e premte, 6 korrik 2007
The Subservient Anarchists Cooked Book of Radical Syntax For Wannabe Tax Collectors by derek beaulieu
In a clearly cryS=T=A=L=Lography movement moment, derek beaulieu, the not-so-noted author, editor, bake sale impresario, softcore pornography illustrator and somewhat-noted collector of 70's era Holly Hobby paraphernalia, bplushes tha bpoundaries of the “regular life” by co-opting twenty-six Thai trannies into his own private Protocol Harum. The resulting misadventures in the thin skin trade are subsequently chonicled here in full super-color detail, not that anyone is interested; the trannie element is obviously a bid to enter the lucrative US University curriculum, but I digress.
Particularly gross and abberant is beaulieu's persistent unhealthy fixation on the brown trombone, which is given more attention in these pages than any of the other encounters with writers and artists in his hometown slumming ground of Calgary, Alberta, a subsidiary of Texas. (perhaps that's actually for the best?) Readers familiar with Kraft-Ebbing's findings won't be amused by the contributions beaulieu thinks he's bringing to the oft-misunderstood yet when properly handled rewarding genre of psychosexual deviance.
This unabashedly autobiographical work shows beaulieu underscoring his own fear of the playfulness of language by not actually challenging the way readers have come to respect money that behaves. beaulieu knows that readers only respect money that is well-heeled, and so, in no wise does he attempt to subvert or divert or re-route this good thing that's going on. The message is clear: beaulieu may be an anarchist, but he isn't going to be one of those anarchists who eschews wealth, no sir, and especially will he not eschew wealth that is derived from the exploitation of the weak, the innocent or the ignorant, for beaulieu implicitly understands that this is the best kind of wealth, and he's made its accumulation the principal raison d'etre of his life. The books are just the fonts.
Using a drab array of techniques that combine graphic design, fine art, experimental writing, goatee herding and muffin backwards-masking, combined with untold tubes of lubricant, beaulieu really 'opens up' new ways of approaching and interpreting key concepts of property, especially the property of dead or lesser known visual poets. In so doing, beaulieu has beached himself onto the landscape of Canadian letters as the heir apparent of all who would ply inauthentic Trotskyite posturings in concrete poetry, a position previously held by damian lopes -- who wisely gave up visual poetry for the thrill of 4x4 off road racing. The utopia of language-possibility can wait, bub, there's money to be scoffed on the way to your scaffold.
Library inquiries for the procurement of mr. beaulieu's next batch of papers can be made to mr. beaulieu direct at the following addresses: