SUPERCONTEMPLATIONS signifies a creative advance on the lower-case volume of abstract poetry entitled 'Contemplations' (1985), in that it combines upper- and lower-case monosyllabic words in the process of creating patterned entities which, whatever their subliminal message, require only to be contemplated, and are thus akin to a mode of 'word art', the only difference being that these 'poems' were created with a word-processing program rather than with a paint program involving characters.

As the Sun of Suns Rose: The Darkness of the Creeds Was Dispelled is the first of the eight books of Sehje Rachio Khalsa of Harinder Singh Mehboob, who had written it in a revealed and metaphysical approach after a continuous meditative study for thirty to thirty-five years of world religions, prophets, philosophy, history, psychology, mythology, world folklore, and the different forms of literature as the world epic, divine poetry, fiction, drama, and different types of prose of the elite genius of the world. In this large book, the poet/writer raises so many questions about the decline of world religions with the passage of time, the concept of pure history, the concept of death, the concept of greater holy war, the concept of pure nature, the concept of ecstasy (vismad), the concept of eternal victory, etc. In this book, he describes the answer to the above questions in detail in the most convincing ways. In this worlds history of more than four thousand years, this book can be compared only with very few books that are authorized as distinctive classics as the Bezels of Wisdom by Ibn al-Arabi, The Awakening of Faith by Ashav Ghousha, Kashful Majub by Data Ganj Hujbiri, etc.

CONTEMPLATIVE ABSTRACTS is the logical sequel to 'Abstacts' (1983) which, being readerly, or capable of being read, was non-contemplative and therefore a precondition of abstract poems that require only to be contemplated, since effectively a species of word art. The five books in this project represent different stages in John O'Loughlin's development of a non-readerly, or contemplative, style of poetic composition, and have also been published separately under the headings 'Contemplations' (1985), 'Supercontemplations' (1993) and 'Ultracontemplations' (1994), the first of these being in three books and therefore containing the greater percentage of the material now available in one volume, as the collected contemplative abstract poems.

Like 'Contemplations' (1985) and 'Supercontemplations' (1993), this volume of poetic word art, which bears the title ULTRACONTEMPLATIONS, requires only to be contemplated, since it is composed of patterned upper-case entities which, when they are not in mirror reverse perspective, are all different and all equally suggestive of a variety of insights which arguably owe more to art than to poetry.

John McGreal's three new books – It’s Abstraction, Concretely, It’s Figuration, Groundly and It’s Representation, Really – continue the ‘It’ Series published by Matador since 2010. They constitute another stage in an artistic journey exploring the visual and audial dialectic of mark, word and image that began over 25 years ago. Emerging out of the first books on the Bibliograph published in 2016, initiated with It’s Nothing, Seriously, these new texts retain some of the same structural features. The Bibliographs contain the same focus on repetition and variation in meaning of their dominant motifs of representation, abstraction and figuration which have framed philosophical discourse on epistemology and ontology in aesthetics; their chance placement in each Bibliograph interspersed with one another displaying and enhancing similarities and differences. At the same time these works constitute a development in the aesthetic form of the Bibliograph. In earlier works on Nothing, Absence and Silence, it was just a question of finding and transferring given textual references from their source to construct their Bibliographs, with the focus being on the strategic position of the latter within each book. In these new works, the concern has been with working on the line and shape of the references themselves, with their enhanced spacial form as well as that of each Bibliograph as a whole. In shaping and spacing the referential images, the place of words and letters became as important as their semantic & syntactical role. Expansion and contraction of whole words was used to enhance this process. Under such detailed attention their breakdown into particles of language, into part-words and single letters was a result. The recombination of elements produced new words in a process of restrangement with new sequences of letters having visual rather than semantic value. The play on prefixes of dominant motifs yielded new words as did tmesis. This concern with the form of referential images does not preclude an equal commitment to their content. The aleatory character of textual entries in each Bibliograph encourage the reader to let his or her mind go; to read in a new way on diverse contemporary issues across conventional boundaries in the arts and sciences at several levels of physical, psychical and social reproduction.