rob reads w Tanis MacDonald at Ottawa's TREE Reading Series, June 12, 2018

In case you haven't heard. I'll most likely be reading snow day, the prose poetry sequence I composed from January to March, which also appeared as a chapbook (I had originally aimed to launch my new Salmon title, but the book has been delayed). Might we see you? Everything begins at 8pm (open set, featured readers). See the link to further information via The TREE Reading Series website here.

12 or 20 (small press) questions with Claudia Coutu Radmore on Tree Press

Tree Press was born of three parents, rod pederson, Rona Shaffran and Claudia Coutu Radmore, the co-ordinators in 2011 of The Tree Reading series.

Claudia Coutu Radmore: I write prose, fiction, non-fiction and poetry―lyric as well as Japanese-form poetry. I manage three small presses, two of my own and Tree Press for The Tree Reading Series in Ottawa.

[Claudia Coutu Radmore and Tree Press will also be participating in this Saturday’s semi-annual ottawa small press book fair]

1 – When did Tree Press first start?

As Co-ordinators of The Tree Reading series in 2010, rod pederson, Rona Shaffran and I realized that we had some surplus funds at our disposal. The idea of a press associated with the reading series had been chasing itself around my mind for a while, and I suggested the idea to rod and Rona who hopped on board immediately. Initially we saw that a press would give us a chance to publish chapbooks for poets we admired, and agreed that a collection of the translations of Murray Citron of the Yiddish poems of Itzik Manger would be a perfect place to start. I jumped at the chance to edit such a series, arrange for publications, and design the covers. Those tasks were, and are, strictly volunteer. I just enjoy the processes, and seeing the results.

How have your original goals as a publisher shifted since you started, if at all? And what have you learned through the process?

One of us three co-ordinators came up with the idea of an annual chapbook contest, and we immediately drew up parameters, holding our first contest in 2011.  It’s my part of volunteering for The Tree Reading Series. Co-ordinators of the series since we three resigned have been pleased that the contests continue. I find judges each year and design, arrange layout and publication. I also act as a sort of pre-editor, suggest poem arrangement at times, and/or further editing that should be done. At times the judge helps by editing, further polishing the winning entries.  I have also acted as final editor for one winning entry.

The current co-ordinators have not suggested further poets they’d like to see published under Tree Press, though there has been one development. After his resignation as director, rod pederson joined the board of Tree, and suggested that as a perk for being on the board, any board member could edit and publish a chapbook they thought deserving of publication. The board agreed and Leaf Editions (not to be confused with Leaf Press) came into being for this purpose. Design, layout and cover design would be up to the board member/editor, though I would be paid to design a cover should that be requested.  The only publication under Leaf Editions so far is Dean Steadman’s Portrait w/tulips: a montage; editor rod pedersen, 2013

2 – What first brought you to publishing?

In 1991 I was living in a rural area north of Sharbot Lake, Ontario. In my journals I saw that I’d been writing some entries in short lines, what to me at that time, looked like poems. I wasn’t sure if they were poems. I knew no one who wrote poems, and wasn’t sure what poetry was. My education featured no poetry and little writing, but something tugged at me, and I cut and pasted a book guided by a friend who knew how to publish a book. I decided to make my book ‘look’ official by pretending I had a press, and named it Bondi Studios after my green-necked rainbow lorikeet, a rescue bird. The cut-and-pasted pages were hand numbered, then photocopied; I designed a simple brushstroke cover image for The Pond, 1992.  Self-publishing, pure and simple. The hundred copies sold, and I followed with Boxes and Moonbeam in 1994.  I used Bondi Studios to self-publish until 2000, when I began to expand into vanity press publishing, helping others who wanted to see their writing as ‘real’ books.

Under Bondi Studios, I edited manuscripts before publishing them, so felt I had some control over quality. One of my writers, Ron Lawruk, has had great success, doing readings lately in Chapters bookstores across Canada, with his mysteries, a biography and his memoirs.

In 2012, I started up catkin press. For this press, I choose writers I want to publish, offer some advantages, such as design and editing, for free, and work to create a reputation for quality publishing.

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

I’d like to think we can be an in-between step for writers, one that builds the confidence to go on to writing longer manuscripts, but one that works also as an introduction to the world of ‘having been published’, the road to publishing with trade publishers, the mysteries of publicity, and the benefits of personal and social networking.

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

The contest for one thing. We have had such well-known and established judges which give an extra edge to winning. The poet who wins knows their manuscript has been chosen by an eminent judge, and they become associated with Tree, an added honour.

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

I have been abysmal about this, and confess to leaving that aspect entirely up to the authors. The only publicity I do is on Facebook. I’ve been caught myself with my own books and chapbooks. I’ve even been terrible about publicizing my bpNichol Chapbook winner, Accidentals, or my non-fiction book, Arctic Twilight: Leonard Budgell and the Changing North.  It’s always been my downfall. I get so interested in process, that after the project is done, I start the next one, ignoring what is one of the most important parts of an author’s ‘writing business’, ignoring that for a small press operator, or a writer, the writing business is a business.

Small Press Fairs are great, readings are great. Energy is the key word, connecting with the world of poetry in any way available works too. Like anything else in the business world, shyness won’t get a poet, or their publications, very far.

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

It depends on the manuscript. I always state from the beginning that I will edit. I want the books to be as good as they can be, and only work with authors who are willing to go with my editing. On the other hand, the book does, in the end, belong to the author, so there are compromises within reason. Some manuscripts are ready to go from the start, others require everything from spelling to line endings. 

For the chapbook contests, some have needed little editing. I step in where I think I can be useful and am guided by the judges’ comments.

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

Usual runs are between 50 and 150, though lately I have been doing larger runs with my own presses if I think the book will sell well. That way the author can get books from me at lower cost, and come to me later for more if needed. One author has sold nearly 800 books, and another 600, both in the Japanese-form world, both with catkin press. I can’t do that with Tree Press, as I do not ‘own’ that press, and it is non-profit.

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?

For Tree Press, some judges agree to edit their winning choices if asked. It’s wonderful for everyone involved if the judge will edit further. The author feels that their work has been validated, and the networking helps. I will also edit if asked by the author.

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

It certainly makes me aware of readership.  It also has the ability to confuse me. I know what I like to publish, and what may sell, but is it what I want to write; is it how I want to look at my writing.

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’ve edited Haiku anthologies for years, and been involved in a few chapbook anthologies, always including my own pieces. I see no problem with publishing myself. Of course I would say that, as many of my own poetry books are self-published. If I think it’s good enough to be published, but want to see it out there in months instead of years, I self-publish, though I’ve not done that much lately. I think of all the greats who could afford to self-publish. It’s not respected much in Canada, which contributes to the conundrum: if publishers realize what works in the writings of others, why shouldn’t they realize that their own work is as good.

11– How do you see Tree Press evolving?

I suppose it depends on how long I stay with it, how I evolve, on my energies, and on who, if anyone, takes over the press after me. The board hasn’t approached me with publishing anyone else independently of the contest; the board at present seems to be happy with its current position of just running the contests.

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?

There’s no one Tree Press or Leaf Editions production that I’m more proud of than another. I’m pleased that the contest is still running, I’m proud of the judges who have agreed to be involved, I’m pleased that the authors have liked the covers I designed.  I love Murray’s book There is a Tree: shteyt a boim. Poems of Itzik Manger, and am proud of rod and Rona’s support in getting Tree Press started.

In my own small presses, I’m happy to have published each of my authors, and look forward to publishing books as diverse as a haibun memoir by Guy Simser and a chapbook of lyric poems about Pakistan by Blaine Marchand in the next few months.

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

None. I had never met a poet, never met a publisher or another writer when I started back in the woods in 1991.

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

Tree Press introduces poets to the Ottawa literary community and to other local publishers. I am thinking of Tree Chapbook Winner Frances Boyle’s Portal Stones, judged by Bruce Taylor in 2013. That chapbook brought her work to the attention of John Buschek of BuschekBooks, who then published a full-length manuscript of Boyle’s poetry called Light-Carved Passages in 2014.

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

The Tree Reading Series holds a well-publicized launch of the winner’s chapbook, which gets the show on the road. If the authors are savvy enough to make connections, arrange their own readings, travel farther than their own usual borders, it can make all the difference.  Staying in the loop with local reading series is a priority. It’s not part of my mandate as the publisher, or hasn’t been, but perhaps I should think more about this, team up with other small press owners, work more together. I think we could do a lot. I think not living in Ottawa has held me back a little. Travel is a bummer because of the time involved and the weather. As I said, I’ve shied away from the publicity aspect, and I should STOP doing that.

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

Not enough.  Facebook is about it, and my blog at claudiaradmore.com, in which I do talk about the books I publish, and my own writing, as well as anything to do with writing and writers I like.

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

I seldom take submissions, but keep my eyes on what is happening with writers. There are authors I’d like to publish who feel my press is too small, not prestigious enough.  I look for writing that makes me stop and think, and since my small press doesn’t come out too often in the black, I’m careful about this, and do not publish too many books in a year through my own presses.

For Tree Press, I imagine that if someone who is associated with the reading series through what we call bums-in-seats support, who attend the readings as often as they can, who come to the workshops and who read at the open mic, submits a chapbook manuscript, we might look at it. This would have to be discussed by the board and some sort of editorial system set up. I can’t see that happening at the present time; running Tree itself takes energy and time, and others may not have the same mania for arranging publications as I do. I just love doing it.

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

Tree Press’s The Binders by Doris Fiszer is pretty special.  It’s no easy task to take memorabilia and physical experience and turn it into poetry.  Based on her father’s predilection for saving personal family documents, Fiszer brings to life Poland and Germany during and after WWII, and the poignancy of her father’s recent Alzheimer’s disease and death. Sandra Ridley judged The Binders to be the best manuscript of Tree’s 2016 contest submissions.

For catkin press, Swooning (a haibun memoir by Hans Jongman of Toronto), just came out. Guy Simser’s She Don’t Mean A Thing If She Ain’t Got That Swing and Blaine Marchand’s My Head Full of Pakistan will be out shortly.  Simser’s is a comprehensive journey through significant aspects of the poet’s life as he worked in and visited a number of countries in the company of the love of his life, wife Jan. Blaine’s lyric poems are verbal treats that bring his Pakistan experience, and the beauty of Pakistan’s people and culture right here to Ottawa.

12 or 20 (small press) questions;

The Rideau Review (1987-88): bibliography, and an interview

this interview was conducted over email from January to September 2016 as part of a project to document Ottawa literary publishing. see my bibliography-in-progress of Ottawa literary publications,past and present here.

Stephen Brockwell cut his writing teeth in the ’80s 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 Véhicule Press, 1982). George Woodcock described Brockwell’s first book, The Wire in Fences, as having an “extraordinary range of empathies and perceptions.” Harold Bloom wrote that Brockwell’s second book, Cometology, “held rare and authentic promise.” Fruitfly Geographic won the Archibald Lampman award for best book of poetry in Ottawa in 2005. The author of a growing stack of chapbooks as well as five trade poetry collections, his most recent publications include the chapbook Where Did You See It Last? (Textualis Press, 2016) and All of Us Reticent, Here, Together (Mansfield Press, 2016). Brockwell currently operates a small IT consulting company from the 7th floor of the Chateau Laurier and lives in a house perpetually under construction.

Q: How did The Rideau Review journal begin?

A: I’m not certain. Must have been 1985. I was at Carleton studying for my MSc in Math but I was sneaking in English courses on Spenser and other things. I met Frank Smith, an enormously generous person who still runs the NEADS—the national educational association for disabled students. I think they needed volunteers for something. Anyway, Frank and I were talking about words and writing. It turned out he loved fiction to bits. And wanted to write about it. And I was slumming at Gallery 101, attending Tree, working on some kind of book-like thing. I was one of the editors of Rubicon at McGill with Peter O’Brien. Ottawa seemed to need something in that vein—but smaller and lower budget. I don’t remember the final impulse to action.

Q: I’m curious about your work at Rubicon. How did you originally get involved with the journal and what was your role? How did your work with Rubicon influence the work you did through The Rideau Review?

A: I was associated editor. A fellow named Peter O’Brien was the editor—he wanted to create a kind of Canadian Paris Review with extensive interviews, superb fiction and poetry, and tight, serious book reviews. I really don’t remember how I heard about it or how we met. Must have been through the English department—maybe Robert Lecker, now that I think about it. I was associated editor—wrote some reviews, interviewed a couple of people, helped with choosing poems. That was a privilege: we were receiving amazing work from Daphne Marlatt, Eirin Moure, Chris Dewdney, Doug Barbour—reading that new work pried my eyeballs open and pulled back my ears, I can tell you that.

Q: What were your original ideas for The Rideau Review? Did you purely solicit work for the first issue, or did you send out a public call?

A: I feel like I’m in court. I know we received submissions at some point. I think we might have placed a few notices in things like Quarry. Other than that, I have no recollection.

Q: You mention you were hanging around Gallery 101 and attending Tree. What else was happening in Ottawa at the time, and how much of it (or the lack of it) prompted you to begin publishing The Rideau Review? I know, for example, Colin Morton was still producing items through Ouroboros [see the 2015 Ouroboros interview here], but Bywords and hole magazine hadn’t yet emerged. Arc magazine was roughly a decade old by that point. Was it the activity or the lack that prompted?

A: Your Honour, I regret that I have little recollection of events that took place 30 years ago. If it please the court, I would appreciate a recess to gather my thoughts and my literary dignity. Really, Frank and I simply wanted to gather together writing we enjoyed. It was no more sophisticated or ambitious than that. I have a better recollection of my final exam in probability theory. Maybe I need to say this: I think a significant amount of community literary production is performed in the moment for the joy of sharing the work and not for any legacy or history. It’s as beautiful and ephemeral as ice sculpture. I was still in my early twenties. What I knew about writing would have fit on the head of a pin—and that would be an analogy appropriate for the memory modules of the time.

Q: Going through the issues, it becomes clear very quickly that you were engaged with an interesting array of Ottawa activity, from the First Draft performance group (Colin Morton, Susan McMaster, etcetera) and a whole slew of writers, from John Metcalf to Heather Ferguson and Ronnie R. Brown, and E. Russell Smith to Louis Fagan, Scott Moodie and Dennis Tourbin, as well as Montreal writer David McGimpsey (half of whom are still active in one form or another). How did the “Poetry and Performance” feature in the second issue come about?

A: As I recall, that poetry and performance event was “out there”—people screaming, crawling on the ground, a lot of costumes and grimaces. You knew Dennis well: he was not interested in half measures. These really were performance pieces: visual, aural, tactile: kinetic. I wasn’t aware of any slam or spoken word scene in Ottawa at that time. Louis and Scott were tough, surprisingly idealistic and uncompromising.

The First Draft work was more formal and, maybe, cerebral: it was scored with great care—it really was intended to be voice music. You could think of the Tourbin event as punk rock and the First Draft work as polyphonic intellectual jazz. I wish we could recreate that energy now.

We have good energy here in Ottawa, but few people have the nerve to scream something articulately—maybe that’s for the best. I don’t know. The only person we have in town who performs with that kind of energy and careful attention to every detail of sound and spectacle is jwcurry. The loss of Dennis was catastrophic. He was a spectacular writer, artist, impresario—nothing he did was half-made. A lot of creative energy lost its fuel.

Q: I agree, completely. Tourbin was a huge loss; I was able to interact with him during his final decade, and quickly became aware of how he uniquely bridged the gap between Ottawa’s literary and visual arts communities. As well, I’ve long had the sense that Louis Fagan and Scott Moodie were also quite the force in Ottawa in the 1980s; what is your recollection of either of them, and where did they, to your knowledge, disappear to?

A: I’m sad to say that, from what I understand, Louis Fagan died of an overdose after forming a rock band called the Born Again Pagans. Michael Dennis would know more. There’s a reference to him here that I found thanks to Pearl’s archaeology of Anthos issues: http://ruk.ca/content/louis-tape. 

Q: What was behind the decision to suspend the journal? I know you put together a “final issue” that never saw print…

A: With almost near certainty a very bad relationship. But it’s a blur.

Q: With only three issues (and unreleased fourth), how well do you feel you accomplished what you’d set out to do with the journal? Each issue is packed with compelling creative and critical work, and really give a sense of a portrait of what was happening in and around Ottawa during the period. Where do you think the journal might have ended up, had it continued?

A: To clarify the previous answer, full time employment might have contributed to the hiatus. I dropped out altogether shortly after my first book which came out around the same time. I can’t speculate on what might have happened. It was an ephemeral thing.

The Rideau Review Bibliography

Volume 1, No. 1: February 1987. Editor: Stephen Brockwell. Assistant Editor: Marc Arellano. Fiction Editor: Frank Smith. Managing Editor: Edward Szukalo. Editorial Staff: Carolyn Voight, Alan deChezet. “A Conversation with John Metcalf,” “Five Poems by Heather Ferguson,” “Three Poems by Michael Anderson,” “Driver’s Education, a vignette by Scott Moodie” and “Five Poems by David McGimspey.” Book reviews by Alan deChezet, Stephen Brockwell and Marc Arellano.

Volume 1, No. 2: June 1987. Editor: Stephen Brockwell. Fiction Editor: Frank Smith. Assistant Editors: Marc Arellano, Alan deChezet. Managing Editor: Edward Szukalo. Editorial Staff: Carolyn Voight, Rob Campbell, Grace Spada. “Weasle-Eyed Slow Death Papa Got a Hand on Us,” fiction by David McGimpsey. “Poetry and Performance” section, featuring Louis Fagan, the First Draft group, Ronnie Brown, Paul Coulliard and Dennis Tourbin. “The Watcher,” fiction by [E.] Russell Smith. Book reviews by Alan deChezet, Frank Smith, Marc Arellano, Rob Campbell and Stephen Brockwell.

Volume 1, No. 3: Winter 1987-88. Editor: Stephen Brockwell. Contributing Editors: Frank Smith, Alan de Chezet. Assistant Editor: Marc Mrellano. Editorial Staff: Grace Spada, Edward Szukalo. “Four poems by Greg Lamontagne,” “A Conversation with Guy Vanderhaeghe” conducted by Alan de Chezet, “Two poems by Luanne Gauvreau,” fiction by Stan Rogal, “Three poems by Sandra Nicholls,” “Chopsticks for a Canadian Tongue,” an essay by Peter van Toorn. Photographs of the new Gallery 101 by Tony Fouhse. Book reviews by Frank Smith, Ben Jones, Marc Arellano and Stephen Brockwell.

Volume 1, No. 4: Fall 1988 (unreleased). Editor: Stephen Brockwell. Associate Editor: Frank Smith. Assistant Editor: Marc Arellano. Editorial Staff: Alan deCezet, Luanne Gauvreau. “The Rise and Fall of Pre-Columbian North America, fiction by Colin Morton,” “Ducks on the River, poetry by Jennifer Footman,” “Old Love (sunroom), poetry by Anne Walker,” “Crickets, poetry by Laurie Fournier,” “Sonnet 98, poetry by Grant Savage,” “Last Stand at the Dixie Pig, fiction by Denise Marois,” “Badlands and Rose Hip Jam, poetry by John Barton,” “Ghost Town and Burnt Island Lake, poetry by Laurence Hutchman,” “Ellipses, fiction by Sandra Nicholls.” Visual art by Lisa Kaitell. Book reviews by Luanne Gauvreau, Heather Ferguson, Marc Arellano, Stephen Brockwell and Frank Smith.

Profile on Monty Reid, with a few questions, at Open Book: Ontario,

My profile of Ottawa poet Monty Reid, anticipating his Meditatio Placentae (Brick Books, 2016) [launching this week in Ottawa via The TREE Reading Series], is now online at Open Book: Ontario.

I'm reading at The TREE Reading Series tonight!

Apparently Sina Queyras had to cancel last minute, so I'll be filling in at tonight's TREE Reading Series, alongside Betsy Struthers. See the original listing here.

I'll most likely be reading from recent works-in-progress, leaving my January reading at Max Middle's AB Series as a book launch.

TONIGHT! 8pm. Open set and featured readers.

You should totally come.

my profile of The TREE Reading Series, Ottawa is now up at open book: ontario

My profile of Rod Pederson and The TREE Reading Series, an Ottawa institution since 1980, is now up at Open Book: Ontario.

Jason Camlot, The Debaucher

There has been renewed talk over the past decade or more in Canadian poetry about the sonnet, but unfortunately, those who do most of the talking tend to be the ones who are simply rewriting the same tired old forms. I’d rather talk about the ones that have brought new and fresh energy into the sonnet, including David McGimpsey, the late Robert Allen, Stephen Brockwell, Peter Norman (his collaborative essay on the sonnet with Brockwell in the form of fourteen sonnets in dialogue has to be seen to be believed) or Montreal poet, critic and musician Jason Camlot in his third poetry collection, The Debaucher (Toronto ON: Insomniac Press, 2008), on the heels of his Attention All Typewriters (Montreal QC: DC Books, 2005) and The Animal Library (Montreal QC: DC Books, 2000). Is there a reason, perhaps, that Zachariah Wells didn’t include Camlot’s work in his anthology of Canadian sonnets, Jailbreaks: 99 Canadian Sonnets (Bilbioasis, 2008) [see my review of such here]?

Since I have stuck my tongue…

Since I have stuck my tongue in your wet cup,
since I have felt my head between your hands,
since I have sniffed the perfume of your glands,
released into your bloodstream, out your duct,

since I have sniffed the sweet breath of your soul,
since I have sought it, buried in shadows,
since I have loved you as Vincent van Gogh
yearned to love that “model,” Rachel, with his whole

being, so much so he put his own ear
into her hand and said, “Keep this object
carefully.” Since I know you don’t object
to engaging in nightly, oral prayer,

I can tell Time, with his dire ashen cup,
what to do with it, where to shove it up.

After Victor Hugo’s “Puisque j’ai mis ma lèvre”

In The Debaucher, Camlot works his sonnets and understands the workings of the form enough to twist. He knows his history, revels in it, but also responds with a bawdy touch, a nod and even the occasional bad joke infused to make these poems more than they otherwise would have been. Camlot exists in the context of a Montreal poetry that includes Irving Layton, Todd Swift, Robert Allen, David McGimpsey, Jon Paul Fiorentino and Peter Van Toorn, wrapping himself up in his blend of influence, classic relation and cultural knowledge, even referencing Beatles lyrics, Jimi Hendrix and Cote St. Luc. Still, not all of the poems here work, and when he moves further away from the sonnet into other forms, the book slips a bit, lags; but the strength of some of these sonnets more than make up for it.

I am writing because I can

I write because I miss knowing you’re here.
I miss your wisdom and debauchery—
the way you liked to redraw the frontier
to suit your purpose, or just to be contrary.

I write because I don’t know you’re not here.
I know it, sure, but I don’t really know
what I know. I expect you to appear
at the threshold of a tabagie in the plateau

and explain what it means that you’re not here.
Explain your protest against the heat death
of your universe, explain in severe
terms the flavours of the waters of Lethe.

I write because some things can’t be buried.
I miss your wisdom and debauchery.

[Jason Camlot reads at the TREE Reading Series in Ottawa on April 14]

Come join in Tree's annual Midsummer Night revelries on Tuesday, July 24, 2007. Ottawa poet, author, essayist, and publisher, rob mclennan will graciously guest-host this special open-set evening of poetry and prose.

Tree Readings are every second and fourth Tuesday of the month at the Royal Oak II Pub at 161 Laurier Avenue East in Sandy Hill. Open-set commences at 8:00 p.m., with (every other reading but this one) featured reader to follow. Admission is free. For more information, please contact Dean Steadman at 749-3773 or
dean.steadman@treereadingseries.ca. The Tree Reading Series gratefully acknowledges the financial support of the City of Ottawa.