Odourless Press (Ottawa ON): Ladouceur, Blackman, Sinaee

Odourless Press (Ottawa ON) appeared without ceremony in August 2011. The press identifies itself as “a small Ottawa collective.” It has an active web presence, publishing poems near-daily on its blog as well as hosting poetry podcast content from local readings. Odourless chapbooks are single pages, folded or stuffed into envelopes, printed on both sides with a handful of poems. The clean, simple designs are a testament to creativity and restraint. Odourless accomplishes an awful lot with a single page. With a $0.50 price tag on each book, there is a whole lot to like here, and no excuse not to buy them all.

Mutt

Ben Ladouceur

Odourless Press: Ottawa, 2011

Ben Ladouceur has been busy in 2011. He read on the opening night of VERSeFest, published two previous chapbooks (Lime Kiln Quay Road [above/ground: Ottawa, 2011] and self-portrait as the bottom of the sea at the beginning of time [The Moose & Pussy: Ottawa, 2011]), and one broadside (TUKTOYUKTUK [Apt. 9 Press: Ottawa, 2011], not to mention his ongoing graduate studies. It continues to be a pleasure to find new poems from Ben available.

Mutt collects five new ones that walk a fine line between sadness and humour. Ben has remarkable control over his subject matter, managing a bill bissett epigraph, a Kafka reference, a prayer, and bodily humour in the first poem, “Colostomy”:

You have lifted the t-shirt

over your sweet head

to reveal your dark bag of faeces, proof

the body is a sequence of routes that men

can redirect.

These are poems of loss and decay, separation and return. There is a restlessness in Ben’s work, subject matter that roams across cities and countries. “A home has lost its home,” he writes in “Redundancies.” For the displacements of these poems, the reader is rewarded with stunning images: “A lake is a body of water plus / the bodies of hundreds of birds” (“Derwentwater”). Ben has seen enough quality work into print in chapbooks and magazines in the last two years to furnish a staggering debut trade collection. Until that happens, Mutt is a welcome addition to his body of work.

Back to My Old Self

Jeff Blackman

Odourless Press: Ottawa, 2011

Jeff Blackman is one of the hardest working and most underappreciated writers in Ottawa. He has been quietly developing a unique and engaging voice over a series of projects in the last few years. Perhaps, more accurately, he has been developing unique and engaging voices. From his sex-positive work as co-founder and co-editor of The Moose & Pussy, to his devastating Shiva after Shabbas (Horsebroke: Ottawa, 2011), and now Back To My Old Self (Odourless Press: Ottawa, 2011), a series of poems that take on the single greatest video game in the history of video games: Super Mario Bros. 3.

Jeff understands poems—funny poems, sad poems, filthy poems. He knows when to say more, and when to say less:

It helps if you had an older brother

or a best friend who had an older brother

If you grew up with a Nintendo Entertainment System, it would be a tragedy not to own this bizarre and wonderful little set of poems. Jeff turns the struggles of Mario into something nearly heroic, certainly human and frail: “so sing a psalm: everyday I’ll make mistakes tomorrow I’ll make most of them” (“Progress”). These poems have been developing publicly for at least a couple years now at open-mics and readings around Ottawa. Attentive crowds understood that something important was happening each time Jeff read from this manuscript. Following the production of a few of these poems as limited edition handmade broadsides last spring, we have something tangible and more widely available. At last.

Royal Jelly

Bardia Sinaee

Odourless Press: Ottawa, 2011

Bardia Sinaee is one of the most exciting young poets in Ottawa at the moment. He is one of four hosts of Literary Landscapes on CKCU, a former editor of In/Words, a recent “Hot Ottawa Voice” at the venerable Tree Reading Series, and a damned nice guy. He is also an intensely literate and articulate poet. He understands syllables, metres, sounds. For a young poet, he has a terrifyingly developed vision. He is well read and thoughtful, and deploys all of these characteristics in the service of serious but funny poems in Royal Jelly.

1

If a circle, C, is inside a triangle, T, then it entails

that C is smaller than T. The value of C would be unable

to hold its end of the equals sign. If the equation

were a gun-draw at dawn, C would lose by a hair

and buckle to its fate. Its lover and children

would mourn by its torn arms and wonder

why its body was built for bullets. (“The Inevitablist”)

Bardia writes rich poems that demand reading and re-reading. One always has the sense that there is more waiting to be drawn out. These are poems of careful construction that nonetheless appear effortless. The rate of Bardia’s development is difficult to measure, but is astonishing to follow.

Behind him, billboards plus peerless paediatrics

and a dated exhibition of bees. Try to find the queen

among all the workers and drones!

Behind that the ground, stapled with hydros,

won’t even shrug. (“7/4 Gridline”)

Odourless is a press to follow, and a welcome presence in Ottawa’s community. What is most striking and refreshing about these first three books is the presence of humour in each poet’s work. Balancing feeling and humour in a poem is an all too rare ability. Ben Ladouceur, Jeff Blackman, and Bardia Sinaee each accomplish this feat with personality to spare. Go buy these poems, for god’s sake! $1.50 for the set! Ottawa, meet Odourless Press. Odourless Press, welcome to Ottawa.

PETER NORMAN & STUART ROSS in the A B Series

THE A B SERIES launches its Fifth Season of autumn to spring events with PETER NORMAN & STUART ROSS

SATURDAY, OCTOBER 1, 2011
Doors open 7:00pm
Readings start at 7:30pm (with intermission & cash bar) 
Gallery 101
301 ½ Bank Street (up the stairs)
Ottawa, Ontario 


Peter Norman’s poetry and fiction have appeared in numerous magazines, anthologies and other publications, including Arc, Industrial Sabotage, Bywords and the first two editions of The Best Canadian Poetry. His first book, At the Gates of the Theme Park, was published last year by Mansfield Press.

Stuart Ross published his first literary pamphlet on the photocopier in his dad’s office one night in 1979. Through the 1980s, he stood on Toronto’s Yonge Street and sold over 7,000 poetry and fiction chapbooks. In addition to dozens of chapbooks and two sound-poetry cassettes, he is the author of two collaborative novels, two story collections, and six full-length poetry books. He has published a collection of essays, Confessions of a Small Press Racketeer (Anvil Press), edited Surreal Estate: 13 Canadian Poets Under the Influence (The Mercury Press), and co-edited Rogue Stimulus: A Stephen Harper Holiday Anthology for a Prorogued Parliament(Mansfield Press). His story collection Buying Cigarettes for the Dog (Freehand Books, 2009) won the 2010 ReLit Award for Short Fiction. In spring 2011, ECW Press released his first novel, Snowball, Dragonfly, Jew. He lives in Cobourg, Ontario.

Stuart Ross

For more information abseries.org

With financial assistance from the Canada Council for the Arts through the Writers' Union of CanadaThe A B Series gratefully acknowledges the support of the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts and Gallery 101. 

Erín Moure & Christopher Dewdney in the A B Series

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Reviews - Stephen Brockwell & Ben Ladouceur

Impossible Books (the Carleton Installment)

Stephen Brockwell

Ottawa: above/ground press, August 2010.

Stephen Brockwell’s “Impossible Books project” (this above/ground book is its second installment) is an ongoing series of individual poems that are presented as excerpts from imagined “impossible” books. The impossible books of this installment range from Prime Minister’s Nursery Rhymes for Insolent Children, to the Evangelical Handbook for Engineers, to Metonymies: Poems by Objects Owned by Illustrious People, and Pindaric Odes to the Objects of Science, among others. This brief collection of ten poems is imaginative and surprising on every page.

“Animal Crackers,” from Prime Minister’s Nursery Rhymes for Insolent Children, is ripe with the pride, violence, and fierce control of image and language that are recognized now as markers of Stephen Harper’s Canadian Government (a newly-majority Government since the publication of this book):

Shrikes impale mice on barbed wire.

Weaning calved keen.

Wild male chimps murder babies.

Silverbacks preen.

The political edge of many of these poems is unsurprising from Brockwell, who co-edited Rogue Stimulus: The Stephen Harper Holiday Anthology for a Prorogued Parliament with Stuart Ross during Stephen Harper’s second prorogation of Parliament. The sorts of biting, angry, but smart and focused critiques offered in these poems are vital today, and will be increasingly so over the next four years of Harper’s current majority.

Another recognizable bent in Brockwell’s work is his interest in interrogating the seemingly cold language and images of science for available (and potential) emotional currency:

At least one molecule of you in me

passed through the body of some great person,

in the urine of Josef Stalin, say,

on an October morning in his youth;

it may be one I am passing on now

as a drop of saliva flies from my tongue

over this paper. (from Pindaric Odes to the Objects of Science)

Where language overlaps with the body is a fruitful site for Brockwell:

It is after all a word,

the tongue on the teeth,

the open mouth,

the teeth biting the lips,

until they bleed. (from The Love Poems of ____, Serial Killer)

At these intersections (language/body, language/science), Brockwell points at a handful of the small manners in which people are connected physically, if inadvertently.

The two most exciting poems here, to my ear, come from The Archives of Ministry of Spiritual Ascendance, in the form of two applications for the position of God. In these two poems the reader is offered modest acts of growth and selflessness mixed with fatigue:

1027-3F, December 12, 2024

Dear Ministry of Spiritual Ascendance,

I believe I should be accepted for God

because I have never eaten meat.

I cultivated tomatoes at my window

from a pack of ancient seeds.

I nurtured them to the size

of vitamins with water I filtered

from the rain. That Saturday morning

I prayed for the Sun as I am sure

so many do every day but I prayed

for others not for myself

and the Sun appeared for at least

one minute through the smog.

All my life I have shared the gifts I have received.

But I am so tired – please accept this

application for God.

The success of this book rests in its brevity. None of the “jokes” overstay their welcome, with only one or two poems from each “Impossible Book” presented. These are serious poems that rise above the humour and novelty of their initial idea(s). The first installment of the series was given at the Olive Reading Series in December 2007. I’ve not seen that chapbook, but I imagine in hope that Brockwell is sitting on further installments that we may be lucky enough to see in print someday.

Lime Kiln Quay Road

Ben Ladouceur

Ottawa: above/ground press, May 2011.

Ben Ladouceur has had a wonderful nine months since returning to Ottawa following a year spent working in Suffolk, England. He gave a widely heralded reading on the opening night of Versefest alongside Michael Dennis, in April he read as part of University Night at Tree Reading Series, the chapbook self-portrait as the bottom of the sea at the beginning of time was published by The Moose & Pussy, and now Lime Kiln Quay Road is seen in to print by rob mclennan’s above/ground press, not to mention chapbooks before his departure: Alert (AngelHouse Press, 2010) and The Argossey (published by my own Apt. 9 Press—full disclosure).

Lime Kiln Quay Road sees him working further in serial forms, marrying concise individual pieces with breadth and larger project conception. It is a book concerned with growth (or more accurately, stuttering and failing growth):

There was a rock rumoured to grow

one inch every year.

It was a letdown.

In these poems, set in the countryside around the hostel in Suffolk where Ladouceur was employed, the reader finds stagnation and boredom, as well as questions of intention and consequence:

The indifferent roads collect rain

in depressions caused by tires

and make the drive tricky

but it’s neat

that the depressions exist

that when you go somewhere

everything behind you

is a little bit flatter.

Of course

that’s easy for me to say,

I never did the driving.

In the stagnant (though often beautiful) landscape, the figures of these poems develop sensitivity to the movement of their own identities:

We occupy the eye

in quietude of storm

wet weather soft against our roof

like gavels wrapped in satin

it’s the eye that is moving.

For now we are still.

There is an disconnect between the bodies of the figures and the landscape, one that undermines predictable expectations of poetry located in the rural or pastoral settings, as was an insistence upon the presence of the lower bodily stratum that grounds much of Ben's work in the body itself:

It isn’t as though a tree

will sprout there

a very acidic and thankful tree

made of all the liquids

our bodies didn’t need.

That sort of thing doesn’t happen.

In Ottawa, those paying attention have known that Ben is a poet to follow. We have been lucky to have the opportunity to watch this work develop. Lime Kiln Quay Road makes plain that Ben is already fulfilling his vast promise. He has strong control over the developing momentum of this book, as well as the turns that startle the reader. With above/ground press’s famously large network of distribution, this book will hopefully catch the eye of some new readers around the country. Heads up, folks.

Jaap BLONK + playback

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TOKYO TAIGA world music power trio in the A B Series at the NAC's 4th Stage, May 18/2011

A B Series presents TOKYO TAIGA, May 18/11, on the National Arts Centre's Fourth Stage

Anne Simpson reading in the A B Series, May 6, 2011

Metro - Unique group comes to NAC

Metro - Unique group comes to NAC

Susan Elmslie, Anne Simpson & Colin Morton in The A B Series

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Northern Comfort (Commoners’ Press: Ottawa, 1973)

In November 2010, I published a bibliography of William Hawkins through my own Apt. 9 Press. In my brief introductory note, I wrote “this bibliography will likely be out of date upon the day of its publication. I imagine, and I hope, that once it is in people’s hands it will spark new discoveries of “lost” Hawkins work.” Before the folio was formally launched, rob mclennan wrote a review of the Folio that pointed already to further available material. Specifically, he mentions “that magnificent anthology Northern Comfort, the transcript of a reading in the Byward Market hosted by and dedicated to Hawkins.” This note is to discuss and describe that anthology. I intend to return to this space over the coming months and describe further items that have come to light since that initial bibliography was published.

Northern Comfort was published in 1973 by Commoners’ Press (Ottawa). The title page elaborates on the function of the book: “being a reading of poetry by various people, given in the back yard of the Victoria Hotel 18 Murray Street, the Byward Market, Ottawa, on the evening of June 29^th, 1972.” The text was transcribed from recordings provided by “Peter Lamb of Coon Hollow Films and Mariea Sparks of Ottawa Living Radio.” It was transcribed by “Monk Besserer” – two streets in downtown Ottawa.

An introduction by Neil Whiteman explains that the reading was organized by Peter Geldart, Alyx Jones and Bill Stevenson. The three were co-ordinators of “Market Projections,” a group of artists who primarily did work “of the “happening” variety.” The reading, or at least the book, is dedicated to the loss of the Victoria Hotel Building (built in 1962 at 18-24 Murray Street) as well as to “MR. WILLIAM HAWKINS.”

The text of the book is a transcription of the readings that took place on June 29 1972. The list of readers, speakers, and musicians included: William Hawkins, Alyx Jones, Robert Hogg, Marius, Kociejowski, Christopher Levenson, Neil Whiteman, Jack Nathanson, George Johnston, Ronnie Judge, “Unknown Reader,” David Andrews, The 47 Argyle Street Band, Christopher James and Bill Stevenson.

The charm of the book lies in its apparent faith to the recording. The transcription includes the speakers, the banter, the introductions, comments from the audience, as well as a generous selection of photos of the event. Hawkins, in addition to reading, hosted the evening.

Hawkins: The whole concept of reading poetry is...is rather a strange one. Uh...it sort of got a renaissance or a start back in, I think, ’58, when all the crazy San Francisco...like...Kerouac and Ginsberg, started reading. But, you know, really, when you get down to it...it...

Voice: Southern Comfort!

Hawkins:...it’s a very, very funny thing. It’s somebody talking about what they should feel very personally about and what they should not really want to talk to anybody else about. That’s the way I feel about my poems...and that’s why I don’t read very often. Because...um, they’re private. So I’m gonna start...I got this book you can’t buy at your nearest bookstore...

(Scattered applause. Drumbeats)

because...uh...freaks like Whiteman have already put it out of print.

Hawkins reads some of the early poster poems (including “King Kong Goes to Rotterdam,” and “Two Short Ones”) and Ottawa Poems, as well as reading five new poems. In my own reading and research of Hawkins, I’ve not found these poems or lines elsewhere in his published work. (Please contact me if you have!). After several readers, Hawkins returns to the stage and reads “Wilful Murder,” which was printed as new material in The Gift of Space: Selected Poems 1960/70.

Hawkins' biography modifies his own history: “William Hawkins, 33, lives in Mexico at 182 ½ Dalhousie Street. In 1967 he was voted one of Ottawa’s Finest Young Men.” The reference to Mexico touches on the poems he wrote on a Canada Council Grant in the late sixties and early seventies. The “Finest Young Man” Award was actually an “Outstanding Young Man Award.”

The historical study of literary readings is difficult to undertake. Readings are, by nature, ephemeral. While today we increasingly see detailed audio-visual records maintained by many reading series, it is difficult to reconstruct readings that occurred decades previously. Rather than authoritative texts of events, we have fragmented production and reception histories, primary details, anecdotes, memories and other forms of unreliable evidence. We can find manifestations of audience response and interaction in the wake of events, but we cannot return to the events themselves.

Northern Comfort occupies a unique position in these respects (at least so far as my own reading has turned up). While the text initially appears to offer an unadulterated transcription of the reading in question, numerous editorial comments, as well as an introductory note, make clear that this is a fragment rather than a whole. However, what is most interesting about Northern Comfort is that it was produced in the immediate wake of the reading, rather than at a later date and further distance. It was transcribed and published within one year of the reading. The effect of this, in my opinion, is to create an object that shares the spirit and intent of the initial reading. It is not total narrative, but rather a strange, bizarre, wonderful book-object that mirrors the described strange, bizarre, wonderful reading-event. The fidelity of Northern Comfort is not to the reading, but rather to the spirit of the reading. It is a baffling book but also a “magnificent” one, as rob mclennan described it. It is a nearly-forgotten piece of Ottawa’s literary history that is firmly embedded in the moment it was attempting to describe.

Jen Currin matinee reading

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Jen Currin & Jonathan Ball in the A B Series

Coach House Books' most award-nominated authors of 2011 appear in the A B Series, April 16.

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gustave morin visual poetry presentation

abseries.org

Reid, Radmore, Hanson-Finger

See Apt. 9 Press for more information.

A B Series pre-VERSe Fest EXTRAVAGANZA

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VERSeFest

VERSeFest, Ottawa's Poetry Festival, is March 8-13th with Pre-Fest events March 5 and 6th.

Peter Gibbon - What I like about Jesslyn Delia Smith

What I like about Jesslyn Delia Smith:

a survey of her poetry & review of “rescue poems” (In/Words, 2011)

Marble is the cross-section of a cloud.

What, then, if the forms we know

are sections of a full body

whose dimensions are timeless

and bodiless, like poems,

whose unseen dimension is the mind?

Louis Dudek, from Poems from Atlantis (Golden Dog Press, 1980)

In his introduction to The Long Poem Anthology (1979), Michael Ondaatje pontificates on a genre coined the “serial poem”—a much-loved form in the 1970s, and most popular among the contributors he anthologized. He addresses some interesting characteristics of his contributors: “In the 70’s some poets talked out loud and some listened. These poets listen to everything” (13). I like the distinction made here because it suggests the work of serial poets is quiet, modest and deeply personal. This is also what I like about the poetry of Jesslyn Delia Smith.

I have no doubt that Jesslyn writes frequently. Her blog (http://jesslyndelia.com/) is updated regularly with new poetry and (more recently) prose. She’s had 4 chapbooks published in the last 2 years, most by In/Words press, one self-published: so it’s the first really warm day (In/Words: 2009), doorhinge (In/Words: 2009), sun, scrambled (self-published: 2010), rescue poems (In/Words: 2011). Their thematic content is constant: love, memory, allegiance. It is the slight shifts in tone between the individual poems that add depth to her body of work and give her poems a remarkable accumulative quality deserving of attention [...]

Read the full article in the February 2011 issue of Bywords here.

David McFadden & Angela Carr in The A B Series

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Bywords Warms the Night: Fundraiser for the Cornerstone Women's Shelter

A B SERIES presents SHERI-D WILSON / ÉLIZ ROBERT / KEVIN MATTHEWS

SHERI-D WILSON

“Queen of Canada’s Performance Poetry Scene”

ÉLIZ ROBERT

& KEVIN MATTHEWS

Perform in The A B Series

+ Poetry in Three Languages!

Come & witness the fiery instant translation from Sheri-D Wilson’s English to French & Spanish performed by Éliz Robert

An A B SERIES Presentation

at The Mercury Lounge in Ottawa’s Byward Market

Happening Saturday, January 22, 2011

Doors open at 7:30pm

Show starts at 8:00pm

SHERI-D WILSON is Artistic Director of the Calgary International Spoken Word Festival & Director of the Spoken Word Program at the Banff Centre.

ÉLIZ ROBERT is a graduate of the 2010 Banff Center Spoken Word Residency & has toured in Europe & The USA. She lives in Montreal.

KEVIN MATTHEWS has performed his poetry in front of audiences around Canada — from hundreds to handfuls, from symphonic concert halls to correctional facilities. 

**

The A B SERIES is Ottawa’s reading series for experimental, sound & performance poetry. Initiated in the autumn of 2007, The A B Series has quickly become one of Canada’s most distinguished & dynamic venues for performance poetry.

http://ABSERIES.ORG

Contact:

Max Middle

Artistic Director

The A B Series

director@abseries.org

AngelHousePress seeks visual poetry for Nationalpoetrymonth.ca

AngelHousePress seeks visual poems, assemic writing, collages and concrete poems
for the 2011 nationalpoetrymonth.ca.

Please send high resolution JPGs (1200 pixels on the longest side), a short bio
and a photograph to me by February 28, 2011.

(do NOT send me PDFs or word processing documents.)

Please send only one poem. I will consider both previously published and
unpublished work for publication.

Please send work to amanda at angelhousepress dot com and put NPM in the subject line.

Participants from all countries are welcome.
If you want your poem to be titled, please put the title in the jpg.

Happy new year to all!


Amanda Earl
AngelHousePress
www.angelhousepress.com
the angel is in the house

Sheri-D Wilson, Éliz Robert & Kevin Matthews perform in The A B Series

+ Poetry in Three Languages! Come & witness the fiery Insta-Translation performances of Sheri-D Wilson & Éliz Robert


+ Poésie trilingue! Venez voir naître sous vos yeux des performances d'insta-traduction entre Sheri-D Wilson & Éliz Robert

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Readings by Betts & Lynes + holiday party with door prizes!

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ROBERT PRIEST, THE RECIPE, SOBOL & LAVERY

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An Evening of Poetry & Music with Robert Priest, The Recipe, John Sobol & John Lavery

Bywords Fall Reading, Sunday, November 21, 2010

You are invited to the launch of the fall edition of the Bywords Quarterly Journal to take place at 5pm on Sunday, November 21, 2010 as part of the Dusty Owl Reading Series, Swizzles, 246-B Queen St.
Music by Kevin Grant and poetry readings by Frances Boyle, Reid Cooper, Marilyn Irwin and rob mclennan.
Followed by the Dusty Owl's Open Mic.

Contact info: amanda at bywords dot ca

Cover photo by Jayni Bloch

Bywords thanks the City of Ottawa for funding us again this year.

A reminder that we are always looking for poetry by former and current Ottawa residents, students and workers. Deadlines are the 15th of the month.
Go to http://www.bywords.ca/ and click on guidelines for further information.

The next issue of Bywords.ca comes out November 15.

To receive daily updates of literary events, please follow us on Twitter.

See www.apt9press.ca for further information.
Facebook event: http://www.facebook.com/#!/event.php?eid=167389499951641

Lisa Robertson & Jeramy Dodds in The A B Series

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Transparency Machine with Louis Cabri

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Bywords' 2010 John Newlove Poetry Award

Bywords' 2010 John Newlove Poetry Award Reading
at the Ottawa International Writers Festival
Southminister United Church, 15 Aylmer
Monday, October 25, 2010, 6:30 pm- a free event
contact: amanda@bywords.ca

Launch of "The Glass Jaw" by Marcus McCann, the recipient of the 2009 John Newlove Poetry Award. With readings by this year's honourable mentions and award recipient to be announced at the reading, and music by the Companionship Registry.

"This year’s winner of the John Newlove Poetry Award stood out from a strong field of finalists for its rich execution of focalized perception and its economical rendering of character through the use of terse, gritty idiom." Jason Camlot, 2010 Bywords John Newlove Poetry Award Judge

The annual John Newlove Poetry award, launched in the fall of 2004, commemorates the honest, poignant and well-written poetry of John Newlove, an Ottawa resident for almost twenty years and poet who died in 2003.

Transparency Machine with Louis Cabri

A B SERIES PRESENTS

a homecoming edition of 

THE TRANSPARENCY MACHINE

with Louis Cabri 

The A B Series is delighted to present a homecoming edition of The Transparency Machine with Louis Cabri. During the late 1980's and early 1990's, Cabri organized the Experimental Writing Group in Ottawa with Rob Manery. They produced literary events that included The Transparency Machine reading series, then held at Gallery 101. Together, they published hole magazine and chapbook series.

The Transparency Machine is an event in which a poet is asked to give a reading from his or her work, and create, for that reading, a textual collage (of quotations and images) through which to talk about poetry. Pre-readings for Louis Cabri's October 30, 2010 Transparency Machine event have been posted to The A B Series web site.

Louis Cabri is author of —that can’t (Nomados) and The Mood Embosser (Coach House Books). He teaches modern and contemporary poetry, literary theory, and creative writing at the University of Windsor. Wrinkle Press recently published his leaflet What is Venice? (illustrated by Tim de Vries). His new book, Poetryworld, is being published this fall by Capilano University Editions.

* SATURDAY, OCTOBER 30, 2010 *

* Doors open 7:00pm *

* Presentation at  7:30pm *

Gallery 101

301 1/2 Bank Street

(top level)

Ottawa, Ontario

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MillAr & Rhodes in The A B Series

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