Showing posts with label Sharon Harris. Show all posts
Showing posts with label Sharon Harris. Show all posts

Wednesday, August 24, 2016

above/ground press 23rd anniversary parties in Toronto and Ottawa!

above/ground press turned twenty-three years old this summer, which means I'm hosting not one, but two anniversary parties!

Toronto ON: 7:30pm, Thursday, August 25: a series of readings by Braydon Beaulieu (Toronto), Ashley-Elizabeth Best (Kingston), Sean Braune (Toronto), Stephen Brockwell (Ottawa), Sharon Harris (Toronto), Aaron Tucker (Toronto) and Hugh Thomas (Montreal) at The Steady Cafe and Bar. For more information, click here. 

Ottawa ON: 7:30pm, Saturday, September 10: a series of readings by Stephanie Bolster (Montreal), Sean Braune (Toronto), Braydon Beaulieu (Toronto) and Pearl Pirie (Ottawa) at Black Squirrel. For more information, click here.

all lovingly hosted by above/ground press editor/publisher rob mclennan
$5 at the door; includes a copy of a recent above/ground press title

and don't forget the above/ground press summer sale, still going on! or the Touch the Donkey back issue sale! hooray publishing!




Friday, July 03, 2015

the week we went all over Toronto;

For the sake of Christine's work, we were the entire last week in Toronto, which meant Rose and I wandering for the sake of wandering, and visiting as many people as possible, from our hotel on Jarvis, right across from Allen Gardens. We drove in on Sunday, and starting Monday, Christine would disappear every morning just before 9am. Our days usually involved leaving the hotel first thing, ending up back around noon for lunch and nap, and out again by 2pm for another few hours (which meant we were most often crashed by 5pm). We were in visiting mode: a variety of folk I had been wanting to see for some time, all of whom I would have pre-baby not gone to see for the sake of work. Work! Work! Work! It gets in the way, sometimes.

Before this trip, all I'd known of Allen Gardens before this was from Lynn Crosbie, the poem "Alphabet City" from her selected poems, Queen Rat (Anansi, 1998), that includes:

We walked to Allan Gardens, and disagreed some more. Daniel's writing
is economical and pure, I said. I thought he gave up after writing poetry,
he said. He said some other things, and I didn’t see him again. I did not tell
him that the last time I saw Daniel he told me he had spoken in his sleep.
He said: I hate lyrical poetry:
Monday, June 22, 2015: We began our day heading east on the Dundas Streetcar towards the Danforth area, visiting poet Hoa Nguyen over at the house she shares with Dale Smith and their two sons. She made us smoothies (which Rose refused to touch), and I envied their garden. Apparently they were hosting a reading on Friday night in their living room, but there was no way we could make it (Christine and I read there moons back, when we were just pregnant enough to know, but not enough to start admitting). We gossiped about more than a couple of folk (including a particularly cranky American poet we both know), and Rose tore her way through much of the house (discovering some toys in one of the upstairs bedrooms). We talked about poems, and the speed one begins to write once the distraction of children appear. Everything takes so much longer to attempt, if at all. We spoke of the workshops she's been doing lately, both in person and online (check her website for information; they are pretty cool).

In both directions, the streetcar showed us a part of the city I hadn't really known about (including a very cool train station on Dundas East converted into bicycle rental), and Rose fell asleep on the ride home (see photo of such, above).

The afternoon included some time across the street from our hotel (where I discovered both playground, and the fact that we were at Allen Gardens). Rose took some time to chase some of the pigeons before allowing herself to enjoy the small playground. Brand new, it would seem, the playground, and even labelled for children from 2 to 6; impressive! The sky was clear marble blue. From Gardens, we made our way north to visit father-in-law, way up at Yonge and Shepard, where Christine met us for dinner.

And what was that industrial building behind the swings? Intrigued; wish I'd time to better explore.

Tuesday, June 23, 2015: We spent our morning at the offices of the Literary Press Group and LitDistCo (who distribute our Chaudiere titles) visiting everyone there, who were kind enough to gift the wee lass a colouring book, a storybook and various other items. We were even able to see poet Chris Chambers in his offices right next door, as part of Magazines Canada. Did you know he finally has a new book of poetry?

Post-nap, our afternoon took us west to the home of Sharon Harris and Stephen Cain. I can't believe it has actually been five years since I helped move them into that house. Rose laughed and laughed, and Sharon presented her with a full plate of blueberries (I'm surprised Rose left any for them).

I asked Sharon about the two manuscripts she's been working on, and found out that Cain has a new book forthcoming with BookThug. Cain also mentioned that Allen Gardens houses (somewhere) a plaque for Milton Acorn, which we couldn't quite find (I should have attempted to look it up, but never managed to remember). After her first few minutes of hesitation, Rose began pulling on Cain to walk through the house, the back yard and a variety of other places, over and over and over. Hand, she says, reaching up.

On the way back, Rose and I caught some buskers in the Yonge/Bloor subway playing a variety of music (she responds very much to music), including an accordian player who noticed her watching, and switched to performing some kids songs. Lovely!

In the hotel, Rose doing laps around the room even as late as 10pm. Our lack of usual routine on this trip has certainly worked to her advantage (if not ours). But oh, how she slept...

Wednesday, June 24, 2015: Our morning began, once again, at the playground at Allan Gardens before heading west once more for the sake of some book-purchase, and a lunch over at Future Bistro (the former Future Bakery) on Bloor West, right by Brunswick Avenue (see a post I wrote on such in 2010; and a poem composed there a year or so later). Impressively, she ate far more of the fruit than the home-fries. I've been going to Futures for twenty years now, as my usual go-to spot to spend a couple of Toronto hours writing and what-not. I might not have been able to get any work done, but Rose did sign a birthday card for her Gran'pa McLennan, and a variety of postcards for others.

Oh, how I miss Book City on Bloor West.

Later in the day, finding out an Ottawa friend of mine was, at the same time, right across the street having a lunch meeting at the old By The Way Cafe. How random is that?

She was asleep, of course, before we returned to our hotel.

Our post-nap visit went a bit north, over to where the incredibly patient Lola Lemire Tostevin lives, spending some time visiting with her and her husband, who generously presented Rose with some animal masks and a big book of stories, along with some paper to colour on. I was able to hand over her contributor copies of Touch the Donkey #6 weeks before it releases (mid-July), as well as a mound of other items I've been working on lately.

I think Rose was more worked-up than normal, and even I was beginning to wear down from her tearing around, and guiding her husband out to the garden multiple times (much the way she led Stephen Cain around), and into their front room. Rose only calmed once she and Lola began colouring.

We spoke of writing and publishing, and the madness of industry. Literary publishing, I've decided, is like a bumblebee; it just shouldn't fly, and yet does. She has a collection of essays forthcoming with Teksteditions this fall, which everyone should keep an eye out for.

On the way back to the hotel, a brass band performing at the corner of College and Yonge Street. I was thinking that Rose must think Toronto is magical, given all the buskers and live music she's been aware of. We never wander into the places such is played back at home.

Thursday, June 25, 2015: We began, once more, by heading west, but this time along Queen Street by streetcar, for the sake of Type Books. We were a bit early, only to discover a park and playground just by, at Trinity Bellwoods. Unlike the one near our house, this park was packed full of kids and parents and running around. She ran up the structures and ran across, but turned around (as per usual) at the top of the slide, for the sake of climbing back down the steps (she hates slides, for some reason).

Afterwards, we stopped briefly at the Japanese paper place that Christine likes, and made it finally into Type, where we saw that Derek McCormack was working. Did you know he has a book out this fall with Semiotext(e)? Extremely cool. Rose admired the books and the typewriters and the multiple ramps throughout the store. I picked up a book for her (after she had pulled down about a dozen or so from the shelves). Best I didn't get anything for myself, really. Not that she gave me much chance to look.

We had lunch at College Square with a Tim Hortons card Christine had passed along. Since they hadn't highchairs there, I sat her in a chair like a big girl. Later, a woman with her teenaged daughter in tow complimented us on our comfort with her in a big chair, given how small she is. She was fine. Much muffins were eaten (she won't eat the sandwiches).

Post-nap, we met up with Mark Goldstein right by our hotel (apparently he lives two blocks away, with bill bissett between us). We were nearly running late, so had to slip Rose into the ring sling while she still slept (after a two-hour nap). She woke in the hallway of our hotel, and wrote postcards at the coffeeshop while we waited. Given she was wiggly once he arrived, we return to Allen Gardens, where, of course, she immediately made friends with some kids on the bouncy-see-saw thing (of course). They were bouncing and laughing and letting go occasionally (wasn't sure what I thought of that). And the kids didn't mind; it actually gave Mark and I a chance to talk about various things, including poems, screenwriting and birth-mother stuff (he's been instrumental in talking me through some of my experiences over the past year or so). Did you know he's another book forthcoming with BookThug? Very nice. He is such good people (even though he's cat-allergic and can't come over to our house).

Friday, June 26, 2015: We checked out of the hotel, and Christine went for her last morning of work, and I headed off to see Jay and Hazel MillAr, en route to father-in-law's house. Given we haven't a clue where our GPS disappeared to, I was amazed I managed to drive over without getting lost (there are parts of Toronto I know a bit, but mostly I've no idea), wandering the further-west of St Clair and Runnymede. Hazel made muffins and Rose was barely contained, managing to run and run and eat and run. And they were kind enough to pass along a BookThug totebag! We spoke of poems and pianos, and children and baking.

After, we drove up to father-in-law's house, where she slept and she slept, and waited for Christine to return. We were a night there, before heading off to Woodstock, Ontario for some further adventures...

Tuesday, June 17, 2014

new from above/ground press: Moritz, Harris, Tokar + Gordon,

Many forms in water / Rachel Moritz / $4
See link here for more information

LIKE / Sharon Harris / $4
See link here for more information

ARRHYTHMIA / Janice Tokar / $4

See link here for more information

Fifteen Problems / Noah Eli Gordon / Images by Sommer Browning / $4
See link here for more information



keep an eye on the above/ground press blog for author interviews, new writing, reviews, upcoming readings and tons of other material;

published in Ottawa by above/ground press
April-June 2014
a/g subscribers receive a complimentary copy of each


and did you see what we made in March/April? February? January?

To order, send cheques (add $1 for postage; outside Canada, add $2) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9 or paypal (above). Scroll down here to see various backlist titles (many, many things are still in print).


Review copies of any title (while supplies last) also available, upon request.


Also available: Touch the Donkey #1!

Monday, November 25, 2013

book launch! Ground rules: the best of the second decade of above/ground press 2003-2013



Produced to begin the re-launch of Ottawa literary publisher Chaudiere Books, co-publishers rob mclennan and Christine McNair invite you to the launch of Ground Rules: the best of the second decade of above/ground press 2003-2013.

Co-sponsored by our friends at the Ottawa International Writers Festival and The Manx Pub, the event will feature readings by three of the book’s contributors: Sharon Harris (Toronto), Marilyn Irwin (Ottawa) and Stephen Brockwell (Ottawa). The event will be (lovingly) hosted by Chaudiere Books co-founder, editor and co-publisher rob mclennan.

5pm, Saturday, December 7, 2013
The Manx Pub
370 Elgin Street, Ottawa


Sharon Harris is a Toronto artist/writer whose poems have been anthologized in The Broadview Introduction to Literature, The Last Vispo, and Shift & Switch: New Canadian Poetry. She is the author of chapbooks from bookthug, In Case of Emergency Press, and above/ground, and her first full-length collection, Avatar, was published by The Mercury Press. She has written articles for Geist, The Globe & Mail, and Open Book Toronto;  is a past contributor to Torontoist and Word Magazine; and her work has been published in The National Post, dANDelion, The Capilano Review, Drunken Boat, The Volta, broken pencil, and Vallum. I Love You Toronto, her exhibition of photographs, appeared in newspapers, magazines, and on radio and television across Canada.

Marilyn Irwin’s [pictured] work has been published by above/ground press, Arc, Bywords, and New American Writing. A graduate of Algonquin College’s Creative Writing program, she has three chapbooks: for when you pick daisies (2010), flicker (2012), and little nothings (2012). She won Arc Poetry Magazine’s Diana Brebner Prize this year.

Stephen Brockwell cut his writing teeth in the eighties in Montreal, appearing on French and English CBC Radio and in the anthologies Cross/cut: Contemporary English Quebec Poetry and The Insecurity of Art (both VéhiculePress, 1982). George Woodcock described Brockwell's first book, The Wire in Fences (Balmuir, 1987) as having an extraordinary range of empathies and perceptions. Harold Bloom wrote that Brockwell's second book, Cometology (ECW Press, 2001), held rare and authentic promise. Fruitfly Geographic won the Archibald Lampman award for best book of poetry in Ottawa in 2005. His Complete Surprising Fragments of Improbable Books is newly out from Mansfield Press. Brockwell currently operates a small IT consulting company from the 7th floor of the Chateau Laurier and lives in a house perpetually under construction.

Working out of Ottawa, poet and publisher rob mclennan’s baby, above/ground press, marks a second decade of the production of broadsheets, chapbooks, magazines, and anthologies that trace out the best shapes of the best of contemporary Canadian (and, increasingly, international) poetry. From the span of that second ten of years, he has compiled this book of traceries: a selection of work by writers ranging from the likes of the late Artie Gold, and Robert Kroetsch, to the living derek beaulieu, Rachel Zolf, Eric Folsom, Natalie Simpson, etc., all collected here as representative of a decade’s aesthetic count.
                        from Gil McElroy’s “Introduction: An Integral”

Edited by rob mclennan, with an introduction by Gil McElroy, Ground Rules features writing from the second decade of one of the most active micro publishers in Canada, selected from a series of hundreds of publications lovingly edited, produced and distributed by editor/publisher rob mclennan. A follow-up to Groundswell: best of above/ground press, 1993-2003 (Broken Jaw Press, 2003), Ground Rules includes a wide range of work by Artie Gold, Mark Cochrane, Suzanne Zelazo, derek beaulieu, Stephanie Bolster, Amanda Earl, Nathanaël, Lisa Samuels, Rachel Zolf, Sharon Harris, D. G. Jones, Julia Williams, Eric Folsom, Gregory Betts, Natalie Simpson, Aaron Tucker, Monty Reid, William Hawkins, Emily Carr, Cameron Anstee, Helen Hajnoczky, Marilyn Irwin, Stephen Brockwell, Robert Kroetsch and rob mclennan.

Copies of the book will be available at the event. See the OIWF link to the event here.

Friday, May 10, 2013

Letter to Norma Cole (some notes on the prose poem)



July 17, 2012
Ottawa, Canada


It’s been two years since I stayed in the nearly-former apartment of Toronto writers Stephen Cain and Sharon Harris, after helping them move into their new house. They had a box of books they were sending to Goodwill, and I picked out a couple of items, including the anthology you edited and translated, Crosscut Universe: Writing on Writing from France (Providence RI: Burning Deck, 2000), along with some other titles I probably shouldn’t mention. They had too many books. I’ve been meaning to thank you, and thank them as well.

The anthology contains works by sixteen writers, which the introduction describes as a series of “Texts, interviews, critical pieces, journal entries, letters, worknotes and at least one simple list make visible and audible an openwork of embodied voices in conversation, in the deliberate breaking open of intentionalities, isolating single elements at one extremity, multiple folds, complex rhythmic architectonics in the process of being constructed and deconstructed at the other.” You translated from the French works by Joë Bousquet, Emmanuel Hocquard, Claude Royet-Journoud, Anne-Marie Albiach, Raquel and others. It would be hard for anyone to not get caught up in the lyric prose line being presented. The lyric flows like water, here; why do so many lines of prose by English-language writers fail to float so smoothly in comparison?

The activity of writing is more than activity, as you wrote in your introduction, “Writing is action, the phenomenological self entering language, already a specific set of conditions within conditions.” I would enter the language, during daily writing sessions at The Good Neighbour Café on Annette Street, just by the Junction. The cadence and the lyric of the French abstract in some of the pieces immediately struck me, especially the work of Emmanuel Hocquard, which slowly began to impact the short short stories I’d been working on, and later, the prose poems I was only beginning to compose. Here is one of those stories:

I am writing a novel called ‘James Joyce in Montreal,’ to accompany the drawing you left. Ten chapters each featuring an entirely different character, but all sharing the same, ordinary name. There are no coincidences. In Labyrinths, Borges repeated, what we seek, is often nearby.

I admired Hocquard’s series of compact, straightforward lines that accumulated to become something slightly less concrete, and yet, far more than their sum. There was something to the connections made between and amid the disconnect that was astounding.

By that point, I’d been at least half a decade reading examples of the American prose poem, something far more prevalent than its Canadian counterpart, from writers such as Sheila E. Murphy, Lea Graham, Noah Eli Gordon, Joshua Marie Wilkinson, Kathleen Fraser and Rosmarie Waldrop. My own poems had been years experimenting with rhythm, sound and line breaks. I was in the midst of the “Miss Canada” manuscript, a book that stretched the length and breadth of 2010, composing poems that held and broke breath. I knew that once I had finished that collection, I wanted to move in another direction; I wanted to see what might happen if and when I stopped relying on line breaks and spacing. I wondered, what surprises might the prose poem hold? Once you learn how to do something, the painter Diane Woodward told me, move on.

Before this, I’d been intrigued by the use of the poetic line, and the sentence, through the work of Americans and Canadians alike, such as Cole Swensen, Lisa Robertson, Lisa Jarnot, Erin Mouré, David Donnell, Nicole Markotić and Robert Kroetsch. There is so much untapped potential in the sentence. How does one even start to approach the possibilities? I had long filed the prose poem away in the back of my head, waiting for other writing and editorial projects to come to maturity; to be able to bring my full attention to the form. I don’t need to completely understand a form to begin, but at least some kind of initial comprehension is required. Often, I know, the best way to understand is to simply begin. Specifically, I was struck by the way Hocquard’s prose-pieces blended elements of poetry, fiction and the short essay, opening up the form to a kind of “catch-all,” able to hold just about any idea, concept or subject matter.

ROBINSON METHOD

When Crusoe landed on his island after the shipwreck, he was not yet Robinson. He would be Robinson from the moment that, finding neither pen nor pencil in the jetsam, he liberated a cutter and some books. from these found objects would be born the method that names him.

            Robinson speaks alone (V. Solitude), in words he learned while he was still Crusoe, words he arranges as memories, that is, as objects of memory-language. Robinson on his island acts like Crusoe before the shipwreck but makes the same thing resonate differently.

            The island is elegiable. Cut off from the world, with the fated means that are his, Robinson will reproduce Crusoe’s world. He is a copier. And every copier, even the little classroom copier ripping off his desk partner, is an islander. Oliver Cadiot’s Future, ancient, fugitive is, just like Perec’s I remember, a splendid elegy. (Emmanuel Hocquard, trans. Norma Cole)

The French writing I’d predominantly been aware of previously had been Canadian, including the work of Nicole Brossard and AnneHébert, but remarkably little else in regards to poetry. Despite a series of translations through Coach House Press from the 1970s onward that focused on fiction, the divide between French and English Canada remains. Perhaps for this reason, it was the prose out of Quebec that resonated most, the novels of Dany Laferrière and Daniel Paquin informing my writing far more than any Quebecois poets. It’s an interesting difference, to be influenced by the French writers of Canada versus the French writers from France. As you know, it’s an entirely different vocabulary. To understand the difference of influence might mean comprehending the mechanics of the language, and the divergence from European to Quebecois French. Something about the limits of translation or the delicacy of translating these differences. I have no idea; haven’t even begun.

Today I am not writing, I am seeing to the house of writing, and you are there, in the garden light. (Edith Dahan, from “Giudecca,” trans. Norma Cole)

In these works translated from French, there is such a lovely abstraction of subject and meaning the prose allows. It wraps around ideas as opposed to the physical. In contrast, I’ve been quite baffled reading Russell Edson, having heard he is considered the father of the American prose poem, and how much writers such as Deb Olin Unferth and Sarah Manguso (a writer I greatly admire) are influenced by his work. His poems read like short stories, known by Geist magazine and others as “postcard fiction.” Lydia Davis reads more lyric than these. Where is the poetry in Russell Edson? Whereas Unferth and Manguso have far surpassed him in quality and vigour, turning the influence of his prose poems into spectacular prose. I don’t understand the appeal. I suspect in some parts of the United States, this might be akin to a heretical statement.

This collection of yours has informed pieces of mine in various poetry manuscripts, an influence running through the length and breadth of my poetry since. Crosscut Universe: Writing on Writing from France taught me how to begin. Does that make sense? Perhaps it came at the right time. Perhaps I give the collection itself too much credit. I have been learning, learning and re-learning the sentence. There is a fragment of an interview I keep repeating, conducted by Kai Fierle-Hedrick in The Chicago Review (51:4/52:1, spring 2006), as Lisa Robertson responds: “I’m really a gentleman collector of sentences. I display them in cabinets.”

The Sentence

The sentence always translated from an other language, the sentence unfounded, the sentence of liquid shadows beyond which we do not look, writing it, (Dominique Fourcade, trans. Norma Cole)

In your collection, the distinctions between genres don’t seem to even exist. My explorations in short prose and the prose poem overlap so heavily, and yet, a line divides the two. Some have suggested my short stories might do better if I called them poems, but they aren’t poems; they’re stories. Despite their brevity, they each tell a deliberate narrative in a linear fashion. In the poems, I’m interested more in what I’ve long been exploring through the form – movement, sound and abstract, lyric exploration, composed more as an accumulation or collage. The logics needn’t be apparent and the narrative is non-existent. It might not be how I distinguish the forms generally, but its how I do for my own writing. There is no story, but instead, a series of sweeping gestures, such as this piece from the sequence “Escarpment pages,” a prose poem sequence from “If suppose we are a fragment.” The twelve poem sequence opens with a quote from Kathleen Fraser, “Dear other, I address you in sentences.”

The invention of writing

Ingrained, this resistance to struggle. Mathematical points. I repeat the arousal song of her borders, even as I step back. Sometimes I get turned around. Snow squalls, threatening daybreak. Had you ever wondered. Had she. We were marking up hours. Filament of the speed that the brain changes colour. We have not arrived. We are here. An experience of spiders. Saw you last from those uppermost branches. Or was that her. Words trickle down into feeling. New paper we press with first language, our hands.

I sound obsessed with boundaries, and perhaps I am, but as a series of guidelines as opposed to strict rules. I want to know where to blend one into the other. The works in Crosscut Universe, on the other hand, define no line at all. Have you read any of the work of Vancouver writer Michael Turner? His work manages the chimera between what isn’t entirely a poem, and isn’t entirely a story, but something else, entirely. I am seeking to open a series of possibilities. Or perhaps, I wasn’t listening in the right way until now. I’ve been interested, too, in discovering more of your own writing, the influences that some of these texts may have had, along the lines of influence I’ve seen from the Galacian in Erin Mouré’s poetry, or the French in the poetry of Cole Swensen and Rosmarie Waldrop. Perhaps I should start translating. Is it essential to know a second language to begin?

best,