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LPG Sales Force Catalogue: Spring 2015

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  • 1
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    The Land We Are Artists and Writers Unsettle the Politics of Reconciliation Gabrielle Hill Canada, Sophie McCall
    9781894037631 Paperback ART / Art & Politics Publication Date:June 15, 2015
    $24.95 CAD 6.5 x 9.5 x 0.55 in | 500 gr | 240 pages Carton Quantity:28 Canadian Rights: Y ARP Books
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      The Land We Are is a stunning collection of writing and art that interrogates the current era of reconciliation in Canada. Using visual, poetic, and theoretical language, the contributors approach reconciliation as a problematic narrative about Indigenous-settler relations, but also as a site where conversations about a just future must occur. The result of a four-year collaboration between artists and scholars engaged in resurgence and decolonization, The Land We Are is a moving dialogue that blurs the boundaries between activism, research, and the arts.

      Contributors: Jordan Abel, Leah Decter, Jonathan Dewar, David Garneau, Ayumi Goto, Allison Hargreaves, Gabrielle L'Hirondelle Hill, Jaimie Isaac, David Jefferess, Layli Long Soldier, The New BC Indian Art and Welfare Society Collective, Sophie McCall, Peter Morin, Skeena Reece, Dylan Robinson, Sandra Semchuk, Adrian Stimson, Clement Yeh, and Keren Zaiontz.

      Bio

      Edited by Gabrielle L'Hirondelle Hill and Sophie McCall, the contributors to this book include leading artists and scholars engaged in questions of resurgence, restitution, and decolonization.



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      This beautifully produced, richly illustrated volume not only offers readers a visual journey into the featured artistic installations and performance pieces, but through its creative use of text and graphic design is itself an artistic statement on reconciliation.--Winnipeg Free Press

  • 2
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    Series: Semaphore
    Shopping Cart Pantheism Jeanne Randolph Canada
    9781894037617 Paperback PHILOSOPHY / Movements Publication Date:May 15, 2015
    $14.95 CAD 4.9 x 7 x 0.4 in | 140 gr | 136 pages Carton Quantity:88 Canadian Rights: Y ARP Books
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      Glorifying consumerism as the de facto religion of our time, Shopping Cart Pantheism offers a preposterous yet challenging invitation to participate in commodity worship. As our narrator meanders the Las Vegas Strip, its sites and monuments become examples of Christian sainthood, miracles, worship, and dogma now transformed into icons of consumerism. Satiric, witty, and deeply insightful, Shopping Cart Pantheism reveals the fraught beginnings of the twenty-first century's most pervasive neurosis.

      Bio

      Jeanne Randolph is one of Canada's foremost cultural theorists. She is the author of the influential book Psychoanalysis & Synchronized Swimming (1991) as well as Symbolization and Its Discontents (1997), Why Stoics Box (2003), and Ethics of Luxury (2007). Dr. Randolph is also known as an engaging lecturer and performance artist. In universities and galleries across Canada, England, Australia, and Spain, she has spoken on topics ranging from the aesthetics of Barbie to the philosophy of Wittgenstein.

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      Both perplexing and delightful, Jeanne Randolph's writing is rooted in eclectic research and a deeply fertile imagination... Funny, smart, and engaging, Randolph spins a kaleidoscope of vignettes of Vegas and intricately wrought meditations on materialist culture... Steeped in history, theology, and Freudian psychoanalysis, Shopping Cart Pantheism is intellectual but accessible, and a whole lot of fun.--Publishers Weekly

      A witty, genre-bending narrative that joyfully combines social satire, cultural criticism and off-beat humour. Think of A Modest Proposal narrated by a woman who visits Las Vegas armed only with "an active subconscious and lots of nap time."--Méira Cook

  • 3
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    9781771660907 Paperback FICTION / LGBT Publication Date:March 24, 2015
    $20.00 CAD 5.25 x 8 x 0.5 in | 250 gr | 192 pages Carton Quantity:1 Canadian Rights: Y Book*hug Press
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      Did she say, at the beginning, that it rained every day? She was wrong. She misspoke. She didn't mean it.... No. It did not rain every day. But it rained for a hundred days, that year, which was enough--more than enough, even.

      In prose by turn haunting and crystalline, Carellin Brooks' One Hundred Days of Rain enumerates an unnamed narrator's encounters with that most quotidian of subjects: rain. Mourning her recent disastrous breakup, the narrator must rebuild a life from the bottom up. As she wakes each day to encounter Vancouver's sky and city streets, the narrator notices that the rain, so apparently unchanging, is in fact kaleidoscopic. Her melancholic mood alike undergoes subtle variations that sometimes echo, sometimes contrast with her surroundings. Caught between the two poles of weather and mood, the narrator is not alone: whether riding the bus with her small child, searching for an apartment to rent, or merely calculating out the cost of meager lunches, the world forever intrudes, as both a comfort and a torment.

      In elliptical prose reminiscent of Elizabeth Smart's beloved novel By Grand Central Station I Sat Down and Wept, One Hundred Days of Rain exposes the inner-workings of a life that has come apart. Readers will engage with Brooks' poetic and playful constraint that unfolds chapter by chapter, where the narrator's compulsive cataloguing of rain's vicissitudes forms a kind of quiet meditation: an acknowledgement of the ongoing weight of sadness, the texture of it, and its composition--not only emotional weight, but also the weight of all the stupid little things a person deals with when they're rebuilding a life.
      Bio
      Rhodes Scholar Carellin Brooks is the author of Fresh Hell: Motherhood in Pieces (2013), Every Inch a Woman (2011), and Wreck Beach (2007). She has edited the anthologies Carnal Nation, with Brett Josef Grubisic, and Bad Jobs. Winner of the Books in Canada Student Writing Award for poetry (1993), the Cassell/Pink Paper Lesbian Writing Award for non-fiction (1994), and the Institute for Contemporary Arts New Blood Award for prose (1995), Brooks lives and works in Vancouver, where she was born. Connect with Brooks at www.carellinbrooks.com or on Twitter @carellinb.
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      Praise for One Hundred Days of Rain:

      A quiet and meditative book that reads like a mystery: How do we find ourselves--sometimes simultaneously--moving both toward and away from the things that matter to us most?
      - Johanna Skibsrud, 2010 Scotiabank Giller Prize Winner for The Sentimentalists

      Is there a worse city in which to suffer a vindictive, litigated break up than unrelentingly sodden Vancouver? In these one hundred intimate chapters, Carellin Brooks has convinced me no. Her forbearing heroine bikes through torrents, dodges puddles, keeps moving through bitterness and weather. Nobody, not even the rain, has such nerve.
      -Caroline Adderson, author of Ellen in Pieces

      Carellin Brooks' marvellous and brooding novel, sparking after yet another downpour, offers a natural history of rain and breakups. Just as snow-bound cultures have numerous words for different kinds of snow, so the Vancouverite requires many words and varied descriptions for rain. The exquisite descriptions of internal and external tensions are what capture here, what pierce and press the reader forward, j-walking through the tumbling language of rain, dodging in and out of the doorways of these short, sharp, shocked chapters. Carellin Brooks offers a loud and persistent rejoinder to the idea of "the pathetic fallacy": the internal and external do coalesce, and they do so at the apex of the most precise and revealing sentences I have read in years.
      - Stephen Collis

      Reviews:

      "...a memorably profound and stylish portrait of love's complications." - Publishers' Weekly

      "...a story of struggle and resilience. It's a tale of one woman's journey to find her way after losing so much, to make a place in this world for her and her son." - Worn Pages and Ink

      "In 100 brief and rain-drenched chapters Brooks maps the painful distance from hope (romantic whispers of future anniversaries) to despair (police sirens, lawyers, court dates, loneliness). Between the two states, there's lots of introspection pursuing the age-old question: How did things go so very wrong?" - Brett Josef Grubisic for Daily Xtra
  • 4
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    Giving Up Mike Steeves Canada
    9781771660914 Paperback FICTION / Family Life Publication Date:May 12, 2015
    $20.00 CAD 5.25 x 8 x 0.5 in | 240 gr | 256 pages Carton Quantity:1 Canadian Rights: Y Book*hug Press
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      Bio

      Mike Steeves was born in New Glasgow, Nova Scotia and lives in Montreal, Quebec. His first novel, Giving Up, was published by Book*hug in 2015 and was a finalist for the Concordia University First Book Award. His work has appeared in The Globe & Mail, Matrix Magazine, The Shore and others.

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      Priase for Giving Up:

      Few first novels in recent memory are as consistently charming, smart, entertaining and incisive as Giving Up. Somehow Mike Steeves has written a page-turner about stray cats and trips to the bank, and a story that treads through the banalities of everyday life with such precision to cast each detail, every gesture and object and silence, with great meaning.
      -PASHA MALLA
  • 5
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    Alice In Plunderland Steve McCaffery Canada, Clelia Scala
    9781771660891 Paperback FICTION / Mashups Publication Date:March 12, 2015
    $20.00 CAD 5.3 x 8.6 x 0.4 in | 220 gr | 160 pages Carton Quantity:58 Canadian Rights: Y Book*hug Press
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      It's been 150 years since Alice first entered Wonderland in Lewis Carroll's beloved classic book. My, how times have changed! Now, from the multi-award-winning poet and scholar Steve McCaffery comes Alice in Plunderland, a reimagining of Lewis Carroll's Alice books that will forever change the way readers negotiate Wonderland and its menagerie of characters.

      McCaffery is your tour guide to Plunderland, a rough-and-tumble world where theft, drugs, and gangs hold sway, and nary a tea party is to be found. Meet the Cheshire Cat (a junkie from the UK), and just try to keep your head on as the King and Queen reign over the land of Cocaine. Yes, in this remarkable land of drug addiction, looting, and civil disobedience, even Alice's adventures are transformed in her quest for a fix.

      Clelia Scala's translated collages beautifully annotate McCaffery's renewed vision of Wonderland. Just as McCaffery has plundered Carroll's original text, Scala uses John Tenniel's iconic artwork to create a new look for the world of Alice's Plunderland.

      Fans of McCaffery's work will find plenty of poetic marvel to sink their teeth into. In this, his first foray into prose-parody, McCaffery's innovative poetics (in tandem with Scala's provoking images in full colour) transform this classic story according to McCaffery's theory of "palindromic time" by which the past is contemporized and the present historicized. Alice in Plunderland is sure to break open an exciting new initiative for fans of experimental writing and linguistics in the years to come.
      Bio
      Author of around 40 books of poetry and criticism published variously in Canada, England, and the United States, McCaffery was a founding member of the sound poetry ensemble Four Horsemen (with bpNichol of TRG--The Toronto Research Group), and a founding theorist of Language Poetry. He has published three previous titles with BookThug: a revised second edition of Panopticon, The Basho Variations, and Every Way Oakly (homolinguistic translations of Gertrude Stein's Tender Buttons), as well as editing the first Canadian edition of Stein's book of that name. He is the two-time recipient of the Gertrude Stein Award for Innovative Writing, and was shortlisted twice for the Governor General's Award in Poetry. He lives and teaches in Buffalo, NY, where he is the David Gray Professor of Poetry and Letters at the State University at Buffalo.

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      Praise for Steve McCaffery's Panopticon

      Panopticon is ultimately a profoundly optimistic work, a leap of faith that chooses to revel in the opacity of language. -- Sam Rowe
  • 6
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    The Thought House of Philippa Suzanne Leblanc Canada, Oana Avasilichioaei, Ingrid Pam Dick
    9781771661072 Paperback FICTION / Women Publication Date:June 02, 2015
    $18.00 CAD 5.1 x 7.8 x 0.2 in | 140 gr | 120 pages Carton Quantity:1 Canadian Rights: Y Book*hug Press
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      Suzanne Leblanc's The Thought House of Philippa transposes a theory of individuality into a stunningly reflective, sensuous and frank philosophical novel. Setting the chapters in the various rooms of the house Ludwig Wittgenstein designed for his sister in Vienna, Leblanc's novel lays out P.'s intensely emotional and intellectually acute way of seeing the world and her place in it. Prompted by early isolation, P. moves towards the Great World of others and Nature, alienated from the everyday, yet devoted to a deeper connection, in an exploration that is profound and moving. Ideas crucial to Wittgenstein's work—limit, freedom, interior and exterior, self and world—echo and shift in Leblanc's precise, incantatory prose, propelled through the architecture. The distinct voices of the novel's four sections act as musical movements, constructed from repetition, variation and development of language, in alternating keys of austerity and splendour. The effect—a pure expression of the passion of clear thought, the adventure of solitude, and the beauty of uncompromising encounter—is utterly riveting. A sui generis experimental novel not to be missed.

      Bio

      Suzanne Leblanc has a PhD in philosophy (1983) and in visual arts (2004) and has been teaching since 2003 at the School of Visual Arts at the University of Laval (Quebec). She has exhibited multi-media installations in Quebec and has published theoretical works in Germany, France, Switzerland and Canada. Her research and creative work deal with philosophical forms inherent in artistic disciplines. She is currently leading a research-creation group on artistic strategies for the spatialization of knowledge. La maison à penser de P. (La Peuplade, 2010) is her first novel.

      Oana Avasilichioaei’s previous translations include Universal Bureau of Copyrights by Bertrand Laverdure, Wigrum by Quebecois writer Daniel Canty (2013), The Islands by Quebecoise poet Louise Cotnoir (2011) and Occupational Sickness by Romanian poet Nichita Stanescu (2006). In 2013, she edited a feature on Quebec French writing in translation for Aufgabe (New York). she has also played in the bounds of translation and creation in a poetic collaboration with Erín Moure, Expeditions of a Chimæra, (2009). Her most recent poetry collection is We, Beasts (2012; winner of the QWF’s A.M. Klein Prize for Poetry), and her audio work can be found on Pennsound. She lives in Montreal. Learn more about Avasilichioaei at www.oanalab.com.

      Ingrid Pam Dick (aka Gregoire Pam Dick, Mina Pam Dick, Jake Pam Dick et al.) is the author of Metaphysical Licks (BookThug 2014) and Delinquent (Futurepoem, 2009). Her writing has appeared in BOMB, frieze, The Brooklyn Rail, Aufgabe, EOAGH, Fence, Matrix, Open Letter, Poetry Is Dead, and elsewhere, and has been featured in Postmodern Culture; it is included in the anthologies The Sonnets (ed. S. Cohen and P. Legault, Telephone, 2012) and Troubling the Line: Trans and Genderqueer Poetry and Poetics, (ed. TC Tolbert and Tim Trace Peterson, Nightboat, 2013). Her philosophical work has appeared in a collection published by the International Wittgenstein Symposium. Also an artist and translator, Dick lives in New York City, where she is currently doing work that makes out and off with Büchner, Wedekind, Walser, and Michaux.


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      The best Quebecois novel I read this year... The book's beauty rests in offering a series of reflections built on philosophical concepts, which, as the narrative progresses, take an aesthetic form that is both sculpted and boundless. (François Cloutier, Goodreads)

  • 7
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    9781771660921 Paperback POETRY / Women Authors Publication Date:March 05, 2015
    $18.00 CAD 6.1 x 8.1 x 0.2 in | 140 gr | 96 pages Carton Quantity:43 Canadian Rights: Y Book*hug Press
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      In this post-lyrical era, poems can be stories, or they can just as easily be exuberant laughter set to words, an experiment in language, or an incidental collation of plays on a Scrabble board.

      the pet radish, shrunken, the third full collection of poetry from the inimitable Pearl Pirie, deals in the poetics of sound, language, and play. In true Pirie style, this fresh, quirky, and clear-seeing collection speaks in a range of styles and voices: From a military convoy of turtles, to a Kafkaesque conversation with a housefly, to the dissection of a fruit machine, Pirie offers oulipo found speech as it integrates and disintegrates, plays with and tumbles through language.

      Earning comparisons to Jenny Sampirisi's Croak and Leigh Kostilidis's Hypotheticals for their shared sense of linguistic playfulness and curiosity, the pet radish, shrunken will appeal to exploring minds who are ready to question language, society, and self while not minding a taint of grief and comedy that necessarily creeps in around the edges.

      Reviews:

      "....charming, playful, and immaculately skewed." - Maisonneuve
      Bio
      Pearl Pirie is the author of been shed bore (2010) and Thirsts (2011), which won the Robert Kroetsch Award for Innovative Poetry. Her poetry has been published in numerous literary journals, including filling Station, BafterC, Arc Poetry Magazine, Gusts, PRECIPICe, Dandelion, and This Magazine. Her poem "Summer Names" was shortlisted in the Best Canadian Poetry, 2014, and she made the 50-poem longlist for Best Canadian Poetry, 2011, for her poem "The First Mother's Day After Dad's Death." (Tightrope Books). Pirie's work has been included in several anthologies, focused on innovative poets, haiku, and other genres of writing. She has several chapbooks produced in Canada, France and Japan. She has produced two dozen titles under phafours press. Since 2009 she has managed the Tree Seed Workshop Series. Connect with Pirie on her website, www.pearlpirie.com, her poetry and poetics blog, http://pagehalffull.com/pesbo, or on Twitter @pesbo.
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      Praise for the pet radish, shrunken

      Quirky and fresh, playful yet serious, Pirie's collection, the pet radish, shrunken, demands and activates new pathways of reason. These line-by-line lyrical segments both tantalize and take the reader down the rabbit hole (pulling rabbits out of hats along the way) with their semantic surprises and jumpy music. Pirie sees the world askew and brings the reader along for the ride. An invigorating collection. - CATHERINE GRAHAM

      The poems collected in the pet radish, shrunken invite us equally into routine and catastrophic events. Pirie submits "we are always settling into a new now" and leads us through a life revised by the external and internal encounters of a day. With humour, play, and brass, Pirie revels in the daily ruckus of domesticity, verbatim conversations, and the language that must somehow hold a whole existence. - JENNY SAMPIRISI

      In Pearl Pirie's poems, language ferments, foments a "vinegar vigour." Flipping the labels off contemporary mores, cooking with sound, she offers quick food for thought. Keep up with her if you can. - DAPHNE MARLATT

      Precise riots of vowels and consonants rattle these poems. Pearl Pirie's lines burn with sonic-rich images: "kalimba of algae" and "tight loops of oops." Her verbal verve is rooted in an ecstatic attentiveness to language, both found and formal. Charged with innovative and lyrical energies, the pet radish, shrunken is a gorgeous rebellion. - EDUARDO CORRAL
  • 8
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    9781771660938 Paperback POETRY / Subjects & Themes Publication Date:April 01, 2015
    $18.00 CAD 6 x 8 x 0.3 in | 240 gr | 128 pages Carton Quantity:1 Canadian Rights: Y Book*hug Press
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      Fracking - tar-sand runoff - dirty oil extraction. This is the language of our oil-addicted 21st century society: incredibly invasive, blatant in its purpose, and richly embedded in mythological and archetypal symbolism. The ultimate goal of the industry: To core the underworld.

      Endangered Hydrocarbons, Lesley Battler's first full-length collection of poetry, shows that the language of hydrocarbon extraction, with its blend of sexual imagery, archetype, science, pseudoscience and the purely speculative, can be as addictive as the resource it pursues.

      Using pastiche and wordplay, Battler shines a floodlight on the absurdity and pervasiveness of production language in all areas of human life in the oil fields, including art, culture and politics. Incorporating texts generated by a multinational oil company, and spliced with a variety of found material (video games, home decor magazines, works by Henry James and Carl Jung), Battler deliberately tampers with her found material, treating it as crude oil--excavating, mixing, and drilling these texts to emulate extraction processes used by the industry.With traces of Dennis Lee's Testament, Larissa Lai's Automaton Biographies, and Adam Dickinson's The Polymers, this lively and refreshing take on a polarizing topic will resonate with readers of contemporary poetry who connect with environmental issues and capitalist critique.
      Bio
      Born in Barrie, Ontario, Lesley Battler's work has been published in Alberta Views, Arc, Arc (Quarc issue), Contemporary Verse 2, dandelion, filling Station, Matrix, Other Voices, PRISM international, and west coast line. She won the PRISM international Earle Birney award (2012), and the University of Calgary Poem of the Season award (2009) for a poem that became part of Endangered Hydrocarbons. Battler received an MA in English from Concordia University, and currently lives in Calgary, where she works in the petrochemical industry.
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      PRAISE FOR LESLEY BATTLER

      Electric and unexpected... Lesley Battler's "Idylls of Inuvik" [is] a zinger of a poem that uses the internal, molecular energy of words to enact a merciless takedown of the still-colonial attitudes at play in the economics of Canada's North.
      --Anita Lahey, Arc Poetry Magazine

      Lesley Battler's fabulous Endangered Hydrocarbons is a high-octane romp through Alberta's oil patch... a tour from office tower cubicles to bitumen sands extraction sites. But it's as though the excursion is conducted jointly by the spirits of Edward Snowden, Groucho Marx, and Lewis Carroll... Battler distills, blends, and blurs the jargons of geology, chemistry, oil exploration, drilling technologies, and corporate spin.
      - Tom Wayman

      Lesley Battler's cut-up work will continue to remind me that it will always be easier to remove overburden than it will be to clear-cut a small forest. Her work brings us the spectacle of the wars of rhetoric--with their victors & victims of ideology, hijacking knowledge and power with 'approved terms of vocabulary.
      -- Paul Zits, filling Station

      Endangered Hydrocarbons takes the language of oil extraction and plays it through different discourses-religion, mythology, imagined conversations with Foucault, public consultation processes, and creative writing.
      - Jay Smith, Alberta Views
  • 9
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    9781771660952 Paperback POETRY / Subjects & Themes Publication Date:April 01, 2015
    $18.00 CAD 5 x 7.5 x 0.3 in | 140 gr | 112 pages Carton Quantity:1 Canadian Rights: Y Book*hug Press
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      In 1981 Jake Kennedy accidentally burnt down an abandoned house. Years later as an adult, he read a story about how Kurt Schwitters' "interior house-sculpture" ("Merz Structure No. 2") was destroyed in 1951 after some children playing with matches accidentally burnt the building down. This sad 'unmaking,' so similar in nature to his own haunting experience, became the inspiration for Merz Structure No. 2 Burnt by Children at Play, a collection of experimental poetry that explores the dynamic, if often unsettling, relationship between making and unmaking, bliss and pain, utterance and silence.

      As diverse in form as they are in artistic/cultural references, the poems of Merz Structure No. 2 invoke an endless bounty of characters: the poet remembers Harold Ramis; Kafka summons the courage to tell his dad where to go; another tornado razes another small town; Yorick returns to run balls-out into the sea; Louise Bourgeois smashes a tea cup against one of her sculptures.

      Readers who connect with Phil Hall's artistic investigations in Killdeer and Lisa Robertson's clear-eyed take on humanity in Magenta Soul Whip will enjoy Kennedy's feeling examination of loss in Merz Structure No. 2 Burnt by Children at Play.
      Bio
      Jake Kennedy is the author of two poetry collections: The Lateral (2010) and Apollinaire's Speech to the War Medic (BookThug, 2011). His work has appeared in literary journals across Canada, the US, and the UK, including The Capilano Review, McSweeney's Internet Tendency, and The Awl. Kennedy is the recipient of the bpNichol Chapbook Award for Hazard (BookThug, 2007), the Robert Kroetsch Award for Innovative Poetry for The Lateral (2010), and the Robin Blaser Award for Poetry for the long poem "Futuromani" (2011). He also received a BC Arts Council Writing Grant in 2013. Kennedy lives in Kelowna, BC, where he teach English literature and creative writing at Okanagan College. Connect with Kennedy on his blog (shared with Kevin McPherson Eckhoff) www.gmorningpoetry.blogspot.com or on Twitter @GmorningPoetry.
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      Praise for Apollinaire's Speech to the War Medic by Jake Kennedy

      "By turns unexpected, provocative, surreal and amusing."--Brent Wood for University of Toronto Quarterly

      "Kennedy's style is stark but suggests much."-- Jonathan Ball for Winnipeg Free Press

      "For all the tight lyric cadence of [Kennedy's] poems [in Apollinaire's Speech to the War Medic], there is a lightness that moves at breathtaking speed, at breathtaking ease, leaping from point to point."--rob mclennan for Galatea Resurrects
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    their biography an organism of relationships kevin eckhoff Canada
    9781771660945 Paperback POETRY / Subjects & Themes Publication Date:April 01, 2015
    $18.00 CAD 5 x 7.5 x 0.25 in | 115 gr | 112 pages Carton Quantity:1 Canadian Rights: Y Book*hug Press
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      Description
      Would it be possible to compose a book that appears to be "about" its author, but is indirectly about something else, like identity or relationships or language? Maybe a book not written by a hero... but by many?

      This was the challenge taken up by Kevin McPherson Eckhoff in his fourth book, their biography: an organism of relationships. This collaborative memoir collages together word-portraits from friends, family, coworkers, strangers, robots, and even adversaries in order to create a silhouette of not a single person, but of the manacles that connect people to one another.

      their biography is meant to make people think--it's broad array of voices and poetic/prosaic forms disturbs comfortable patterns of reading, and its subject is as much about the contributors as the author. Eclectic and desolate, confessional and dubious, this record of relationships defies authorship, biography, and individualism.

      Fans of Gregory Betts's "Facebook Poem Project" or Rachel Zolf's Tolerance Project, along with anyone compelled by contemporary poetry and conceptual art, will connect with this pixelated investigation into identity, and the true meaning of 'self' as we and others define it.
      Bio
      kevin mcpherson eckhoff's poetry has been described as having "purity, clarity, and intensity of emotion" while "[undermining] our common sense of language." Recent work appears in the anthologies Why Poetry Sucks and TAG: Canadian Poets at Play, and he co-edited the final issue of Open Letter with his best friend, Jake Kennedy. As the managing editor at Kalamalka Press, he runs the John Lent Poetry-Prose Award, a letterpress chapbook competition for emerging writers. For eight months of the year, he teaches at Okanagan College, and for the remaining four, he hides out at the Shuswap River or Starlight Drive-in or Rose Mountain with his Laurel and Lionheart. Connect with Kevin on his website, http://kevinmcphersoneckhoff.com/, or on Facebook at https://www.facebook.com/kevinmcphersoneckhoff.
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      Praise for Their Biography:
      "It might be the best autobiography not written by its subject, and it's certainly the funniest." - Jonathan Ball for This Magazine

      Sometime between the time he was born and the fascimile he is now, kevin figured out that it's possible to change one's privileged nature by changing one's use. So, 'Use me' is what Their Biography begs - and by invoking this interconsumption of friendship and social cannibalism, kevin can only present kevin as a decommissioned object, sinking under the burden of an impossible individuality, yawning into the surreal latex of his own umbilical cord as he struggles to emerge. It's exactly this that makes Their Biography so deliciously malicious. - Trisha Low, author of The Compleat Purge

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