Barry McKinnon (1944 – 2023)

Barry McKinnon and Brian Fawcett in Toronto, 2004

Sad to hear from Paul Nelson that Prince George, BC poet and above/ground press author Barry McKinnon died yesterday morning. above/ground press was fortunate enough to publish two chapbooks by McKinnon--Into the Blind World (2012) and G o n e S o u t h (2021)--as well as include work by him in an issue of Touch the Donkey [a small poetry journal] in 2022, with follow-up interview. A larger obituary/write-up forthcoming at robmclennan.blogspot.com

new from above/ground press: Send $19.99 for Supplements and Freedom, by Noah Berlatsky

Send $19.99 for Supplements and Freedom
Collages and Uncreative Writing
Noah Berlatsky
$5

Variation on Select British Eloquence

“The oratory of Charles Darwin,” noted Mr. Karl Marx, “was uniquely suited to the theme of the origin of specie; not only did it open, like a luminous shower of golden boxes to reveal perfumed lumpen proles in whose sullen mental tergiversations the wild wealth of pensions struggled till sufficiently fit to be invested with the gay habits of usorious semites, but it also closed within its tinkling xanthic cataracts those prostrate securities which must be eliminated through probity and private rectitude if teleological apocalypse is to come. When, mounted upon his bloody posterity, he rode out over the Western force of historical materialism with jingling padlocks on his virile imperatives and Mao Tse Tung by his side, even Lord Vader—no friend to Natty Bumppo’s raw, Rousseauian marketing Jüngness—was moved to the following eulogium:  ‘His defense of Rockefeller and Gates from the overly fastidious savagery of weak-minded poor rates defiled evil and degraded apathy; it showed every discerning malefactor that only mercantilism’s unremitting actuality could be justly considered truly brutal.  One listened to it with a mixture of voluptuous impiety and copious vacancy, until suddenly, before one could say “never tell a lie,” one found oneself up to one’s wooden teeth in happy Negroes.’” Clearly the bloom-on-the-rose appeal of self-assertion by scientific statesmen had reblossomed—leavened, perhaps, with the fertilizing yeast of honor—and anthropological authority was once again perceived as the thorn with which rich and powerful pricks might procure necessitous, supple virtues from innumerable vice-ridden climes.  Armed only with a tape measure and sprightly sallies of obsequious condescension, compulsive phrenologists began to classify with impunity every man-servant by the magnitude of his erect countenance and, subsequently, to organize for each a tour of the corrupt capitals of Europe during which, they sincerely hoped, prodigious indigenous flab would stimulate the exquisitely tentative penetralia of unpolluted Frenchwomen to write novels of social protest.  Such strenuous employment—requiring the analysis and digestion of vast, shapeless ethnics—is the angelic equipage that, if supported by parental liberality, will carry a reforming aesthete out of the temperate gated estates of his aery navel, through open champaigns bubbling with the thermal rhythmus of racy literature, and into charity bazaars where, at one brightly draped cathexis, graceful maidens with pitchers on their heads and republican enthusiasm in their dark machines alchemically concentrate the wandering glances of colonial ravishers while, at another, orphans resting sweetly in specimen jars soften the austere and turgid wearisomeness of £10,000,000—I mean, they are chained to siphoning apparatuses which distill their biographies into rational policies or coffee-house apotheoses. Similarly, the essence of the simple man of the earth may be woven into dusky breeches for his betters, thereby ensuring that the albino bottoms of incontinent worthies are never the butt of shameful ramifications and that, when an inevitable besmirchment regretfully occurs, it does so but obscurely. These, then, were the valuable carbuncles wrested from wretched refuse’s ruined flesh by the abstruser inquiries of vivisection! Detached body parts of extraordinary force and beauty are undoubtedly useful in peddling spirits, nostrums, and undergarments; if dwelt upon exclusively, however, they are sure to vitiate the taste, and thus place between the man of leisure and the full enjoyment of degenerate strumpets a concave speculum of morose function which, instead of refracting light, bends ardor, focusing concupiscence solely upon distaff forms of unimpeachable pulchritude, rather than allowing coruscations of amatory interest to scatter and twinkle upon the variegated subtleties of delight suggested by, for instance, overly adipose hindquarters, feminist viragos, or a dirty-faced urchin.  Of course, if avarice had been unnaturally constrained by the deadening prophylactic sheath of taste and discrimination, or if the acquisitive talent had not been given boundless scope in which to discharge its manly romanticism, the parturient labor of Adam Smith could never have brought forth such an ample imaum as Henry Kissinger. As it was, his pickled intellect was spread wide to commercial intercourse from the remotest part of the globe, and the stream of surplus revenue—once it had penetrated his ductile syllogism found in him a fecund New Haven where the healthy seed of sinecure might grow into the mighty oak of a Yale undergraduate, and the acorn of substantial liberal humanist ancestry sprout into the squirrel of shameless oppression. He knew that the most potent engine of chaste Irish pathos for the professional class was that vocem exiguam, the shrill and stumbling brogue of the Amerindian, which, in its extemporaneous Attic eloquence, so memorably inspired the Marquis de Lafayette to strip off all his garments, don a Malcolm X cap, and quip “Ich bin ein Berliner.” It is hardly necessary to add that this boyish hilarity soon led organically to a didactic enumeration of Russian armament. In a speech of five hours long delivered at the society for Speculative Microcosm Management, Benjamin Franklin—who was, at that time, although young, already an authentic philosopher-ninja, in full possession of his gigantic Eternal Wisdom powers, able to mutate sombre abolitionism’s sterile upright moralism into practical compromise’s cheerfully crippled dissipation by launching from his noble-browed bosom burning bolts of electric gout—explained that the irresistible seductions of Turkish perversions would indeed, if not enervated, relax the solids of the national body, resulting in despotic Oriental dropsy, but that there was no real cause for alarm, as he was prepared to develop an entirely new science of Unitarian ferocity: a science which could forge the withering interrogatories associated with universal philanthropy into an assemblage of levers and pulleys by the secret use of which the common tongue could be extracted and placed, gently but firmly, on the elegantly mangled teat of self-reliance, inducing the abandoned imperial sow to carry her healthy system to an early grave in a foreign constitution. The aforementioned truths, being of imperishable value, could not help but make the structure of his mind a household institution, like the microwave ovens which wait in the forest of Africa to fall, without a moment’s warning, upon the Groom of the Bedchamber, wrap him in a palliative maze of metaphorical confusion, and throw him down, by analogy, upon Mr. Isaac Newton, prompting that impetuous entrepreneurial treasure to invent John Wayne and then, against all the tenets of gravity, to drop him upwards—past pine tops waving with ancient relevancies—past winds breathing with the deliquesced corpses of indigent men of genius—past splendid puppets dreaming of sociology flowing through the polished interior ministries of space—in short, past all gross sublimity and encumbrance, and into the silent sidereal well where the drowned Gospels’ maxims are whelmed by the Britannica’s wider views, there to rest, massively indolent, until the prophesied time when his merciless generalizations and robust know-how will be needed to strategically defend us from the short-sighted imbecilities of grog-quaffing journeymen. Amidst the ferocious mobs of humble seekers methodically snubbing the supposedly befuddled constables whose salaries they subsidize, who but he understood that pedantry is not a means, but rather a blank and glorious end, fulfilling in every particular the hopes expressed by the first mute and hairy Australopithecine when, drawing about him his primitive flint nanomachines, he inscribed the shadow of a wooly shibboleth on the wall of his cave under the assiduous misconception that, as George Will states, "striking the chthonic umbra would slay the Platonic pundit lurking beyond the circle of the Internet’s wet, red glow; he could then dismember me, fashion an imitation firmament from my foreskin and a counterfeit fundament from my diaphragm, and reside thereafter in a mammoth bag of nugatory echoes, ever sipping sagacity from my engorged logos (an act of false deiphage which, if prolonged indefinitely, promised to make man a vestigial appendage of his own evolving jaw)”?  Who other than he possessed a drain in his forehead down which recipients of Poor Relief—flushed from the strain of having their ethically defective super-egos replaced with magnetized subcutaneous case-workers—swirled with such majestic abjection that hooligans expelled from Public Skulls, long thoughtlessly de facto, were recalled, like René Descartes, to the cortex, and embalmed in beautiful Panopticons? His later life was saddened when he realized that the Industrial Revolution, or, more specifically, the invention of the pneumatic Bastille, had elevated sissified diction to a position of mastery formerly reserved for the epistles of our Founding Fathers, and that his decision to accept undisciplined kisses from the libertine lips of militant militiamen had transformed him into a prince of purity at the precise historical instant that amphibious miscegenists—who, we now know, achieved photogenic, desultory diversity by moistening their thin skins with the secretions of leprous domestics—seized control of the United Nations, and began to suppress with tolerant “Brrrrrrrrrrrrrrrrrrraaaaaaaaaaaaaaaacks” not only Islamic dissent, but also his own personal, patented brand of Milton’s Peppery Anti-Popery, long used, in accordance with the hopes of his friends and the demands of his wife, to season a potpourri of after-school pogroms cooked up for young, troubled Princesses in danger of becoming Whores of Babylon. Yet, even in adversity, he never lost his Elgin Marbles, which continued, until his death, to blare from his famous and scrupulous blunderbuss whenever perfidious philistine microcephalouses, forgetful alike of verbal chastisement and brutal bludgeoning, dared to blaspheme the radar screen of Zeus by creeping from their proper station in the woodpile. To inflict peremptory punishments, without in any way adverting to the Euclidean theorems of bilious jurisprudence constructed by compass, protractor, and inverse geometric peristalsis from Everyman’s inalienable intestine, at the least calls for an advertorial-cum-apologia, if it does not, indeed, merit severe animadversion and obloquy. We must remember, however, that, at that period, the heroic champions of natural law—Captain Leviathan, Prerogative Lad, the Iron Advocate and his pal Magna Cartridge, Miss Manners, Apriorion, King James Bivalve (a.k.a. the Submarine Sahib), and even the Hooded Utilitarian—were animated by an antinomian afflatus; it is fair to say that the wits of the wiliest warden then could not have secured what now the merest traffic cop apprehends, viz.—that, at the Hall of Justice, super-powered stenographers have, in the interest of putting the “auteur” back into “authoritarian,” grown countless Shakespeare-clones from the Bard’s vile, sycophantic jelly—that these clones, when the monarch’s pet monkey defecates upon their silly, genuflecting goatees, moan forth, in stochastic rapture, “O! O! O!” “Sa, sa, sa, sa!” “Et tu,” &c.—and that, before the Last Judgement, the transcription of these susurrant vocables is certain to spell out, in the supine scripture of the avant-garde, a perfect municipal code.

*

A Note on Process

The poems here are almost all created by taking words, phrases, and texts from a range of other books or sources. In some cases fairly long phrases are reproduced fairly unaltered; in others things are scrambled more freely; in some I use the structure of a text while substituting my own words.

published in Ottawa by above/ground press
October 2023
as part of above/ground press’ thirtieth anniversary
a/g subscribers receive a complimentary copy

Noah Berlatsky is a freelance writer and the author of Wonder Woman: Bondage and Feminism in the Marston/Peter Comics, 1941/48 (Rutgers UP 2014). Poetry chapbooks include It’s Fab (Origami Poetry Project 2023), No Devotions (LJMcD Communications 2023) and a forthcoming full length, Not Akhmatova (Ben Yehuda Press).

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) 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: Unconsciousness Raising, by Miranda Mellis

Unconsciousness Raising
Miranda Mellis
$6

Detective Nothing

nothing is the unsigned confession
inside the unopened envelope

nothing is the evidence
which was never found

nothing is the weapon
mistaken for a prop

nothing is the foil
who fakes her own death

to solve the mystery of nothing
by becoming no one

pretending to be alive
she fools detective nothing

melting into the crowd
where no one is ever missed

without getting up
from her empty chair

published in Ottawa by above/ground press
October 2023
as part of above/ground press’ thirtieth anniversary
a/g subscribers receive a complimentary copy

cover art: Miranda Mellis

Miranda Mellis is the author of four books of fiction including Crocosmia (Nightboat, forthcoming 2025), The Spokes, None of This Is Real, and The Revisionist. Other publications include a book of aphorisms and prose poems, Demystifications, and several chapbooks: The Revolutionary, The Quarry, and Materialisms. She co-authored The Instead with Emily Abendroth and was an editor at The Encyclopedia Project. Originally from San Francisco, she now lives in Olympia, Washington and teaches at Evergreen State College. http://mirandamellis.com

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) 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: Berlatsky, Downs, Henning, Kemp-Gee, Miller + Barwin,

forthcoming author Noah Berlatsky has some nice things to say about above/ground press; Buck Downs has a poem in The New York Times Magazine, as selected by Anne Boyer; Barbara Henning has new poems up at Mom Egg Review; Meghan Kemp-Gee's ONE MORE YEAR: The Ultimate Graphic Novel kickstarter is now live; David Miller is interviewed at ArtWay; and Gary Barwin won an award!

new from above/ground press: ESTRO FUNKY: FIELD NOTES, by MLA Chernoff

ESTRO FLUNKY: FIELD NOTES
MLA Chernoff
$5

Alright, fuck.
You got me.
I’m tired,
I don’t have enough
Vitamin D to
project my verse.
I’m much more inclined
to projectile vomit
into otherworldly girths.
No methodology can
alchemize my moors
out from these got dang
obscurantist stores.
You know why?
Because feelings are
H=A=R=D
and all games
inevitably
stop
short.

published in Ottawa by above/ground press
October 2023
as part of above/ground press’ thirtieth anniversary
a/g subscribers receive a complimentary copy

MLA Chernoff (@estroflunky) is a writer and recovering academic. Their debut full-length poetry collection, [SQUELCH PROCEDURES], was released by Gordon Hill Press in 2021. MLA is also the author of several chapbooks, including delet this (Bad Books, 2018), TERSE THIRSTY (Gap Riot Press, 2019), and I'M LIKE THE GREAT GRANDCHILD OF MARX & COCA-COLA (BUT NON-BINEY) (845 Press, 2022). They worked really hard on their website – mlachernoff.com – so please go and check it out right now, right this second. Thanks! Stay safe and keep masking xo xo

This is Chernoff’s second above/ground press title, after SCRIED FUNDAMENTS (2022).

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) 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: ashes, by Marita Dachsel

ashes
Marita Dachsel
$5

We live on the top floor of one of those big old houses
in Victoria. Our suite has a wood stove and the first few years
we lived there, we didn’t use it, as we didn’t trust our toddling
daughter, but we’ve had six winters with wood heat.
The best heat.

As a child, my autumn weekends were spent hunting.
If my parents didn’t kill an animal,
we’d get some firewood. Hours of packing and unpacking
the truck. I hated it then, but remember it fondly. That strike slip of memory.

Crisp fall air. Mint tea and liverwurst sandwiches.
The sweet scent of a fresh cut tree. Sap.
Complaining crows. Scolding squirrels.
The quiet of the forest after the roar of the chainsaw.
The cracking of breaking branches as the tree comes down.

* * *

In 2019, Andrea MacPherson invited me to the Fraser Valley Literary Festival which took place in Abbotsford, BC, on traditional, unceded Stó:lō Territories on September 13 and 14 of that year. I was commissioned to write on the theme “The Terrible and the Sublime: From Monsters to Saints” which I was to share during the panel of the same name, with panelists Doretta Lau, Jónína Kirton and Danny Ramadan. “Ashes” came from that commission.

published in Ottawa by above/ground press
October 2023
as part of above/ground press’ thirtieth anniversary
a/g subscribers receive a complimentary copy

Marita Dachsel is the author of the poetry collections There Are Not Enough Sad Songs, Glossolalia, and All Things Said & Done. Her poetry has been shortlisted for the Robert Kroetsch Award for Innovative Poetry, the Acorn-Plantos Award for People’s Poetry, and the ReLit Award. With Nancy Lee, she co-edited Sharp Notions: Essays from the Stitching Life. Her play Initiation Trilogy was nominated for both a Jessie Richardson Award for Outstanding Original Script and The Critics’ Choice Innovation Award. She has created interactive poetry-based installations for festivals and conferences in Victoria, Edmonton, and Toronto. She lives with her family on Lekwungen territory in Victoria, British Columbia where she teaches in UVic’s Writing Department and knits on the sly at any opportunity

This is Dachsel’s third above/ground press title, after learning to breathe (1996) and divination (2022).

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) 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: Report from the fitzpatrick Society. Vol. 1 No. 1

Report from the fitzpatrick Society
Vol 1. No. 1
edited by rob mclennan
$7

an assemblage of writing in response
to the work of ryan fitzpatrick

including
poems, critical writings
and
philosophical transactions

with contributions by:
Jonathan Ball
Jason Christie
ryan fitzpatrick
Danielle Lafrance
rob mclennan
Julia Polyck-O’Neill
Nikki Reimer
Michael Robertson
Aaron Tucker
Fred Wah

published in Ottawa by above/ground press
October 2023
as part of above/ground press’ thirtieth anniversary
full list of published reports here
a/g subscribers receive a complimentary copy

Report on the Society logo by C. McNair, editor’s devil (retired)

ryan fitzpatrick has published four chapbooks with above/ground press: further revisions (STANZAS #25, July 2001), Adolesce (2005), dealingwithit.gif (2015) and dang me (2020).

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) 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 robmclennan.blogspot.com

new from above/ground press: AGALMA, by Kevin Stebner

AGALMA
Kevin Stebner
$5

published in Ottawa by above/ground press
October 2023
as part of above/ground press’ thirtieth anniversary
a/g subscribers receive a complimentary copy

Kevin Stebner is a multi-disciplinary writer, musician, and artist from Calgary, Alberta. As a concrete poet, Stebner is known for an astounding array of over 400 typewriter visual poems, many of which are appearing in chapbooks and publications (recently from Blasted Tree, NonPlusUltra, No Press & Timglaset) and is now pursuing a collection of letraset explorations. Stebner has spent over two decades dedicated to the DIY music in every capacity, notably from his bands Cold Water and Fulfilment, both having recently released new albums. He is also the proprietor of Calgary’s best bookstore that’s in a shed, Shed Books.

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) 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: Boyle, Berlatsky, Beaulieu, Flemmer + Mellis,

Frances Boyle is interviewed over at talking about strawberries all of the time; where forthcoming author Noah Berlatsky also has poems; both Derek Beaulieu and Kyle Flemmer, among lots others, have work included in Laura Kerr's online pdf INTERZONE: a visual anthology; and forthcoming author Miranda Mellis is interviewed over at Touch the Donkey.

new from above/ground press: THINGS TO BUY IN NEW BRUNSWICK, by Meghan Kemp-Gee

THINGS TO BUY IN NEW BRUNSWICK
Meghan Kemp-Gee
$5

Blanket


Everyone in Fredericton, New Brunswick keeps asking why I moved here. I buy a plane ticket. I buy another plane ticket. I check my bank balance. I check the time change, I check the clock, I left but didn’t leave you, I throw loneliness away like old clothes. I buy a winter blanket for when it gets cold. Everyone keeps reminding me it will get cold.

published in Ottawa by above/ground press
October 2023
as part of above/ground press’ thirtieth anniversary
a/g subscribers receive a complimentary copy

Meghan Kemp-Gee is the author of The Animal in the Room and What I Meant to Ask: A Chapbook. She also co-created Contested Strip, the world’s best comic about ultimate frisbee – and soon to be a graphic novel, One More Year. She currently lives in North Vancouver and is a PhD candidate at the University of New Brunswick, Fredericton.

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) 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

Jason Christie's glass / language / untitled / exaltation (2022) shortlisted for the 2023 bpNichol Chapbook Award

congratulations to author Jason Christie, whose chapbook glass / language / untitled / exaltation (2022) is shortlisted for this year's bpNichol Chapbook Award! hooray! and will you come to hear him on Monday? this is actually Jason's third time on the shortlist, after his Cursed Objects (2014) made the 2015 shortlist, and his Government (2013) made the 2014 list! and with this, it means that above/ground press has had titles (sometimes even two on the same list) on half a dozen shortlists now! that is pretty cool, yes? here's what Meet the Presses posted as part of their announcement!

Congrats to the 2023 bpNichol Chapbook Award Finalists

Meet the Presses is pleased to announce the finalists for the 2023 bpNichol Chapboook Award. Please join us in celebrating the following chapbooks and supporting the authors and presses that made them happen! In not particular order:

Light Years — Laboni Islam — baseline press

The Lake – James Lindsay – knife/fork/book

glass / language / untitled / exaltation – Jason Christie — above/ground press

Third State of Being — Cassidy McFadzean — Gaspereau Press

I Need Not Be Good — kitchen mckeown — Rahila’s Ghost Press

Thank you so much to the two judges for this year’s award, Alice Burdick and Betsy Warland for their care and generosity with this year’s slate!

You can find out the winner at our Literary Indie Market, taking place as part of the Ampersand Literary Festival. The Eventbrite (which includes the schedule) can be found here: https://www.eventbrite.com/e/the-nd-festival-and-indie-lit-market-tickets-686326429827?aff=oddtdtcreator . You can also get more information through Facebook: https://fb.me/e/1bPyEPHSp .

new from above/ground press: Cartesian Wells, by Gil McElroy

Cartesian Wells
Gil McElroy
$5

x1

All’s well that ends the
whatnesses of
the cosmos, the
fierce dos (although you can still say
your don’ts, feeling
for the sunny parts
of the story) of
them hawks &
eagles, them
parrots, all
mutual birds with
densely speckled
alphabets &
the beauty over which
we vote

Oh, &
filaments of
warmbloodedness

published in Ottawa by above/ground press
October 2023
as part of above/ground press’ thirtieth anniversary
a/g subscribers receive a complimentary copy

Gil McElroy is a poet, visual artist, and curator currently living in North Bay, Ontario. His most recent book of poetry is Long Division (University of Calgary Press, 2020).

Gil McElroy is the author of eight previous above/ground press chapbooks, including “Echolocations” (½ of STANZAS #5, April 1995), Some Julian Days (1999), “Meteor Showers” (STANZAS #31, 2002), (The Work of Art) In the Age of Mechanical Reproduction (2005), Twentieth (2013), The Doxologies (2014), LAOS (Some Julian Days) (2018) and Some Julian Days: Twentieth Anniversary Edition (2019). He also had a poem in the above/ground press twenty-fifth anniversary broadside series (2018).

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) 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

above/ground press: 2024 subscriptions now available!

The race to the half-century continues! And with nearly THIRTEEN HUNDRED TITLES produced to date and nearly thirty-one years, there’s been a ton of above/ground press activity over the past calendar year, including MORE THAN FIFTY TITLES (so far) produced in 2023 alone (including poetry chapbooks by Robert van Vliet, Stephen Cain, Geoffrey Olsen, Heather Cadsby, Grant Wilkins (three chapbooks this year!), nina jane drystek, Sophia Magliocca, Jennifer Baker, Karen Massey, rob mclennan (two chapbooks!), Jérôme Melançon, Monty Reid, George Bowering + Artie Gold, Brad Vogler, Andrew Gorin, Julia Drescher, Ken Norris (five chapbooks in three years!), Joseph Donato, Samuel Ace, Stuart Ross, Leesa Dean, Jessi MacEachern, Jordan Davis, Nick Chhoeun, Ben Jahn, William Vallières, Derek Beaulieu, Isabel Sobral Campos, Mark Scroggins, Laura Walker, Nathanael O'Reilly, Lindsey Webb, Jason Heroux and Barbara Henning, all of which are still in print), as well as issues of the poetry quarterly Touch the Donkey [a small poetry journal], the occasional journal G U E S T [a journal of guest editors] (with 2023 issues guest-edited by Laurie Fuhr and Adam Katz) and two new issues of The Peter F. Yacht Club. 2023 also saw the continuation of the Report from the Society series, producing individual festschrifts (as this period could use some more positive) celebrating the work of Pearl Pirie, Nikki Reimer, Jessica Smith, Brenda Iijima and Amish Trivedi! And there are plenty more coming! Part of the fun is that none of the subjects have a clue the projects are even happening until finished copies land on their doorstep.

The Factory Reading Series is gearing up for some events again soon (including next week!), but have you seen the virtual reading series over at periodicities: a journal of poetry and poetics (with new monthly online content, by the way; the pandemic-era extension of above/ground press). And the next edition of the ottawa small press fair is November 18th! with a reading upstairs at the Carleton Tavern the night before, even!

One can't forget the prose chapbook series that above/ground started during the pandemic-era, with new titles this year by Evan Williams, Jamie Hilder and Ryan Stearne, with a further forthcoming by Joan Naviyuk Kane! Forthcoming items through the press also include individual chapbooks by Saba Pakdel, Lydia Unsworth, Katie Ebbitt, Colin Dardis, Russell Carisse, Micah Ballard, Cary Fagan, Amanda Deutch, Kyla Houbolt, Gary Barwin, Adriana Oniță, Noah Berlatsky, Blunt Research Group, Phil Hall + Steven Ross Smith, Zane Koss, Peter Myers, Gil McElroy, Ben Robinson, Miranda Mellis, MLA Chernoff, Terri Witek, Pete Smith, Marita Dachsel and Kevin Stebner (a couple of which have already been sent to the printer, by the by), as well as a whole slew of publications that haven't even been decided on yet.

Oh, and groundswell: the best of the third decade of above/ground press, 2013-2023 (Invisible Publishing) is available for pre-order, yes? but you probably already knew that.

2024 annual subscriptions (and resubscriptions) are now available: $75 (CAN; American subscribers, $75 US; $100 international) for everything above/ground press makes from the moment you subscribe through to the end of 2023, including chapbooks, broadsheets, The Peter F. Yacht Club and G U E S T and quarterly poetry journal Touch the Donkey (have you been keeping track of the dozens of interviews posted to the Touch the Donkey site?). Honestly: if I’m making sixty or seventy titles per calendar year, wouldn’t you call that a good deal? I mean, it all does seem ridiculous.

Anyone who subscribes on or by December 1st will also receive the last above/ground press package (or two or three) of 2023, including those exciting new titles by all of those folk listed above, plus whatever else the press happens to produce before the turn of the new year, as well as Touch the Donkey #39 (scheduled to release on October 15), featuring new work by Robyn Schelenz, Andy Weaver, Dessa Bayrock, Anselm Berrigan, Noah Berlatsky, Rasiqra Revulva and Alana Solin. Can you believe the journal turns ten years old next spring?

Why wait? You can either send a cheque (payable to rob mclennan) to 2423 Alta Vista Drive, Ottawa, Ontario K1H 7M9, or send money via PayPal or e-transfer to rob_mclennan (at) hotmail.com (or through the PayPal button at robmclennan.blogspot.com).

Stay safe! Stay home! Wear a mask! Wash your damned hands!