Monday, 16 May 2016

THREE POEMS by Aaron Daigle



Translation

Come with your leaves, my brother,
taste bitter sea. Your words heavy
            as Bibles in my stomach.

Sunset bisects forest
like a child arranging a plate:
root-dark vegetables, meat marinated in day.

A print in your room
flirts with the forms: calligraphy,
a blush of ink, stoking
core enough to feel something

missing: hang short of climax.
We'll lie like Elijah part to part,
bodies moulding sand.


There is so much earth beneath us.





7 ways to look at the night sky when hungry

1. Sunset roasting rare
to charred, topped with onions.

2. Earth's salad dressing,
flecks of stars in oily space.
Goes down smoother that way.

3. Dark chocolate 
studded with macadamias.

4. Eat the moon. It's a wafer
that'll grow back.

5. Cream-cloud Venus,
hung out as a bug zapper,
reminds us not to leave
the oven on.

6. Clouds, marble swirl of bundt cake:
bringing to mind the Higgs potential,
when we first gained weight.
Lovely to have, isn't it?

7. Orbits stirred batter.
Fired up the kiln:
hard-crust planets
with moist hearts.
Mould grew soon.





Small Towns

Names glimpsed in passing, jade signs
half-eaten by leaves. Worn pavement
where roads turn sharp:
two ruts.

Here, gardens grow
huddled behind fences. Sunlight dusts
shoulders. His upturned hand.
They make the best preserves,
shuttered in dark mahogany.
Date-stamped.

No phonebooks.
Scraps of paper tacked to corkboard:
inked over years.
None crossed out.

Earth, peat-moist: smears
on the palm
of the hand.
Names, too, are enclosed.


Aaron Daigle | Japan |  2016

REVIEW of Michael e. Casteels (Apt. 9)

On Michael e. Casteels’s solar-powered light bulb and the lake’s achy tooth
                                                             Ellie Hastings

In an Apt. 9 Press chapbook of concrete poems - beautifully printed, created with a typewriter and ample white space, Michael e. Casteels has unfolded a landscape. Solar-powered light bulb and the lake’s achy tooth has weight and density with an economy of words. With the use of brackets and slashes, Casteels packs in possibility with minimalism. See for example the title “a (d)r(i/a)ft,” where in a single line he gives the reader four possible words. Casteels’s economized style is doable because of his titles, which are often longer than the poems themselves, and act as their own lines and signifier. This is seen in “moon poem 2” where the poem’s body is simply “(n/l)ight.”
Casteels can also be blatantly literal, but there is something beautiful and profound in this. In “low moon with owl” he physically intersects the “owl” with “moon,” also forming the word “low.” This technique perhaps defamiliarizes the word; Casteels turns word into object, and the page becomes his canvas, typography his brushstrokes.
            The typography is then visually informing. See “night scene” and “night scene 2” where he creates a landscape of an owl and moon simply with the placement of three letters; and the image of (perhaps) a howling wolf, with the placement of four letters. Casteels is introspective and musing with his type. He manages to turn a question mark into a fishhook, a period into a freckle, and sketches the sound of water with the letter ‘o.’ In “where the loon was” Casteels creates an image of a loon taking flight in water, leaving only ripples with the use of brackets; his punctuation becomes an objects with a new, unconventional visual purpose. The author defamiliarizes the word, he also defamiliarizes typography itself. Though this technique may seem inane and lacking substance, these poems work for the chapbook as a whole, building on Casteels’s landscape, reflective and delicate.
            In his economy, Casteels is subtly dynamic in his creation. His poems build on themselves, forcing his audience to make connections. See “brushing the dog” which becomes “birds/build/nests.” The reader is forced to follow this image through, and assemble their own scene. And this is perhaps one of Casteels best skills – creating a landscape out of nothing, forcing readers to enter a landscape that only exists in their mind. Casteels is also generous in his white space. Though some might find the use of his negative space overwhelming, Casteels moulds his page with attention to detail; the space allows for awareness of the word as Casteels picks away at sound, shape, and function. What is really beautiful about this chapbook is its elegance in form and the type’s seduction of white space.

Solar-powered light bulb and the lake’s achy tooth is a gentle piece of art. Casteels is unique in his ability to form a minimalist landscape with intense effect. Placid and reflective, Casteels brings a new awareness to the art of type and the word, making this Apt. 9 Press chapbook well worth the exploration.

Wednesday, 6 April 2016

PHIL HALL IN INTERVIEW

       'Phil Hall...and his fantasy job'


     the author-generated interview, wherein Hall says:

     "Each book is an attempt at redemption or reprieve: how to make virtues of my constant errors.

My embarrassments in the past advise me to shut up for good, but they also spur me to attempt further revelations by form."

           [...]

     And answers Marina Endicott question,  "Can you love a book written by a lousy human being?"  

Phil Hall on literary house parties and his fantasy job

phil_hall_magic_8_social.png

Friday, 29 January 2016

JANUARY POETRY

  two poems
     Kate Hargreaves


Rhino

 Blood
 Mucus
 A piece of skin the size of a quarter and the shape of Texas
 A clot (swallowed)
 A pineapple
35 plastic army men
A pantsuit
A birthday card
Culture Club
A carrot
Several ladybugs
A jar of sauerkraut
Stitches
A painter’s canvas
Waffles
Plastic tubing
A block of cheese
2 5lb weights (one from each nostril)
Spanx
A rolled up newspaper from 2016
6 popcorn kernels
part of an optical nerve
3 baby teeth
 my frontal lobe
 a live panther
a Christmas wreath
a box of tissues
a pot of gold




     Taco Baby

     Taco Baby chews the pits from avocadoes.
     Refries string beans on the hot sidewalk.
     Burns her feet.
     Squirms when the shopping cart collector
     rattles by says I just want to eat
     you all up pinches her blotchy pink
     wrist before snagging
     another quarter from the return slot.
     Taco Baby’s too round to run
     Cracks a cream soda sniffles
     on the curbside and thumbs the flyer
     for a better sale on probiotics.








Kate Hargreaves  | Windsor  ON |  2016

JANUARY POETRY


TWO POEMS   
      Frances Boyle



     Shock

     I am liquid and slippery shiny
     mercury in my blood
     I can’t stay in one form
     for long.  Light refracts me
     bends me, spoon in drinking
     glass.  I shed that shape, shift
     on broken bedsprings,
     Charge and recharge from
     the circuit; clear the way
     for the next
     brilliant
                 shock.







Curiosity’s Gift

I.
Scarcity and all that service,
his able friend.
Your attraction made an inclination dewy
light damns bad heartcourse
each point intent and fixed,
strange bursts.
Forever lake on paper. 

Begged or coveted,
sorrow dallies.  Possess curiosity’s gift:
a broad three-bladed snake. 
Form images distorted
claws and paws, face
with feathers fitted. 
Trace a join, hard found. 
Hate, the absent thought,
mines the hill   Feast rover
slake silver woods to prayers,
made with her own hands. 

A mother inward demons
receive with awe.  The visit fresh,
look -- delight sighs, refuses no gain.

II.

Dark
at table every object
used to map a moment:
pointed
bent
fixed.

Canoe of Japanese snake claws,
paws of beast and bird
awful trace joined and polished.
She discovers a demand,
figure imaged in ivory
her own hands
pass forward
sorrow for days,
bring fearsome curiosity
again.






Frances Boyle | Ottawa |  2016

JANUARY POETRY

Dream father
Ellie Hastings

In my nightmare my father
is holding me
down. I am stuck
for air, he is spitting in my face.
I don’t know what
I did – broke a cup,
forgot to vacuum,
fell asleep
in the wrong place.

You wake me
from my fit
and I am unhinged
by my illusion. I know
this is really a memory, but
you are holding me together
in your arms
and I know I have returned
to safety. I know I can sleep again.

In the morning
when you ask me what happened
in my dream,
I don’t want to tell you.
I know you will imagine your kindness
as hurt. You will turn your love
into a monster. You will think
your hold is the same
as the nightmare’s. And I am afraid
that you won’t believe
your love is saving.



Ellie Hastings | Windsor |  2016

Wednesday, 20 January 2016

JANUARY POETRY

Land & Tittle    Christopher McCarthy

When I read a poem  – or hear it being read –
I  imagine  it   was written   as close to me as 
she is  &   listen  to   each   word   land  

your words land  pretty,  close,  &   so much so
I imagine  the  poem   is a postcard  to me

solid, speaking well, from some sunny place:  silent

when  so many small words   lie so close together
tiny spaces  in between  are  even,  more,  important

the little square for the stamp: silent’s reserved parking space
your correspondence  poems - our sending columns of words
which gain meaning & expression from the quiet  pauses, waiting
           
            late  &  human

so many  of  your poems  land  pretty  close  
I can hear how tittle  is  title no longer:

          superscript spot – small distinguishing mark, diacritic
          dot on lowercase i or j –integral, part glyph

you remind me of Fr. Patrick, the priest,
who wrote ‘Ponc’, which is the point, dot,
& tittle, it begins:

            ponc mé – I point, I dot, I tittle
            but I leave in a gap after me

we correspond like that small distinguishing,
marking the dot over top of the i,
 the space after it, not one t–too much:
             
               cut i’s head off,
go to l

kick away j’s
soccer ball

tittle  sounds too much  like  diddle, & ‘Ponc’
sounds more like  punk  or worse, 

spunk

but there are too many poets, writing poems
to spoiled, aging priests, defrocked & hopeless
no, not that:

                 cut i’s head off,
three i’s grow up in its place

kick away j’s
soccer ball

pass it back   
               start a game




Christopher McCarthy | Toronto | 2015-2016