David Fujino (January 28, 1945-May 6, 2017)

[photo of David Fujino taken by Roger Humbert, lifted from here]

Two days ago via John Barlow, I heard the sad news that Toronto poet and actor David Fujino had died. Known as (as Daniel f. Bradley recently posted on Facebook) an “extremely careful poet,” he was deeply engaged with the small press community of Toronto and beyond, interacting with John Barlow, Daniel f. Bradley, Gregory Betts, Gerry Shikatani, jwcurry, Bev Daurio, derek beaulieu, Kemeny Babineau and Nicky Drumbolis, among numerous others.

Born in Greenwood, British Columbia, David Kenji Fujino was a Toronto-based writer, actor (see his IMDB page here) and occasional trumpet player (as part of his acting roles) who’d worked with the artistic community on more than one level. Published in Canada, the United States, Australia, Great Britain, Japan and online (including ditch), he self-published the chapbook FAST (Vocabulary, 1987) [Daniel f. Bradley has provided a link to such online, here], Pictures & Words by David Fujino & Heather Yamada (Unknown Books, 1989) and a collection of text and visual poetry, Lines (ee.no books, 1990). He had solo shows of his visual art, coordinated group art shows, and given numerous spoken-word performances. As one of his bios included: “Brief studies in English Language and Literature at Victoria College ((U. of T.) were transformed, years later, in to a working career in visual art and poetry.”

His poems were included in an anthology of Japanese and Japanese Canadian poetry, Paper Doors (Coach House Press, 1982), the Anthology of Japanese American/Japanese Canadian Poetry (Tokyo, Japan: Doyoh-Bijutsu-Sha, 1986), numerous papertiger CDs (#1, 2, 3, and 4: 2001-2004), and the anthology of contemporary Canadian concrete and visual poetry White Wall of Sound #33 (2003). Substantial amounts of David’s work also appeared in the journals West Coast Line, dANDelion and filling Station, and as chapbooks via housepress, Pooka Press, Psychic Rotunda, fHole, and NEW CHIEF TONGUE. In 2006, he had a full-length collection, air pressure, appear via Toronto’s BookThug.

space 2

around perimeters

the glowing

expanding ound

in o

if I were a bell)))))))))))) (from Lines)

I’d been fortunate enough to produce a small chapbook of his work as well, his ORDINARY GLASSES (above/ground press, 2004), an item that ryan fitzpatrick reviewed briefly in an issue of filling Station, writing: “Just as the lens is a suitable metaphor for the difficulties of perception, David Fujino’s fragmentary glimpses cut-up and re-present our systems of representation, from stage to screen. These poems demand and deserve a closely applied eyeball.” I had been hoping to perhaps be able to produce another book; I’d actually been emailing him occasionally over the past couple of years around such, but couldn’t get a straight answer out of him as to whether or not he was writing.

The National Association of Japanese Canadians has a small tribute/condolence for him here.

12 or 20 (small press) questions: kemeny babineau on Laurel Reed Books

Laurel Reed Books first began publishing small editions of poetry during the mid nineteen nineties. Sometime during the beginning of the 21^st century the literary rag mag The New Chief Tongue surfaced as an eclectic ensemble of mostly Canadian and American poets. Over the years LRB has published at least 30 different titles by as many as 20 different authors. The press also produces broadsides and pamphlets that sometimes appear under the title ‘Your In Samples’ which is a numbered series.

Laurel Reed Books is operated by poet Kemeny Babineau and roving editorial persona non-gratis Nic Coivert. Babineau’s latest work is After the 6ix O’clock News published by Bookthug. Coivert is best known for his series of mud-paintings and least for his infiltration of the Canadian literati, he also largely eschews the internet.

1 – When did Laurel Reed Books first start? How have your original goals as a publisher shifted since you started, if at all? And what have you learned through the process?

Laurel Reed Books began as a eureka. Back in the mid 1990’s I was still composing on a typewriter but I was short on paper so I was putting the same sheet into the typewriter but manipulating the page so I would have a clean space to type in. That was when I realized something everyone else already knows; if you arrange the words properly you can actually get 8 small pages out of 1 regular sheet of paper provided you do a little folding and cutting. That was my eureka, a discovery that was centuries old.  

2 – What first brought you to publishing?

Frustration with not getting published elsewhere.

3 – What do you consider the role and responsibilities, if any, of small publishing?

The role is to try and engage the public with poetry that is not mainstream, and to introduce authors and works to people who are already engaged in poetry culture.

4 – What do you see your press doing that no one else is?

Producing economical limited edition hand made chapbooks. The emphasis here is on the economical, my print runs don’t cost a lot, I save money with added labour and I use my off-cuts. Other presses are also doing this of course but I think Laurel Reed has achieved a look of its own.

5 – What do you see as the most effective way to get new books out into the world?

Personal sales. You need to go to small press and artisan fairs.

6 – How involved an editor are you? Do you dig deep into line edits, or do you prefer more of a light touch?

I don’t want to have to do a lot of editing. I do read texts over very closely and often offer small suggestions or spot typos but I find too much interference from an editor can ruin the terroi of the work.

7 – How do your books get distributed? What are your usual print runs?

I don’t have a distributor, obviously. Print runs are under a 100 and over 50.

8 – How many other people are involved with editing or production? Do you work with other editors, and if so, how effective do you find it? What are the benefits, drawbacks?

I mostly work alone. Nic Coivert lends a hand at times, and I have been known to press my daughters into paper folding or stapling.

9 – How has being an editor/publisher changed the way you think about your own writing?

Not sure.

10 – How do you approach the idea of publishing your own writing? Some, such as Gary Geddes when he still ran Cormorant, refused such, yet various Coach House Press’ editors had titles during their tenures as editors for the press, including Victor Coleman and bpNichol. What do you think of the arguments for or against, or do you see the whole question as irrelevant?

I find publishing my own work problematic because I either never finish, or I lose interest, or my plans become so complex I never begin. Consequently what I do produce through Laurel Reed is mostly of the impulsive nature.

11 – How do you see LaurelReedBooks evolving?

I’d like to hire someone more capable than myself to do set and design for a larger work at some point.

12 – What, as a publisher, are you most proud of accomplishing? What do you think people have overlooked about your publications? What is your biggest frustration?

I’m going to skip the first two parts of the question and answer the third part. Sales and marketing.

13 – Who were your early publishing models when starting out?

John Barlow and jwcurry.

14 – How does LaurelReedBooks work to engage with your immediate literary community, and community at large? What journals or presses do you see LaurelReedBooks in dialogue with? How important do you see those dialogues, those conversations?

I basically just ask people whose work I’ve enjoyed to send me a manuscript for consideration, or sometimes they send me something out of the blue.

15 – Do you hold regular or occasional readings or launches? How important do you see public readings and other events?

I don’t do either, although I have in the past. I’m sure such activity is very important but I live in a fairly rural area so artistic ventures are a little like watering a dead plant.

16 – How do you utilize the internet, if at all, to further your goals?

The usual. Blog, website, facebook, emails.

17 – Do you take submissions? If so, what aren’t you looking for?

I prefer to ask for submissions, my publications are labour intensive and I can only do so many before the rest of my life begins to overwhelm me.

18 – Tell me about three of your most recent titles, and why they’re special.

Monty Reid In the Garden

Amanda Earl Kiki

Richard Stevenson Jazz Pops for Jack

I think they are all lovely arrangements of words and paper. Something for people to enjoy.

12 or 20 (small press) questions;