Sunday, September 9, 2018

Post-Asemic Press News and new cover art for Works & Interviews by Michael Jacobson


Createspace is closing so I spent the day moving all Post-Asemic Press titles to Kindle Direct Publishing and getting them set up there. KDP is still run by Amazon but the new publishing page is more streamlined and is a cleaner but slightly slower experience. Since it is a new site for the press, I went ahead and made new cover art for my book Works & Interviews.

If you are in Minneapolis, Minnesota USA on September 22nd, from 6 to 7 pm, stop by Boneshaker Books, 2002 23rd Avenue South, in Minneapolis. Jefferson Hansen will be having a book release reading for 100 Hybrids. His book plus all other PAP titles will be available for sale. So stop by and say hello and enjoy poetry from Jeff and other great Minnesota poets. Here is the Facebook event page.

Marilyn R. Rosenberg's book of asemic abstract calligraphy FALSE FICTION FRACTURED FACT ALTERED is still set to come out in early October 2018. We are just waiting on one more blurb.

I am also excited to announce that the great calligrapher, artist, and collage poet Cecil Touchon is going to be doing a book with PAP this late November 2018. The title of the book is still undecided, but we have plenty of material to make a great new book!

In other PAP news, the other day I met with visual poet and architect  Scott Helmes. We are going to do a book together sometime early next year. The book is tentatively titled "Cut-Up Magazine Asemics" until we find a better name. Look for Scott's book to be released in Spring of 2019.

Also in 2019, look for new PAP books by Australia's asemic writing maestro Tim Gaze, and a book of asemic tattoo magick stories by Brazilian artist Renan Rodrigues. PAP is likewise going to be releasing a book of asemic glitch poems by the Italian poet Marco Giovenale. A book by Tom Cassidy aka Musicmaster is also in the works. Volodymyr Bilyk's title Codex Abyssus will also be expanded next year with 30+ pages of new material.

In 2020 PAP will be open for submissions again.

A Page from an Asemic Magick Book by Renan Rodrigues



Thursday, August 30, 2018

Asemic Writing in Fine Art by Konstantinas Žardalevičius

Between The Words

European Koan

Motivated Opinion

Searching For The Meaning

The Space Of Thought

The Totem

Thoughts About Perfection

The Purpose

Monday, August 27, 2018

Now there are 8 Titles from Post-Asemic Press! FALSE FICTION FRACTURED FACT ALTERED by Marilyn R. Rosenberg will be released on October 3rd, 2018


With the publication of Marilyn R. Rosenberg's FALSE FICTION FRACTURED FACT ALTERED, there will be 8 titles available from Post-Asemic Press. Expect the release of FFFFA this October 3rd 2018. Click on the following links for more information on the particular PAP title.
PAP Scribal Family Silent Movie Portrait

Saturday, August 25, 2018

Here are three sample pages from FALSE FICTION FRACTURED FACT ALTERED by Marilyn R. Rosenberg | Post-Asemic Press #008




FALSE FICTION FRACTURED FACT ALTERED by Marilyn R. Rosenberg, a work of asemic abstract calligraphy, will be available for purchase on October 3rd from Amazon. Click here for more info: http://postasemicpress.blogspot.com/2018/08/false-fiction-fractured-fact-altered-by.html

"A dynamic and liberating journey that takes us far beyond the neat and disciplined ranks of book typography into the unknown."  

 –Simon Morley author of Writing On The Wall and the forthcoming Seven Keys To Modern Art



Friday, August 24, 2018

100 Hybrids by Jefferson Hansen Book Release Reading, at Boneshaker Books in Minneapolis, on September 22nd from 6pm - 7pm

Please join us for an evening of poetry and asemic writing. Jeff will be reading from his new book 100 Hybrids. His book plus other Post-Asemic Press titles will be available for purchase. A few other local poets will also read.

Click here for more info: https://www.facebook.com/events/1810818072339339/?notif_t=plan_user_joined&notif_id=1534938110935778


Boneshaker Books
2002 23rd Ave S, Minneapolis, Minnesota 55404


Saturday, September 22 at 6 PM - 7 PM

Thursday, August 16, 2018

FALSE FICTION FRACTURED FACT ALTERED by Marilyn R. Rosenberg coming out this Fall 2018! Post-Asemic Press #008

Cover Art
Sample page
Post-Asemic Press is pleased to announce the release of FALSE FICTION FRACTURED FACT ALTERED by Marilyn R. Rosenberg this October of 2018. The book is a great work of asemic abstract calligraphy. It was originally created as a one-of-a-kind artists' book. Marilyn explains here:


About this work-.



   The False Fiction Fractured Fact series started in 2001 with a diary/journal of 219 pages. Worked on throughout the blank bound purchased book pages in and out of order, MRR often returned to pages and to work on them again, as she still does in other new bookworks/artists' books. Related, are False Fiction Fractured Fact- THE OTHER SIDE, in 2008, a visual/asemic poem published 2009, on Michael Jacobson's’ web/ blog http://thenewpostliterate.blogspot.com/  .

There is False Fiction Fractured Fact: take it with you, 2008 at https://the-otolith.blogspot.com/search?q=False+Fiction+Fractured+Fact%3A+take+it+with+youl 
And other works, including an asemic computer collage, False Fiction Fractured Fact: THE OTHER SIDE in 2008, on http://thenewpostliterate.blogspot.com/  

   Concept started here with a new irritation, a bite of memory, and a triggered reference as a glimpse, with a ghost of an old idea. FICTION FRACTURED FACT ALTERED  can be read, continuing in both directions, and so has two beginnings and possibly no end, spiraling around, as do most of MRR’s bookworks, and can be read in more than one direction. So seeing is both forward and backward, up, down and around. 
     Broken unity, and hesitations in continuity, are so often concretely expressed by the fragmented circle. But, the complete circle does convey the absence of interruption, and many circles, whole and part circles are here. There are fish in various places, which for decades are the metaphors for groups, family or specific personalities. The name of a fish, the type of fish, gives the clue to its reason for being in the space it occupies. 
     Calligraphic marks can recount one side of abstract conversationsSometimes the open folio is one thought, but most often the facing pages are in dialogue, sometimes in heated contrast and possibly interacting or playing with the pages before and those pages ahead. Calligraphic drawing marks, indecipherable language, Ideogrammatic language, asemic poetry, is the language without known language, before written language, the language beyond any language. Varieties of Ideogram languages/ asemic narratives, tell abstract stories, of course. Interacting within themselves and with the viewer/readerthe pages do ask- are we filled with drawings or poems? Altered and added marks, layered, have hints of depth, space, and sometimes of darkness. Images of objects, and new marks together with those from this earlier series, develop new  groups of visual and asemic poems/drawings. 2018 computer collages are 90, or so, pages in this edition artists'  book -
FALSE FICTION FRACTURED FACT ALTERED.   Marilyn R. Rosenberg




BRIEF BIO -  Marilyn R. Rosenberg

Born in Philadelphia Pa, MRR is second generation in the USA and all of her family came from the Ukraine while it was under Russian rule. She and Bob have two daughters, 5 grand sons and one grand daughter. Through the years MRR has had a varied education, then in 1978, a Bachelor of Professional Studies in Studio Arts at Empire State College, State U of NY.  In 1993 MRR graduated with a Master of Arts in Liberal Studies from the Graduate School of Arts and Science, New York University, NY, NY. 

Marilyn R. Rosenberg, as usual, with actual and virtual collage, with pen and brush, stencils, ink, and gouache is making unique and edition images often in bookworks or artists' books. And using the mouse, the Mac, and scanner MRR makes marks, images and words. Since 1977 MRR has been in some one person exhibitions and very many international group exhibits. MRR’s works are part of early mail art, and in current interactions. Ongoing MRR makes artists’ stamps, bookmarks, artists’ books, visual and asemic poetry. A small percentage are created with collaborators. Many unique sculptural bookworks, and published edition works, and works in catalogs, zines and anthologies can be found in university, college and museum library collections.

Monday, August 13, 2018

A review of Michael Jacobson's Works & Interviews by Federico Federici

"Works and interviews" by Michael Jacobson is a collection of both asemic scripts ("The Giant's Fence", "Action Figures", "A Headhunter's Tale"), interviews and other textual installations ("THAT: A Planet", "The Paranoia Machine", "MK JCBSN").
The first three sections challenge the reader to enter a net of finely entangled patterns and explore the residual signs of plots, which the paranoid characters, once inhabiting there, left deliberately behind.
Page after page, a carousel of abandoned or accidental symbols, of dreams cropped from a broader vision is delivered to the brain, which is supposed to edit and reassemble them into full narrative frameworks. Readers turn into spies collecting evidences of the impenetrable shelter of meaning. They may even find themselves connected to peripheral cameras, recording the relentless brain activities on the verge of dreaming.
Under a different perspective, the storytelling approach of this book convincingly relies on a cornerstone of asemic practice: however paradoxical it may seem, the intrinsic coherence of asemicism generates meaningfulness while stimulating the aptitude of readers to scan symbols in a meaningful way.
Asemic works act as blank tapes, simultaneously activated, recorded and erased again while watched. Each reader is, as such, an accomplice of the writer and possibly its desired alter ego.
A mirror is not an image in itself, but it has the property of imaging, likewise each asemic text does not exhibit a meaning of its own, but it is some sort of filter, capable of simulating and stimulating meaningfulness, engaging the reader into this unprecedented task.


- Federico Federici

Click here for Works & Interviewshttp://postasemicpress.blogspot.com/2017/04/works-interviews-by-michael-jacobson-is.html

Saturday, August 11, 2018

2 Great New Asemic Writing / Poem Brut Books by Steven J. Fowler


Aletta Ocean's Alphabet Empire  (Hesterglock Press, 2017), & I Fear My Best Work Behind Me. (Stranger Press, 2017),  are two great works of asemic handwriting from author SJ Fowler (Steven J. Fowler).

Aletta Ocean's Alphabet Empire is the more unreadable of the two. It contains mostly black and white asemic writing with the occasional "Picasso blue" page of asemic script. The art/writing has a storm like quality to it with asemic lightning bolts cutting across the surface of the folios. Other pages seem to contain illegible asemic animal tracks, and still others remind me of Morse code birch bark dashes. This book's main focus and general theme is the raw erotic power of creation of an excelled asemic mythology. AOAE is presented in a fine hardcover volume by Hesterglock Press and is limited to 40 copies.

I Fear My Best Work Behind Me is the slightly more legible of the two and is more colourful than Aletta. It has a spring-like playfulness and joy bringing qualities that makes me think of an asemic Kenneth Patchen crossed with finger painted art. There are a few more recognizable drolleries such as a deer's head and a crab, and the skulls on the cover art, but most of the text/art is nebulous. Fowler has acknowledged the influence of Christian Dotremont and Henri Michaux in this book, but from these predecessors he has developed his own original calligraphic style and signature. The publisher Stranger Press has taken Steven's work and made an admirable codex which I will treasure.

Both works offer an excellent introduction to Steven J. Fowler's personal raw art poetry. This is Poem Brut in its finest form, a term I believe coined by Steven to describe the outsider poetry not created with a computer. It is refreshing to read/hold these handwritten books since they offer a respite and rest from today's bloated techno-culture. Asemic books are the ultimate captcha and prove we are not robots. It is invigorating to read through these two works in a time when everything is being digitized, to have these two beautiful works of resistance now is essential. Find these books and you will know.



Friday, August 10, 2018

100 Hybrids by Jefferson Hansen is available now in the shop at Minnesota Center for Book Arts & Eat My Words Bookstore here in Minneapolis!


Jeff and I dropped off some copies of his new book 100 Hybrids at Minnesota Center for Book Arts today. We also dropped off copies at Eat My Words bookshop here in NE Minneapolis. These are the only 2 physical bookshops currently offering Jeff's book at the moment. 100 Hybrids is available for $12 at these 2 locations. So if you are local, or are visiting Minneapolis, these are 2 great bookstores to support where you can find Jeff's book while browsing the shelves. Next month, on Saturday September 22 at 6pm at Boneshaker books (another great local shop here in Minneapolis), there will be a poetry reading/asemic writing hybrid event and book release party for 100 Hybrids. More details of the reading will be coming soon. All Post-Asemic Press titles are currently available at MCBA. Jeff's book is the only PAP title at Eat My Words.



Tuesday, July 31, 2018

3 Great Amazon Reviews for Works & Interviews by Michael Jacobson | Post-Asemic Press #001

July 24, 2018
Format: Paperback

The Giant’s Fence is an evolving asemic visual narrative, written in trans-symbolic script, that can be read aesthetically. Any meaning the reader constructs from the text is a correct translation; it is open to personal interpretation and exploration—Michael Jacobson

Jacobson’s Works & Interviews (1999-2017) is quintessential ‘reading’ for anyone interested in asemic literature. The book includes three asemic stories—the “Giant’s Fence” (my favorite), “Action Figures” (reminiscent of Kenneth Patchen’s picture poems), and “A Headhunter’s Tale” (asemic glyphs punctuated by facial expressions). The asemic stories are followed by interviews, which give insight into the philosophy of asemic literature. Following the interviews are several other asemic works: “THAT: A Planet,” “The Paranoia Machine,” and “MK JCBSN” (Michael Jacobson’s avatar).

“The Giant’s Fence” is a story composed of asemic glyphs i.e. “trans-symbolic script” or symbols that do not reflect anything. This is the raw aspect of language, language without meaning; residue of language after it has been fully deconstructed. The philosopher Ludwig Wittgenstein made two contributions to the philosophy of language, which should have ended the philosophy of language itself. First, Wittgenstein responded to the “picture theory” of language, which suggested that language’s function was to create a picture of the world. The philosophical task was to determine how to make the most accurate depiction of the world. This would amount to understanding how language pictures the world, but Wittgenstein argued that this cannot be done, because it would just be more language ad infinitum. This is where he cites his famous dictum at the end of Tractatus Logico-Philosophicus: 'That whereof we cannot speak, thereof we must remain silent.’

In his later theory on language, he dropped the idea that language was designed to picture the world—or at least that was not the only function of language. Instead, language was simply a tool that humans used to get things done and that all this philosophy of language was wasting its time. Later on, Jacques Derrida argued that meaning—in language—comes about through difference—a combination of difference and deference. Therefore, an absolutely true meaning of a term is impossible. Although he tells us that this is impossible, he does not get rid of the notion of meaning, he simply hides it in the metaphysical ether.

Asemic text, such as the “Giant’s Fence,” is the residue of language when it has been fully deconstructed and meaning is lost in the metaphysical ether. Its loss is not to be lamented, but instead it is to be celebrated and this is what asemic writers do—they celebrate the loss of meaning by mimicking language with aesthetic glyphs. This is what Jacobson means when he tells readers that the “Giant’s Fence” can be read aesthetically and that any interpretation is correct.

Reading Jacobson’s asemic text is an experience. As suggested one does not simply read asemic literature, instead one experiences it and there’s no better place to start than with the work of Michael Jacobson.

He is also very active in the asemic world, he runs a website that introduces the works of asemic artists throughout the world: The New Post-literate: A Gallery Of Asemic Writing.

July 29, 2018
Format: Paperback

Some thoughts by Rosaire Appel on "Works and Interviews"
Jacobson’s lucid articulations about asemic writing put you in the right mind-set for reading his, or anyone’s, asemic work. It is a different kind of reading, one that you invent on the spot –letting it evolve as you interact with the pages over time. Although very different, I think of Xu Bing’s “Book from the Ground”, which consists entirely of emojis. We know these symbols, but reading a book of them requires a focus that is different from, and more individualistic than, conventional word-symbol reading. Jacobson’s “The Giant’s Fence” and “Action Figures” both included in this volume, don’t use any conventional symbols. Instead, he creates conventions of his own. The reader decides how to move through these lines of configurations, at what speed, with what in mind. This kind of writing is a form of freedom – artistic and conceptual. Jacobson’s use of this freedom is so highly controlled and aware of itself that his language becomes readable. This turns reading into an act of freedom, when you let it.



July 21, 2018
Format: Paperback

This book offers reprints of three important asemic works by Jacobson: "The Giant's Fence," "Action Figures," and "A Headhunter's Tale." Each is a world onto itself, and is written using a style specific to the book. Most of the rest of the book is composed of interviews of Jacobson that concern the history, import, and "meaning" of asemic writing. Not only does this book offer some wonderful extended examples of asemic writing, but it helps ground the reader in the movement itself.

Click here for more information about Works & Interviews by Michael Jacobson | Post-Asemic Press #001