Poetry. Visual Literature. After the "after the end," after the dreadful pulps, after all manner of casual abortion, cosy mutilation, pointless sacrifice and staggering loss comes THE ETCETERA BARBECUE--a quick sprint through a burning building with a look at what's hung on the walls inside. This harrowing passage, mostly lit darkly, quarantines several stray transmissions clustered to chart yet another tough scrape and amply illustrate another daring escape. Linger to witness cold comfort crafted to (once again) posit a new breed of incendiary graphisme within the ghetto of concrete. Vicious in its elegance, erratic in its precision, uncompromising with each steak it claims, the attendant (and massive) mounting disquiet of THE ETCETERA BARBECUE seeks to violently combat an epoch that fetes placebo and ruthlessly undermine a world where "resource is garbage not harvested." Demonstrating total contempt for policies that were implimented to "kill it if you builds it," THE ETCETERA BARBECUE is no company picnic. For those of us starved for examples of elusive hen's teeth extracted from the nether regions of our literature, THE ETCETERA BARBECUE is a small feast of lettrisme, found, and typewriter poetries--by one of the foremost pracitioners of these often misunderstood and virtually forgotten arts--gathered together in a book whose strain on the eye is finally worth the bother.

The Etcetera Barbecue

Morin, Gustave

Arts & Photography

Book*Hug

Poetry. Art. The 160 pages of CLEAN SAILS were wrested from dozens of typewriters, some of them hand- modified, through countless thousands of hours of typing over the past half- decade, and informed by Gustave Morin's quarter-century of investigation into the (im)possibilities of concrete poetry. "This is one hell of a ride you won't want to miss."—Derek Pell

Clean Sails

Literature & Fiction

Poetry

New Star Books

In nineteenth-century England the penny dreadful was a form of popular literature, lavishly illustrated with garish and grotesque pictures depicting lurid crimes and shocking romance, circulating cheaply among the lower classes. A century and half later, this motif is revisited metaphorically in Gustave Morin's 'A Penny Dreadful'. This time around, the crimes remain the same but all the romance is gone. A decade in the making, 'A Penny Dreadful' is a large suite of works that are neither literature nor graphic art, but a hybrid of the two. Informed by several marginal strains of literary activity. This is ultimately a blueprint for 'borderblur'. As the reader meanders through the nine chapters, a crazy quilt of twentieth-century imagery collides with mongrel semiotics to produce a dizzying, culminant effect achieved all too rarely in graphic literature. A species of flip-book that invites multiple readings and a veritable newsreel of possibility for the uninitiated, this is both a comic book for shit disturbers and a tour through the margins where personal and social collapse are filtered through the lens of political impotence.

A Penny Dreadful

Insomniac Press

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Books by Morin, Gustave