a, A Novel

Derek Beaulieus a, A Novel is an erasure-based translative response to Andy Warhols eponymous novel. Beaulieu carefully erases all of the text on each page of the original work, leaving only the punctuation marks, typists insertions and onomatopoeic words. The resultant text is a novelistic ballet mcanique, a visual orchestration of the traffic signals and street noise of 1960s New York City. This visually powerful half score/half novel highlights the musicality of non-narrative sounds embedded within conversation. Published in the autumn of 1968, Andy Warhols a, A Novel consists solely of the transcribed conversations of Factory denizen Ondine (Robert Olivo). Ondines amphetamine-addled conversations were captured on audiotape as he haunted the Factory, hailed cabs to late-night parties and traded gossip with Warhol and his coterie. The tapes were transcribed by a small group of high school students. Rife with typographic errors, censored sections, and a chorus of voices, the 451 pages of transcription became, unedited, a new kind of pop artefact. These pages emphasize transcription over narration, chance over composition. In his book, Derek Beaulieu offers a radical displacement of Andy Warhols work. He erases the novels speaking characters members of the mid-1960s New York avant-garde and preserves only the musicality of their conversations. Beaulieu perfectly provides a tangible example of Theodor Adornos theory elaborated in his essay Punctuation Marks (1956), in which he argues that punctuation marks are the traffic signals of literature and that there is no element in which language resembles music more than in the punctuation marks. This visual poetry is accompanied by an essay by Gilda Williams, Breaking Up is Hard to Do. Men, Women, and Punctuation in Warhols Novel a. Her deep knowledge of both Andy Warhols work and the history of contemporary art explores the complicated history of the original novel and highlights the urgent and precise spirit of Derek Beaulieus workthe work of an artist who situates Uncreative Writing at the core of contemporary literature and also shows in his book a feminist gesture.