some author activity: Mellis, Gevirtz, Niespodziany, Dardis, Barwin + Straumsvåg,

Miranda Mellis writes on Karl Ove Knausgaard over at Hilobrow; Susan Gevirtz has a new poem posted as part of the "Tuesday poem" series; Benjamin Niespodziany has new work up at Afterimages; Colin Dardis has four poems up at Rochford Street Review; Hollay Ghadery podcast interviews Gary Barwin; and Dag T. Straumsvåg is interviewed over at Touch the Donkey.

Colin Dardis reviews Nathanael O'Reilly's TERMINALS (2025) at Poem Alone

Irish poet (and above/ground press author) Colin Dardis was good enough to provide a first review of Nathanael O'Reilly's TERMINALS (2025) over at Poem Alone. Thanks so much! You can read Dardis' original post here. As he writes:

O’Reilly’s third pamphlet with Canada’s above/ground press is, as the title suggests, comprised entirely of the terminal form. As the book notes, the form was invented by Australian poet John Tranter, where "the final word of each line in a source poem us used as the end-word for each line of a new poem”. A sizeable challenge in itself, as O’Reilly maintains not only this end-words in this new pieces, but the same order of words and stanza structure for each poem.

Sourced poems come from Seamus Heaney, Philip Larkin, Jessica Traynor, John Keats, Jane Clarke and others. The terminal device opens up a second level to the collection: the reader can source the originals, read and contrast them to O’Reilly’s re-imaginings, and admire just how inventive and challenging the new works our. Repeatedly, O’Reilly has been able to craft the restriction of the end-words into his own narrative, which often explores the need for isolation, and an affinity with landscapes. In ‘Settling Down’, the poem starts off as an innocent description of a beach scene, with surfers and fishermen. Then, unexpectedly:

    They do not know my remains
    will be scattered on their beach, blown
    out to see, the evidence of me
    settling down in one place at least[.]

This affinity drives the theme of some eco-poems in Terminals: closing poem ‘Autumn Lament’ chides humanity for not taking take of the earth – “The planet won’t let us off the hook | for the debts we owe’. The phrase ‘damaged earth’ is repeated from the opening poem, serving as neat bookend for the theme.

Tied closely to this connection to the land is the want for escape, mostly from other poem. The speaker in ‘The Landscape’s Singing’ hopes “for a fertile summer | writing poetry in the turf-shed”. In ‘Archaeology’, the opening action of ‘I close the door’ double downs on this shutting away of oneself, seemingly a much needed retreat: “I dig for the ancient me | sometimes feared vanished”. Although this is some connection with others elsewhere, such as remembering studying Picasso with a friend, or dwelling over a past love, the separateness creeps in. Equinox asks the ex-lover to “wonder | in my arms are lovelier than aloneness’. ‘Equinox’ sees the speaker wishing for ‘inspiration, solitude’, the two apparently inseparable.

There are a few flexible applications of the end words here and there: Heaney’s ‘place’ becomes ‘homeplace’ in O’Reilly rewriting; Duffy’s ‘hesitate’ shifts to ‘hesitation’; while Larkin’s ‘lace’ becomes hidden in the word ‘placed’. To this reviewer, these liberties are permissible: one would rather see a slight deviation, rather than have the language feel forced and unnatural in order to meet the demand of the original end-words. ‘Sweet Movement’ goes one step further, and retains the syllable count for each line as well from George and Ira Gershwin’s song, ‘Embraceable You’.

Looking at some of the end-words in isolation, one might marvel at the shift from the source poem to the new poem. ‘Remember’ takes from Ellen Bass’s ‘Any Common Desolation’. In one part, the end-words are ruminant, ginger, signs, mother, gathered, toes, etc., potentially unconnected to each other as the answers in a crossword puzzle. O’Reilly transforms these into a call for calmness and patience:

    Wait. Become ruminant,
    Meditate. Peel and grate ginger,
    sip healing tea. Search for signs
    of chance. Remember your mother,
    how she believed in you, gathered
    you in her arms, tickled your toes,
    made you laugh until you lost breath,
    distracted you from darkness. Sit in the yard
    imbibing the moon[.]

Terminals is a work of transmogrification, with surprising and pleasing results throughout, and is certainly the strongest work O’Reilly has published with above/ground press, which is known for championing experimental and restricted writing. A rewarding read, and for fellow writers, one that will inspire them to try their hand at their own terminal form.

some author activity: O'Reilly, Gurton-Wachter, Reid, Dardis, Boyle + Aube,

Nathanael O'Reilly has a poem included in Red Room Poetry's Phone-a-Poem project; Anna Gurton-Wachter has a poem in the debut issue of the newly-revived LONG NEWS; Monty Reid has a new poem suite up at IceFloe Press; Colin Dardis has three new poems up at The Pi Review; Frances Boyle has two new poems up at Obindo; and Gwen Aube launches their above/ground press chapbook this week in Montreal! oh, and did you see that above/ground press now has a substack?

new from above/ground press: with the lakes, by Colin Dardis

with the lakes
Colin Dardis
$5

Shipwrecked


i.
Aweigh of junk piles,
untold centuries
teased from their rust,
resurfacing; a gravity
towards the shoreline.

ii.
Disturbance amidst rocks:
seabed whispering
as currents play their hands,
lifting pennies from eyes,
a cure for blindness.

iii.
Without light
and too much weight,
hull and reef conjoined.
The lighthouse blinks
in disbelief.

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

Cover image: extract from And Man appeared; questioning the earth from which he emerged and which attracts him, he made his way toward sombre brightness by Odilon Redon, 1883

Colin Dardis is a neurodivergent writer, editor and sound artist from Northern Ireland. His most recent book is Apocrypha: Collected Early Poems (Cyberwit, 2022). His work, largely influenced by his experiences with depression and Asperger's, has been published widely throughout Ireland, the UK and USA. Previous collections include All This Light In Which To See The Dead: Pandemic Journals 2020-21 (Rancid Idols Productions, 2022), Endless Flower (Rancid Idols Productions, 2021), The Dogs of Humanity (Fly on the Wall Press, 2019), and the x of y (Eyewear, 2018). The latest release from his DARDIS sound project is Funerealism (Inner Demons Records, 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

some author activity: Witek, Armantrout, Burdick, Dardis + Campos,

forthcoming author Terri Witek has a new poem up in the "Tuesday poem" series; Rae Armantrout has five new poems up at The Brooklyn Rail; Alice Burdick has two new poems and a statement in the Spotlight series; forthcoming author Colin Dardis also has a poem up in the "Tuesday poem" series; and Isabel Sobral Campos has new work up at Black Sun Lit.

some author activity: parizeau, Ball, Rukeyser, mclennan + Burgoyne,

df parizeau has a new poem up in the "Tuesday poem" series via the dusie blog; there is a short write-up on the work of the late Nelson Ball, as well as some poems, up at brief poems; Susan Rukeyser reads her piece "Less a man than a gun" over at YouTube; rob mclennan is interviewed by Colin Dardis over at Fill Your Books!; and Sarah Burgoyne reads work from her new Turret House Press chapbook over at YouTube.