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TONIGHT: The Capilano Review 40th Anniversary! http://t.co/qUYtH2gC #vancouver #poetry #fiction @TheCapReview Wednesday May 16, 2012
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Here is an invitation from Sachiko Murakami to join Project Rebuild, a new collaborative poetry project:
Project Rebuild began with a single poem about a Vancouver Special. I was interested in their “ugliness” and the strong reaction Vancouverites have to them. And what about replicating or blueprinting – how can that be played with in poetry? I altered the first poem through mechanical means, and the result of these flash inhabitations was a sameness with subtle differences.
These four poems appear in Rebuild, my upcoming collection, which takes up the project renovation in poetry and considers the tendency of Vancouver, its site of inquiry, to tear down and rebuild every few decades.
But what is a poem but a rental unit of language?
I grew interested in the idea of renovation in language, our brief inhabitations, and was also growing interested in collaboration. I sent the Vancouver Specials to some poets, and invited them to move in as tenants, to paint the walls, change the faucets, knock down whatever walls didn’t fit their visions. These poems became the first houses in Project Rebuild’s neighbourhood.
But the idea of extending the community persisted.
Project Rebuild allows visitors to move in to any poem/house in the neighbourhood. On the page of any poem, click on “renovate” and the poem becomes editable in a textbox. Change the nouns. Throw out the verbs. Bring in the big delete-button bulldozer and start fresh. Your poem will become a new house in the neighbourhood.
Project Rebuild challenges the notion that the poems we write belong to us, that we are anything but temporary residents in the tenement house. Poetry is a community project in which we are all participants: poems are written in context and in conversation. Project Rebuild hopes to extend an invitation to that conversation, to you.
The door is open. Come on in. Read. Write. Renovate.

Thursday May 10, 2012 in Meta-Talon
A Conversation with Martine Desjardins
A Conversation with Martine Desjardins about her novel Maleficium:
Maleficium is a shift for me, because I have left that realm to venture a little more toward the unreal. Thus the main female character has physical attributes that make her appear foreign, almost monstrous and alien. She has a harelip, but is also described as having a long tail, vulvar stamens, perfumed earwax, thorns growing from her scalp; she is seen carrying a larva in her navel, shedding tortoiseshell tears, extracting iridescent oil from her skin.
Thursday May 10, 2012 in Meta-Talon
The Long Goodbye: A Review of Morris Panych's Vigil
Morris Panych’s Vigil is reviewed by James MacKillop:
Once playwright Panych has won us over with the audacity of his concept, Kemp’s outrageous lack of compassion, he has given himself the problem of making this increasingly interesting for nearly two hours. Ratcheting up the zingers works for a start: “I’m concerned about your health these past few days: It seems to be improving.” This escalates until Kemp introduces a do-it-yourself suicide machine, with a lethal brick and an electrocutionist’s helmet.
Wednesday May 9, 2012 in Meta-Talon
Do You Pass the Empathy Test for Conceptual Writing?
Does Adeena Karasick consider herself a “conceptual” writer? Here is her response:
So, in asking “Do you consider yourself a Conceptual Poet”, one has to ask – where do the aesthetics begin and the friendships end? How do you continuously (contiguously) belong without belonging in an ever-widening circle of language, production, filiation, power and desire.
Monday May 7, 2012 in Meta-Talon
“Living the Border” with Guillermo Verdecchia
Steve Fisher interviews Guillermo Verdecchia about returning to Fronteras Americanas:
It’s a deeply Canadian play, and while I think it makes sense in other places—you could take this play to Mexico, or Argentina, or anywhere, because these borders and bi-cultural negotiations take place all over the world—it’s of ongoing interest to Canadians. It’s another way of looking at our nation; there are plays that have been produced in Canada that hold up an image that I don’t believe ever existed, but we like to think did…
We gratefully acknowledge the financial support of the Canada Council for the Arts; the Government of Canada through the Book Publishing Industry Development Program; and the Province of British Columbia through the British Columbia Arts Council for our publishing activities.