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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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(Photos by Ralph Kolewe; Launch Report by Jim Johnstone)
In front of a packed house on September 7, 2011, Sachiko Murakami (pictured above) launched her second book of poetry, Rebuild at The Press Club in Toronto. After months of inviting poets to renovate poems from Rebuild at projectrebuild.ca, the physical manifestation of Murakami’s vision is at once satisfying and noteworthy for its clarity and formal mastery.

Hosted by Elisabeth de Mariaffi (pictured above), the evening opened with Murakami reading “Vancouver Special”, a poem modeled after the box-like houses that have been pervasive in Vancouver since the 1970’s. This poem is the architectural foundation of projectrebuild.ca, and serves as a template for prospective “tenants” to rebuild and inhabit.

Murakami invited several participants to read their reconstructions of “Vancouver Special” following her recitation, including Spencer Gordon (pictured above), Melanie Janisse, Mat Laporte and Paul Vermeersch, all of whom served to illustrate the innate flexibility at the heart of the project.

(Kimiko Murakami, the poet’s sister, listens attentively)
The second half of the evening focused on Murakami reading her own work. Foreshadowed by the guest readers before her, Rebuild evolves and builds upon itself to create a fascinating linguistic sprawl. At one point, Murakami even involved the audience, soliciting nouns and substituting them in a stripped down version of “The Form of a City”.
Though primarily set in Vancouver, Rebuild transcends its direct subject matter to form an accessible portrait of urban life. This extends to Toronto, Murakami’s surrogate home for the past several years, which warmly embraced its release.

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.