Douglas Coupland is quite prepared to adopt certain techniques of graphic design and visual poetics in order to disrupt, ornament or enhance the implicit linear flow of his novels. In his latest, microserfs, bold monospaced ‘Chicago’ interrupts a standard bookface in order to signal email and other keyboarded transcriptions, and type style may be used to mark other rhetorical tropes and figures. Even more striking and obviously, the book is interspersed with the geek hero, Dan’s, automatic stenography, recording his version of a computer’s subconscious. These are visual poems, and although they may be unrelated, historically or critically, to any existing tradition of such poetry, they are clearly readable using strategies which have been proposed and developed by visual poetics. (Meanwhile readers without any background in ‘visual writing’ will probably be interpreting these pages as they would typographically sophisticated advertising.) Finally, microserfs contains a number of language experiments, simple visual poems which also evidence the kind of engagement with issues of language use and linguistic structure that is found in much innovative poetry, especially North American poetry since the 1970s. Two pages of binary 1s and 0s (bit-level computer subconscious); two pages of the word ‘money’ in columns (these can also both be read as concrete poems); and two pages where a passage is transcribed twice, such that, firstly, letters representing vowels and then those for consonants are replaced by blank spaces.