Words on the Water / Murmures sur l’eau, eds./dir. David O’Meara and/et Véronique Sylvain,

Words on the Water / Murmures sur l’eau
eds./dir. David O’Meara and/et Véronique Sylvain
Poète officielle francophone et poète officiel anglophone de la Ville d’Ottawa
Poets Laureate, Francophone and Anglophone, The City of Ottawa
translations by/traductions de Myriam Legault-Beauregard
$10

including new poems in English (alongside French translation) and new poems in French (alongside English translation) by:

Jean Marc Dalpé
David Galvaude
Harold Hoefle
Christine McNair
Sarah Migneron
stephanie roberts
Alexis Rodrigue-Lafleur
Mahaila Smith


Introduction

J’ai la conviction que la poésie peut nous inciter à regarder les lieux qui nous entourent et à prendre conscience des liens (précieux) qui nous unissent. De l’enfance, à l’adolescence, jusqu’à l’âge adulte, la nature a toujours occupé une place importante dans ma vie (et dans ma poésie !). 

Des lacs et des rivières du Nord de l’Ontario, au fleuve Saint-Laurent, jusqu’à la rivière des Outaouais, ces éléments naturels nourrissent, depuis longtemps, mon paysage intérieur et mon écriture. 

Ces exemples de cours d’eau sont essentiels dans l’équilibre des écosystèmes. La poésie, je crois, peut contribuer à sensibiliser toutes et tous à la grande beauté, à la fragilité palpable de ces écosystèmes.

Après le succès, en 2025, de la première édition du projet que David O’Meara et moi avons coordonné avec Garde-rivière des Outaouais, nous avons eu l’idée de replonger dans l’aventure et d’inviter à nouveau huit poètes – quatre francophones et quatre anglophones – à créer un poème original inspiré du bassin versant de la rivière des Outaouais.

Ces voix poétiques retentiront comme un écho, d’une rive à une autre...

Introduction

I strongly believe that poetry can make us observe our surroundings and notice the invaluable relationships between us all. As a child, as a teenager, and still as an adult, I always reserved a special place for nature in my life (and in my poetry!)

From the lakes and rivers of Northern Ontario to the Saint-Lawrence River, with the Ottawa River in between, these natural features have—for a long time—nourished my inner landscape, and the way I write.

These waterways are essential to the balance of our ecosystems. Poetry, I think, can make us all aware of the great beauty, as well as the utmost fragility of these ecosystems.

Building on the success of the first edition of the project David O’Meara and I coordinated in 2025 with Ottawa Riverkeeper, we decided to dive anew in this adventure and to invite eight other poets—four francophones and four anglophones—to create an original poem inspired by the Ottawa River watershed.

These poetic voices will resonate, like echoes, from one shore to the other…

published in Ottawa by above/ground press
September 2026
a/g subscribers receive a complimentary copy
produced for an event at the Ottawa River Boathouse, September 2, 6-8pm [see ticket information here]

Ce recueil est le troisième ouvrage collectif bilingue dirigé par David O’Meara et Véronique Sylvain à paraître chez above/ground press dans le cadre de leur mandat comme poètes officiels de la ville d’Ottawa. Il fait suite à Verse on the Banks / Poèmes sur le rivage (2025) et à Words and Image / Entre mots et images (2026), avec des traductions réalisées par Myriam Legault-Beauregard. À cette sélection s’ajoute également Planting Seeds : Fletcher Garden Poems (2026), en anglais seulement, qui a été dirigé par David O’Meara.

This is David O’Meara’s and Véronique Sylvain’s third bilingual edited title through above/ground press, all part of their tenure as Ottawa’s English-language and French-language Poet Laureates, following Verse on the Banks / Poèmes sur le rivage (2025) and Words and Image / Entre mots et images (2026), both of which included translations by Myriam Legault-Beauregard. Also available is David O’Meara’s Planting Seeds: Fletcher Garden Poems (2026), in English only.

Author biographies/Notices biographiques:

Jean Marc Dalpé est auteur dramatique, romancier, poète, scénariste, traducteur et comédien. Trois fois lauréat du Prix du Gouverneur général, il a traduit des œuvres contemporaines ainsi que Shakespeare, Brecht et des œuvres autochtones majeures. Codirecteur artistique du Wild West Show de Gabriel Dumont, il est l’auteur de nombreuses pièces marquantes. Docteur honoris causa de l’Université d’Ottawa, il est membre de l’Ordre du Canada et de l’Ordre des francophones d’Amérique.

A playwright, novelist, poet, scriptwriter, translator and actor, Jean Marc Dalpé is a three-times winner of the Governor General’s Literary Awards. He has translated contemporary works, as well as Shakespeare, Brecht and major Indigenous voices. He was one of the artistic directors of the Wild West Show de Gabriel Dumont, and has authored many remarkable plays. He holds an Honorary Doctorate from the University of Ottawa, and he is a member of the Order of Canada and of the Ordre des francophones d’Amérique.

David Galvaude a déjà habité en face de la rivière Kitchissippi. Il a publié deux recueils de poésie (Démonologie de jardin, La Note Verte, 2022, et Pigeon rouge, La Maison en feu, 2025). Il a aussi été publié dans Estuaire et a autopublié plusieurs zines. Depuis 2024, il co-organise la soirée poésie Une pinte ou un vers à la brasserie À la Dérive à Gatineau.

David Galvaude used to live right in front of the Kitchissippi River. He is the author of two poetry collections (Démonologie de jardin, La Note Verte, 2022, and Pigeon rouge, La Maison en feu, 2025). His poetry is also featured in the magazine Estuaire, and he is the creator of several zines. Since 2024, he co-organizes the monthly Une pinte ou un vers poetry readings in Gatineau, at the brewery À la Dérive.

Harold Hoefle's debut collection of poems, The Night Chorus, was published by McGill-Queen's University Press.  His chapbook, Leaning In, has just been published by above/ground press.  Harold lives in Ottawa.

Le premier recueil de poèmes d’Harold Hoefle, The Night Chorus, est paru aux presses universitaire McGill-Queen’s. Son court recueil Leaning In vient d’être publié chez above/ground press. Harold vit à Ottawa.

Christine McNair is the author of two books of poetry and a hybrid poetic memoir, Toxemia (2024). Her work has been shortlisted for the Archibald Lampman award, the City of Ottawa book award, the Robert Kroetsch award for innovative poetry, and the Relit award. Her book Charm (2017) won the Archibald Lampman award. She works as a book doctor in Ottawa.

Christine McNair est l’autrice de deux livres de poésie et de Toxemia, des mémoires poétiques hybrides. Ses livres ont été finalistes au prix Archibald-Lampman, au Prix du livre d’Ottawa, au prix Robert-Kroetsch pour la poésie innovante ainsi qu’au prix Relit. Son œuvre Charm (2017) a remporté le prix Archibald-Lampman. Son travail consiste à soigner des livres, à Ottawa.

Sarah Migneron est une autrice et traductrice d’Ottawa. Elle écrit pour les publics de tous âges. Ses textes de théâtre jeunesse comprennent Mots de jeux (VOX Théâtre, 2017), Dans tous les sens (VOX Théâtre, 2019 ; Prise de Parole, 2025), Jaune comme joie (VOX Théâtre, 2025) et Quand maman sourit (Le Théâtrophone, 2024; L’UniThéâtre, 2025). Pour les adultes, elle signe À tu et à moi (L’Atelier, 2013 ; Prise de parole, 2015) et Maman bleue (Prise de Parole, 2025).

Sarah Migneron is an author and translator from Ottawa who writes for people of all ages. Her plays for young audiences include Mots de jeux (VOX Théâtre, 2017), Dans tous les sens (VOX Théâtre, 2019 ; Prise de Parole, 2025), Jaune comme joie (VOX Théâtre, 2025) and Quand maman sourit (Le Théâtrophone, 2024; L’UniThéâtre, 2025). For older audiences, she wrote À tu et à moi (L’Atelier, 2013 ; Prise de parole, 2015) and Maman bleue (Prise de Parole, 2025).  

stephanie roberts is the prize-winning author of UNMET and rushes from the river disappointment. She has never been featured in Best Canadian Poetry.

stephanie roberts est une autrice primée à qui l’on doit les recueils UNMET et rushes from the river disappointment. Elle n’a jamais fait partie de l’anthologie Best Canadian Poetry.

Né à Montréal, Alexis Rodrigue-Lafleur a fait des études en muséologie et en français écrit, a habité en Bolivie, au Maroc et au Vietnam. Il réside actuellement en Outaouais et travaille au Musée des beaux-arts du Canada. Il a publié deux romans, L’odeur du gruau (2018) et Rêve-creux (2021), aux Éditions L’Interligne. Sa poésie émerge ici et là sous différents formats au gré des saisons.

Born in Montréal, Alexis Rodrigue-Lafleur has an academic background in French and Museum Studies. He has lived in Bolivia, Morrocco and Vietnam. He now lives in the Outaouais region and works for the National Gallery of Canada. He is the author of two novels: L’odeur du gruau (2018) and Rêve-creux (2021), published by the Éditions L’Interligne. His poetry emerges here and there, in different forms, throughout the seasons.

Mahaila Smith (they/them) is the author of the speculative novelette-in-verse, Seed Beetle, published by Stelliform Press in 2025. You can find more of their work on their website: mahailasmith.ca.

Mahaila Smith (iel/ellui) a écrit Seed Beetle, une novella en vers publiée chez Stelliform Press en 2025. Pour en savoir plus sur ses œuvres, visitez le site mahailasmith.ca.

David O’Meara is the author of five collections of poetry, most recently A Pretty Sight and Masses On Radar (Coach House Books, 2013, 2021). His novel, Chandelier, is published by Nightwood Editions (2024). He is the current Poet Laureate (Anglophone) of the City of Ottawa.

David O’Meara est l’auteur de cinq recueils de poésie, dont les plus récents sont A Pretty Sight et On Radar (Coach House Books, 2013 et 2021). Son roman, intitulé Chandelier, a été publié chez Nightwood Editions en 2024. Il est actuellement le poète officiel anglophone de la Ville d'Ottawa.

Véronique Sylvain habite à Ottawa, où elle travaille dans le milieu de l’édition. Ses poèmes ont paru dans plusieurs revues de création littéraire, ainsi que dans des collectifs. Son premier recueil, Premier quart (Prise de parole, 2019), lui a permis de remporter le Prix de poésie de Trillium, le Prix du livre d’Ottawa, en 2020, le prix Champlain et le Prix littéraire émergence AAOF 2021. Son plus récent recueil de poésie, En terrain miné, est paru en septembre 2024 chez Prise de parole. Elle occupera, jusqu’à l’automne 2027, le poste de poète officielle francophone de la Ville d’Ottawa

Véronique Sylvain lives in Ottawa, where she works in the publishing sector. Her poems appear in several literary journals and collectives. Thanks to her first collection, Premier quart (Prise de parole, 2019), she was rewarded with the Prix de poésie Trillium and the Prix du livre d'Ottawa, in 2020, as well as the prix Champlain and the Prix littéraire émergence AAOF, in 2021. Her most recent collection, En terrain miné, also published by Prise de parole, was launched in September 2024, She will be, until fall 2027, the Francophone Poet Laureate of the City of Ottawa.

Myriam Legault-Beauregard est traductrice, poète et slameuse. Elle termine actuellement son doctorat à l’Université d’Ottawa. Ses propres créations et certaines de ses traductions ont été publiées dans diverses revues, et son premier recueil de poésie, intitulé Comme un myosotis, est paru en septembre 2023. Sa première traduction de roman, De plâtre et de platine (version française de The Most Precious Substance on Earth de Shashi Bhat), a été finaliste au prix John-Glassco. Elle vit à Gatineau avec son conjoint et leurs deux filles.

Myriam Legault-Beauregard is a translator, a poet and a spoken-word artist. She is currently completing her PhD at the University of Ottawa. Her own works and shorter translations have been published in various magazines and journals, and her first poetry collection, Comme un myosotis, was launched in September 2023. Her first book-length translation, De plâtre et de platine (French version of Shashi Bhat’s The Most Precious Substance on Earth), was a finalist to the John-Glassco prize. She lives in Gatineau with her partner and their two children.

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

some author activity: Quartermain, mclennan, Macdonald, Downs, Jirgens, Marlatt, Bowering + Wah,

Meredith Quatermain is in the Canadian Poet Series via Peripety and/or Tronies; rob mclennan is interviewed as part of Kyeren Regehr's The Poet Laureate Podcast; Dawn Macdonald has an essay up at Strange Pilgrims; Buck Downs has new work at The Arts Fuse; and Karl Jirgens has poems for Daphne Marlatt, George Bowering + Fred Wah over at public reverie.

new from above/ground press: SPREE, by Geoffrey Young

SPREE 
GEOFFREY YOUNG
$6

LET’S NOT FORGET 

A politics
Empty of
Moral argument
Creates 

A vacuum
Of meaning
Often
Filled

With
The vengeful
Certitudes
Of stri-

Dent
Nationalism.

published in Ottawa by above/ground press
August 2026
a/g subscribers receive a complimentary copy

Front cover: “Mariana,” 2026, 11 x 9” 

Born in Los Angeles in 1944, Geoffrey Young has lived in Gt. Barrington, MA, for the last 44 years. Recent books of poetry include, Recent Questions (2026), Look Who’s Talking (2024), Monk’s Mood (2023), and DATES (2022). After 27 years, he closed his contemporary art gallery in 2018.  Before settling in Great Barrington, Young lived for two years in Paris (a Fulbright year followed by a six-month stint working for La Galerie Sonnabend). From 1975-1982 he lived in Berkeley with Laura Chester (two sons born). His small press, The Figures (1975-2005), founded in Berkeley, published more than 135 books of poetry, art writing, and fiction. He has written catalog essays for a dozen artists.
 
This is Young’s second title through above/ground press, after THIRTY-THREE (2017). He also edited G U E S T [a journal of guest editors] #3 (2019).

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

report: the above/ground press 33rd anniversary reading/launch/party!

Happy anniversary! The thirty-third anniversary reading/launch/party occurred over the weekend at Anina’s Café in Vanier (a space of which I am becoming increasingly fond). Thirty-three years! And nearly fifteen hundred publications-to-date, by the by [don't forget the current anniversary sale, happening for but a few more days]. Do you recall my report from last year's event? Or the year prior? With readings and launches of new above/ground press titles by Stephanie Bolster (Montreal), Mark Goldstein (Toronto), Cara Goodwin (Ottawa), Sonja Greckol (Toronto), Harold Hoefle (Ottawa), James Spyker (Toronto) and Grant Wilkins (Ottawa). The crowd for this event was impressive (with some notable absences, due to travel etc), with the occasional above/ground press author and editor sprinkled throughout, including Cameron Anstee, Frances Boyle, Ottawa's current English-language poet laureate, David O'Meara, and Tamara Fairchild (above/ground press produced a chapbook of hers back in 1997, don't forget), as well as artist and photographer Paul Elter, Ottawa writer Matthew Firth and visual artist Daniel Sharp, among others.

Armed with broken foot and accompanying boot, Montreal-based poet and editor Stephanie Bolster opened by launching the recent twentieth anniversary edition of her above/ground press title, BIODÔME, a title originally produced through the press way back in 2006. This new edition was actually prompted by Montreal poet Misha Solomon, who had worked his own chapbook-length response to Bolster's work, and his chapbook-response was produced simultaneously to Bolster's new edition, which also holds an introduction by Solomon [see his introduction to such here; see Bolster's afterword to the collection here]. In case you don't recall, above/ground press actually produced Bolster's solo debut, the chapbook Three Bloody Words, back in 1996, and it was rather terrifying to realize that it has now been ten years since we produced the twentieth anniversary edition of that particular title. 

The second reader was Ottawa-based poet Cara Goodwin, a poet barely a year or so older than the press itself, which does tend to make one feel ancient. After Bolster's reading, it was very exciting to counterpoint such an established writer against a chapbook debut, as Goodwin was launching her new chapbook, Map of What Was Taken, a title that had been in the works for some time. Clearly, Goodwin is a poet worth paying attention to.

The third reader was Toronto poet, editor and publisher Mark Goldstein, launching his own above/ground press debut, The Common Dark, a chapbook-length section of a poetry title he has forthcoming soon (hopefully later this year). How many years have I been soliciting Goldstein for a manuscript? Oh, too many to count (but the wait was completely worth it). I look forward to seeing how this particular title fits into the larger context of something book-length.

The next reader was Toronto poet and translator Sonja Greckol, who landed in town to launch a slightly older title, Dark Matter —Sonja Greckol translation, Materia Oscura—Rocío Céron, Dark Matter – Diverted—Sonja Greckol etranstranslation (2025), that appeared just around Christmas of last year [see the essay she wrote on translating such here] (a title that is soon to appear in a second printing). Part of what became remarkable about this event was that Greckol requested a Spanish speaker from the audience to read Céron's original text, and Goodwin's friend, Dan Josh, someone who claimed to have "no prior relationship to poetry," but read brilliantly! A remarkable blend of voices and considerations.

It was very good to hear Harold Hoefle, a (formerly Montreal-based) poet who recently retired from teaching at John Abbott College, especially given his recent relocation to Ottawa. Having a new chapbook, Leaning In, and him part of this launch felt a nice way to be able to welcome him to town, especially given the number of years he's been travelling in for the sake of multiple literary events, as well as social interactions with Ottawa writers (there's a poem in this new collection for the late Ottawa poet Michael Dennis, for example). Apparently Matthew Firth, back when he was a chapbook publisher, produced Hoefle's chapbook debut some twenty-plus years ago, which I didn't know. 

Toronto-based writer James Spyker and his work aren't the same locally-known quantity as they had been, back in the day, when he and I were part of running Ottawa's The TREE Reading Series in the mid-1990s (Spyker is also co-founder of the ottawa small press book fair, an event he recently started attending once more, as exhibitor). Given how long I've known him (I can't recall if we met five minutes prior to or following the creation of above/ground, which was less than a year prior to me joining TREE as one of the organizers/curators, back in June 1994), it was a bit surprising it took this long for his own above/ground press debut to appear, Bedtime stories for my imaginary friends, the thirty-fifth title produced as part of the press' ongoing prose/naut imprint. He purposefully read a single, slightly surreal prose-piece that hinted as an introduction for the final reader of the evening, Grant Wilkins. 

Ottawa writer, papermaker and quiet builder of complex sounds, shapes and phrases, Grant Wilkins launched what is his sixth above/ground press title produced over the past few years, provocations. Wilkins is another I've actually known since the earlier part of the 1990s, circa 1994, but has only moved into publishing his explorations through sound and text over the past few years, prompted in part through his participation in jwcurry's infamous Messagio Galore sound poetry choir. Wilkins' work [see a recent artist statement he wrote, here] blends the influence of the late American poet Jackson Mac Low with an engagement with sound, chance and play, merging texts and ideas with an unmatched ease and attention to detail.

Thanks so much to everyone to participated! And to Anina's for hosting us! There are already plans afoot, by the way, for some fall surprises (oh, and the 2027 subscriptions will be announcing soon, also; the same rates as this past year, methinks).

Scott Ferry reviews Lillian Nećakov's The World Is Beautiful (2025)

Seattle poet Scott Ferry was good enough to provide a first review of Toronto poet Lillian Nećakov's The World Is Beautiful (2025) via Heavy Feather Review. Thanks so much! You can see the original review here.

If you don’t know Lillian Nećakov she is a humble but stellar poet out of Toronto. It is hard to explain her work because it slips out of convention and time and space and identity all in the space of one line. Even though I count myself blessed to be her friend, I have never attempted to write a review of any of her books because they seem impossible to corral in words. I could explain them for you, but it would not be enough. I honestly feel her full length il virus which came out in 2021 is every bit as good as any of Diane Seuss’ work. And again I am not saying that because I am her friend. Her latest chapbook of prose poems The World Is Beautiful from rob mclennan’s above/ground press out of Ontario, is vital, dark, and hopeful as well as technically brilliant. It breathes a risk and a spark and a music which does not politely take one’s head off, as Dickinson would say, but tears it off with gorgeous teeth.

The book begins with the title poem which thrusts us into her jazz-fingered esthetic instantly:

Knowing that lungs {right 24 oz. left 21 oz.} are the colanders of time, cradling vestiges of scree from the mass of one breath {0.5-5 g} times a lifetime. Knowing that there are lakes drowning in the whimsical ether of a tourniquet-wielding junkie-planet, invisible and blue.

Something that Nećakov does well is mix science and math and music into a pliable plasma to work within. She breaks what poetry is “supposed to be” constantly and reinvents. Her improvisational and wormhole burrowing skills are strong as any poet writing today, but this does not mean her poems do not have emotional depth and weight. Later in the same poem she stuns us with a perfect distillation of the current zeitgeist: “knowing that the executioner never takes his finger off the trigger, not even when the kiss is slower than death.”

Yet, her darkness is balanced with a radiant hope: “David Hockney says the world is beautiful. I believe him, because I am an optimist.” And she is as she gets her hands greasy in the mechanics of light and its absence: “Light built my house and filled it with poems about monkey wrenches and whales and songs that I sang to myself while slipping between the folds in the balmoral of night.” And in a later poem: “Life is a glass mouth budding with teeth called June, July and August, go home, climb the larynx of disbelief, you will find dopamine, there, just past the body bags.” She acts as an alchemist in the transmutation of the dense to the ether, and this is what, especially in our present state as a fractured world, we need.

The personas and identities she speaks through give her voice a powerful swath: Hockney, O’Keeffe, Lurie, Milosz, Neruda, Plath, Simic, Snyder, Ginsberg, O’Hara, Watts, Leary, del Toro, Ferlinghetti. One of the highlights is a fictional conversation on Alan Watts’ houseboat between the Beats and Leary which she admits in her notes “None of the people in the poem actually said any of those things, I made it all up.” In the poem:

You have to dance, dance until your skull brakes, Snyder says. You have to drop America on its head, but quietly, before she makes a grave of us.

Ginsberg bows his head, there is a palace of holy smoke and that’s where I’m headed, a place where my bones will stretch into an opium bridge.

Drop your pants, say what hurts, Om Hare Rama Krishna Rama Hare Rama, break the skin, just a little with the morning’s light.

And Timothy Leary like a wrinkled forest of astronauts, a tired anti-god, black-eyed Susan, here I am, perched on the edge of his ejection seat.

The LSD-soaked voices are palpable and believable and their breaking through the oppressive thought of the times is frankly very applicable to our present political climate. She also speaks Spanish through del Toro, who arrives “carrying an egg. Un caballero nunca llega con las manos vacias.” Hearing her channel O’Keeffe is a revelation:

I was a photograph once, stirring up the devil in a man twice my age. I walked a tightrope of lilac clouds in my tunic made of tanglehead, buffalo grass and mesquite the ladder held for twenty years until my name was “widow”, until the seasons made a stone of me, until he was nothing more than a wind jewel.

I cannot think of a poet who blends danger, texture, synesthesia, and lightning in one expansive brush. She has her purposeful noise like a poetic Sonic Youth: “Call me marrow-orange, periosteum-yellow, fascia- blue, jack-in-the-pulpit, dreamwalker, Jimson weed.” She also has a softness and a highly tuned ear, as she listens to all the breakwater has to say: “Oh, the things you’ve seen, cloistered in the slope of a long light. Why I write to you with a chest-full of accidents. How you pull me out of harm’s way, time and time again.”  Lillian Nećakov is quietly redefining contemporary poetry. Let’s hope her calls will be more widely heard.

new from above/ground press: Elegies for the Fish Prince of Arkansas, by Lea Graham

Elegies for the Fish Prince of Arkansas
Lea Graham
$6

 

January 16, 2024

    your face in the evening schools of longing
            --Audre Lorde

These are not
“mornings of 
wish and ripen.”

I wake to dishes
undone. How to say
torpor, gray, try
in one thousand ways?

You are still
upstairs in 
imagination

your mind rowing 
along the shore of to-do,
checking the trotlines 
of here, now


Three hundred sixty-five
days you are gone:
Awe-filled, common

How the world courses 
without reason, 
its terrible
current

published in Ottawa by above/ground press
August 2026
a/g subscribers receive a complimentary copy

Lea Graham is a writer, editor and translator who lives in Hyde Park, New York with her wise little dog, Volta. She is the author of the recent chapbook The Swing at the Edge of the World (Finishing Line Press, 2025), Elegies to the Fish Prince of Arkansas (above/ground Press, 2026) and three poetry collections, The O.E.D. Odes (forthcoming from MadHat Press), From the Hotel Vernon (Salmon Press, 2019) and Hough & Helix & Where & Here & You, You, You (No Tell Books, 2011). She is co-editor with Celia Bland of A Jar of Air: The Work of Maxine Chernoff (forthcoming, MadHat Press) and editor of From the Word to the Place: The Work of Michael Anania (MadHat Press, 2022). She is associate professor at Marist University in Poughkeepsie, NY.

This is Graham’s fourth above/ground press chapbook, after Spell to Spell (2018), Calendar Girls (2006) and metric : a collaboration (with rob mclennan, 2011).

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

some author activity: Tierney, mclennan, Wah, Shafer, Skrabalak, Scroggins + Farina,

Orchid Tierney has new work at The Journal; rob mclennan has a poem for Fred Wah up at public reveries; Emily Shafer has a poem in the "Tuesday poem" series; Ryan Skrabalak answers the "12 or 20 questions" interview; Mark Scroggins has an essay up at "my small press writing day"; and Laura Farina is interviewed over at Touch the Donkey.