LYFE IN A BOTTLE TREE BOTTLE by sidony o’neal
LYFE IN A BOTTLE TREE BOTTLE is an applied introduction to the child object–a type of math object defined by its non-specific inheritance and durability.
Automatic Object Lessons by Helen Chau Bradley
Automatic Object Lessons is a collection of collaged fragments, gathered and scrambled from the app-generated phrases of an online language-learning program. The resulting poems expose the insidious and oppressive nature of social norms and the mundane language that maintains them, through repetition, juxtaposition, and an obsessive fixation on the moods of household objects.
Helen Chau Bradley is a writer, musician, and arts administrator living in Tio’tia:ke / Montreal. Their work has appeared in carte blanche, Cosmonauts Avenue, Entropy Magazine, Maisonneuve Magazine, Ricepaper Magazine, and elsewhere. Personal Attention Roleplay, a collection of short fiction is forthcoming from Metonymy Press in Fall 2021. Find their book reviews at @notesofacrocodile on Instagram.
Liquidity by Erin Robinsong
Liquidity is a study in wetness and planetary currencies. Metaphysical and sexy, these poems move through the body, the nervous system, oceanic lives, drool through dryness and cry into the sea. Here the isolated self bursts its banks into the enmeshed, hallucinatory ordinary world. How to say it straight / what turns around / into a swan, a pulse / leaking all over the floor / dissolving in it / The wound gets healed / The wound gets healed / O moon.
Erin Robinsong is a poet and interdisciplinary artist working with ecological imagination. Her debut collection of poetry, Rag Cosmology (Bookhug), won the 2017 A.M. Klein Prize for Poetry, and Liquidity, a chapbook, is forthcoming with House House Press. Collaborative performance works with Andréa de Keijzer and Hanna Sybille Müller include This ritual is not an accident (2016); Facing away from that which is coming (2017); and Polymorphic Microbe Bodies (2020). Originally from Cortes Island, Erin lives in Montréal.
Green Lines by Stacey Ho
The two texts in Green Lines stem from Stacey Ho’s ongoing preoccupation with math and plants. “Anti-Invasion Ecologies” troubles colonial and anti-immigrant metaphors used to describe so-called weeds, while the lines of Cantor and Spinoza converge into a conversation about friendship in “How to Draw a Line.” Though these topics may seem incongruous and their approach peripatetic, these texts are connected by a continuous green line, an avenue that calls upon resistance and responsibility as a means to move together.
Bio: Stacey Ho is a 90% chill 10% not artist who’s into community building, books, and being sort of boring. They recently finished writing a short novella about aliens, love and boundaries tentatively called George the Parasite. They live on the unceded Coast Salish territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səl̓ílwətaʔɬ peoples.
connaissance de la fugue: haibux by jes dolan
What does poetry grasp when it tries to grasp a period of fugue? That depends on what it tries to hold on to: the part of the fugue that means a state, a time of debility, or the part of the fugue that means fugitivity, an untracked movement; the part that is in the world, or the part that is the world. By adopting the haibun form to take up encounters with poverty, death, invisibility and survival, jes dolan suggests that this is not a question of parts, but of different intensities in the grip, the poetry, itself. The haibun too, by convention, is split—first comes the descriptive delirium of its prose, and then the wit, disjunction and evasiveness of its haiku. To play on the title of Bashō’s famous book of haibun, connaissance de la fugue allows dolan to recount a narrow road out of the interior, in tones hard and soft, broken and whole.
Bio: jes dolan is a queer, a writer, a performance artist & a front-line worker in one of montreal’s supervised injection sites.
how to be soft by Alize Zorlutuna
how to be soft is a collection of poems and images that look at ways in which power unfolds through intimacies that live in the body. Enlisting gestures of concealment, Alize Zorlutuna pairs poetry with images, some depicting ongoing performance project, others depicting alternative ways of working through the materiality of experience. The text and images move between withholding and inviting, reconfiguring agency in the process of telling.
Bio: Alize Zorlutuna is an artist, poet, experimental cook, curator, intersectional feminist, and committed pedagogue. Working across disciplines, she investigates issues concerning identity and power, settler-colonial relationships to land, culture and colonial violence, as well as intimacy with the more-than-human, and technology. Her practice is informed by a critical engagement with historical narratives and their present-day impacts. Drawing on archival, as well as practice-based research, the body and its sensorial capacities are central to her approach.
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.
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.
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.