new from above/ground press: The Peter F Yacht Club #35 : 2025 VERSeFest Special

The Peter F Yacht Club #35
2025 VERSeFest Special
lovingly hand-crafted, folded, stapled, edited and carried around in bags of envelopes by rob mclennan,
$6

With new writing by a host of Peter F Yacht Club regulars, irregulars and VERSeFest 2025 participants, including Kimberly Quiogue Andrews, Susan J. Atkinson, Frances Boyle, Jason Christie, Michelle Desbarats, Em Dial, AJ Dolman, Amanda Earl, Cara Goodwin, Phil Hall, Jessica Hiemstra, Rebecca Kempe, Laurie Koensgen, Margo LaPierre, Karen Massey, rob mclennan, Pamela Mosher, Salem Paige, Terese Mason Pierre, Pearl Pirie, Monty Reid, stephanie roberts + Grant Wilkins;

published in Ottawa by above/ground press
March 2025
a/g subscribers receive a complimentary copy
[a small stack of copies will be distributed free as part of the fifteenth annual VERSeFest, March 25-29, 2025]
[see the prior issue here; see last year's VERSeFest issue here]

To order, send cheques (add $2 for postage; in US, add $3; outside North America, add $7) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9. E-transfer or PayPal at rob_mclennan (at) hotmail.com or the PayPal button at www.robmclennan.blogspot.com

VERSeFest 2025 : Andy Weaver, Phil Hall + Eileen Myles

above/ground press authors Andy Weaver, Phil Hall and Eileen Myles read in Ottawa this week as part of VERSeFest 2025! Tickets are still available! And Myles even reads at Carleton on Friday at noon at a free event! Might we see you there?

some author activity: Robinson, Banks, Ross, Hall, mclennan, Weaver + Boyle,

Ben Robinson has some new poems up at the temz review; Chris Banks posts an essay over at The Woodlot, on how he still believes in National Poetry Month; Stuart Ross has a bunch of new poems up at Mercurius; Phil Hall is interviewed by rob mclennan for periodicities: a journal of poetry and poetics, as is Andy Weaver; and Frances Boyle has a new poem up at Concision.

new from above/ground press: Teenage Whales, by Eileen Myles

Eileen Myles
Teenage Whales
$5

the birds
push
the diamonds
the reddish
weave
of my knee
Honey’s heh heh
that shakes
her belly &
her back
it catches
in the back
of her
throat
ma-ma
goes the child
we want
to go
what the fuck
are you
doing here
with your
children &
a black
duck dips
his head
behind
a wave
is gone
[...]

published in Ottawa by above/ground press
as part of the author’s participation in VERSeFest
March 2025
a/g subscribers receive a complimentary copy

cover illustration by the author

Eileen Myles is a poet, novelist and art journalist. Their latest books are a “Working Life” and Pathetic Literature. They are currently at it on a very long novel, out in ‘27, maybe. They live in NYC & Marfa TX.

To order, send cheques (add $2 for postage; in US, add $3; outside North America, add $7) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9. E-transfer or PayPal at rob_mclennan (at) hotmail.com or the PayPal button at www.robmclennan.blogspot.com

new from above/ground press: Parallax Days, by Gregory Crosby

Parallax Days
poems
Gregory Crosby
$5

Apollonian

He looked at her the way Buzz Aldrin might glance at the moon while wheeling the trash to the curb.



Mourning, After

He woke up with moon breath, & the stink of cheap sunlight still clinging to his skin.

published in Ottawa by above/ground press
March 2025
a/g subscribers receive a complimentary copy

Gregory Crosby is the author of Said No One Ever (2021, Brooklyn Arts Press) and Walking Away From Explosions in Slow Motion (2018, The Operating System). He is currently the poetry editor for the online journal Bowery Gothic.

To order, send cheques (add $2 for postage; in US, add $3; outside North America, add $7) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9. E-transfer or PayPal at rob_mclennan (at) hotmail.com or the PayPal button at www.robmclennan.blogspot.com

Pearl Pirie reviews Alice Burdick's I Am So Calm (2025)

Quebec poet, editor, writer, reviewer, editor, publisher etcetera (and above/ground press author) Pearl Pirie was good enough to provide the first review for Alice Burdick's I Am So Calm (2025) at The Miramichi Reader. Thanks so much! You can read the original post here. As Pirie writes:

I Am So Calm by Alice Burdick (above/ground press, 2025) is the latest from a poet who has been putting  out surreal books since at least 2002. Her most recent full collection is Ox Lost, Snow Deep (A Feed Dog book/Anvil Press, 2024).  

From what I’ve read this chapbook seems consistent in style, although I won’t offer a title by title comparison. I Am So Calm sets mid-field in surreal. The poems feel like disorienting lists of non-sequiturs or axiomatic koans. That said, “non-sequitur” presumes one thing should follow from the previous when that sort of linkages is a construct and her objects and awarenesses are discrete and independent, explicitly “a tapas of small moments.” (p. 17). Line progressions outright refuse cis-het military industrial late-capitalist hierarchical culture of How Sense is Conveyed.  

Grounding phrases break in and flit away. Marginalia is welcomed into the body. What does it matter for, as she concludes with admission of ephemerality of both grief and grace, “Our bodies take everything in, then dispose/ of the everything, gradually.”  

Because the sentences and semantics in each line are simple, short and small it seems to instruct the reader to move quickly, but the collective run of sentences confound a quick reading. How does anything fit?  One needs to squint or look at middle distance to not see so literally a pattern or progression. We get permission to not have authorial authority over all we see, whether we read of speak. See the foci  captures chosen in the last fifth of “The Bed Book”, (p. 14-15)  

Floorboards creak, heels of a bouncing child  
smash down from above. That  
was a successful quesadilla.  
I like the idea of beginning  
in the middle. Then please,  
don’t worry about the fog.  
Aureola? Or corona?  
What is the light  
that carries us all?  
What is the light that embalms?  

It is the barely differentiated everything, the chaotic flourishing that carries us, illuminates us, not the still profundity of interstitial reflection. Rather than staid and proper it’s vivid and irreverent urging to live, live, live, “bounce meaty bellies off each other, dance.” (p. 20)  

In “A Real Success”, Burdick writes, “To not speak is to succeed” and continues,  

"Let concerts happen with more air  
about them. The audience  
a required entity."  

It echoes the absurdist play In Rosencrantz & Guildenstern are Dead by Tom Stoppard (Grove  Weldenfeld, 1967) when the Player said, “the single assumption that makes our existence viable—  that somebody is watching…every gesture and pose vanishing into the thin unpopulated air. We ransomed our dignity to the clouds.” What matters is the sharing, the joining of focus, not the  containing, elevating and perfecting on plinths a historically inaccurate construction of calm order.  If the poetry were to have a theme song it might be “Chicks Dig It”, (“pain hurts, but only for a  minute. All you’re left is with the memories you made. Life is short. Best live it.” I hope I’m nailing that and not paraphrasing).  

It may be a different form but as with artistic expression, it wrestles with how to live well. Towards the last 10% of “If you do this, honour will result” we have an index of values of sorts:

"...We’re all  
just doing the best we can. Graft a tree onto another tree,  
a wedge to reanimate flowers. Shelter your loved ones’ bodies  
and listen when they tell you who they are, what makes them  
feel safe, what they need, what they notice. Instruct destruction  
to fold its retractable blade. Hold me, my own arms.  
Upend honour and drain the rigid globules."  

Destruction as a switchblade, grafting to another as resurrection to blooms, flush the parts that clot your flow. Yet said fresh and to be confoundingly slow so it can’t be quickly glossed over. There is something toward a profound lesson and closure at the end of poems and something of a flotsam, jetsam swirl around a theme that prevents it from being random and more towards bastard ghazal. It is a hyperactive sort of mind but one that insists on kindness and accepting in what is and asks what could be if we think without the usual blinders, partitions, rules and boundaries?

new from above/ground press: Market Discipline, by Kevin Davies

Market Discipline
Kevin Davies
$5


This grim cart an ocean between us.
That’s what it feels like and that’s what it is.
This highfaluting gimcrack awaiting whistle of approval.
That’s what we talked about as the blimp plummeted.

This criminology a flawed paean, all.
That’s the verdict that emits City Hall.
This crimp in the wing of the suspect spaniel.
That’s what we’ve got saved instead of the throbbing dossier.

This the new puzzler from the pen of the abbot’s double cousin.
That’s just how it works in these misspelled parts.
This overproduction an all-too-padded shank of decimal innovation.
That’s what I’m trying to understand about what used to be the river.

This is all you’ve got and you’ve come all this way.
That’s the awesome deed itself in dungarees.
This pinion you speak of, Plato, can it measure levels of disorganization?
That’s what the contract is said to have said to have specified.

This isn’t the first time we’ve heard the alto wail of what is lather.
That’s a project for another time and altered trapeze.
This cruciform range of options applies itself to plateau sage.
That’s I suppose what we get for trusting those who once lived on boats.

This is Mike, my old friend and new adjutant.
That’s my way of saying goodbye to a whole range of associations.
This sound familiar?
That’s the nightly cannon in Stanley Park reminding us to floss.

published in Ottawa by above/ground press
March 2025
a/g subscribers receive a complimentary copy

Kevin Davies was active in the Vancouver poetry scene in the 1980s and has lived in New York City since 1992, working as a copyeditor and writing instructor. His books include FPO (2020), The Golden Age of Paraphernalia (2008), and Comp. (2000), all from Edge Books in Washington, DC.

Market Discipline is a section of Salacious Dossier, forthcoming from Talonbooks in 2028. Also forthcoming: Transfer Portal (Edge, 2025) and Three Yards and a Cloud of Ducks (Roof, 2027).

To order, send cheques (add $2 for postage; in US, add $3; outside North America, add $7) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9. E-transfer or PayPal at rob_mclennan (at) hotmail.com or the PayPal button at www.robmclennan.blogspot.com