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Songs of Soldiers
SONGS OF SOLDIERS DECOLONIZING POLITICAL MEMORY THROUGH POETRY AND SONG by Juliane Okot Bitek BFA, University of British Columbia, 1995 MA, University of British Columbia, 2009 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Interdisciplinary Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) November 2019 © Juliane Okot Bitek, 2019 ii The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Songs of Soldiers: Decolonizing Political Memory Through Poetry And Song submitted by Juliane Okot Bitek in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Interdisciplinary Studies Examining Committee: Prof. Pilar Riaño-Alcalá, (Social Justice) Co-supervisor Prof. Erin Baines, (Public Policy, Global Affairs) Co-supervisor Prof. Ashok Mathur, (graduate Studies) OCAD University, Toronto Supervisory Committee Member Prof. Denise Ferreira da Silva (Social Justice) University Examiner Prof. Phanuel Antwi (English) University Examiner iii Abstract In January 1979, a ship ferrying armed Ugandan exiles and members of the Tanzanian army sank on Lake Victoria. Up to three hundred people are believed to have died on that ship, at least one hundred and eleven of them Ugandan. There is no commemoration or social memory of the account. This event is uncanny, incomplete and yet is an insistent memory of the 1978-79 Liberation war, during which the ship sank. From interviews with Ugandan war veterans, and in the tradition of the Luo-speaking Acholi people of Uganda, I present wer, song or poetry, an already existing form of resistance and reclamation, as a decolonizing project. -
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. -
Lai CV April 24 2018 Ucalg For
THE UNIVERSITY OF CALGARY Curriculum Vitae Date: April 2018 1. SURNAME: Lai FIRST NAME: Larissa MIDDLE NAME(S): -- 2. DEPARTMENT/SCHOOL: English 3. FACULTY: Arts 4. PRESENT RANK: Associate Professor/ CRC II SINCE: 2014 5. POST-SECONDARY EDUCATION University or Institution Degree Subject Area Dates University of Calgary PhD English 2001 - 2006 University of East Anglia MA Creative Writing 2000 - 2001 University of British Columbia BA (Hon.) Sociology 1985 - 1990 Title of Dissertation and Name of Supervisor Dissertation: The “I” of the Storm: Practice, Subjectivity and Time Zones in Asian Canadian Writing Supervisor: Dr. Aruna Srivastava 6. EMPLOYMENT RECORD (a) University, Company or Organization Rank or Title Dates University of Calgary, Department of English Associate Professor/ CRC 2014-present II in Creative Writing University of British Columbia, Department of English Associate Professor 2014-2016 (on leave) University of British Columbia, Department of English Assistant Professor 2007-2014 University of British Columbia, Department of English SSHRC Postdoctoral 2006-2007 Fellow Simon Fraser University, Department of English Writer-in-Residence 2006 University of Calgary, Department of English Instructor 2005 University of Calgary, Department of Communications Instructor 2004 Clarion West, Science Fiction Writers’ Workshop Instructor 2004 University of Calgary, Department of Communications Teaching Assistant 2002-2004 University of Calgary, Department of English Teaching Assistant 2001-2002 Writers for Change, Asian Canadian Writers’ -
The Capilano Review Do Not Cause Damage to the Walls, Doors, Or Windows
The Capilano Review Do not cause damage to the walls, doors, or windows. — Chelene Knight Editor Fenn Stewart Managing Editor Matea Kulić Editorial Assistant Dylan Godwin Designer Anahita Jamali Rad Contributing Editors Clint Burnham, Roger Farr, Aisha Sasha John, Andrew Klobucar, Natalie Knight, Erín Moure, Lisa Robertson, Christine Stewart, Liz Howard Founding Editor Pierre Coupey Interns Tanis Gibbons and Crystal Henderson The Capilano Review is published by the Capilano Review Contemporary Arts Society. Canadian subscription rates for one year are $25, $20 for students, $60 for institutions. Rates plus S&H. Address correspondence to The Capilano Review, 102-281 Industrial Avenue, Vancouver, BC V6A 2P2. Subscribe online at www.thecapilanoreview.com/subscribe. For submission guidelines, visit www.thecapilanoreview.com/submit. The Capilano Review does not accept hard-copy submissions or submissions sent by email. Copyright remains the property of the author or artist. No portion of this publication may be reproduced without the permission of the author or artist. The Capilano Review gratefully acknowledges the financial assistance of the Province of British Columbia, the British Columbia Arts Council, and the Canada Council for the Arts. We acknowledge the financial support of the Government of Canada through the Canada Periodical Fund of the Department of Canadian Heritage. The Capilano Review is a member of Magazines Canada, the Magazine Association of BC, and the BC Alliance for Arts and Culture (Vancouver). Publications mail agreement -
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. -
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. -
Bill Bissett Fonds Inventory #266
page 1 bill bissett fonds Inventory #266 File: Title: Date(s): Note: Call Number: 1986-008/001 Manuscripts (1) Untitled (2) duz crosbee get it (3) the easy way (4) fires in th tempul (5) ium walking on th moon (6) i wake up wanting (7) linda (8) lite in a teagarden (9) ride with joy (10) wher was i ths morning (11) Untitled (12) a as in whun (13) a forest in th shell and water (14) abandond and free rail line (15) ace uv clubs (16) afrikan meadow (17) after full belly (18) ai ya ya (19) all i need is a blank sheet uv papr (20) almost october (21) alpha (22) am or (23) and cud see her thra th trees (24) an i am the wanting in me (25) And in all things did even as Adam had done (26) and th green wind is mooving (27) and that light is in thee (28) angel -uv vishyun (29) anothr sip nd mor taste (30) any town (31) appuls (32) are we together (33) arrows of flowers (34) th art world (35) asura king (36) at weird times uv day page 2 bill bissett fonds Inventory #266 File: Title: Date(s): Note: (37) auau (38) ba ba (39) beech tide (40) belly load ball (41) th berbrs ar (42) beyond bordrs (43) big as trees (44) th bird in th cloud (45) th birds (46) bless all th stars (47) blew horizon (48) blew ointment (49) block 2,000 (50) blue fever (51) the body (52) bright turning star (53) bright yellow sky (54) th buffalo nd th elk (55) burning fastr times th moon (56) burning up oblivion (57) business gent mid (58) but now since china (59) butterflies from hunger (60) capilano (61) th cards (62) casual conversashun (63) th centr is th belly button (64) -
Adeena Karasick / Bill Bissett: a WRITING OUS/OEWRITING
Adeena Karasick / bill bissett: A WRITING OUS/OEWRITING Through a re-politicization of socio-historic linguistic structures, bill bissett engages in a writing praxis which inscribes an unofficial, out lawed discourse. A discourse which is improper, contaminated and out of control. And though Frank Davey, Stephen Scobie, Karl Jirgens,Jack David and Len Early I have at various times labeled bissett's writing "metaphysical," "transcendental" and "idealistic," according to Derrida what is "metaphysical" is that which does not fit into a system, (ex cluded like voice, like semen, like vomit, like writing)2, and cannot be absorbed; what is "transcendental," is that which is heterogenous to all hermeneutic totalization; and what is "Ideal" is generated only through and by repetition (a repetition which brings with it an alterity that forbids the unity of the foundation it was supposed to insure, and thus re-presents nothing other than, in Derridean terms, a production of differance). Thus, bissett's writing must be reviewed as metaphysical, transcendental or idealistic only insofar as it is a differential productivity of effects; a range of discourses distinguished between disadjustments, promiscuity, syncretism,juxtaposition and integration, and refuses systematization. Like Abraham Abulafia, a 13th C. mystic, who was convinced that through contemplation of the Hebrew alphabet, one could be free from ordinary perception engaged in a praxis he called, "the science of the combination of letters," bill bissett employs a schizop(oet)phrenic aesthetic whereby "particulariz[ing] and atomiz[ing] language into word, morpheme, syllable, vowel, letter and sound," 3 text becomes "a continuum ofletters," a network of echoes, traces; displaced in a palimpsestic process of rupture, supplementation and dis-ease. -
Winter 2017 113 Afuwa Was Born in Guyana, On
Contrib utors Afuwa was born in Guyana, on Karinya and Akawaio lands and makes art on Tsleil-Waututh, Musqueam, Squamish, and other Coast Salish Territories. She is an active member of Gallery Gachet. Her current work re-imagines relations across the Atlantic diaspora. She worked with Dion Kaszas on a project funded by the Canada Council for the Arts on Secwepemc territory in the summer of 2016. Andrea Abi-Karam is an Arab-American genderqueer punk poet living in Oakland, California writing on the art of killing bros, the intricacies of cyborg bodies, trauma, and delayed healing. With Drea Marina, they cohost Words of Resistance, a monthly radical queer open foor poetry night aimed at creating space for folks to share their work, especially if unpolished and messy. Teir poem in this issue is a response to Ana Mendieta’s Covered in Time and Space exhibit at the BAMPFA in early 2017. Te piece centres on a subject that struggles for visibility in the face of the structural, endless erasure of the Other and dissolving corporality. Gwen Benaway is a trans woman of Anishinaabe and Métis descent. Her frst collection of poetry, Ceremonies for the Dead, was published in 2013, her second, Passage, was released in 2016 from Kegedonce Press, and her third, What I Want is Not What I Hope For, is forthcoming from Bookthug in 2018. She received the inaugural Speaker’s Award for a Young Author (2015) and a Dayne Ogilvie Honour of Distinction for Emerging Queer Authors from the Writer’s Trust of Canada (2016). Juliane Okot Bitek’s 100 Days, published by the University of Alberta Press in 2016, has been shortlisted for the 2017 Pat Lowther Award, the 2017 Dorothy Livesay Award for Poetry, and is a fnalist for the 2016 Foreword INDIES Award for Poetry. -
HP Sauce and the Hate Literature of Pop Art: Bill Bissett in the House of Commons Ryan J
HP Sauce and the Hate Literature of Pop Art: bill bissett in the House of Commons Ryan J. Cox Keyano College The minister, the Government and its vehicle, the Canada Council, are weak and full of fear—fearful of not appearing avant garde, fearful of being labeled culturally illiterate. Robert Wenman, MP Fraser Valley West (PC), 13 December 1977 they got a sause calld houses uv parliament for meat at th tabul hp sause it sure tastes shitty too bill bissett “in nova scotia th peopul call shit houses housus uv parliament” aken at face value, the bissett affair of 1977–78 seems rather mun- Tdane, hardly worth noticing. A group of mostly opposition mps, headed by Bob Wenman, the Tory member for Fraser Valley West, attempted to take the government to task for, in their eyes, the fiscal irresponsibility of the Canada Council for the Arts, a semi-autonomous Crown corporation. This irresponsibility was evident in the fact that Canada Council was fund- ing “what anyone in [parliament] would term as offensive and demeaning pornography” (Canada 1845) and, as Hugh Anderson, the Parliamentary ESC 37.3–4 (September/December 2011): 147–161 Secretary to the Minister of Fisheries, put it, “a degradation to the printed word in Canada” (Canada 4084). It had the potential for great political the- atre, linking as it did excessive government spending and morality—Jake Ryan J. Cox teaches Epp, another Tory mp, falsely alleged that certain unnamed publishers, English at Keyano likely alluding to bill bissett and his blew ointment press, had received “in College in Fort excess of $100000 to publish poetry which … the average Canadian would McMurray.