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beaulieu pushes the limits of poetry and poetics, challenging the status quo of the genre and the politics of language.
A propos de l'auteur
Derek Beaulieu is a Canadian poet, publisher, and anthologist known for his radical and challenging contributions to contemporary literature. Author or editor of over twenty-five collections of poetry, prose, and criticism, his recent works include
Silence: Lectures and Writings (Timglaset Editions) and
Surface Tension (Coach House Books).
Beaulieu holds a PhD in Creative Writing from Roehampton University and has received multiple teaching awards at local, provincial, and national levels. He was honored with the Queen Elizabeth II Platinum Jubilee Medal for his dedication to Albertan literature. Notably, he is the only graduate from the University of Calgary's Department of English to receive the Faculty of Arts' Celebrated Alumni Award and the only creative writing graduate to receive Roehampton University's Chancellor's Alumni Award.
He has served as Poet Laureate of both Calgary (2014-2016) and Banff (2022-2024) and is currently the Director of Literary Arts at the Banff Centre for Arts and Creativity.
Beaulieu founded the small presses housepress (1997-2004) and no press (2005-present), and has edited several literary magazines including
filling Station,
dANDelion, and
endNote. His work often explores the boundaries of syntax, graphic design, and conceptual writing, as seen in publications like
Fractal Economies and
How to Write.
He resides in Banff, Alberta, and continues to influence the literary landscape through his writing, teaching, and editorial work.
Résumé
In fractal economies, derek beaulieu pushes the limits of poetry and poetics by grinding language through the mill of photocopiers, found material, collage, printmaking, frottage and Letraset—creating a new language for the genre. These “fractal economies,” or series of increasingly complex replications of forms through the repeated application of a fixed set of rules, challenge the status quo of poetry and of the politics of language itself, which is, with respect to any human script yet deciphered, capitalist in its very origin. Letters are freed from their “normal” behaviour, machines are let loose to create on their own and the borders between poetry and artwork are blurred. In an intriguing and well-argued afterword, beaulieu also theorizes ways that concrete poetry—poetry that deals with language in a physical, material way—can move forward into the twenty-first century beyond the limitations of the page, the author and even the poem itself.
