some author activity: Sandhu, Sawyer, Vitkauskas, Weaver, Marlatt, Pirie, Logan + Shirley,

Mandy Sandhu has some poems up at talking about strawberries all of the time, as do Larry Sawyer and Lina Ramona Vitkauskas; Andy Weaver has a new poem up as part of National Poetry Month on the Chaudiere Books blog, as does forthcoming author Daphne Marlatt, and even Pearl Pirie; Nate Logan has new work up at Some Words; and Vik Shirley has new work up at And Other Poems.

some author activity: Barwin + Nećakov, Harder, Ebbitt, Koss, Adams + Pirie,

Gary Barwin and Lillian Nećakov have work from a collaboration-in-progress over at talking about strawberries all of the time, where Shelly Harder also has new work, and Pearl Pirie has new work, and Katie Ebbitt is interviewed; Zane Koss has a poem on the Chaudiere Books blog for National Poetry Month, ; Carrie Olivia Adams writes on her reading series, poetry, and biscuits over at LitHub; and Pearl Pirie has two new poems up at The Pi Review.

new from above/ground press: Heat Lamp, by Pearl Pirie

Heat Lamp
Pearl Pirie
$6

(cinematic)

i          candle
b         ladle 

c         overturned soup
*         gunshot 





D         half moon        
4          sailboat 
≈          uncaring ocean

H         ladder 
v  v      vampire swimming 
o          life saver thrown 

∞         years left for crew learning 

published in Ottawa by above/ground press
December 2025
a/g subscribers receive a complimentary copy

Pearl Pirie is an Ottawa-area, Quebec writer. She has been lucky enough to have had four poetry collections published, most recently footlights (Radiant Press, 2020). A past-president of KaDo, an Ottawa-area haiku and tanka group, she is the coordinator of the Betty Drevniok Award for haiku and has been the publisher of phafours press since 2007. Find her at Patreon and at www,pearlpirie.com This book sprung from the forehead of Gary Barwin's anus porcupine eyebrow.

This is Pirie’s seventh chapbook with above/ground press, after the oath in the boathouse (2008), vertigoheel for the dilly (2014), today’s woods (2014), sex in sevens (2016), Eldon, letters (2019) and Rushing Dusk (2024). Report from the Pirie Society, Vol. 1 No. 1, appeared in 2023.

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

The Factory Reading Series, August 21, 2025: Currin, Heinis, JAAWORD + Pirie,

The Factory Reading Series Presents:
readings by:

Jen Currin (Vancouver)
Shery Alexander Heinis (Ottawa)
Jamaal Amir Akbari/JAAWORD (Ottawa)
Pearl Pirie (QC)

lovingly hosted by rob mclennan
Thursday, August 21, 2025
Doors 7pm / Reading 7:30pm
Avant-Garde Bar, 135 Besserer Street, Ottawa

Jen Currin has published two collections of stories, Disembark (House of Anansi, 2024) and Hider/Seeker (Anvil Press, 2018), which was a finalist for a ReLit Award and was named a 2018 Globe and Mail Best Book. They have also published five collections of poetry, including Trinity Street (House of Anansi, 2023) and The Inquisition Yours (Coach House, 2010), which won the 2011 Audre Lorde Award for Lesbian Poetry and was a finalist for a LAMBDA and two other awards. Currin lives on the ancestral and unceded territories of the Halkomelem-speaking peoples, including the Qayqayt, Musqueam, Kwikwetlem, and Kwantlen Nations, in New Westminster, BC. They teach creative writing and English at Kwantlen Polytechnic University.

Shery Alexander Heinis is a St. Lucia born poet, writer, and former diplomat. She is the co-founder and Artistic Director of In Our Tongues Reading and Art Series, an Ottawa-based arts non-profit that showcases, nurtures, and advances Black, Indigenous, and racialized artists from the National Capital Region and across Canada. She is the author of A Greater Whole, as well as her debut poetry collection, Splinter (self-published). Her work has appeared in ARC Poetry Magazine, The League of Canadian Poets’ Black History Month Chapbook, These Lands, Bywords, In\Words and more. She has been a feature reader at the Ottawa International Writers Festival, VERSeFest Ottawa and The Tree Reading Series among others. Shery is featured in BREATH, a multimedia immersive art installation and the documentary film FOUR WOMEN  on Bell Fibe TV1 and CBC Gem. 

Jamaal Amir Akbari or JAAWORD [pictured] is an award winning poet, songwriter, recording, screen and performance artist, arts educator and creative entrepreneur.  He is Ottawa’s 2017-2019 Poet Laureate Emeritus, and his career in arts education earned him 2016's Ontario Arts Educator Award.

He has brought his work to audiences nationally and abroad, and served as Carleton University’s Artist in Residence for the 2019-2020 school year. He also founded the Origin Arts & Community Centre in 2015, a performance arts hub on the edge of Ottawa’s Hintonburg neighbourhood that provides an event space for performing artists to share their passion. 

His topics range from emotional maturity to black heritage, from parenting to the human condition. He resides in rural Marathon Village, ON, with his wife and 8 children, using the national capital region as his launch pad to teach, mentor and advocate for the arts.

Pearl Pirie lives quietly & slowly in rural Quebec and Ottawa. Her latest is we astronauts from Pinhole Poetry. www.pearlpirie.com
 

The Factory Reading Series pre-small press book fair reading, June 20: Pirie, MA|DE, Bandukwala, Moran + Smith,

span-o (the small press action network - ottawa) presents:

The Factory Reading Series
the pre-small press book fair reading

featuring readings by:

Pearl Pirie (QC)
MA|DE (Windsor ON)
Manahil Bandukwala (Ottawa ON)
James K. Moran (Ottawa ON)
+
Mahaila Smith (Ottawa ON)

lovingly hosted by rob mclennan
Friday, June 20, 2025
doors 7pm; reading 7:30pm
Anina’s Café, 280 Joffre-Bélanger Way

[And don’t forget the ottawa small press book fair, held the following day at the Tom Brown Arena]

author biographies:

Pearl Pirie lives slowly in rural Quebec. A queer, p/t abled settler on unceded land of the Anishnaabe, she is the author of footlights (Radiant Press, 2020)  You can find her on socials— Instagram, Patreon, Substack and at www.pearlpirie.com.

MA|DE (est. 2018) [pictured] is a collaborative writing entity, a unity of two voices fused into a single, poetic third. It is the name given to the joint authorship of Mark Laliberte and Jade Wallace — artists whose active solo practices, while differing radically, serve to complement one another. Their work has appeared in literary journals internationally, including Augur, CV2, Grain, PRISM, Salamander, The Woodward Review and Vallum. MA|DE has written 4 chapbooks, including the bpNichol award-shortlisted A Trip to the ZZOO (Collusion Books 2020). MA|DE's debut full-length poetry collection, ZZOO, is out now from Palimpsest Press, and another collection, Detourism, is forthcoming with Palimpsest in 2028. More: ma-de.ca

Manahil Bandukwala is a writer and visual artist. She is the author of Heliotropia (Brick Books 2024; shortlisted for the Pat Lowther Award and the Raymond Souster Award) and MONUMENT (Brick Books 2022; shortlisted for the Gerald Lampert Award). She has been twice longlisted for the CBC Poetry Prize, and was selected as a Writer’s Trust of Canada Rising Star in 2023. See her work at manahilbandukwala.com.

James K. Moran’s poetry and speculative fiction have appeared in Another Dysfunctional Cancer Poem Anthology, Burly Tales, Bywords, Glitterwolf, and On Spec. Lethe Press published his fiction collection Fear Itself and horror novel Town & Train. Moran writes across genres about cosmic carports, drag-queen warlocks and nomadic superheroes. He reviews for Arc Poetry Magazine, Plenitude and Strange Horizons. Findable at jameskmoran.blogspot.ca, @jamestheballadeer.bsky.social (Bluesky) and jamestheballadeer (Instagram). Moran lives in Ottawa, on the unceded territory of the Anishinaabe Algonquin Nation.

Mahaila Smith is a researcher, poet, editor and MA student based on the traditional territory of the Algonquin Anishinabeg in Ottawa, Ontario. They won the 2024 John Newlove Poetry Award and were nominated for the Rhysling and Best of the Net awards. They adore fibre crafts and collecting sea-glass. You can find more of their work on their website: mahailasmith.ca. Their debut narrative poetry collection, Seed Beetle is available from Stelliform Press.

new from above/ground press: The Peter F Yacht Club #35 : 2025 VERSeFest Special

The Peter F Yacht Club #35
2025 VERSeFest Special
lovingly hand-crafted, folded, stapled, edited and carried around in bags of envelopes by rob mclennan,
$6

With new writing by a host of Peter F Yacht Club regulars, irregulars and VERSeFest 2025 participants, including Kimberly Quiogue Andrews, Susan J. Atkinson, Frances Boyle, Jason Christie, Michelle Desbarats, Em Dial, AJ Dolman, Amanda Earl, Cara Goodwin, Phil Hall, Jessica Hiemstra, Rebecca Kempe, Laurie Koensgen, Margo LaPierre, Karen Massey, rob mclennan, Pamela Mosher, Salem Paige, Terese Mason Pierre, Pearl Pirie, Monty Reid, stephanie roberts + Grant Wilkins;

published in Ottawa by above/ground press
March 2025
a/g subscribers receive a complimentary copy
[a small stack of copies will be distributed free as part of the fifteenth annual VERSeFest, March 25-29, 2025]
[see the prior issue here; see last year's VERSeFest issue here]

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

Pearl Pirie reviews Alice Burdick's I Am So Calm (2025)

Quebec poet, editor, writer, reviewer, editor, publisher etcetera (and above/ground press author) Pearl Pirie was good enough to provide the first review for Alice Burdick's I Am So Calm (2025) at The Miramichi Reader. Thanks so much! You can read the original post here. As Pirie writes:

I Am So Calm by Alice Burdick (above/ground press, 2025) is the latest from a poet who has been putting  out surreal books since at least 2002. Her most recent full collection is Ox Lost, Snow Deep (A Feed Dog book/Anvil Press, 2024).  

From what I’ve read this chapbook seems consistent in style, although I won’t offer a title by title comparison. I Am So Calm sets mid-field in surreal. The poems feel like disorienting lists of non-sequiturs or axiomatic koans. That said, “non-sequitur” presumes one thing should follow from the previous when that sort of linkages is a construct and her objects and awarenesses are discrete and independent, explicitly “a tapas of small moments.” (p. 17). Line progressions outright refuse cis-het military industrial late-capitalist hierarchical culture of How Sense is Conveyed.  

Grounding phrases break in and flit away. Marginalia is welcomed into the body. What does it matter for, as she concludes with admission of ephemerality of both grief and grace, “Our bodies take everything in, then dispose/ of the everything, gradually.”  

Because the sentences and semantics in each line are simple, short and small it seems to instruct the reader to move quickly, but the collective run of sentences confound a quick reading. How does anything fit?  One needs to squint or look at middle distance to not see so literally a pattern or progression. We get permission to not have authorial authority over all we see, whether we read of speak. See the foci  captures chosen in the last fifth of “The Bed Book”, (p. 14-15)  

Floorboards creak, heels of a bouncing child  
smash down from above. That  
was a successful quesadilla.  
I like the idea of beginning  
in the middle. Then please,  
don’t worry about the fog.  
Aureola? Or corona?  
What is the light  
that carries us all?  
What is the light that embalms?  

It is the barely differentiated everything, the chaotic flourishing that carries us, illuminates us, not the still profundity of interstitial reflection. Rather than staid and proper it’s vivid and irreverent urging to live, live, live, “bounce meaty bellies off each other, dance.” (p. 20)  

In “A Real Success”, Burdick writes, “To not speak is to succeed” and continues,  

"Let concerts happen with more air  
about them. The audience  
a required entity."  

It echoes the absurdist play In Rosencrantz & Guildenstern are Dead by Tom Stoppard (Grove  Weldenfeld, 1967) when the Player said, “the single assumption that makes our existence viable—  that somebody is watching…every gesture and pose vanishing into the thin unpopulated air. We ransomed our dignity to the clouds.” What matters is the sharing, the joining of focus, not the  containing, elevating and perfecting on plinths a historically inaccurate construction of calm order.  If the poetry were to have a theme song it might be “Chicks Dig It”, (“pain hurts, but only for a  minute. All you’re left is with the memories you made. Life is short. Best live it.” I hope I’m nailing that and not paraphrasing).  

It may be a different form but as with artistic expression, it wrestles with how to live well. Towards the last 10% of “If you do this, honour will result” we have an index of values of sorts:

"...We’re all  
just doing the best we can. Graft a tree onto another tree,  
a wedge to reanimate flowers. Shelter your loved ones’ bodies  
and listen when they tell you who they are, what makes them  
feel safe, what they need, what they notice. Instruct destruction  
to fold its retractable blade. Hold me, my own arms.  
Upend honour and drain the rigid globules."  

Destruction as a switchblade, grafting to another as resurrection to blooms, flush the parts that clot your flow. Yet said fresh and to be confoundingly slow so it can’t be quickly glossed over. There is something toward a profound lesson and closure at the end of poems and something of a flotsam, jetsam swirl around a theme that prevents it from being random and more towards bastard ghazal. It is a hyperactive sort of mind but one that insists on kindness and accepting in what is and asks what could be if we think without the usual blinders, partitions, rules and boundaries?

Pearl Pirie reviews Andy Weaver's Robert Duncan at Disney World (2025)

Quebec poet, editor, writer, reviewer, editor, publisher etcetera (and above/ground press author) Pearl Pirie was good enough to provide the first review for Andy Weaver's Robert Duncan at Disney World (2025) at The Miramichi Reader. Thanks so much! You can read the original post here. As Pirie writes:

Andy Weaver teaches poetry and creative writing at York University and has published three books of poetry, most recently this (Chaudiere, 2015). I feel I’ve read Andy Weaver before, or maybe I only saw him perform. Or I’ve read so many reviews with excerpts by rob mclennan that I am familiar his work that way. From what I’ve seen his form of poetry makes use of the whole page, not as in scattered individual words but as metrical spacing of phrases.

I recently reread ligament/ ligature by Andy Weaver (Model Press, 2022). ligament/ligature, his previous and longer chapbook, used space and line breaks enact the physical space and the leaves in the mental tree turning, and controls pacing.

That chapbook is a poetry not much more of quotidian observations but meditating on our individual responsibility to create love and tenderness and connection. They don’t feel didactic so much as being let into a secret room of the head without social filters, some showmanship caper. The reader is given a chair as an equal, rather than a back seat in the lecture hall.

The Robert Duncan at Disney World has something of the same convention of adding space to the poem. The poems take up the amount of page it needs rather than be tidily obedient to the left margin. They are not built up as a prose argument of a stone house but more of a metal framed glass structure. The air in the poems signal the reader to slow down but the ideas being digested are heavier but on a comparable tack.

The poems are starting with a thesis of what-if to explore if Robert Duncan were dropped into the commercial epicentre of branding, what would he think and by extension, what might we if we paused long enough.

The precise word choices makes it akin to a haiku series. That aesthetic may be an influence given his references to other Japanese practices throughout the work. In section 4 of 10 (p.4) the imagist of “childhood snow/forts to escape/into blazing sunlight” with the volta that surprises, not to escape into snow forts, but what is built is escaped by returning to sunlight.

He floats interesting concepts, such as in the same section above, abundance as the blind spot with the continuity effect perhaps bridging gaps between negative content.

In a way, I’d like poetry to be transmitted like a Ted Lasso script hyperlinked to all embedded references so I could chase every tangent, to lazily help me unpack a phrase such as “a fordist/ assemblage of hope” but I guess I know what he means of the shallowness of modernist capitalism doing pre-fab assembly line work for identity, like Ford’s practice aimed at Manifest Destiny of patriotism. We are in a system we can’t control.

His criticism of the distraction/entertainment era, the rides (literal and figurative) that make for a collective screaming, “terror’s new grace note” has not so much cynicism as a call to do better as individuals and as a society, to dig deeper. He does so in lovely language and with a love for language “the ichor oozing from heel blisters/an anchor”. Who knew there was a word for that translucent stuff in blisters except water?

To chime it off anchor is rather sublime. Our pain is what can ground us to meaningfulness, to a sense of significance. If it is not a threat, or trauma, if it floats without repercussions, we can safely turn off our critical faculty. When amusement dominates, that evasion becomes a Trojan Horse, he seems to say earlier but by section 8 makes more explicit.

Overall the chapbook is thoughtful and considered and makes space for us to interrogate what a considered life of our own would look like, rather than let ourselves be railroaded by urgency of marketing and frenetic clickbait of news and the Muchness of Paying Attention to Everyone.

The poetry demonstrates a slowing down, a coming around to make the world we would choose to live in.

some author activity: Archer, mclennan, Caporaso, Pirie, Niespodziany, Straumsvåg + Ross,

Sacha Archer has posted a new concrete (poetry/fiction) audiobook to bandcamp; rob mclennan's fourteenth annual 'best of' Canadian poetry titles has landed via dusie, and has a new section of "the green notebook" posted at The Typescript; Angela Caporaso's above/ground press title has landed on the Asemic Front 2 Top Ten Vispo Faves of 2024 list; Pearl Pirie offers her "Self-audit and Best of" list of 2024; Benjamin Niespodziany has three new poems up at The Pi Review; Dag T. Straumsvåg has a poem up in the "Tuesday poem" series; and a video of Stuart Ross reading at Carthage College as part of their Visiting Writers Series, Kenosha WI, October 8, 2024 is now online.

new from above/ground press: The Peter F Yacht Club #34 : 2024 Holiday Special,

The Peter F Yacht Club #34
2024 Holiday Special
lovingly hand-crafted, folded, stapled, edited and carried around in bags of envelopes by rob mclennan,
$6

With new writing by a host of Peter F Yacht Club regulars and irregulars, including Frances Boyle, Ellen Chang-Richardson, Jason Christie, David Currie, Michelle Desbarats, AJ Dolman, nina jane drystek, Amanda Earl, Laura Farina, ryan fitzpatrick, Cara Goodwin, Chris Johnson, Margo LaPierre, IAN MARTIN, Karen Massey, rob mclennan, James K. Moran, Pearl Pirie, Colin Quin, Monty Reid, Joan Rivard, Stuart Ross and Grant Wilkins!

published in Ottawa by above/ground press
December 27, 2024 ; as the final above/ground press item of 2024!
[launching tonight at our annual holiday reading/regatta! you should come out!]
a/g subscribers receive a complimentary copy

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

three above/ground press titles--by Ben Robinson, Zane Koss + rob mclennan--longlisted for the 2024 Nelson Ball Prize!

Very cool to catch today's announcement of the longlist for this year's Nelson Ball Prize! Three above/ground press titles are on this year's longlist: A PANDEMIC INVENTORY, SPRING-SUMMER 2020, BROOKLYN NY by Zane Koss (2023), Between the Lakes by Ben Robinson (2023) and edgeless : letters, by rob mclennan (2023) (all three of which are still in print, by the by). And very cool to see above/ground press author Khashayar "Kess" Mohammadi on there as well for their Pamenar title. Congrats to the whole list! Yay!

some author activity: Brenner, Adams, Smith, Pirie, McElroy, Pittella, Banks + Rhodes,

Summer Brenner has an essay up at Literary Hub; Carrie Olivia Adams was recently featured on the podcast Plain Reading; Mahaila Smith has a new poem up at the DOG TEETH newsletter; and Pearl Pirie offers her report on the recent above/ground press 31st anniversary reading/event/launch, featuring readings by herself, alongside Gil McElroy, Carlos A. Pittella, Mahaila Smith, Chris Banks and Shane Rhodes!

some author activity: mclennan, Webb, Jirgens, Carpenter, Pirie, Tracy + Massey,

a video of rob mclennan reading now exists online as part of the Gap Riot Press summer 2024 launch; there's a conversation between Lindsey Webb and Kelly Hoffer online at BOMB magazine, and Webb also has new poems and book recommendations up at Etcetera; Karl Jirgens has a poem in the "Tuesday poem" series; J.R. Carpenter has new work in Blackbox Manifold; and Pearl Pirie, Karen Massey and Dale Tracy have poems in the August issue of Bywords.ca

report: the above/ground press 31st anniversary reading/launch/party!

You probably already know, but I hosted an above/ground press thirty-first anniversary reading/launch/party at RedBird last night, featuring readings and chapbook launches by Chris Banks (Kitchener), Mahaila Smith (Ottawa), Gil McElroy (North Bay), Pearl Pirie (rural QC) Carlos A. Pittella (Montreal) and Shane Rhodes (Ottawa). Anniversaries are the best! And don't forget that the press is running a big anniversary sale until the end of this month.

It was good to have another in-person anniversary event! Do you remember my report from last year's anniversary reading? Or the 2019 one? I mean, I think these reports help keep such events in memory. Remember the twenty-fifth anniversary event (when the t-shirts were introduced, for example) or the twenty-third anniversary event (including the Toronto event that same year) or the nineteenth anniversary event? So many events! Wishing I'd actually archived the big tenth anniversary event as well, but that was well before the full advent of blogs, after all (well, five minutes before all of that). I had ten readers, two musical acts (including Emm Gryner) and CBC Radio's Alan Neal hosting, produced by Elaina Martin, who went on to found and produce Ottawa's infamous Westfest. Remember that? I don't even remember all who I had to read for that event. Michael Dennis, certainly, along with (I think) Stephen Brockwell, AJ Dolman, Colin Morton, John Barton and Karen Massey. Who else? All I can find online is this reference to the event via Bywords.

Thanks very much to RedBird, including bartenders Josephine and Taylor, who were kind and attentive hosts, and Christine McNair (above, with Grant Wilkins) who ran both the door and the book table. And, honestly, if you want music lessons or your kids want music lessons, check out RedBird. Our wee Aoife has been doing ukulele lessons there for a while and she absolutely loves it.

It was a great crowd! And good to see further above/ground press authors, including Stuart Ross (did you know his own Proper Tales Press is only four years away from fifty? did you see the website we built when his press turned forty?), Karen Massey, Stephen Brockwell, Grant Wilkins and bpNichol chapbook award-winner Jason Christie! There were a couple of folk unable to attend due to Covid (mild, at least), which was frustrating, but it was great to see Margo LaPierre, Brian Pirie, Susan Atkinson, Manahil Bandukwala, Salem Paige, Allison Armstrong and Helen Robertson! Very nice, also, to see a whole stack of folk in the audience that I didn't actually know. I mean, that's good too, yes?

The first reader was Ottawa poet Mahaila Smith, launching their above/ground press debut (and third chapbook overall), Enter the Hyperreal (2024). There is a sharpness to Smith's work, and anyone who references the work of the late American poet Barbara Guest is very much applying good judgement. Check out Mahaila's recent essay on the chapbook, here.

Latinx poet Carlos A. Pittella came in from Montreal (and was flying somewhere else ridiculously early the following morning), and had such a marvellous, gestural energy to his presence, and to his work. I was first introduced to his work through a recommendation from above/ground press author Misha Solomon, who was introduced to me through a recommendation from above/ground press author Sarah Burgoyne, who was introduced to me through a recommendation from Stuart Ross. Thank you, all! Carlos was launching his first English-language chapbook, footnotes after Lorca (2024), a chapbook with a dark and layered undertone, composed and performed with an absolute joy of playful language. Check out Carlos' recent essay on the chapbook, here.

It is strange to think that Kitchener, Ontario poet and editor Chris Banks and I hadn't actually interacted in-person for twenty years or so, since around the publication of his first full-length collection. The poems of his above/ground press debut, Tiny Grass Is Dreaming (2024), displays such a thoughtful, meditative sharpness (and apparently he's been writing up a storm lately). Check out Chris' recent essay on the chapbook, here.

One of my long-time favourites, as you probably already know, is Gil McElroy, a poet currently living in North Bay, Ontario. I've been publishing his work since the mid-1990s, don't you know. He said that his new chapbook, his tenth above/ground press title, Small Consonants (2024), wasn't meant to be read aloud, so he read from some previous work, including poems referencing the Perseids.

There is such lovely, small detail in the poems of Pearl Pirie's latest above/ground press title, her sixth, Rushing Dusk (2024), a small chapbook featuring cover artwork by my middle daughter, Rose. Check out Pearl's essay on the chapbook, here. And you saw the festschrift we recently produced on her work as well, yes?

Did you hear that Ottawa poet (originally from Alberta) Shane Rhodes and his family are moving to Australia in a couple of weeks? It means that this was most likely his last Ottawa reading before they catch their flight. He read from his above/ground press debut, It's Here All the Beauty I Told You About (2024), a chapbook I am very pleased about, as I've been itching to publish his work since his full-length debut introduced me to his work, some two decades ago. His current work-in-progress (which includes the chapbook), explores Alberta/western mythology, imagery and collage, and the death of his mother,

Thank you to everyone who came out to help celebrate! And what might the next year bring? Thirty-one years, nearly fourteen hundred publications, hundreds of authors and three celebratory anthologies (including the third that appeared last fall through Invisible Publishing), among other schemes, blogs, events and ephemera. As you can see from the sidebar, I've a whole mound of forthcoming titles through the press, currently working on chapbook titles by authors including Vik Shirley, Alice Burdick, ryan fitzpatrick, Peter Jaeger, John Levy, alex benedict, Ryan Skrabalak, Scott Inniss and David Phillips, among others. I did offer last night that anyone who wished to subscribe to the press from this moment right now through to the end of 2025 could for the low price of $100 (for American addresses, $100 US), which I'm willing to offer here as well, an offer good until the end of this month (just send me an email: rob_mclennan (at) hotmail (dot) com). I mean, I'm producing some sixty to eighty chapbooks a year, that's a good deal, isn't it? Who knows what might come next?

the above/ground press 31st anniversary reading/launch/party : August 10 2024 : Red Bird Live,

: tickets available here :

new from above/ground press: Rushing Dusk, by Pearl Pirie

Pearl Pirie
Rushing Dusk
$5

tromping

along cedar fence lines
the rails, punky, grey and mossed

against my mud-spattered boot
any pause is a footrest.

what stands bleak on the rise
of ground, against unsettled clouds?

crusted lines not quite
darkened into a silhouette,

tangled in long grasses—
a model of use and hope —

the rusted plow no longer turns soil
but didn't risk turning into a sword

published in Ottawa by above/ground press
July 2024
a/g subscribers receive a complimentary copy

cover illustration: Rose McLennan

Pearl Pirie lives slowly in rural Quebec. A queer, seemingly permanently concussed, settler on unceded land of the Anishnaabe, she is the author of footlights (Radiant Press, 2020) and a few other books and many chapbooks. This chapbook is a second published part of a full length collection that hopefully will be looking to move out soon. You can find her on a bunch of socials— Instagram, X, blueskies, Patreon, Substack and at www.pearlpirie.com.

This is Pirie’s sixth chapbook with above/ground press, after the oath in the boathouse (2008), vertigoheel for the dilly (2014), today’s woods (2014), sex in sevens (2016), and Eldon, letters (2019). Report from the Pirie Society, Vol. 1 No. 1, appeared in 2023.

[Pearl Pirie will be launching Rushing Dusk in Ottawa on August 10 as part of the above/ground press 31st anniversary reading, alongside Mahaila Smith, Gil McElroy, Chris Banks, Carlos A. Pittella and Shane Rhodes; tickets available here]

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: Mc Donnell, Caporaso, Levy, Deutch, Unrau, Logan + Pirie,

Conor Mc Donnell has a new essay up at Chris Banks' new online journal, The Woodlot; Angela Caporaso and forthcoming author John Levy both have poems in the new issue of talking about strawberries all of the time; Amanda Deutch has new work at Warmly Zine; and Melanie Dennis Unrau, Nate Logan and Pearl Pirie each have new poems up at the Chaudiere Books blog as part of National Poetry Month!

new from above/ground press: A Crown of Omnivorous Teeth: poems in honour of Chris Johnson and raccoons in general, ed. Dessa Bayrock

A Crown of Omnivorous Teeth
poems in honour of Chris Johnson and raccoons in general
edied by Dessa Bayrock
$5

with contributions by:

Cameron Anstee
Manahil Bandukwala
Dessa Bayrock
Joshua Chris Bouchard
Liam Burke
Jake Byrne
Conyer Clayton
Ellen Chang-Richardson
AJ Dolman
nina jane drystek
Amanda Earl
Margo LaPierre
rob mclennan
James K. Moran
Emilia Morgan
David O'Meara
Pearl Pirie
and
Monty Reid


There aren’t any proverbs about raccoons that I know of. But there should be. Here’s one, to start: where you see one raccoon, there are five more standing behind it.

Where you see one raccoon, there are ten more standing behind it.

Where you see one raccoon, there are surely eighteen more standing behind it.

This volume collects eighteen such raccoons — or, at least, impressions of raccoons. The thing these impressions have in common is the raccoon standing in the light, held endearingly by nineteen other beady eyes wedged into faces still firmly in the shadows. The raccoon standing in the light is, of course, Chris Johnson. (Editor’s Foreword, Dessa Bayrock)

published in Ottawa by above/ground press
January 2024
a/g subscribers receive a complimentary copy

Dessa Bayrock lives in Ottawa with two cats, one of whom is very loud and almost always nearby. She ran post ghost press for two years and has published three chapbooks: IS IT ABOUT RUINS AND GHOSTS?, The Trick to Feeling Safe at Home, and Worry & Fuck. She recently completed a doctorate about Canadian literary awards. You can find her, or at least more about her, at dessaybayrock.com, or at @dessayo on Instagram.

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: Carisse, Sparling + Pirie,

Russell Carisse has a new poem up in the Tuesday poem series; Ken Sparling displays his handmade books at the Coach House Books website; and Pearl Pirie posted a report on the pre-small press fair reading the other night, as well as receiving her festschrift!

new from above/ground press: Report from the Pirie Society. Vol. 1 No. 1

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

an assemblage of writing in response
to the work of Pearl Pirie

including
poems, critical writings
and
philosophical transactions

with contributions by:
Cameron Anstee
Gary Barwin
Frances Boyle
Malcolm Curtis
Frank Davey
Michael Edwards
Robyn Fadden
Kim Fahner
Rachel Fernandes
Mark Grenon
Tanis MacDonald
rob mclennan
Wanda Praamsma
michèle provost
Monty Reid
Sandra Ridley
Bryce Warnes
Grant Wilkins

published in Ottawa by above/ground press
June 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)

Pearl Pirie has published five chapbooks with above/ground press: the oath in the boathouse (2008), vertigoheel for the dilly (2014), today’s woods (2014), sex in sevens (2016) and Eldon, letters (2019).

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