Titles

Fall 2018:

 

The Plot by David Bradford

 

To investigate the narratology of overlapping forms and instances of ongoing intergenerational trauma—a believably endless weave of aftermaths—to deal in that with any kind of honesty is to bow to a necessary circuitousness. In The Plot, the outcomes of the matter are, in a literal but subtle sense, fated, subject to the physical properties of bad memories. Like a fabric, they bind, wipe, cover up. Warping, ripping, surged to, and rubbed raw against their counterparts. The family’s archival patchwork. The best they’ve got. Which, The Plot begins to lay out, inevitably takes precedent over what is lost.

 

 

 

 

 

 

David Bradford is an interdisciplinary poet and the author of Nell Zink Is Damn Free (Blank Cheque Press, 2017), Call Out (knife | fork | book, 2017), and The Plot, from House House Press. His poetry has appeared in, among others, Prairie Fire, Vallum, Poetry Is Dead, The Capilano Review, and The Unpublished City (Book*hug, 2017), a 2018 Toronto Book Awards finalist. Currently at work on Skin Folk, a black incursion into modern pastoral modes, David is currently based in Verdun, Quebec, on the traditional unceded territory of the Kanien’kehá:ka Nation.

 

 

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feral by assiyah jamilla

 

Is ferality what remains when we are stripped of everything but need? Yielding to negotiations of trauma and longing, feral explores how it is in our most desperate moments that we are most like animals. In the wake of the many wars waged against the body, the infinite violence of necessity and desire is put upon us, eaten again and again, until we become our basic needs. assiyah jamilla plays out the trap of our dying world, of the love we feel and fear, of german engineering, as the place where our eyes turn inward and we cease to recognize ourselves. In this post-apocalypse, we are only left with relation and the potential for survival.

 

assiyah jamilla is a multidisciplinary artist of west african descent. She was born and raised on Skwxwú7mesh land and is currently based in Kanien’kehà:ka territory. Unattached to any specificity in form, medium, or matter, her work is never singular. With her emphasis on kinaesthetic memory and longing, inter-generational trauma as inherited violence, and the body as a geographical site, she engages their duplicities through ritual, compulsion, and sound.

 

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Reading Practice for Rust and Holograms by Nadia Chaney

 

 

Nadia Chaney’s Reading Practice for Rust and Holograms is a record of reading and thinking. The cento came first, sculptural and magnetic. They lingered as honourable tiny spines on the coffee table for many months until Nadia realized they could withstand some pressure. First interrogating pronouns, then landscapes, then characters and finally actions, Reading Practice is the result of pressing the poems to tell their stories.

 

 

At the core of Nadia’s weird history of making and performance is community art and the belief that imagination is a birthright not only for humans but for every aspect of our world(s) and cosmos. Her current exuberance is focused on the agential possibilities of non-linear time in conflict resolution processes.

 

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