Davis Schneiderman

DAVIS SCHNEIDERMAN is a multimedia artist and writer and the author and editor of eight books, including the novels Drain(TriQuarterly/Northwestern) and Abecedarium(Chiasmus) and the forthcoming blank novel,Blank: a novel (Jaded Ibis); the co-edited collections Retaking the Universe: Williams S. Burroughs in the Age of Globalization (Pluto) andThe Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game (Nebraska); as well as the audiocollage Memorials to Future Catastrophes (Jaded Ibis). His creative work has appeared in numerous publications includingFiction International, The Chicago Tribune, The Iowa Review, TriQuarterly, and Exquisite Corpse.He is Chair of the English Department at Lake Forest College, and also Director of Lake Forest College Press/&NOW Books. He edits The &NOW AWARDS: The Best Innovative Writing. He can be found, virtually, at www.davisschneiderman.com

Davis Schneiderman Books

the DEAD/BOOKS trilogy


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INK COVER copyComing 2014

About the Project


DEAD/BOOKS is a trilogy of conceptual works by Davis Schneiderman from Jaded Ibis Productions: BLANK (2011), [SIC] (2013) and INK. (forthcoming). 


BLANK is a 200+ page book whose text offers only 20 enigmatic chapter titles like, “A Character Broods” and “They Encounter An Animal,” with audio remixes by Dj Spooky and pyrographic art by Susan White.

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[SIC] includes public domain works under Schneiderman’s name, including everything from the prologue to The Canterbury Tales to Wikipedia pages to genetic codes, along with a transformation of the Jorge Luis Borges story: “Pierre Menard, Author of Don Quixote.” The fine-art edition of [SIC] contains a pathogen that readers may deploy onto the text, to become sick— sick about copyright.

[SIC] contains images from visual artist Andi Olsen, an introduction from Oulipian Daniel Levin Becker, and sampling-based tracks, already created for other projects, from Illegal Art label acts Yea Big, Oh Astro, Steinski, and Girl Talk.  The fine-art edition ($24,998.98) will be packaged with a biological pathogen, which the reader may choose to deploy over the text. In this way, the book [SIC] will make the reader sick — sick about copyright. The book is timed to the release of 25 free, full-text e-books — including The Red-Headed League and Young Goodman Brown, now marked with my name.

INK. is all dark, a smear of solid ink over every surface of the book. INK. erases, redacts, and overwrites itself, ink extending and overtaking every surface. The fine-art edition of INK. uses ink sourced from Schneiderman’s blood. Further, Schneiderman will also put his library at risk. Any person who buys INK. may choose a book from Schneiderman’s library, which Schneiderman must then destroy. He will send evidence of the remains to the purchaser.

This e-book forms part of an e-book cache released in time with [SIC], and its familiar text with new attribution interrogates notions of originality and authorship in an age of rapid transformation of the publishing industry, the shape of narrative, and the transmogrification of the printed word.