In the wake of Eunoia's popularity in the U.K. this fall, Canadian newspapers are once again uncovering the phenomenon of the univocal lipogram. Trace the fourteen-year saga in the following interviews with Christian Bök, the author of one of the very few works of avant-garde poetry to exhibit major mainstream appeal in our time.
The New Year begins on the Fourth of January at 7:30 p.m. at Hamilton's Lit Live reading series. The first reading of 2009 will feature Coach House poet Jeramy Dodds (Crabwise to the Hounds), as well as Linda Frank, Ross Belot and Valerie Nielsen.
LiT LiVe Reading Series
featuring Jeramy Dodds, Linda Frank, Ross Belot and Valerie Nielsen
Sunday, January 4, 2009
Sky Dragon Centre, 27 King William Street
Jen Currin (Hagiography) leads a workshop on the subtle art of the prose poem at the White Rock Arts Council Gallery from 10 a.m. to 1 p.m.. The fee is $35 and the workshop is limited to 12 participants, so pre-registration is required. Phone 604-536-8333 to reserve your spot!
Prose poem workshop with Jen Currin
Saturday, January 23, 2009
White Rock Arts Council Gallery, 90-1959 152nd Street
South Surrey, BC
10 a.m. - 1 p.m.
Poet Jeramy Dodds speaks to the Arthur (his alma mater, Trent University's paper) about Crabwise to the Hounds ('It is both my oldest work and my newest, due to an unrestrained addiction to editing'), the influence of southern Ontario landscapes on the images in his book and more. But don't get your hopes up -- Dodds saves his writing advice for 'highly-motivated shut-ins or terrorists.'
Gary Barwin (Raising Eyebrows, Outside the Hat) is interviewed by Sina Queyras (Lemon Hound) in a new post on her poetry blog. Barwin talks about his rather uncanny visual art and signs off with a complementary poem.
My panic whenever reviewing poetry can be explained with a story once told to an interviewer by Liz Fraser of the Cocteau Twins. For an unauthorized lyric sheet, the band’s Japanese label had transcribed her indecipherable singing into English lines like, 'Hit me with your airplane / I don’t mend no fence / Yeah, baby, I’m a mud dancer.' Poetry criticism’s failure, I’ve always thought, is that it runs at a similar interpretive deficit as Japanese music industry interns pitted against Scottish post-punks singing in doggerel.
We gratefully acknowledge the financial support of the Canada Council of the Arts, the Government of Canada through the Canada Book Fund, the Ontario Arts Council and the Ontario Media Development Corporation for our publishing activities.