WARNING each wun uv thees pomes may contain inkorrect thots    these pomes have not bin kleerd by th ministree uv korrect thotsThs book contains reel storees that have reelee happend th mysteree uv pain has not bin adequatelee xplaind 2 us    why memorees can cum crashing down on us robbing us uv our present or why we lifting grasp hold of a suddn laffing idea    baloons us up    n what we lern from memoreesI cum skraping across a glacier bringing yu ths burnd flowr    see its petals bleed as it opns    all ovr our plans    our mesurd safetees see its tabula filling with such wondrous snowthese pomes have not bin bleerd by th ministree uv korrect thots    we have no control ovr what is not being xpressd heer eithrbyond ths sign    yr on yr own

inkorrect thots

Literature & Fiction

bissett, bill

Poetry

Talonbooks

bissett has remained on a permanent world tour for more than thirty years, writing this book while on a European reading circuit that included performances in London, Manchester, Cardiff, Dublin, Paris, Mainz, Trier and Berlin.

th last photo uv th human soul

accepting th radiant dances uv being4 kleerances uv ko dependenseez n helpth selvs being plural storeez soundvizual politikul non narrativ fuseynlinguisteek mewsik letting go uv thrashyunalizasyuns irrashyunalizaysyunsblaming games they made me putting thfocus on wuns selvs irridescent tinkshurssimultaneous shiftings th langwages 4aims chill n th needs 4 health edukaysyun sochul programs n civil human ritesguaranteez 2 lift us n loving th reeleenameless being within each diffrent nsame prson th lines defining n dissolvingth jade n gold fevr on th edg reseedin th disapeering air mixes n arousth senses th prfume hints n th tallbuildings tottr seegulls encirculingth see fadid turquois wood frame houssew stung by salt spray th soul rocksloving th nameless isnesses withineach prson being

loving without being vulnrabul

Ten "translationed" fragments from bill bissett’s new book:1. Another near-life experience.2. 'Help, help,'" such a classical utterance3. Can we connect? Is there time for that?4. Obsession is a replacement for interaction.5. they showed a cluster of, circle of, people getting back up to standing position after, perhaps, kneeling. It looked like some of them, quite older (it was mid-winter, how their bones must have hurt in the chill!) and the voice-over said 'Cannibalism has now entered the war in Bosnia.'" Through the gloomy coats and legs of the now standing people we could dimly see wrecked bodies in the snow. And then, much later in the day, the same pictures / different voice-over said: 'The grieving in Bosnia continues as the war carries on its grim parade.' So they’re just getting up from snacking? Or mourning? (The line of meaning, often so distinct, blurs with what they think we can handle).6. If despair is a mask for self-pity, what is self-pity a mask for?7. Fear. Of farming. Why do we fear farming? The disappointment of the agricultural revolution.8. Someone says 'God is dead' to them, and they hear 'God is Ed.' And then you introduce someone to them-say: 'This is Ed.' And they go, 'Please forgive me!' or, 'How’s your son?'9. The interesting texture of the bathwater sustains me.10. 'Get thee to a nouneree.' Ophelia had been experiencing noun slippage, (and haven’t we all?) And where is the nouneree? Do you know the way? With heightened and more sophisticated noun awareness, do we come closer to happiness, starring ourselves? Ophelia unfortunately didn’t find the nouneree and perhaps thought it was the name of the river. Can you walk into the same nouneree twice? She jumped in. Lost lovesickness, now called co-dependency.As always, it’s much better complete, and in the original.

b leev abul char ak trs

Dramas & Plays

The quest in this latest fusion of song, sound, performance and visual poetry from bill bissett is for a human condition outside the perpetual terror of the twenty-first centurya terror based in an irrational fear that the loss of our ideologies, our homemade gods and bombs will leave us impoverished and vulnerable to the ambitions of others. I call you again over a vast linguistic valley,” offers the poet. The brain is a soft flower, tremulous in its aspecting, and wanting to trust, we lose what we seek and find what finds us. This is earth. These are people.” This tireless quest to find the delight of discovery, wonder and truth in what at first sight seems foreign, mysterious and apparently incorrect,” defines both bissett’s latest book and his singular poetic genius. The joy of discovery and recognition in our encounter with the poet’s unpunctuated, uncapitalized phonetic spelling and visual presentation offers us a reward in direct proportion to our willingness to engage the work by abandoning all of the baggage of the learned expectations we bring to the act of readingallowing the words and their new echoes to cross the vast linguistic valley” that is redolent with the imaginative possibility of entrances to others as they actually appear, and not as we expect them to be. As always, bissett pushes his linguistic palette here into realms that ideographically lend access to his intellectual discoveries. His introduction of an occasionally determined capital A in the middle of a word or phrase, representing a tent on a mountain,” echoes the profound spirituality of this book, and its suggestion that The mind is a kaleidoscopediscouragementsatisfactionand finding the way again. There are no happy endings. Happy moments, yes. The drama and all the poetic approaches continue to be.”

ths is erth thees ar peopul

A pioneer of sound, visual, and performance poetry, bill bissett composes his poems as scripts for pure performance and has consistently since the 1960s worked to extend the boundaries of language and visual image, honing a synthesis of the two in the medium of concrete poetry. bissett's latest collection since the monumental breth (Talonbooks, 2019), its th sailors life / still in treatment is, using the poet's own words, "an epik poetik novel uv langwage n speech" confronting "thos controlling effekts on us" and about "acceptans uv loss greef separaysyuns charaktrs in serch uv self liberaysyun n societal equalitee n all th forces against that path."Eschewing the artificial hierarchies of meaning and the privileging of things ("proper" nouns) over actions imposed on language by capital letters; the metric limitations imposed on the possibilities of expression by punctuation; and the illusion of formal transparency imposed on the written word by standard (rather than phonetic) spelling, bissett's expressive assemblages in this collection are "like walking thru sum fne lines."The poems in this collection are coupled with stunning illustrations by the author.

its th sailors life / still in treetment: meditaysyuns from gold mountain

Self-Help

Relationships

I Want to Tell You Love: A Critical Edition

Acorn, Milton

History & Criticism

University of Calgary Press

Poetry. The publication of bill bissett's RUSH: WHAT FUCKAN THEORY; A STUDY UV LANGUAGE in 1972 firmly ushered Canadian poetics into the postmodern era. Out of print for 40 years—and reissued here complete with an interview with bissett about the book's creation and a critical afterword by derek beaulieu and Gregory Betts—RUSH embodies a collagist, multi-conscious approach to art that recognizes no division between the work and the world, the author and his sexuality, his breath, his influences; the theory and the practice. Arguing that "a new line has started," RUSH captures the urgency of a new model of production that resists the closure and mastery of any one mind. It is an elegant rejection of aesthetic ego and all presumptions of authority. RUSH: WHAT FUCKAN THEORY; A STUDY UV LANGUAGE is a vital, vocal protest against business as usual and the exploitation of the individual from one of Canada's most important avant-garde poets.

RUSH: what fukan theory; a study uv language (Book Thug Tradebooks)

Book*hug Press

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