Ongoing notes: the ottawa small press book fair (part three, : Lillian Nećakov + LM Rochefort,

[Aoife's small press fair debut, selling copies of her books ; see part one here; see part two here] Be aware the next ottawa small press book fair is November 14 at Tom Brown Arena, yes? And the above/ground press thirty-third anniversary event, by the way, will be on August 22^nd at Anina’s Café in Vanier, which is pretty exciting. Have you caught this year’s above/ground press  anniversary sale? And don’t forget that myself and above/ground press will be attending the Fisher Library Small Press Fair in Toronto on September 19! Unfortunately, I’m unable to get to this year’s Meet the Presses event in November, but you should, if you are able.

Toronto ON/Grand Lake NB: The latest from Toronto poet Lillian Nećakov [see my review of her latest, a book-length collaboration with Gary Barwin, here], and further to russell carisse’s sider0xylon press, is the chapbook MARIA (2026), hand-produced in an edition of twenty-five copies. Set as a collection of extended prose-pieces, Nećakov’s endless, surrealist, chapbook-length epistolary prose-sentence exists as a rush, presented by a nameless narrator to an unseen, unknown “Maria,” writing a mad push, and both the typesetting and ink smell provide even further an association with the work of jwcurry. A curious, delightful and even slightly disturbing text. Is there a curry echo here, purposefully? As the chapbook ends:

Maria thank you I’ll pull out your teeth not just for the fold I’m a man with a gun Maria my hands are shaking for you there’s a truck out back it’s goddamn heaven I tell you my skull is this big with the commandments I said it on the tv thank you I’m wearing it Maria everyday like a leash.

[russell carisse] 

Ottawa ON: LM Rochefort has been such a fixture in the Ottawa poetry/literary scene for so long, attending readings and workshops, including reading and publishing her own work, that it is a bit surprising to see that only now are we seeing her chapbook-length debut (although already in a second printing), Living with the Animals (Pinhole Poetry, 2026). There is always something clean and precise about Rochefort’s lyric, a descriptive and exacting density, one that provides not only a narrative patter but one thick with imagery and detailed attention.

Schoolyard Moose

A moose’s antlers rise above the chain-link fence
Pale orange and yellow leaves echo tree’s underbelly 

Children dawdle, huddle, peek at treasures in closed fists
A few remaining flowers scream this space is still a garden 

Buckskin shade imitates pale yellow chrysanthemums
Even moose know the colour of slighted love 

Morning ruckus stilled by a shot of anesthetic
The beast lolls in the back of a red pick-up 

Cold rain drips gloss on the painted world
At the day’s fallen washed clean

 

[post-fair hijinks] 

new from above/ground press: Cahill, Earl, Cavaleri, Niespodziany, Comay/Fagan, Birchard, Chernoff, la Rocque, carisse, Hill, Nećakov, Siklosi + Bjerg/Jung,

BAD TEMPOR, Jimmy T Cahill $6 ; SOCIALLY AWKWARD GHOST, Amanda Earl $6 ; Studies, Micah Anthony Cavaleri $6 ; The Man, a sequence of foolish men, Benjamin Niespodziany $6 ; The Sun Will Bleach It Away, Rebecca Comay / Cary Fagan $6 ; DIDIKUY, Guy Birchard $6 ; SLOPTIMISM of the WILL, MLA Chernoff $6 ; Circling the Black Sun, Lance La Rocque $6 ; That H uman E ffluence A nd P lastic, russell carisse $6 ; a nest, a burrow, a lea stone, Jeremy Luke Hill $6 ; The World is Beautiful, Lillian Nećakov $6 ; household: meadow, Kate Siklosi $6 ; eyesore, Johannes S.H. Bjerg and Charlotte Jung $6

published in Ottawa by above/ground press
October-November 2025
a/g subscribers receive a complimentary copy of each

And did you see my report on this past summer's above/ground press 32nd anniversary event?

To order, send cheques (add $2 for postage; in US, add $3; outside North America, add $7) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9. E-transfer or PayPal at at rob_mclennan (at) hotmail.com or the PayPal button (above). See the prior list of recent titles here, scroll down here to see a further list of various backlist titles, or click on any of the extensive list of names on the sidebar (many, many things are still in print).

keep an eye on the above/ground press blog for author interviews, new writing, reviews, upcoming readings and tons of other material; and you know above/ground press has a substack now? sign up (for free!) for announcements, and even new features! catch recent/forthcoming interviews with Guy Birchard, Jill Stengal, Lillian Nećakov, Cary Fagan, Renée Sarojini Saklikar, Ken Norris, Michael Sikkema, Ben Ladouceur, Nathanael O'Reilly, Micah Ballard, Lydia Unsworth, Amanda Earl, Buck Downs, russell carisse etc.

With forthcoming chapbooks by: Glenn Bach, Travis Sharp, Sonja Greckol, Frances Cannon, Stuart Ross and Jason Camlot, David Gaffney, Kevin Spenst, Jill Stengel, Mrityunjay Mohan, Buck Downs, Salem Paige, Robert van Vliet, David Phillips and probably others! (yes: others,

AND 2026 SUBSCRIPTIONS ARE NOW AVAILABLE (but you probably already know that,

Gary Barwin and Lillian Nećakov, DUCK EATS YEAST, QUACKS, EXPLODES; MAN LOSES EYE: A Poem

 

1.

we fly but have not yet arrived
a suspended moment
the possible one
of the provinces of truth
it’s delightful

what you say, you say as a duck
you can say nothing outside of this
let us now consider the other eye

Gary Barwin and Lillian Nećakov’s collaborative DUCK EATS YEAST, QUACKS, EXPLODES; MAN LOSES EYE: A Poem (Toronto ON: Guernica Editions, 2023), is a project that takes its prompt from a story that ran through American newspapers across January, 1910, about Des Moines, Iowa’s Silas Perkins, who was said to have lost the sight in one eye after his prize-winning duck, Rhadamanthus (named for the wise demigod king of Crete from Greek mythology), ate a plate of yeast and exploded (a check on Snopes suggests that this story might be apocryphal). Through one hundred and forty-four sequentially-numbered poem-sections, Hamilton writer, poet and composer Barwin and Toronto poet and editor Nećakov, friends who first began to interact through a small group of self-declared surrealist poets in Toronto during the 1980s, playfully pull and extend their narrative thread from that singular headline. They compose a collaborative riff of quick movement and verbal gymnastics, akin to a variation on Fred Wah’s suggestion of “drunken tai chi,” allowing their individual writing skills to articulate what is so clearly a gleefully-extended wordplay through and against dark humour, narrative expectation and strains of surrealism. This poem is very much a playful exploration via a kind of ongoingness, working to see where the poem might go next and how far, seemingly less concerned with where it might end up. “something happened in Des Moines involving a duck,” part 11 writes, “some yeast, a man / his eye // it’s still happening [.]” The poem exists in the present, allowing the story of a century past remain as a kind of fixed point. Or, as they write, further on:

91.

we are always laughing with
or for the dead
the burden livewires must bear

the body begins to multiply
a bag of laugh explosions
illuminate the wound

I’m fascinated with how Barwin has seemingly been working a multitude of simultaneous directions over the past few years, from producing award-nominated novels to visual poetry, musical composition, poetry collections [see my review of his latest here] and a slew of collaborative efforts, a thread in his work that has really ramped up over the past half-decade, including his full-length collaboration with Gregory Betts, The Fabulous Op (Ireland: Beir Bua Press, 2022) [see my review of such here] and a second full-length collaboration with Tom Prime, Bird Arsonist (Vancouver BC: New Star Books, 2022) [see my review of such here], as well as multiple chapbook-length collaborations with writers such as Amanda Earl and myself. How does he manage to keep track? jwcurry once offered that bpNichol was a great writer not purely based on what he accomplished with his work, but that he was willing to fail, which provided such further possibilities in his writing, and this kind of fearlessness is something that Barwin’s work employs as well. For her part, I’m less aware of Nećakov’s collaborative works [see my review of her latest collection here], although I know she’s worked a number of smaller, self-contained works for years, and a quick Google search provides that a further book-length collaboration she did with Scott Ferry and Lauren Scharhag, titled Midnight Glossolalia, appears later this year with Meat For Tea Press.

And, of course, the final poem in the collection does acknowledge their extended play on ongoingness, an echo of Robert Kroetsch’s poetics of perpetual delay, perhaps, or even the “say yes” structure of improv, offering: “to being and begin and begin / in the middle of a sentence / after the final yes / of yesness [.]” A few poems prior, number one hundred and thirty-seven, they write:

my grandfather’s town so small
if you said its name
as you walked in
you’d have walked out
before you’d finished

Mark Twain said
those who are inclined to worry
have the widest selection in history

if the rich could hire
other people to die for them
the poor could make
a wonderful living

Ongoing notes: early January 2023: Lillian Nećakov + Miranda Mellis

The first notes of the new year! There are so many notes. And did you see my report of our recent holiday gathering via The Peter F Yacht Club? Or the next event on our calendar, a Covid-era memorial of the poets we've lost? 

Hamilton/Toronto ON: Thanks to a package a while back from Gary Barwin, I’ve been going through Toronto poet Lillian Nećakov’s chapbook The Smallest Fence Between Us is Breath (serif of nottingham, 2022) [see my review of her most recent full-length collection here], a short assemblage of sixteen first-person prose poem observations and meditations on dailyness, with a shimmer of surrealism. “Remember when I wrote 1,000 times about those birds.” she writes, to begin the opening poem, “Myrna Loy,” “I thought I was building / you a lighthouse but you were mesmerized by the slow drag of darkening shoals / and inlets. And after an entire year of chirping I let go the voodoo, the inkwell, / your sulphur hair. I let the quicksand pull you into her muscly embrace as if it was / nothing more than a dream.” Nećakov’s sentence-stanzas appear to be constructed as singular breath-thoughts, each of which accumulate into something far larger, such as the seven standalone sentence-stanzas of “Magic Plants,” the first three of which read:

There is a ring of laughter around our street, day moves clockwise into evening, the empire settles like a déntente over drowsy dogs and magic plants.

Soon my daughter’s watermarked voice adorns the room with divine secrets and the golden filaments of threadbare languages.

Table abloom with cards of diligence and fortune, she leans down, presses her hand against the dog’s soft underbelly, there is a tiny village, here, filled with Slavic jazz operas and your mother, counting on you to remember.

In other poems, stanzas might include more than one sentence, yet she still employs the stanza itself as her breath-thought, something complete unto itself, a brick to set atop another to construct the larger narrative of each prose poem. Each break between stanzas, perhaps, a chance to catch breath. I’m really enjoying the shifts in her writing through these prose pieces, and am curious to see if and how a potential full-length collection of such pieces might emerge. And doesn’t she have a full-length collaboration with Gary Barwin out later this spring with Guernica Editions?

Charlottesville VA: The latest from Brian Teare’s Albion Books is The Revolutionary (2022) by American poet,writer and philosopher Miranda Mellis, produced as the third title in Albion Books’ series eight. The author of numerous titles [see her ’12 or 20 questions’ interview here], the only title of hers I’d seen prior is the extended sequence of numbered bursts of lyric philosophy, DEMYSTIFICATIONS (New York NY: Solid Objects, 2021) [see my review of such here]. The Revolutionary is built as an extended lyric memoir on and around grief that explores the effects and implications of being raised by revolutionaries, politics and childhood grief, and the Covid-era death of a father lost years before. There is such tenderness and care through Mellis’ lyric mode, one that sweeps with more openness than perhaps straighter prose might have allowed. “A school for the living by the dying: this is what it is; this is how it happens;” she writes, mid-way through the collection, “from the terminal diagnosis to the cessation of food and drink. From the wet rattling breath, to the liminality of the incommunicado, warm heart still beating, short fast breaths pulling the body up and down on the death bed.”

They were revolutionaries. How do revolutionaries raise children? We were raised not to expect or need too much, not to think of ourselves as special, to do our share of the work, to oppose exploitation and state violence. We were raised to understand police terror, to be angry, to be frustrated, to be shocked, to be outraged, to be militant, relentless, engaged, committed, to be freedom fighters.

What makes a person a revolutionary? What makes them, like Sophocles’ Antigone, volunteer for grief? What gives them the power to act, in the name of revolution, for revolution? What is it that calls a person to try to end not just their personal suffering, but all suffering?

We were not raised to be patient with sadness, sorrow, grief. Sadness, sorrow, and grief were to be gotten rid of in order to return to the fight. “Don’t mourn, organize.”

Touch the Donkey supplement: new interviews with Hunter, Nećakov, Logan, Thomas, Brandt + Buuck, (and 8th anniversary subscription sale!

Anticipating the release later next week of the thirty-third of Touch the Donkey [a small poetry journal], why not check out the interviews that have appeared over the past few weeks with contributors to the thirty-second issue: Carrie Hunter, Lillian Nećakov, Nate Logan, Hugh Thomas, Emily Brandt and David Buuck.

And did you hear about our 8th anniversary (subscription) sale, running throughout the month of April (and featuring the above/ground press backlist)?

Interviews with contributors to the first thirty-two issues (more than two hundred interviews to date) remain online, including: Jessi MacEachern, Sue Bracken, Melissa Eleftherion, Valerie Witte, Brandon Brown, Yoyo Comay, Stephen Brockwell, Jack Jung, Amanda Auerbach, IAN MARTIN, Paige Carabello, Emma Tilley, Dana Teen Lomax, Cat Tyc, Michael Turner, Sarah Alcaide-Escue, Colby Clair Stolson, Tom Prime, Bill Carty, Christina Vega-Westhoff, Robert Hogg, Simina Banu, MLA Chernoff, Geoffrey Olsen, Douglas Barbour, Hamish Ballantyne, JoAnna Novak, Allyson Paty, Lisa Fishman, Kate Feld, Isabel Sobral Campos, Jay MillAr, Lisa Samuels, Prathna Lor, George Bowering, natalie hanna, Jill Magi, Amelia Does, Orchid Tierney, katie o’brien, Lily Brown, Tessa Bolsover, émilie kneifel, Hasan Namir, Khashayar Mohammadi, Naomi Cohn, Tom Snarsky, Guy Birchard, Mark Cunningham, Lydia Unsworth, Zane Koss, Nicole Raziya Fong, Ben Robinson, Asher Ghaffar, Clara Daneri, Ava Hofmann, Robert R. Thurman, Alyse Knorr, Denise Newman, Shelly Harder, Franco Cortese, Dale Tracy, Biswamit Dwibedy, Emily Izsak, Aja Couchois Duncan, José Felipe Alvergue, Conyer Clayton, Roxanna Bennett, Julia Drescher, Michael Cavuto, Michael Sikkema, Bronwen Tate, Emilia Nielsen, Hailey Higdon, Trish Salah, Adam Strauss, Katy Lederer, Taryn Hubbard, Michael Boughn, David Dowker, Marie Larson, Lauren Haldeman, Kate Siklosi, robert majzels, Michael Robins, Rae Armantrout, Stephanie Strickland, Ken Hunt, Rob Manery, Ryan Eckes, Stephen Cain, Dani Spinosa, Samuel Ace, Howie Good, Rusty Morrison, Allison Cardon, Jon Boisvert, Laura Theobald, Suzanne Wise, Sean Braune, Dale Smith, Valerie Coulton, Phil Hall, Sarah MacDonell, Janet Kaplan, Kyle Flemmer, Julia Polyck-O’Neill, A.M. O’Malley, Catriona Strang, Anthony Etherin, Claire Lacey ,Sacha Archer, Michael e. Casteels, Harold Abramowitz, Cindy Savett, Tessy Ward, Christine Stewart, David James Miller, Jonathan Ball, Cody-Rose Clevidence, mwpm, Andrew McEwan, Brynne Rebele-Henry, Joseph Mosconi, Douglas Barbour and Sheila Murphy, Oliver Cusimano, Sue Landers, Marthe Reed, Colin Smith, Nathaniel G. Moore, David Buuck, Kate Greenstreet, Kate Hargreaves, Shazia Hafiz Ramji, Erín Moure, Sarah Swan, Buck Downs, Kemeny Babineau, Ryan Murphy, Norma Cole, Lea Graham, kevin mcpherson eckhoff, Oana Avasilichioaei, Meredith Quartermain, Amanda Earl, Luke Kennard, Shane Rhodes, Renée Sarojini Saklikar, Sarah Cook, François Turcot, Gregory Betts, Eric Schmaltz, Paul Zits, Laura Sims, Stephen Collis, Mary Kasimor, Billy Mavreas, damian lopes, Pete Smith, Sonnet L’Abbé, Katie L. Price, a rawlings, Suzanne Zelazo, Helen Hajnoczky, Kathryn MacLeod, Shannon Maguire, Sarah Mangold, Amish Trivedi, Lola Lemire Tostevin, Aaron Tucker, Kayla Czaga, Jason Christie, Jennifer Kronovet, Jordan Abel, Deborah Poe, Edward Smallfield, ryan fitzpatrick, Elizabeth Robinson, nathan dueck, Paige Taggart, Christine McNair, Stan Rogal, Jessica Smith, Nikki Sheppy, Kirsten Kaschock, Lise Downe, Lisa Jarnot, Chris Turnbull, Gary Barwin, Susan Briante, derek beaulieu, Megan Kaminski, Roland Prevost, Emily Ursuliak, j/j hastain, Catherine Wagner, Susanne Dyckman, Susan Holbrook, Julie Carr, David Peter Clark, Pearl Pirie, Eric Baus, Pattie McCarthy, Camille Martin and Gil McElroy.

The forthcoming thirty-third issue features new writing by: Howie Good, Jérôme Melançon, Genevieve Kaplan, Cecilia Stuart, ryan fitzpatrick, Benjamin Niespodziany, Maw Shein Win, Margo LaPierre, Sarah Pinder and Michael Boughn.

And of course, copies of the first thirty-two issues are still very much available. Why not subscribe? Included, as well, as part of the above/ground press 2022 subscriptions! We even have our own Facebook group. It’s remarkably easy.

Surrealist Poets Gardening Assoc. (1984-1993): an interview with Lillian Nećakov, and bibliography

this interview was conducted over email in June 2021 as part of a project to document literary publishing. see my bibliography-in-progress of Canadian literary publications, past and present here

Lillian Nećakov is the author of six books of poetry, numerous chapbooks, broadsides and leaflets. Her new book il virus was published in April 2021 by Anvil Press (A Feed Dog Book). In 2016, her chapbook The Lake Contains an Emergency Room was shortlisted for bpNichol chapbook award. During the 1980s she ran a micro press called “The Surrealist Poets Gardening Assoc.” and sold her books on Toronto’s Yonge Street. She ran the Boneshaker Reading series in Toronto from 2010-2020.

Q: How did the Surrealist Poets Gardening Assoc. first begin?

A: I blame Stuart Ross! I started SPGA in 1984 at our kitchen table at 42 Maitland Street. Stuart and I were living together at the time, he had already started Proper Tales Press and was selling his books on Yonge Street.

We were part of a circle of writers that included small press publishers, Gesture Press [Nicholas Power], The Front Press [Jim Smith] and Curvd H&z [jwcurry]. I was buoyed by their enthusiasm and dedication. It was a really exciting and creative period of my life.

It was relatively cheap and easy to make books and send them out into the world. The whole process was completely hands on and I loved everything about it. I had already been writing and creating collage for a few years and this seemed to be a logical extension of that. There were many nights spent at that kitchen table on Maitland Street, collating, stapling, chewing the fat and dreaming up new projects.

Q: Where did the name Surrealist Poets Gardening Assoc. come from?

A: Again, I blame Stuart! I think it was 1979, Stuart had a package delivered to me (from the Italian Neo-Dada artist Cavellini), it was addressed “Lillian Necakov, Surrealist Poets Gardening Assoc.” Later, when I was thinking of starting my own small press, I thought that would be the perfect name. It proved to be a whole heap of fun too. I used to get mail from various horticultural groups and gardening societies, inviting me to conferences and retreats. I really don’t know what they thought I was growing! Bet, they didn’t think it was poetry!

Q: How were the first publications put together? Were you soliciting work, or did you put out a call? How was work gathered?

A: Mostly, I solicited work from writers and artists who I knew or knew of and whose work I admired. Remember, these were the pre-internet days. There were no cell phones, no email, everything was done in-person, by word of mouth or through post. l solicited work for Elvis Car (the collage magazine) from artists like Cavellini, who lived in Italy and Steve Byram, who lives in the U.S. Those queries had to be sent by post, and it took a while. It was a labor of love.

Q: What were the print runs for these publications? How were they distributed, and what kind of responses were you receiving?

A: Print runs were anywhere from 100-300 maximum, depending on the publication and materials used. For example, The Schwarzenegger Poems by Jim Smith had a clear acetate cover, so that was a bit more expensive to produce, that book had a print run of 200.

The publications were distributed on a local community level, at readings, get togethers, word of mouth and through Charlie Huisken and Dan Bazuin’s incredible independent bookstore This Ain’t the Rosedale Library. Charlie and Dan were great supporters of small press and local writers and artists.

For a while I joined fellow writers Crad Kilodney, Stuart Ross, Mark Laba, and Michael Boyce and sold my own books on Yonge Street. It was a great way to get books into the hands of people who didn’t read poetry or who didn’t have access to the world of small press. But it could also be crazy dangerous and weird. There certainly were moments....

And of course, there was the Toronto Small Press Book Fair, which was co-founded by Nicholas Power and Stuart Ross in 1987. That was the mecca of small press, a great place to buy and sell books, meet writers, artists, readers and spend all your money. That was the place I really got feedback from people about SPGA and it was really positive. I sold a bunch of books and magazines and people seemed genuinely excited about the press and the writers and artists I was publishing.

Q: How did the collage journal Elvis Car originate?

A: I have been creating collage since I was a young teen, always loved it. Some early influences include Hannah Höch, Kurt Schwitters and Raoul Hausmann.

When I started the Surrealist Poets Gardening Assoc. in 1984, there were no small press publications dedicated solely to collage (in Toronto) that I knew of. I wanted to create a space for collage artists to showcase their work. I wish I had had the means to produce the magazine in full colour, and I regret not producing more issues.

Q: What held you back from producing more?

A: Honestly, I didn’t think that producing the magazine in black and white did the work justice. The original collages were so much more rich and nuanced and I wasn't happy with the outcome in black and white. Producing a full colour magazine, back then, was just too expensive.

Elvis Car no. 113 was produced in full colour, but I was only able to put out 25 copies of that issue and it was physically much smaller than the first issue (1/4 the size). It just wasn’t sustainable.

Q: Is this why you began moving into producing chapbooks?

A: Mostly, yes. I was still really excited about publishing and putting out books. I find so much pleasure in making things. Those early chapbooks were typeset, then the copy was pasted down on paper, assembled into a “mock” book, then taken to the copy shop. After that, you had to assemble each copy of the book, fold and staple each one and then you had your finished chapbook. I mean, you know how much goes into producing chapbooks. I loved the entire process from start to finish.

Q: How were those first titles received? What did you learn through the process of book-making, and becoming both published author and publisher?

A: Within the small press community, the books were really well received. They were affordable, alternative, collectable, a welcome change from mainstream publishing. For those very same reasons, people outside of the small press literary community didn’t know what to make of these chapbooks. I was often told, “but, that's not a real book”. It didn’t fit into their concept of what books were supposed to look or feel like, these were not the kinds of books they were used to seeing at their local Coles bookstore. I would say, “but they are real books, they even have an ISBN and everything”, at that point they would shut up because they had no idea what that meant.

I quickly learned that my love of writing and making books was completely separate from distribution. It was easy – well relatively easy – to write and be a small press publisher, but when it came to getting books to the “masses”, that was another story. It seems that only poets read poetry. It was nearly impossible to get the books reviewed outside of a few small press magazines.

Q: Did taking control of production shift the ways in which you saw your own work?

A: Not so much the way I saw my work, rather the opportunities I saw. If SPGA and other small press publishers were willing to take risks, my writing could find a place outside the mainstream. I have always written against the confines of the audience, I never think about what will appeal to the reader or the publisher when writing. I go off on all kinds of tangents, I have fun, I write first and foremost for myself. Maybe that’s selfish or arrogant, I don’t know, I just know that I have to be as honest and authentic as possible.

Q: Given the occasional aspect of the press, how did titles emerge? Were you approaching writers, or were they approaching you?

A: I approached writers.

Q: I get the sense from your bibliography that the press ran on a case-by-case basis, focusing on and producing one item at a time, with often months or even years in-between. What prompts you to approach someone for a manuscript?

A: What prompted me to approach writers for manuscripts was always their work. If I connected to the writing and was excited about publishing it, I would go for it. To be clear, SPGA hasn’t been publishing for quite some time now.

There were major changes in my personal life in 1989 and I was out of the loop, so to speak, for several years after that. I was focusing my energies on other things, and then, I decided to focus on my own writing. So the last book SPGA published was Richard Huttel’s The Be Seeing You Variations in 1993.

I sometimes think about resurrecting the press, but I think there is a time and place for everything. I think I might just stick to being a surrealist poet who gardens.

 

Surrealist Poets Gardening Association bibliography:

Elvis Car #1: Collage Magazine. 1984. collages by: Bill Bissett, Stephen Byram (NYC), Guglielmo Achille Cavellini Brescia (Italy), Mark Laba, Ward Maxwell, Lillian Nećakov, Jim Smith and Steve Venright.

Lillian Nećakov, A Cowboy in Hamburg. 1985

Brian Dedora, A Table of Contents. 1985.

Kevin Connolly, Wither,. 1985.

Jim Smith, The Schwarzenneger Poems. 1988.

3 postcards (collages by Lillian Nećakov). 1989.

Elvis Car no. 113: Spring 1988. collages by: Lillian Nećakov

Clint Burnham, the and that cane forgot. 1991.

Richard Huttel, The Be Seeing You Variations. 1993.

Forty Proper Tales : celebrating 40 years of Stuart Ross' Proper Tales Press

In case you haven’t seen, I’ve been curating the Forty Proper Tales blog, posting essays celebrating the fortieth anniversary of Stuart Ross’ Proper Tales Press, founded way back in 1979! So far, the blog includes celebratory essays by a variety of friends (all of whom have also been Proper Tales Press authors), including Clint Burnham, Dale Tracy, Derek Beaulieu, Gary Barwin, Hugh Thomas, Jason Heroux, John M. Bennett, Lillian Necakov, Mark Laba, Michael Boyce and Michael Dennis. With more to come!