Volodymyr Bilyk was born in the Ukraine and has a degree in journalism. He is considered to be one of the few representatives of the so-called Ukrainian Extreme Literature. Besides being a writer, he is also a visual artist, sound producer, video artist, and a collector of films. He is a co-editor of the Extreme Writing Community. His work has been published in The New Post-Literate, A-Minor Magazine, Rem Magazine, The Otolith, Altered Scale, Cormac McCarthy’s Dead Typewriter, Another Hemisphere and Expoesia Visual Experimental.

Volodymyr says: “The backstory of the series is in the aborted project of releasing Raymond Chandler novels. Pieces – which are font collages started as the illustrations. It was to be the blink into the characters mind. Then the project was shut down – but I was too much in this thing – almost obsessed. I was fulfilled by it and I had a need to exhaust it to the bottom.

The central idea is the collision of the dada-sensibility (mostly inspired by the collages of Kurt Schwitters, Hannah Hoch and Raoul Hausmann), the hard-boiled images (Raymond Chandler, Dashiel Hammett, James Cain, Jim Thompson) and the film noir atmosphere (Night of the Hunter, The Big Heat, Touch of Evil, Maltese Falcon). The link between them is Jean-Michel Basquat and his highly expressive, straight-to-the-point chaotic style. His compositional method is the most adequate for the purpose of recreating kaleidoscopical frenzy.

The reader (because the images are built with fonts which contains letter which got the forms of certain images or placed to look as the certain images) is like the private eye remembering his last job. Remembering that he looked for the thing long enough to be haunted by it, to become obsessed by it. All he can remember are this blinks and from the blinks he builds the backstory and the stories between the blinks.”

16 full-color pages. $10 (+ s/h)

Mathias Jansson (b.1972) is a Swedish art critic and poet. He writes horror poems, visual poetry and meta-fiction. He is interested in new media and creates his visual poetry with help of Web 2.0 tools and new visual images as barcodes, QR-codes etc. Mathias has been published in different magazines and anthologies.

Cover Title: Desktop poem #2

Mathias says: The Baroque period was a highlight for visual poetry or “carmina figurate” as it was called. Poets and printers made exquisite and clever pieces by combining words to images. The poems were created for occasions as weddings, funerals and birthdays. If these baroque poets had lived today and had access to Internet what kind of poems would they then create?

Mathias Jansson is interested in using new media and Webb 2.0 tools to create visual poems. In his “this is visual poetry”-chapbook Mathias has experimented with new images from bar codes, QR-code and tag clouds to create poems. In this age of information overflow, it is easy that an image only became a surface. But by combining text and image into new unexpected ways new layers can be added to the visual context of the image. With help of new technology the image can also create references and interfaces to other places and deeper information, for examples QR-code or bar codes. The image is no longer 2-dimensionell and linear. Instead it can be a hyperimage going deeper and deeper into the information web.

16 full-color pages. $10 (+ s/h)

CALLIGRAPHY : DEFINED AS BEAUTIFUL WRITING : IN MY PRACTICE, I WANT MY HAND TO FLOW FLUID AND FREE : ENTER – LIQUID WRITING : INK DROPPED INTO A VASE FULL OF WATER : THE CALLIGRAPHER BECOMES THE PHOTOGRAPHER : THE INK TELLS A STORY AS IT SLOWLY SINKS : THIS LIQUID WRITING COLLECTION CAPTURES MOMENTS IN THOSE STORIES

Cover Title: THE CURVE OF THE EARTH

16 full-color pages. $10 (+ s/h)

I have been at this creating thing a long time… using images words sounds together. Figured that if i could trust the essence of one discipline i would really be safe trusting three. How else to get to truth… to became awake… to choose a path through the chaos.

Did the usual things… visited ahKuhDemeEeeuh for some degrees… worked… raised children… grew lots of soil… found out how to be peaceful with a mate and friends… volunteered… managed to keep the money balanced… an uneventFULL life. EhkSieeeeTting… every day i go to the studios playing G.O.D. with the things at hand… looking to build constructs that want to hang out together over time. Sometimes i succeed.

barbara says: Barbara Toothpick’s work has been shown, performed or collected (sometimes with her mate Alan HorseRadish) at Abington Art Center, Penn State Gallery, Free Library of Philadelphia, Moma/Franklin Furnace, Franklin Institute, Oberlin College, Tides Institute, College of the Atlantic, Philadelphia Museum of Art and other private and ephemeral galleries. Ten of her books of picture/pohms have been published Her CD’s (with AH)… Maine Songs from a Different Head is available from CD Baby and iTunes.

She is somewhat of a recluse preferring her studios to most company. Her current notion of poetry has grown out of experimenting with angst/rapture, action/politics, and story past/future… into the notion that the moment of insight… the Now of word and image implies all of that and more. She uses drawings and rightspelled words to lead… in with and under the obvious… into a bigger space.

Currently she is in rehearsal for Dance Of Life… a dance performance (with art book score/script) for which she designed the music/blocking/story. She is painting off the wall paintings for an upcoming show and she is co- designing a 20’ metal outdoor sculpture piece she hopes will “sing.”

16 full-color pages. $10 (+ s/h)

David Jalajel is originally from Baltimore, Maryland. He is the author of Moon Ghazals (Beard of Bees Press, 2009) and a book-length poem in Sapphic meter, Cthulhu on Lesbos (Ahadada Books, 2011). His recent textual poetry has appeared in Otoliths, Shampoo, Anti-, Recursive Angel, experiential-experimental-literature, Mizna, and Lynx. His visual work has been featured at The New Post-Literate and The Ghazal Page. Jalajel’s visual poetry engages with poetic form and asemic content and explores how such a form-content relationship brings about verse structure, meter, rhythm, and consonance to yield mood, tone, and meaning.

16 full-color pages. $10 (+ s/h)

Vsevolod Vlaskine was born and grew up in Moscow, Russia. Currently he lives in Sydney, Australia.

In his series of asemic photocalligrams, he explores the fluency of unobstructed, uncontrived movement mapped into the night landscape through the light of the full moon. He tries to remove photographic medium as a frame of reference, and to preserve the concrete materiality of the images, avoiding any editing.

16 full-color pages. $10 (+ s/h)

Growing up, I had an interest in both anatomy & the arts. This is a collection that overlaps those interests on the page as field/canvas. Found scraps, old photographs, medical illustrations & texts overlap & intertwine to create these verbo-visual anatomical landscapes. We speak with our bodies; here the silent/still images speak back to us.

16 full-color pages. $10 (+ s/h)

Keep up with news at JeremyBalius.wordpress.com.

This collection is dedicated to Judes Balius.

Jeremy’s statement regarding the pieces in this book is here.

16 full-color pages. $10 (+ s/h)

Joel Chace has published work in print and electronic magazines such as 6ix, The Tip of the Knife, Counterexample Poetics, OR, Country Music, Infinity’s Kitchen, and Jacket. He has published more than a dozen print and electronic collections, most recently Sharpsburg, from Cy Gist Press, and Blake’s Tree, from Blue & Yellow Dog Press. Individual pages of this visual poetry sequence have appeared in the following publications: On Barcelona, quarter after, and Word For/Word. The cover image, entitled itsstory 3, originally appeared in Lettere Grosse.

Joel says: “itsstory is a developing sequence of texto-visual poetry that I began a decade or more ago and that has taken on various lives since then. Until this year, all of the versions have been textual only, though all of them have been quite experimental in terms of formatting. It finally occurred to me that the very subject matter of the sequence demanded an even more radical visual presentation. Perhaps radical musicality is just as apt an expression, given my decision to use musical staff paper as background. Once I settled on that, I cut and pasted the primary black text for each page. Then I created a literal grab bag of variations on that primary text by cutting up altered texts printed in several varieties of type sizes and fonts, throwing those fragments into a plastic bag, and then using a flatbed scanner upon which I placed random handfuls of the bag’s fragments arranged in juxtaposition to the primary text on each page. Finally I played with Photoshop in order to sharpen up and 3-dimensionialize the images. I have increasingly come to believe that the most meaningful statements of aesthetics are, in fact, descriptions of processes.”

16 full-color pages. $10 (+ s/h)

Alexander Jorgensen is a writer, visual artist, teacher, and adventurer. He has lived and worked in such disparate places as Germany, the Czech Republic, the Galapagos, China, Kazakhstan, and Oman. His visual poetry and writings have appeared in Van Gogh’s Ear, Drunken Boat, Shampoo, Listenlight, Noon: Journal of the Short Poem, Moria, Big Bridge, Sous Rature, and The Return of Kral Majales: Prague’s International Literary Renaissance 1990-2010. His visual poems have been exhibited in Toronto, Atlanta, Moscow, Prague, and at the 2011 Text Festival in Manchester, UK. He was nominated for the Pushcart Prize in 2008.

Alexander says of his work: “It is hybrid, combining aspects of analogue and digital design. Each poem manifests its own appearance. My work is influenced by extensive travel as well as my underlying values. What’s most important to me as I construct a visual poem is that it shows intention, that I am saying, ‘Here we are.’”

16 full-color pages. $10 (+ s/h)