Thursday, March 23, 2017

new from above/ground press: Open Island, by Faizal Deen

Open Island
three poems
Faizal Deen
$3

Wrong Essays

begins a mouldy turn into kaiso
Archie “and Muslims in general”
better than the hippogriff Kali come to life
behind Sinbad
little master in Mom’s panties
read more hippogriff where the masters let them
Ray Harryhausen a thousand arms
head griffin claws
hooves horse tail
Moors from Afrique
In hybrid hands; Ottawa special effect.
“see, Orientalist!, see?”
every funeral, the 4th takbir, remain standing
without wing or hippogriff
Moderns grow lush in their dream of an open island
Okroes in the grabber of scotch bonnet
a dying shoreline Hellshire’s fried Dancehall
love affairs
“The Indies,” a moonlight Haji shears history
At Plaza, hands everywhere Sinbad.
At Plaza, read more hippogriff mister.
Mom turns walaikum into laughing Sparrow
blows loud balloons
this secret petition to Kali

published in Ottawa by above/ground press
March 2017
a/g subscribers receive a complimentary copy


Faizal Deen Forrester
is a doctoral student in the Department of English Language & Literature at Carleton University. As a contributor to the Migration and Diaspora Studies initiative at Carleton, Faizal seeks to address the ways in which the cultural production of Caribbean populations in Canada—in particular, the work of poets—encourages us to rethink existing notions of diasporic identity. Faizal has studied at Queen’s University at Kingston, Ontario, the University of the West Indies (Mona Campus), McGill University; and, most recently, received an MA in Creative Writing from the University of Windsor. As Faizal Deen, he maintains—along with his scholarly endeavours—an acclaimed poetry practice, beginning in 2000 with the publication of Land Without Chocolate, a Memoir, Guyana’s first LGBTQI poetry collection. His most recent collection, The Greatest Films, which, in part, addresses Caribbean queer Islamic identities in the post-9/11 era, was published by Mawenzi House.

[Produced for Deen's participation in Ottawa's 7th annual VERSeFest, March 21-26]

To order, send cheques (add $1 for postage; outside Canada, add $2) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9 or paypal at www.robmclennan.blogspot.com

Tuesday, March 21, 2017

new from above/ground press: The Peter F Yacht Club #25; VERSeFest special!

The Peter F Yacht Club #25
VERSeFest 2017 special

edited by rob mclennan
$6


With new writing by a host of Peter F Yacht Club regulars, irregulars and VERSeFest 2017 participants, including Cameron Anstee, Frances Boyle, Jason Christie, Stephen Collis, Anita Dolman, Amanda Earl, Patrick Friesen, Lea Graham, Marilyn Irwin, Gil McElroy, rob mclennan, Uxío Novoneyra, trans. Erín Moure, Pearl Pirie, Roland Prevost, D.S. Stymiest and Janice Tokar.

published in Ottawa by above/ground press
March 2017
a/g subscribers receive a complimentary copy
[a small stack of copies will be distributed free as part of the fifth annual VERSeFest, March 21-26, 2017]


To order, send cheques (add $1 for postage; outside Canada, add $2) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9 or paypal at www.robmclennan.blogspot.com

Monday, March 20, 2017

new from above/ground press: Marilyn Irwin, north

north
Marilyn Irwin
$5


(&)
the spider plant
is unhappy
its foliage is
growing wrong,
pushed up against the wall
it is browning; it is dying
it is holding on because it has to
roots, pot, gravity
it turns away from the sun
it is trying

published in Ottawa by above/ground press
March 2017
a/g subscribers receive a complimentary copy


Shortlisted for the 2016 bpNichol Award, a 2014 Tree Reading Series Hot Ottawa Voice, and winner of the 2013 Diana Brebner Prize, Marilyn Irwin has no idea how she got here. Her work, including seven chapbooks, has been published by above/ground press, Apt. 9 Press, Arc Magazine, Matrix Magazine, and Puddles of Sky, among others.  She runs shreeking violet press in Ottawa.

[Produced for Irwin's participation in Ottawa's 7th annual VERSeFest, March 21-26]

This is Irwin’s third chapbook with above/ground press, after for when you pick daisies (2010) and flicker (2012).

To order, send cheques (add $1 for postage; outside Canada, add $2) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9 or paypal at www.robmclennan.blogspot.com

Thursday, March 16, 2017

new from above/ground press: poorsong one, by Lisa Robertson

poorsong one
Lisa Robertson
$4


Day Opens on Water
You say the Water is not a Grave

Over the still mirror of Water
Love moves the Bright Shadows
Penetrates Borders

published in Ottawa by above/ground press
March 2017
a/g subscribers receive a complimentary copy

Lisa Robertson
lives in the village of Nalliers (population 310), on the Gartempe River, which drains from the Massif Central into the Loire basin. This region is the historic border zone of old Aquitaine, also the ragged border zone of old Occitan, and French. The current economy is based on small scale agriculture, the building trades, a plastic bag factory, and under-the-table activities. She moved to the region in 2004; she began making chapbooks in the late 80s in Vancouver. Her most recent book is 3 Summers.

This is Robertson’s second title with above/ground press, after On Physical Real Beginning and What Happens Next (2012).

[Produced for Robertson's participation in Ottawa's 7th annual VERSeFest, March 21-26]

To order, send cheques (add $1 for postage; outside Canada, add $2) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9 or paypal at www.robmclennan.blogspot.com

Tuesday, March 14, 2017

new from above/ground press: Jordan Abel, TIMELESS AMERICAN CLASSIC

TIMELESS AMERICAN CLASSIC
Jordan Abel
$5




published in Ottawa by above/ground press
March 2017
a/g subscribers receive a complimentary copy

Jordan Abel
is a Nisga'a writer from BC. Currently, he is pursuing a PhD at Simon Fraser University where his research concentrates on the intersection between Digital Humanities and Indigenous Literary Studies. Abel’s creative work has recently been anthologized in Best Canadian Poetry (Tightrope), The Land We Are: Artists and Writers Unsettle the Politics of Reconciliation (Arbiter Ring), and The New Concrete: Visual Poetry in the 21st Century (Hayword).  Abel is the author of  Injun, Un/inhabited, and The Place of Scraps (winner of the Dorothy Livesay Poetry Prize and finalist for the Gerald Lampert Memorial Award).

[Produced for Abel’s participation in Ottawa's 7th annual VERSeFest, March 21-26]

This is Abel’s second title with above/ground press, after Scientia (2013).

To order, send cheques (add $1 for postage; outside Canada, add $2) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9 or paypal at www.robmclennan.blogspot.com

Monday, March 13, 2017

Joel W. Vaughan reviews Buck Downs’ Shiftless(Harvester) (2016) in Broken Pencil #74



Joel W. Vaughan was good enough to provide the first review of Buck Downs’ Shiftless(Harvester) (2016) in Broken Pencil #74. Thanks so much! You can see the original review here.

Buck Downs’ poetic method has been outlined in Broken Pencil’s review for “Touch the Donkey #11” [see that review here], as his work is briefly featured there, but it is worth noting here again for this interview, where the advantages and disadvantages to this approach are emphasized more heavily. “Shiftless(Harvester)” is, after all, a chapbookentirely of Downs’s composition, so when his method of “brute-force typing,” as he calls it, is tasked with producing the 23 short poems printed herein, their method of production is much more obvious.
            In an interview with publisher rob mclennan, Downs describes his “brute-force” method as follows: “I have a little box that when I fill it with filled notebooks, I take the box and type up its whole contents … which I get printed as a bound galley … and proceed to erase/cut & paste/collage that typing into drafts.” The advantages to this approach are the same to be found in more-recognized poets who, to some degree, follow a similar process (Downs himself cites Ronald Johnson and Jackson MacLow. “Shiftless(Harvester)” does garner a sort of ‘ghost in the machine’ kind of discombobulated affect, examples in such passages as “pee shy/& asking/for money/it’s hard to feel/sad when your mouth is on fire”. The chapbook confronts the issues associated with the method which produced it. However, some issues remain – namely, a resistance to settling into anything recognizable as meaning, and more noticeably a tendency towards shoehorning in association between dissociated memes to unfortunate melodrama (see: “days when you whisper | nights when you cry | […] | all the burnt parts | still rule inside. [11]. “Shiftless(Harvester)” makes for a solid read, but one leaves with little more than what one began with.