Also designated house press extra XII. -- Source of annotation: Marvin or Ruth Sackner.

Produced to coincide with the 3rd annual WHIPlash poetry festival in Ottawa. -- Source of annotation: Marvin or Ruth Sackner.

The drawing in this book consists of a three dimensional 'A' that becomes an 'H'. -- Source of annotation: Marvin or Ruth Sackner.

This print was made from a letraset collage. -- Source of annotation: Marvin or Ruth Sackner.

This print was made from a letraset collage. -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book, one to a page, were made from collages of letraset. -- Source of annotation: Marvin or Ruth Sackner.

Each page reproduces one of Beaulieu's letraset collages. -- Source of annotation: Marvin or Ruth Sackner.

Each page reproduces one of Beaulieu's letraset collages. -- Source of annotation: Marvin or Ruth Sackner.

Publisher's note: Proposed as a collection of imaginary logos for the corporate sponsors of Borges' Library of Babel, Kern balances on a precipice between the visual and nonsensical, offering poems just out of meaning's reach. Using dry-transfer lettering, derek beaulieu made these concrete pieces by hand, building the images gesturally in response to shapes and patterns in the letters themselves. This is poetry closer to architecture and design than confession, in which letters are released from their usual semantic duties as they slide into unexpected affinities and new patterns. Kern highlights the gaps inside what we see and what we know, filling the familiar with the singular and the just seen with the faintly remembered. -- Source of annotation: Marvin or Ruth Sackner.

This publication depicts Beaulieu's letraset collages including Untitled (2010), a work held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This bookmark was made from a letraset collage. -- Source of annotation: Marvin or Ruth Sackner.

This bookmark was made from a letraset collage. -- Source of annotation: Marvin or Ruth Sackner.

According to the publisher, "in 1913 Blaise Cendrars created his monumental Prose of the Trans-Siberian, a milestone in the history of artists books and visual poetry. When the intended edition of 150 copies was laid end-to-end they measured the same length as the height of the symbol of Parisian Modernity, the Eiffel Tower. derek beaulieu's prodigious Prose of the Trans-Canada responds to Cendrars' legacy in a 16" x 52" visual poem. When all 150 copies of this limited edition are placed end-to-end, the resultant length is the same as the symbol of Calgarian Modernity, the Calgary Tower. A towering moment in beaulieu's on-going exploration of letraset as a medium for concrete poetry, Prose of the Trans-Canada, issued as Moments Cafe No. 8, is published in a strictly limited edition of 150 copies." -- Source of annotation: Marvin or Ruth Sackner.

This piece, one of the largest artistic collages made with letraset is reminiscent of a Jackson Pollack abstract expressionistic painting in its rhythms with letters and symbols. It is also depicted as a fold-out page in Beaulieu's book, "Swarms," that is also held by the Sackner Archive. The title is taken from The Trans-Siberiean Railroad by Blasie Cendrars and Sonya Delauney. The Sackner Archive contains the print edition of this work. -- Source of annotation: Marvin or Ruth Sackner.