Daniel f. Bradley has been developing his craft in Toronto for the last 20 years with little to no recognition from literary critics. In fact, despite the vast body of work that has appeared, Daniel has never sought a public larger than what he can touch with his own senses. In a similar fashion, Daniel's poetry is immediate and intimate - a poetry that cleans language to a point millimeters before abstraction can occur. With an uncanny and fetishistic urban lyricism that has quietly claimed its own linguistic territory in the heart of Toronto, the poetry of Daniel f. Bradley attempts to be nothing more than language pure and simple. BookThug is proud to present this first full-length trade edition by the poet who wrote the poem from which BookThug takes its name.

Boy's First Book of Chlamydia: Poems 1996 - 2002

Literature & Fiction

Bradley, Daniel F.

Poetry

Book*Hug

Poetry. Jarnot's fourth book of poetry, REPTILE HOUSE, is a series of "crocodile odes." This is not as straightforward as it sounds. Playful and sharp, these amphibious poems live on both sides of language. Ranging from semi-serious Egyptian Book of the Dead style invocations to a "Gratuitous Crocodile Sonnet with Carnage," formal ballads to visual and sonic experiments, these always humorous poems explore these antediluvian beasts from almost every perspective imaginable. Whether envying his teeth or wearing shoes made of his skin, Jarnot weaves the crocodile into our lives in unexpected and insightful ways.

Reptile House

Lisa Jarnot

In September 2003 Rob Read began to edit, transform, and "treat" his incoming junk e-mail or "spam" into poems which were then sent out again to a list of friends he thought might appreciate them. In fact, the present publisher discovered the first of them in his junkmail box, where his email program had conveniently filed them. Initially sent away with no archival copies saved, this collection represents Read's revisiting of these (almost) daily poems, which were luckily saved by a recipient who felt they were important enough to archive. Cut down and heavily edited to the most fascinating "spams," O Spam, Poams showcases the daring approaches Read takes while creating relics from junk, pulp from dross, and narrative gleams from abstractions (and sometimes vice versa). The effects produced range from hilarious to pensive, anecdotal to ahh-inspiring.

O SPAM, POAMS

Read, Rob

Poetry. AIR PRESSURE, David Fujino's first full-length collection of poetry, is a book composed by eye. Rather than grouping poems by defining themes, chapters or sections, Fujino's poems are deployed as elements in a continuous visual sequence, an ordering which itself lends meaning to the variable experiences that create the poem's contents. AIR PRESSURE occupies the space between what we think of as 'visual poetry' and 'text-based poetry,' and while the poems were composed in the spirit of play and creative expression, strict attention has been paid to what a poem looks like beside another poem. As the reader's eye moves through these 'shape-changing' poems, s/he will absorb the matter of 'themes, chapters and sections.' In Fujino's own words, "in an age when poetry is dead, it's interesting that people keep writing it. Sometimes I believe poetry is forever. In AIR PRESSURE you will find a poetry written for the page and its potential."

AIR PRESSURE

Fujino, David

Sweetheart of Mine

Reid, Monty

Poetry. Visual Literature. After the "after the end," after the dreadful pulps, after all manner of casual abortion, cosy mutilation, pointless sacrifice and staggering loss comes THE ETCETERA BARBECUE--a quick sprint through a burning building with a look at what's hung on the walls inside. This harrowing passage, mostly lit darkly, quarantines several stray transmissions clustered to chart yet another tough scrape and amply illustrate another daring escape. Linger to witness cold comfort crafted to (once again) posit a new breed of incendiary graphisme within the ghetto of concrete. Vicious in its elegance, erratic in its precision, uncompromising with each steak it claims, the attendant (and massive) mounting disquiet of THE ETCETERA BARBECUE seeks to violently combat an epoch that fetes placebo and ruthlessly undermine a world where "resource is garbage not harvested." Demonstrating total contempt for policies that were implimented to "kill it if you builds it," THE ETCETERA BARBECUE is no company picnic. For those of us starved for examples of elusive hen's teeth extracted from the nether regions of our literature, THE ETCETERA BARBECUE is a small feast of lettrisme, found, and typewriter poetries--by one of the foremost pracitioners of these often misunderstood and virtually forgotten arts--gathered together in a book whose strain on the eye is finally worth the bother.

The Etcetera Barbecue

Morin, Gustave

Arts & Photography

Poetry. HAZARD is a collection of prose-poems and some other fine bonbons about the dangers and delights of the art-making life. In particular it explores the uncanny biographical details of seven artists/writers: Balzac, Claude Cahun, Kathy Acker, Dante Gabriel Rossetti, Osip Mandelstam, Samuel Beckett, and Malcolm Lowry.

Hazard

Kennedy, Jake

History & Criticism

Poetry. WHAT HAPPENED is a new collection of `pre-enlightenment' poems about everything Tom Walmsley considers significant, both to himself and (ultimately) to everyone else: God, sexuality, the wretched past (for everyone, one way or another) and the Here and Now. Reflecting upon his tumultuous past, Walmsley's blunt meditations present a man who has learned (the hard way) about hope and thankfulness. Without being a work of genuine autobiography (except in the sense of that of Genet) WHAT HAPPENED is a collection of up-front, edgy and human poems that consider life an unresolved issue that should never be resolved as only Tom Walmsley can deliver.

WHAT HAPPENED

Walmsley, Tom

Poetry. "FACE is an archae book written both 'after and before.' Recessive narrative events--faces surfacing, twinned with wet surfaces, gone--are released as agents, as saturations of tone and line. 'Inside and out of passage,' Melissa Buzzeo forms a document that is both report and threshold: text and radical architecture: a 'beginning' always 'in transit.' What I love about this work is its refusal to feel, if feeling has become impossible, and, in corollary, its willingness to flood its own terrain, to melt a 'frozen book.' In this way, FACE becomes the 'shape which is desire to see.' It brings towards us the 'hesitant' girl who finds a way to breathe and write again, next to the water which is both lake and paper, the pages floating offshore 'in a dream.' Retrieving these pages, Melissa Buzzeo writes to us: a complex, present, also-writing 'you'"--Bhanu Kapil.

Face

Buzzeo, Melissa

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