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(Joe) Papers Coll 00505 1 Gift of Joe Rosenblatt, 2006 Extent
MS ROSENBLATT (Joe) Papers Coll 00505 Gift of Joe Rosenblatt, 2006 Extent: 14 Boxes (2 metres) Dates: 1990-2005 (bulk 2001-05) This collection consists of manuscript drafts and other material related to various writing projects by poet and visual artist Joe Rosenblatt, including Parrot Fever (published by Exile Editions, 2002) as well two as-yet unpublished works: Dog Poems, a collaboration with Vancouver-based poet Catherine Owen and photographer Karen Moe, and Hogg Variations/The Lunatic Muse, a collaboration with Barry Callaghan. The collection also contains a large volume of correspondence, primarily e-mail. Box 1 Parrot Fever 35 Folders Consists of manuscript drafts, correspondence and reproductions of Michel Christensen’s collages for Rosenblatt’s Parrot Fever, published by Exile Editions, 2002. Folders 1-27 Manuscript drafts Folder 1 “Earliest,” 2000 WP Folders 2 Early drafts, 2001 WP Folders 3-4 Early drafts, “Third Draft,” 2001 WP and WP with holograph revisions Folder 5 Early drafts, 2001 WP with holograph revision Folders 6-7 Early drafts, 2001 WP with holograph revisions Folder 8 Fourth draft, 2001 WP Folder 9 Draft (sent via e-mail to French translator Andree Christensen), 2002 1 MS ROSENBLATT (Joe) Papers Coll 00505 Folder 10 Draft, 2002 WP Folder 11 Draft, 2002 WP with holograph revisions (+ 2 e-mails) Folders 12-15 Drafts, 2002 WP Folder 16 Draft, 2002 WP with holograph revisions (+ 1 e-mail) Folder 17 Draft, 2002 WP (+ editorial correspondence) Folder 18 Draft, 2002 WP Folders 19-20 Drafts, 2002 WP with holograph revisions -
APRIL 2015 - NISSAN-IYAR 5775 Volume 7, Issue 8, April 2015 EDWARD DAVIS, Rabbi YOSEF WEINSTOCK, Associate Rabbi STEPHEN KURTZ, President
“ YOUNG ISRAEL OF HOLLYWOOD-FT. LAUDERDALE APRIL 2015 - NISSAN-IYAR 5775 Volume 7, Issue 8, April 2015 EDWARD DAVIS, Rabbi YOSEF WEINSTOCK, Associate Rabbi STEPHEN KURTZ, President (picture of Synagogue) , President President , BARATZ MICHAEL Rabbi ociate Ass WEINSTOCK, YOSEF Rabbi DAVIS, EDWARD 2 1 20 June , 10 Issue , 4 Volume 2 1 20 JUNE - 2 7 57 TAMMUZ - IVAN S Requested Service Change 5566 - (up-side down address and bulk mail inditia) 962 (954) Fax: 7877 - 966 (954) Phone: Permit No. 1329 No. Permit www.yih.org FACILITY FL. SO. 33312 FL Lauderdale, Ft. PAID POSTAGE U.S. Road Stirling 3291 Organization FT. LAUDERDALE FT. - HOLLYWOOD of ISRAEL YOUNG Nonprofit “ Page 2 Young Israel Hollywood-Ft. Lauderdale April 2015 SIMCHAS FROM OUR FAMILIES -MAZEL TOV TO: BIRTHS Suchie & Raisy Gittler on the birth of their granddaughter Sophia Rose to Daniel & Dorith Gittler Lenny & Ellen Hoenig on the birth of their grandson Mordechai to Yossi & Zisa Farkas Seth & Rebecca Kinzbrunner on the birth of their daughter Eliana Sara. Mazel Tov to grandparents Norman & Meryl Palgon and great-uncle & aunt Neil & Karen Lyman Michael & Nili Davis on the birth of their son Yehuda & Morit Soffer on the birth of their son Tzvi & Rachael Schachter on the birth of their grandson to Eli & Rachelle Schachter. Mazel Tov to great-grandparents Sam & Malca Schachter ENGAGEMENTS & MARRIAGES Larry &Tobi Reiss on the engagement of their daughter Nina to Mordechai Braun David & Linda Feigenbaum on the marriage of their daughter Kayla to Ariel Levy Jay & Chani Dennis on the marriage of their daughter Talia to Jake Freiman. -
Open Letter Expresses Its Gratitude to the Ontario Arts Council OPEN LETTER Tenth Series, No
Open Letter expresses its gratitude to the Ontario Arts Council OPEN LETTER Tenth Series, No. 4, Fall 1998 which last year awarded $5,500 bpNichol + 10 in support of its publications Open Letter acknowledges the support of the Canada Council for the Arts which last year invested $7,100 in our organization Open Letter remercie de son soutien le Conseil des Arts du Canada qui lui a accordé $7,100 l’an denier Contents bpNichol + 10 FRANK DAVEY 5 Coach House Letters DAVID ROSENBERG 14 st. Ink BILLY LITTLE 23 Nicholongings: because they is LORI EMERSON 27 False Portrait of bpNichol as Charles Lamb STEVE MCCAFFERY 34 A correction to David Rosenberg’s article “Crossing the Border: A Coach Argument for a Secular Martyrology House Memoir” (Open Letter Series 9, No. 9): David Rosenberg writes, DARREN WERSHLER-HENRY 37 “Abstract Expressionism was the movement I alluded to in ‘Crossing the The bpNichol Archive at Simon Fraser University Border: A Coach House Memoir.’ That it became ‘Im’ in print is a GENE BRIDWELL 48 Freudian slip: I was perhaps overly impressed with my point.” Sounding out the Difference: Orality and Repetition in bpNichol SCOTT POUND 50 flutterings for bpNichol STEVEN SMITH 59 Nickel Linoleum CHRISTIAN BÖK 62 Extreme Positions ROBERT HOGG 75 An Interview with Steve McCaffery on the TRG PETER JAEGER 77 for bpNichol: these re-memberings DOUGLAS BARBOUR 97 Artifacts of Ecological Mind: bp, Gertrude, Alice DAVID ROSENBERG 109 bpNichol is alive and well and living in Bowmanville, ON STEPHEN CAIN 115 “Turn this Page”: Journaling bpNichol’s The Martyrology and the Returns ROY MIKI 116 Contributors 134 6 Open Letter 10:4 Wittgenstein. -
Dalrev Vol51 Iss4 Pp553 558.Pdf (3.200Mb)
S idney J. Stephen ~ - - : ! • . ? " - • f ■ i - l '' ■ ■ - ADAM IN EXILE: A. M. KLEIN’S PORTRAIT OF THE POET AS LANDSCAPE Tom Marshall ends his introduction to A. M. Klein (Toronto: The Ryerson Press, 1970) by expressing the opinion that t Klein has bequeathed to his successors the task of creating their country. The emphasis on space and landscape in “Grain Elevator” and “Portrait of the Poet as Landscape” is echoed in the work of Margaret Atwood and Margaret Avison. Klein’s “nth Adam”, the unacknowledged legislator of a new Canada of the spirit, may be found in the poems of Gwendolyn MacEwen and joe Rosenblatt, and even in Cohen’s Beautiful Losers (p. 25). Marshall’s point is well taken, even if one does not completely agree with his closing remark that Klein is “the man who has come closer than any other Canadian Poet to greatness” (p 25). The phrase “nth Adam” is taken from “Portrait of the Poet as Landscape”, and this poem, coming as it does after nearly twenty years of writing and publishing poetry1 appears to present a view on what a poet’s role might be in the society in which he finds himself. For this reason alone, if for no other, the poem might be accorded a close reading, an exploration of the idea of the “poet-as-Adam” which seems to have been a personal reflection of the poet. •v Much of Klein’s work is soundly based in Jewish tradition, and his knowledge of (and esteem for) that tradition is always evident, though as M. -
Purdy-Al-2071A.Pdf
AL PURDY PAPERS PRELIMINARY INVENTORY Table of Contents Biographical Sketch .................................. page 1 Provenance •••••••••••••••••••••••••••••••• 0 ••••••••• page 1 Restrictions ..................................... 0 ••• page 1 General Description of Papers ••••••••••••••••••••••• page 2 Detailed Listing of Papers ............................ page 3 Appendix •••••••••••••••••••••••••••••••••••••••••••• page 52 • AL f'lJRDY PAPEllS PRELnlI~ARY INVENroRY BIOGRAPHICAL SKETCH Al Purdy was born in 1918 in Hoo ler, Ontario . His formal education eeied after only two years of high scnool. He spent the next years of his life wandering from job to job, spending the war years with the R.C.A.F. He spent some time on the West Coast and in 1956 be returned east.. He has received Canada Council Grants wbich enabled him to t ravel into the interior of British Columbia (1960) and to Baffin Island (1965) and a tour of Greece (1967). He has published 10 books of poetry and edited three books, and has contributed to various magazines. His published books are; The En ch~"ted Echo (1944) Pr. ssed 00 Sand (1955) Emu Remember (1957) Tne Grafte So Longe to Lerne (1959) r Poems for all the AnnetteG (1962) The Blur in Between (1963 earihoo Horses (1965) Covernor Ceneral'5 weda1 North of Summer (1967) ·Wild Grape Wine (1968) The New Romans (1968) Fifteeo Wind. (1969) l've Tasted My Blood. Selected poems of Mil ton Acorn (1969) He has also reviel-.'ed many new books and h&s written some scripts for the C.B.C. PROVENANCE These paperG were purchased from Al Purdy witb fun~from The Chancellor Richardson Memorial Fu.."'\d in 1969. RESTRICTIONS None. -
Alongingly the Way”: Ontology and Longing in Bpnichol’S the Martyrology
“all alongingly the way”: Ontology and Longing in bpNichol’s The Martyrology A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts in English University of Regina By Jeremy Michael Desjarlais Regina, Saskatchewan November, 2016 Copyright 2016: J.M. Desjarlais UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Jeremy Michael Desjarlais, candidate for the degree of Master of Arts in English, has presented a thesis titled, "all alongingly the way": Ontology and Longing in bpNichol's The Martyrology, in an oral examination held on November 23, 2016. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: Dr. Dennis Cooley, St. John’s College, University of Manitoba Supervisor: Dr. Christian Riegel, Deparmtnet of English Committee Member: Dr. Medrie Purdham, Deparmtnet of English Committee Member: Dr. Lynn Wells, First Nations University of Canada Chair of Defense: Dr. JoAnn Jaffe, Department of Sociology and Social Studies i Abstract bpNichol’s (1944-1988) long poem, The Martyrology (published between 1972 and, posthumously, 1993), is a work that is comprised of text, illustrations, and musical notations. Its sheer length, both in time of composition and page range, as well as its reach, in its thematic inclusion and incorporated written styles, constitute its demanding and comprehensive form. Critics have neglected to examine the poem as a work preoccupied with the philosophy of ontology—the study of being—through a literary mode of longing. -
Frank Davey: Publications
Frank Davey: Publications Books: Poetry: D-Day and After. Vancouver: Tishbooks, 1962. 32 pp. City of the Gulls and Sea. Victoria, 1964. 34 pp. Bridge Force. Toronto: Contact Press, 1965. 77 pp. The Scarred Hull. Calgary: Imago, 1966. 40 pp. Four Myths for Sam Perry. Vancouver: Talonbooks, 1970. 28 pp. Weeds. Toronto: Coach House Press, 1970. 30 pp. Griffon. Toronto: Massassauga Editions, 1972. 16 pp. King of Swords. Vancouver: Talonbooks, 1972. 38 pp. L’an trentiesme: Selected Poems 1961-70. Vancouver: Vancouver Community Press, 1972. 82 pp. Arcana. Toronto: Coach House Press, 1973. 77 pp. The Clallam. Vancouver: Talonbooks, 1973. 42 pp. War Poems. Toronto: Coach House Press, 1979. 45 pp. The Arches: Selected Poems, edited and introduced by bpNichol. Vancouver: Talonbooks, 1981. 105 pp. Capitalistic Affection!. Toronto: Coach House Press, 1982. 84 pp. Edward & Patricia. Toronto: Coach House Press, 1984. 40 pp. The Louis Riel Organ & Piano Company. Winnipeg: Turnstone Press, 1985. 77 pp. The Abbotsford Guide to India. Victoria, B.C.: Press Porcépic, 1986. 104 pp. Postcard Translations. Toronto: Underwhich Editions, 1988. 32 pp. Postenska Kartichka Tolkuvanja, tr. Julija Veljanoska. Skopje: Ogledalo, 1989. 32 pp. Popular Narratives. Vancouver: Talonbooks, 1991. 88 pp. The Abbotsford Guide to India, Gujarati translation by Nita Ramaiya. Bombay: Press of S.N.D.T. Women's University, 1995. 96 pp. Cultural Mischief: A Practical Guide to Multiculturalism. Vancouver: Talonbooks, 1996. 70 pp. Dog. Calgary: House Press, 2002. 12 pp. Risky Propositions. Ottawa: above/ground press, 2005. 30 pp. Back to the War. Vancouver: Talonbooks, 2005. 126 pp. Johnny Hazard! Armstrong, BC: by the skin of me teeth press, 2009. -
Fuckan Theory and Bill Bissett's Concrete Poetics
Darren Wershler-Henry / VERTICAL EXCESS: what fuckan theory and bill bissett's Concrete Poetics When considering the subject of bill bissett's concrete poetry, the first problem that arises is a major one, with both pragmatic and philo sophic components. Where does the "concrete" begin, where does it end, and can it be isolated and described? bissett, a figure the late Warren Tallman was fond of describing as "a one man civilization" (106), has produced a nearly constant flow of art over the last thirty odd years, and continues to do so without any signs of abating. Much of this staggeringly large body of work is highly visual in nature, and all of it defies conventional notions of genre: collages are paintings and drawings bleed into poems turn into scores for reading and chant and performance generates writing bound into books published sometimes or not. In "bill bissett: A Writing Outside Writing," Steve McCaffrey eloquently delineates the dilemma that the critic faces. In order to address the excessive nature of the libidinal flow that consti tutes bissett's art without reducing it to a kind of thematics, "it is not possible to actually read Bissett [sic]. What must be adopted is a comprehensive overview, a reading beyond a reading to affirm the intensity of desire" (102). In other words, critical analyses of bissett's glyphic violations of grammar as ruptures "inside" the restricted economy of writing will inevitably repeat that economy's strategies to repress the gestures of the poems towards an impossible (but neces sary) Utopian "outside." How, then, can a reader or critic proceed? Fredric Jameson writes in Postmodernism or, The Cultural Logic of Late Capitalism that since imagining Utopia is an impossible act by definition, "It is thus the limits, the systemic restrictions and repressions, or empty places, in the Utopian blueprint that are the most interesting, for these alone testify to the ways a culture or system marks the most visionary mind and 117 contains its movement toward transcendence" (208). -
7.2 10Th Anniversary •Fi Part
INDEX Michael Winkler p. 2 Editorial p. 3 Al Purdy p. 4 Fernando Aguiar p. 7 Judith Merril p. 8 Albuquerque Mendes p. 12 bill bissett p. 13 Brigitta Bali p. 13 Dave Godfrey p. 14 Opal Louis Nations p. 17 James Gray p. 18 Karl Jirgens p. 20 Roland Sabatier p. 23 Rafael Barreto-Rivera p. 24 Frank Davey p. 25 Yves Troendle p. 26 / John Feckner p. 28 Doug Back/Hu Hohn/Norman White p. 30 "A" Battery "A" Group p. 32 Steven Smith p. 36 Nicholas Power p. 37 Ray DiPalma p. 38 Marina LaPalma p. 39 Kathy Fretwell p. 39 Raymond Souster p. 40 Robert Clayton Casto p. 42 John Donlan p. 43 Don Summerhayes p. 44 Merlin Homer p. 44 David UU p. 46 Jones p. 47 Elaine L. Corts p. 47 Gerry Gilbert p. 48 Libby Scheier p. 50 W. Mark Sutherland p. 51 Cola Franzen/Fernando de Rojas p. 52 Denis Vanier p. 53 Alain-Arthur Painchaud p. 54 Beverley Daurio p. 55 Monty Cantsin p. 56 Abigail Simmons p. 57 Kevin Connolly p. 58 George Bowering p. 63 bpNichol p. 64 Lola Lemire Tostevin p. 66 Huguette Turcotte p. 71 jwcurry p. 72 Books in Review p. 78 Contributors' Notes p. 80 Guillermo Deis/er p. 80 , Editorial I Editorial Process. A sinusoidal wave. Processus. Une vague sinusolilale. Welcome to the second Bienvenue a la deuxieme expression manifestation of our tenth du numero de notre dixieme anniversary issue. Rampike anniversaire. Rampike a vu le jour en initiated publication in 1979 and 1979, et est apparu dans les kiosques a appeared on the news/ands for journaux pour la premiere f ois en the first time in 1980. -
We've Got Poetry Invisible Dogs Don Domanski Shortlisted Barry Dempster for the 2013 Governor General’S Award Bite Down Little Whisper “ Is Is
ARC POETRY MAgAzinE 74, SUMMER 2014 Arc: Canada’s Poetry Magazine, est. 1978 Published by the Arc Poetry Society, est. 1996 Managing Editor: Monty Reid Coordinating Editor: Robyn Jeffrey Editorial Assistant: Meagan Black Art Director: Serge Duguay Intern: Dave Didylowski Poetry Editor: Shane Rhodes Associate Poetry Editor: Lise Rochefort Prose Editor: Chris Jennings Reviews Editor: Brecken Hancock Reviews Coordinator: Frances Boyle Visual Art Editor: Kevin Matthews Editorial Board: Frances Boyle, Anita Dolman, Rhonda Douglas, JM Francheteau, Brecken Hancock, Jenny Haysom, Chris Jennings, Kevin Matthews, Lise Rochefort, Shane Rhodes, Evan Thornton Contributing Editors: Julia Bustos, Aislinn Hunter, Marilyn Irwin, Ben Ladouceur, Carmel Purkis, Lisa Marie Smith Volunteers: Rupert Allen, Kirsten Bussière, Conrad McCallum, John Olsthoorn The Arc Poetry Society gratefully acknowledges the financial support of the Canada Council for the Arts, the Ontario Arts Council, the City of Ottawa and our subscribers. Arc is published three times a year, including an annual themed issue each fall. Arc is distributed by Magazines Canada, available through EBSCO and Gale/Cengage and on microfiche from Micromedia. The contents of this journal, unless otherwise indicated, are copyright © property of the authors, 2014. None of the works may be reproduced without permission in writing from the copyright holder. Arc acquires First Canadian Serial rights. Subscriptions cost $60 for 6 issues over 2 years. Subscriptions can be ordered online at www.arcpoetry.ca, or by mailing in the subscription card found in this issue. All prices include postage and handling unless otherwise stated. Sample copies are $12.50 each. U.S. subscriptions: $80 cdn (2 years); sample issues $17 cdn. -
C19 Singularities.Pdf
Singularities 1111111111\\ I \\\\II\ 1\1111\ 1\\1 1111111111 11111111111111111111111 3 9345 00923319 2 CLC SIMON FRASER UNIVERSITY LIBRARY SPECIAL COLLECTIONS PR 9073 846 1990 Singularities . Edited by Geoff Hancoclz Singularities: Fragments, Parafictions, Prose Poems - New Directions in Fiction and Physics Black Moss Press <e> Geoff Hancock 1990 Published by Black Moss Press, 1939 Al ace, Windsor, Ontario, Canada NSW lMS. Black Moss Press books are distributed by Firefly Books, 250 Sparks Avenue, Willowdale, Ontario M2H 2S4 Flnancial assistance toward publication was gratefully received from the Canada Council and the Ontario Arts Council. Cover design: Turkish folk artist Printed and bound in Canada. Canadian Cataloguing in Publication Data Main entry under ti tie: Singularities ISBN 0-88753-203-9 1. Canadian prose literature !English) - 20th century. I. Hancock, Geoff, 1946- PS8329.S46 1990 C818'.540808 C90-090052-0 PR9194.9.S46 1990 I have the universe all to myself. The universe has me all to itself. - Peter Matthiessen, The Snow Leopard Contents ckno' led ement · w urry Th Atomic tructur of Silence 11 av Godfrey from I Ching Kanada 12 v ndolyn MacEwen An Evening with Grey Owl 16 Erin Moure The Origin of Horses 19 J Ro enblatt from Bride of the Stream 19 Michael Dean An Aural History of Lawns 21 ean o huigin from The Nightmare Alphabet 27 nne zumigalski The Question 29 Karl Jirgen Strappado 30 Lola LeMire Tostevin A Weekend at the Semiotics of Eroticism Colloquium Held at Victoria College 33 maro Kambourelli It Was Not A Dark and Stormy Night 34 George McWhirter Nobody's Notebook 36 Michael Bullock Johannes Weltseele Enters the Garden 45 Claire Harris After the Chinese 50 Patrick Lane Ned Coker's Dream 54 Gay Allison The Slow Gathering Of 60 Eugene McNamara Falling in Place 64 hp Nichol The Toes 69 Rod Willmot from The Ribs of Dragonfl_y 71 Paul Dutton Uncle Rebus Clean Song 73 Fred W ab Elite 78 Daphne Marlatt&. -
Dalrev Vol58 Iss1 Pp149 169.Pdf (6.954Mb)
Douglas Barbour Review Article Poetry Chronicle V: It's interesting how we've been told over and over again that somehow in the seventies all the promises of the sixties have been broken. We are asked to believe that the glories of art and religiosity and politics have all faded. Thus the marvelous sense of exploration and opening new doors in poetry must be a thing of the past and whatever is being written today, however well done, cannot possibly match the poetry of the sixties in terms of breaking new ground. But, surely, I reply, the new ground is always there to be broken and art comes from individual artists not decades? At any rate, the spiritual depression many peo ple seem to speak from in the seventies is not mine, and to my eye (even if most of the young writers lack the sense of language a whole generation in the sixties had) some extraordinarily exciting writing is taking place (admittedly, much of it from writers who began in the sixties-my point is that they have not died with the decade). Out of around forty books this time through, about five truly put me off, most are good, if not finally overwhelming, and a few are among the best books I've come across this decade. A search through previous 'chronicles' would reveal at least one, sometimes two or three, super books per year: that's a lot of really good poetry, no matter how you look at it. The world may indeed be falling apart but Canadian poetry is not.