberry Moshi Collection
The poems in The Strawberry Moshi Collection are made entirely from text found in Moshimoshikawaii: The Strawberry Moshi Collection, Walker Books Ltd. (2011).
[Tom Jenks’ most recent book is Sublunar, published by Oystercatcher Press. He co-organises the Other Room reading series in Manchester and edits the avant objects imprint zimZalla. More at http://zshboo.org]——————————————————————————————————
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[037.2] Blues Scale [037.3] Black List [Matthew Welton has published three collections of poetry with Carcanet, most recently The Number Poems (2016). He received the Jerwood-Aldeburgh First Collection Prize for The Book of Matthew(Carcanet, 2003), which was a Guardian Book of the Year. He was a Hawthornden Fellow in 2004. Matthew collaborates regularly with the composer Larry Goves, with whom he was awarded a Jerwood Opera Writing Fellowship in 2008. He is a Lecturer in Writing and Creativity at the University of Nottingham.]——————————————————————————————————My With is a prose poem formulated by deleting every other word from a transcript of spoken dialogue found within the film My Dinner With Andre (1981), starring Wallace Shawn and Andre Gregory.
var text = $('p').html();
var words = text.split(' ');
var everyother = [];
for (var i = 0, j = words.length; i < j; i++) {
if (i%2 == 0) {
everyother.push(words[i]+' ');
}
}
$('p').html(everyother)Script undoes script, evacuating the logic from a film focusing primarily on a single conversation between two persons, forcing the film’s text to communicate with itself in nonsensical, gutted phraseology. By partially deconstructing the film’s dialogue, the poem seeks to nullify any pretensions surrounding the film’s infamous philosophical musings. Further, the relationship between javascript and film script mirror and parody the complex relationship between Shawn and Gregory as depicted in the film.
With assistance from Sarah Reiter and Jake Tobin. October 2016.
[Barrett White is a writer and artist currently residing in Seattle, Washington. He is the author of two chapbooks, TON (Spirit Cat, 2013) and PUNCTD (GaussPDF, 2016), and an editor for the online journal Tagvverk. Other work appears in or is forthcoming from Small Po[r]tions, Internet Poetry, Packet, Glass Press, Ferrofluid, and elsewhere. He is a student at Bard College’s Milton Avery Graduate School of the Arts. More information at barrettwhite.info]
