Thursday, February 26, 2015
Shopping Cart Pastorals and a Nature Poem: my prose essay, photo essay, and poem now up at The Goose, the official publication of ALECC (Association for Literature, Environment, and Culture in Canada / Association pour la littérature, l'environnement et la culture au Canada).
View it here.
And an interview with me in the London Yodeller about my writer-in-residency in London, Ontario.
Tuesday, February 24, 2015
Friday, February 13, 2015
A colleague of mine who is a poet and and professor and researcher in ecology, Madhur Anand, invited several poets to engage with some of her scientific articles and create poetry. The article that I am exploring is this one about stream beetles. The idea is to create a poem based entirely on the text of the article. While I was exploring this idea, I ended up creating this visual based on a superimposition of some of the pages of the article.
Sunday, February 08, 2015
A video of my February 4th reading as featured reader at London Open Mic with a lovely introduction by Kevin Hyslop, a writer and student at Western University.
Wednesday, February 04, 2015
Jacqueline Valencia's perceptive and inspiring writing in AllLItup.ca about the many ears and eyes of poetry includes a discussion of several books, including my Moon Baboon Canoe (Mansfield Press, 2014.)
Saturday, January 31, 2015
I'm performing in New York at the AC Institute at a show entitled The Future is Here Again: Visual Language, curated by Nico Vassilakis and Holly Crawford. I created this video poem for the occasion using a sound piece based on archival samples of bpNichol performances and a series of visuals created from photographs of book pages. The first image riffs of an iconic image created by bpNichol entitled Blues.
In this piece, I was seeking to explore how the visual could be used as a rhythm element playing in polyphony with the music.
Monday, January 26, 2015
Delighted that my poem about Israel (and coffee cups) is now up at Hazlitt. Really, when I consider it, I believe that this is the most cogent and sensible statement of the situation in the Middle East that I've heard in a long time.
And thanks to editor Linda Besner for including it.
Sunday, January 25, 2015
I gave an interview about comedy, capitalism, Civilization, youth culture, social media and writing. This is in advance of my performance at the series, London Open Mic on Feburary 4th in London, Ontario.
I'm reading in New York. The last time I read there I had to wear a turkey hat. (It was the "Literary Death Match.") This time, I'm thrilled to be performing with Geof Huth, Erica Baum, and Richard Kostelanetz at what looks to be a fantastic exhibition of visual poetry, The Future is Here Again: Visual Language, curated by Nico Vassilakis and Holly Crawford. The performance is on February 5th in New York city.
I just got my copies of the Best Canadian Poetry of 2014, edited by Sonnet L'Abbé. Sonnet really drew on a wide and interesting range of work to include here and I'm very happy to be included. She chose a piece of mine from Ottawater, "3 Pastorals," a more-or-less visual/glyphic poem.
The Paper Street Journal wrote a review of Hugh Thomas, Craig Conley, and my Franzlations. Nice to hear about readings/readers of the book even a coupla years after it first appeared. Here's how Craig recorded it on his always amazing Abecedarian blog. And thanks James Puntillo for the review.
And there's this kinda hysterical review of a recent reading of mine in Toronto at the Plasticine Poetry series. Thanks, Christian Christian.
Sunday, January 11, 2015
Friday, January 09, 2015
The Kama Sutra of Words, Pwoermds, a forthcoming book, an interview, a Rusty Toque, audio turnips and a door
Four recent things.
1. An essay in which I write about poetry and the Kama Sutra of words, Geof Huth's one word "pwoermds," Aram Saroyan's third eye, and the limits of meaning. Also, bad word play.
Thanks Nico Vassilakis for curating this for Coldfront magazine.
The essay where I write about one word poems and visual poetry.
2. An interview with me about writing, creativity, cell division, and what I hope to write with Kathryn Mockler at The Rusty Toque.
3 One of my sound piecse based on archival performance recordings of the iconic Canadian poet bpNichol included in the excellent online audio journal Huellkurven. There's lots of great stuff in this issue, including work by Anat Pick and Kaie Kellough. Here's my turnips a door
4. The cover (see above) for my upcoming collection of short fiction, I, Dr. Greenblatt, Orthodontist, 251-1457 with Anvil Press.
Here's the details:
Monday, December 08, 2014
inside the gun
the absence of bullet
inside the bullet
the absence of my friend
my friend who runs into the bullet
while we enjoy this poem
by the end
I will convince you that
this poem did nothing
inside this poem
the absence of my friend
Thursday, December 04, 2014
Xexoxial 58 • Gary Barwin
the wild & unfathomable always
Here, language is a human/machine hybrid in the heavens, an optical organism floating between the stars. Letters are geometrically entangled, warped, contorted, highlighting frustrated embodiment and the way we bend or play with meaning. There is magic here, and illusion. There are creatures of mad science and silent comedy. Gary Barwin is a Pharoah of the new dynasty, building vispo monuments in the sky.
Compelling compositions that surround you between constellations, language and symbols in a simple but intense utopia. The wild & unfathomable always immerse you in a passionate work of shapes and spaces defined by clearly delimited structures, going beyond the essence. Fascinating. Unfathomable (in) all ways.
—Mara Patricia Hernandez
If you imagine, for a moment, that there is a world so solid and firm that you can understand every part of it, you are thinking of anything except these poems, which twist perception, textual meaning, and expectation into the shapes of balloon animals controlled by the optical illusion that is the gift of sight itself: We see only when that part of us that perceives the visual, that produces sight, is drowned by darkness. Only from within a pure darkness, can we accept the lift of sight. In this sequence of poems--part visual play, part letteral display, part meaning subsumed by vision--we see the contours of our understanding of the world without seeing the world itself, ever. We move into a parallel universe, where everything is recognizable but so recognizable that we recognize not a bit of it. This is language made dreamlike; we drink the wordlessnesses oh so pregnant with words.
Wednesday, November 26, 2014
Video of work from The Wild and Unfathomable Always (Xexoxial Editions) with music derived from the Comet 67P recorded by the Philae lander.
A setting of a short text (Limit to the Size of Night - for Amy Catanzano) using the audio from Comet 67P by the Philae Lander
Wednesday, October 29, 2014
I remember attending the premiere of Star Wars while in high school And I remember listening to Joseph Campbell talking (from George Lucas’ dazzlingly beautiful library at his ranch) about the mythic structure of the series. The Hero with a Thousand Faces, etc. And I’ve seen remarkable images by West Coast indigenous artist Andy Everson where he appropriates Star Wars’ imagery and patterns them with West Coast Native iconography/decoration, a really brilliant mash-up which speaks to colonialism, power, myth, our expectations and how cultures interact. There is another non-Native artist who has also—though to my eye—less successfully and less interestingly done the same thing.
I wondered what it would mean if I appropriated these images? My background is Jewish. The ‘iconography’ of my people would involve Hebrew calligraphy and perhaps a Hamsa (the hand with protects against the evil eye.) And there would be an extra frisson with the Star Wars imagery given that some of the Empire imagery is itself riffing off Nazi German iconography (as well as Japanese: cf. Darth Vader.)
And, of course, in the current geopolitical climate, it is hard not to consider this stormtrooper image in relation, not only to past Nazi militarism, but I think it does engage with images of Israeli force.
But I think the goal of art is to raise interesting questions, to problematize….but not to give any answers, particularly simple ones.
Saturday, October 25, 2014
|Yiddish pirate flag|
Fellow Hamilton writer Krista Foss tagged me (thanks!) in the venerable writers' process blog tour thing. I've actually done this once before but it was before the invention of electricity, the alphabet, and self-reflection and so I happily agreed to do it again—though I've taken a very long time since she tagged me, I think it had something to do with indolence, sloth, confusion, a whole bunch of writing projects, being the writer-in-residence at Western University this year which I enjoying tremendously, and, like I blame for everything, Facebook. D'you know that they sell your information to advertisers? D'you know that they own EVERYTHING you post? D'you know that…oh never mind…here's a few things about Krista:
This spring, she published her first novel, Smoke River (McClelland and Stewart). Here's what Lisa Moore had to say about it: "a morally complex, magnificently vivid novel full of characters who live and breathe. This is a dazzling debut.” Couldn't Lisa think of something nice to say? I mean, really.
Krista also tagged another excellent Hamilton writer, Sally Cooper. "She’s the author of two critically acclaimed novels, Love Object (2002) and Tell Everything (2008) as well as oodles of short fiction that has shown up everywhere from Grain and Event to Hamilton Arts and Letters. She recently finished her first collection of short stories, Ripple, and she is hard at work on novel number three, all while raising two high-octane youngsters and teaching at the Humber School for Writers and Humber College."
I'll have to figure out who to tag, but for the moment, here are my responses.
1) What are you working on?
Something that I enjoy about writing is that this question and its answer isn’t exactly clear to me. What is ‘what’ and what is ‘working on’? I feel like I exist in a swirl of emerging, inchoate, burgeoning, abortive, fragmentary, germinating, ageing, aphasic, wind-like, crumbling, swarming projects. Oh wait. That’s just my house.
But I do I engage with these writing project the way I engage with a solid wind. Or a fleeting brick. Or a half forgotten dog.
Which is to say, I have many writing things I’m thinking about, edging forward, editing, weeding or feeding, “dreaming of dreaming what they were dreaming,” as I say they say in Jewish mysticism in the novel I’m working on, Yiddish for Pirates. I find it productive to exist as if in a workshop full of things to tinker with.
Here’s some of the things scattered about there:
I just finished responding to the first round of edits for the pirate novel, sent by my brilliant and insightful editor, Amanda Lewis at Random House Canada. The book is coming out in 2016. I’m amazed that adding only a few lines to a 420-page book can hugely change the emotional physics of its world. Of course, if someone knocked on my door and said, succinctly, “You’re under arrest,” that might change my world, too. Eh, Josef K?
Going back into the world of that book was a bit challenging. It’s like that Borges story, where the modern French writer Pierre Menard attempts to channel Cervantes to come up with the exact words of Quixote as if for the first time. Now imagine if Menard attempted to channel Cervantes responding to his editor? Actually, I’d love to find out more about historical editors. Is there a record of editors assisting writers in early times?
I’ve a new fiction/prose poem collection coming out in spring 2015 with Anvil Press. I, Dr Greenblatt, Orthodontist, 251-1457 and I’ve been working on edits like a mad dental hygienist. Image floss. Grammar drills. Metaphor overbite. I’ve sent the edited MS to Brian Kaufman at Anvil. Soon, I expect his edits. After working on the novel, this collection seems very different. I think I learned many new skills in working intensely on the novel. Character, plot, and setting, for example. I’ve heard they can be quite effective elements in fiction. Cool. I’ll have to try that.
I’m also in the final stages (layout decisions) with mIEKAL aND of Xexoxial Editions for a new visual poetry collection, The Wild and Unfathomable Always. In visual poetry, the layout is the message. Or a significant part.
And last night, Gregory Betts and I met with Natalee Caple—we have an informal (and very secret) writing group—to talk about Natalee’s ongoing project, but also about a collaborative MS that Greg and I are working on.
And this morning, I added a couple paragraphs to a collaborative story that Christine Miscione and I are working on. It’s been a while—Christine has a novel coming out this season and I’ve been busy with other things—but it was good to move this bewildering story forward.
I’m also working on multimedia piece based on the sound poetry of bpNichol. I’m taking recordings of bp performing and integrating them into new music, sound poetry, text and visuals that I’m writing. I haven’t worked on a big music piece for a while and I’m thrilled to be rolling my twelve-tone sleeves up to my well-tempered elbows.
2) How does my work differ from others of its genre?
Hmm. I’ve been calling my novel a tragi-comic-bildungsroman-swashbuckling-metaphysical-satiric-post-colonial-linguistic Canadian Jewish pirate novel. I think it’s like all the others in its genre.
3) Why do I write what I do?
I write many kinds of things. I learn through exploring different kinds of work, by being attracted to different kinds of writing and different kinds of process, to wanting to ‘get in on the action’ that is inherent in different kinds of material and types of writing. (How is a novel different than a series of visual poems, or procedural work?) I feel like I’m always triangulating the ideal but then discovering that I find the corners of the triangle more interesting that the ideal that I thought I was aiming for.
How does your writing process work?
I don’t think that there is one process. Or even one ideal process. And my process varies even within a single short work. I think I am continually looking for ways to expand the range of techniques, procedures, habits, solutions or routines that go into my writing both individual and collaborative, and my work with editors. Which isn’t to say that I try not to fall back on the same salmagundi of ways to write. But trying out new forms, learning from other writers, and working with new collaborators and new material keeps things fresh as I fight against falling into the same neural runnels, or returning to the processual comfort foods only. I do trust the process in that I believe the process knows more than me, knows more than my conscious brain or the pleadings of my little immature heart which is always having some kind of writing tantrum. If I trust the process, trust the disorganized, inscrutable way that the writing might proceed, trust that if I pay attention, keep close to the work and keep at it, be open to radical revision, and try to be sensitive to what is emerging, what might emerge, even if it is very different than I expected, I often find myself engaged with much richer material. I might set out to catch some giant fish which I’ve head about, but then find myself immersed in a vast school of bioluminescent creatures which I don’t recognize and which amaze.
Tuesday, October 14, 2014
My book of visual poems, The Wild & Unfathomable Always is arriving soon as Xerolage issue 58 from mIEKAL aND's Xexoxial Editions.
Thanks to the brilliant poetry scholar, Alessandro Porco, I'll be reading at the University of North Carolina, Wilmington next month (Wednesday, November 19th.) He made this lovely poster for the event.
Friday, October 03, 2014
|'the tongue is not in exile' —Yiddish proverb|
Not just a "mother tongue," but a "mother script," my little essay on handwriting, scripts, and our default voices and ways of writing.
Thanks to rob mclennan for inviting me to contribute.