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.

This print is housed in a brown paper portfolio with "House Press" and its logo silkscreened onto it along four other prints. -- Source of annotation: Marvin or Ruth Sackner.

This print is housed in a brown paper portfolio with "House Press" and its logo silkscreened onto it along four other prints. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of essays of critical texts. In an essay about the work of bill bissett, Beaulieu extols bissett's "what fuckan theory" as an early conceptual text but excoriates him for the repetive nature of his work and performances as the years progressed. -- Source of annotation: Marvin or Ruth Sackner.

This pamphlet is based upon the original book that is held by the Sackner Archive, "Local Colour" which in turn derives from Paul Auster's novella, "Ghosts." The latter descibes characters named White, Black and Blue. Black lives on Orange Street. In the Beaulieu treatment of this work, only chromatic words are retained and the rest are "cancelled" with non-printed, white space. -- Source of annotation: Marvin or Ruth Sackner.

These prints by the 17 contributors were photocopied from the collages made from the same letraset fonts distributed to them by Bealieu. -- Source of annotation: Marvin or Ruth Sackner.

All pieces in this issue were created by Dirk Krecker on a manual typewriter. -- Source of annotation: Marvin or Ruth Sackner.

The images in this book are letraset collages; the fold-out depicts the "untitled" letraset collage in the collection of the Sackner Archive. The loose sheet is an Beaulieu's explanation as to why he prefers letraset and typing to computer generated art. -- Source of annotation: Marvin or Ruth Sackner.

The cover depicts a letter picture. The pages are mostly abstract markings with a few letters. -- Source of annotation: Marvin or Ruth Sackner.

The front and rear covers were composed by bill bissett. The book was designed Derek Beaulieu. -- Source of annotation: Marvin or Ruth Sackner.

The poem is a play on words dealing with the Canadian poet, Robert Kroetsch, viz., encroach - en-Kroetsch. -- Source of annotation: Marvin or Ruth Sackner.