Wednesday, February 22, 2017

❡ Call for submissions to the 2017 bpNichol Chapbook Award ❡

Call for submissions to the 2017 bpNichol Chapbook Award

The bpNichol Chapbook Award recognizes excellence in Canadian poetry in English published in chapbook form within Canada. The prize is awarded to a poetry chapbook judged to be the best submitted. The author receives $4,000 and the publisher receives $500. Awarded continuously since 1986, the bpNichol Chapbook Award is currently administered by the Meet the Presses collective.
Chapbooks should be not less than 10 pages and not more than 48 pages. The chapbooks must have been published between January 1st and December 31st of the previous year (2016), and the poet must be Canadian.

Interested authors or publishers should submit three copies of eligible chapbooks. Translations into English from other languages are eligible.

Submissions must be sent by Canada Post or courier (and not hand-delivered to a Meet The Presses collective member) and include a completed submission form or accurate facsimile (download the 2017 Submission Form), a brief C.V. of the author, including address, telephone number, and email address. Publisher contact information (contact person, mailing address, email address, and telephone contact) must also be included. Incomplete submissions will not be considered.

The closing date for the 2017 bpNichol Chapbook Award is May 31, 2017. Submissions must be received by this date. If submission confirmation has not been received by email by June 30, 2017, please send a query to Beth Follett at: feralgrl@interlog.com.

Send submissions to:
Meet the Presses / bpNichol Chapbook Award
113 Bond Street, St John’s NL A1C 1T6

*
Chapbooks written by members of the Meet the Presses collective are ineligible for the award. Authors of chapbooks published by members of the collective remain eligible for the award.


Tuesday, February 21, 2017

new from above/ground press: SWAMP / SWAMP, by Brenda Iijima

SWAMP
SWAMP
Brenda Iijima
$4


Just walk in a straight line.

I think—I think I am, but thank you. Tall grasses overwhelm the viewfinder and we press along through the swamp, a space of nonexistent contours. You could be a scarce plant and grow according to the precarious circumstances of your immediate ecosystem or controlled and manipulated in a laboratory—a genetically modified organism designed to carry out very specific functions when reintroduced outdoors. A profusion of alternative modalities… My house was Tudoresque—a brick and stucco edifice. And the formative years, carefree—blithely unaware of what privilege consisted of besides the tree lined streets of the neighborhood where I would play unrestrained. How straight a line! How straight can I enter—logic to do with the body often foregrounds mechanistic functions, meanwhile hormonal impulses steer corporeal mass, meter motor control. Occasionally there is a sense of severe restriction—pumped chemicals and chain reactions cause a lockdown of muscle tissue. A confluence of biomorphic responses compels language and human systems as all relational actions correspond with a flood of meaning rushing to the gesticulating brain. Fatty exchanges generate syntax—subtitle actions. The constant compulsion to explain phenomena furthers the reliance on conventional language and pumps up the justification of human otherness—this feels outmoded, communicative cues abound in myriad forms. Navigating reality involves intuition, a form of perception that doesn’t necessarily participate in language structures because intuition can function beyond image, outside of object-oriented thinking. This affects Bob a lot, processing thoughts that have to do with commanding presence. Below the root systems are soggy rotten teeming microbial forms. Tangled coordinates. He bolts ahead, stumbles, gains equilibrium.


Straight in, to that clump.
It is ok now; you are on fairly solid ground. Straight in, just go right in.

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

Brenda Iijima’s
involvements occur at the intersections and mutations of poetry, research movement, animal studies, ecological sociology and submerged histories. She is the author of seven full-length collections of poetry and numerous chapbooks and artist’s books. Her most recent book, Remembering Animals was published by Nightboat Books in 2016. She is also the editor of the eco language reader (Nightboat Books and PP@YYL). She is the editor of Portable Press at Yo-Yo Labs, located in Brooklyn, NY (http://yoyolabs.com/).

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

Wednesday, February 15, 2017

new from above/ground press: These Ghosts / This Compost: An Aubadeclogue, by Jake Syersak

These Ghosts / This Compost: An Aubadeclogue
Jake Syersak
$5



_______________________________________


in as much as I am valentine, also am I culled from its pinch. of two cricket-crushed skulls,
called

a wilderness in which










++       +         ++       +         ++       +         ++


incomplete is
what we are. though I know also

we are what we incomplete: a straw-

man, for instance,
is hardly a finish-line. unless

a scarecrow:

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

Jake Syersak
is the author of Yield Architecture (Burnside Books), as well as 2 other chapbooks: Notes to Wed No Toward (Plan B Press) and Impressions in the Language of a Lantern’s Wick (Ghost Proposal). He lives in Athens, GA where he is pursuing a PhD in English and Creative Writing at the University of Georgia. He edits Cloud Rodeo and serves as a contributing editor for Letter Machine Editions.

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, February 9, 2017

new from above/ground press: No Right on Red, by Helen Hajnoczky

No Right on Red
Helen Hajnoczky
$4


We are waiting at a red light to turn right. We are glad we don’t live in a city where people our age have their own houses and careers and cars and kids. We are remembering the time we saw Leather Face at Fouf’s. We are remembering the time we threw up in Fouf’s. We are getting drunk at Blue Sunshine watching A Christmas Story and Black Christmas. We are buying Pall Mall 20 packs because we can't afford 25. We are lying in the grass at Jeanne-Mance. We are taking the 80 past the mountain and thinking we’ll definitely go up there this fall to see the red leaves, this winter to skate on the lake, this spring to see the first buds, this summer to wander in the green. We are never going up the mountain. We are going to work on three hours sleep. We are going to work hung-over. We are going to work still a little drunk, to be honest. We are going to Orange Julep because we still have the rental car. We are letting our heartbroken friends sleep on our couch. We are taping up the cracks in the floor to stop the neighbour's smoke from drifting into the apartment. We are half-heartedly fighting the mould growing in the corners of the bedroom, the office. We are looking for a better job.

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

Helen Hajnoczky
is the author of Poets and Killers: A Life in Advertising (Snare/Invisible Publishing 2010) and Magyarázni (Coach House Books 2016). Helen’s chapbook Bloom and Martyr won the Kalamalka Press’ 2015 John Lent Poetry Prose Award. The poem “Other Observations” has previously appeared in a chapbook of the same name (No Press 2010) and on the Dusie blog as “Tuesday Poem #109” (2015). Her poetry has also appeared in the anthologies Why Poetry Sucks (Insomniac Press 2014), Ground Rules (Chaudiere Books 2013) and The Calgary Renaissance (Chaudiere Books 2016), as well as in a variety of magazines and chapbooks.

This is her third chapbook with above/ground press, after A history of button collecting (2010) and The Double Bind Dictionary (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

Friday, February 3, 2017

new from above/ground press: a a novel 1-20, by Derek Beaulieu

a a novel 1-20
Derek Beaulieu
$5



Published in the autumn of 1968, Andy Warhol’s a a novel consists solely of the transcribed conversations of factory denizen Ondine (Robert Olivo). Ondine’s amphetamine-addled conversations were captured on audiotape as he haunted the factory, hailed cabs to late-night parties and traded gossip with Warhol and his coterie. The tapes were quickly transcribed by a quartet of stenography students (including The Velvet Underground’s Moe Tucker); rife with typographic errors, censored sections—and a chorus of voices—the 451 pages of transcriptions became, unedited, “a new kind of pop artefact.”

Warhol’s a a novel favours faithful transcription over plot, chance over predicted composition, and a novel’s ideas over its actual content. Building upon my previous novels flatland: a romance of many dimensions (2005) and Local Colour (2008), my a a novel, an erasure-based translative response to Warhol’s controversial masterpiece. On each page of Warhol’s original, I erase all of the text leaving only the punctuation marks and onomatopoeic words. Theodor Adorno, in his essay “Punctuation Marks” argues that punctuation marks are the “traffic signals” of literature and that there is “no element in which language resembles music more than in the punctuation marks.”

The resultant text is a novelistic ballet mécanique; an orchestration of the traffic signals and street noise of the 1960’s New York City, an eruption of traffic and tires, overheard music and construction noise. a a novel mines writing for the musicality of the urban environment, the complex of non-narrative sounds embedded within our conversations.

a a novel is forthcoming from Jean Boite Editions, Summer 2017.

published in Ottawa by above/ground press
February 2017
for his participation in the Universities Canada – Converge 2017 conference, Feb 6-7, 2017, at the Shaw Convention Centre, Ottawa.
a/g subscribers receive a complimentary copy


Derek Beaulieu is the author of the collections of poetry with wax, fractal economies, chains, silence, ascender / descender, kern, frogments from the frag pool (co-written with Gary Barwin) and Please no more poetry: the poetry of derek beaulieu (Ed. Kit Dobson). He has also written 4 collections of conceptual fiction: a a novel, flatland, Local Colour and How To Write (Nominated for the W.O. Mitchell Award). He is the author of two collections of essays: Seen of the Crime and The Unbearable Contact with Poets. Beaulieu co-edited bill bissett’s RUSH: what fuckan theory (with Gregory Betts), Writing Surfaces: fiction of John Riddell (with Lori Emerson) and The Calgary Renaissance (with rob mclennan). He is the publisher of the acclaimed no press and is the visual poetry editor at UBUWeb. Beaulieu has exhibited his work across Canada, the United States and Europe and is an award-winning instructor. Derek Beaulieu was the 2014–2016 Poet Laureate of Calgary, Canada.

This is derek beaulieu’s seventh above/ground press chapbook, after an issue of the long poem magazine STANZAS (“calcite gours 1-19,” issue no. 38), the interview chapbook ECONOMIES OF SCALE: rob mclennan interviews derek beaulieu on NO PRESS / derek beaulieu interviews rob mclennan on above/ground press (2012) and single-author chapbooks “A? any questions? (1998), [Dear Fred] (2004), HOW TO EDIT, Chapter A. (ALBERTA SERIES #8; 2008) and transcend transcribe transfigure transform transgress (2014).

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