PRECIPICe is out with contributors including: Lillian Allen, Phanuel Antwi, Kemeny Babineau, Kate Braid, Caitlin Burt, Rita Dahl, Amanda Earl, Roger Farr, Julia Fiedorczuk, Ryan Quinn Flanagan, katrine marie guldager, Linn Hansén, Niels Hav, Tytti Heikkinen, Martin Högström, Keith Inman, Silja Järventausta, Satu Kaikkonen, Jørgen Leth, Lee-Ann Liles, Angela Long, Niels Lyngsø, Bartłomiej Majzel, Esa Mäkijärvi, Daphne Marlatt, Malcolm Matthews, rob mclennan, Leigh Nash, Eiríkur Örn Norðdahl, Fredrik Nyberg, Malte Persson, Pearl Pirie, Niina Pollari, Dan Post, Cia Rinne, Jenny Sampirisi, Richard Scarsbrook, Martin Glaz Serup, Kate Siklosi, Chet Singh, Carolyn Smart, Bradley Somer, Morten Søndergaard, Kathleen Szoke, Sheila Watson and Andy Weaver.
Coach House has a 50% off backlist sale.
The bpNichol was won by Alisha Piercy, a Montreal based artist/writer. Her winning entry, ‘YOU HAVE HAIR LIKE FLAGS, FLAGS THAT POINT IN MANY DIRECTIONS AT ONCE BUT CANNOT PINPOINT LAND WHEN LOST AT SEA (Your Lips to Mine Press). The awards will be rescheduled for sometime in September.
That’s Blog Out Loud Ottawa, 2010 where area bloggers do a live open mic of their most popular posts.
Some interesting bits in the Torontoist interview of kevin mcpherson eckhoff
Jacob McArthur Mooney: Play gets a bit of a bad rep in contemporary Canadian poetry, despite the wealth of poets who’ve made it central to their practice. For me, play is about the joyfully ignorant, a willingness to engage with things I don’t know shit about. The opposite of this playfulness, really, is experimentalism, at least in the purely scientific model of the word, with its suggestion of the poet as master and overseer of the words, negotiating constants and variables in some controlled, specific, way.
Think this gets back to this ongoing debate of I’ll-talk-loosely-you-listen-loosely. How precise to be? How close to dog the step of the reader’s known path? How far to diverge from reader or fact or internal sense? Must it have a sense on first read? Or is a poem not only milestone but transitional phase thru information that people can get some of but don’t need to entirely understand?
kevin mcpherson eckhoff: Don’t expect. Most of the “meanings” are only (or less than) half-present. I suppose my hope is that readers become master-kid-observers themselves and approach this project confidently and curiously and individually.
Seems straight forward but I can see a couple circle where it would be contentious and antagonizing. In some poetry circles it’s changing the rules of the game from skill of being a cargo of meaning which is too subtle to be quite explicit but all the audience need do is receive whereas middle-distance gaze and poking about at possibilities like this requires the audience to engage but not clench and shake the poem down for all layers of meaning. I mean, people can do as they like, but it’s not structured with that kind of intricacy so that a secret pocket will drop some contraband ooh.