Wild Boy Digs a Hole

Thinking about Leonora Carrington’s work… and this strange relatively recent poem

Wild Boy Digs a Hole

wild boy digs a hole, lives in it. vole-eyed and fierce

[radiation titillates the margin of burn area that gnaws her breasts.]

he digs his way into the world. shacks of cardboard, old railway ties. they leave him


[memory of her mammaries weeping.]

when he grows up he becomes a grave digger. lives in between

the cemetery and the railway tracks. the shack is clean and sparse. his wild beautiful wife

sings bird songs.

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Over and Onward

let me tell you what a howling limping fractured roil of a year it’s been, what with that and this
and him. not to mention tension fissured chasm split rifts dinning spin and all the boiling over
blowing up pelting down. ahhh. take a breath. breathe from the bottom, the well of what’s left
aching to emerge again sunny and light. put it out there steamily in the cold new dawn.
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Speaking of Poets

Thanks to John Cunningham and CKUW for yesterday’s interview & reading. the link to the MP3 here..

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Strix Nebulosa

One of the Animalis poems from Unus Mundus published today in qattsiluni with audio.



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First review

Thanks to Michael Dennis for this review of Unus Mundus.

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another poem

from Unus Mundus, previously published in Truck. 

Falco Columbarius

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Unus Mundus has arrived!


Nothing like getting your new book in the mail. Anvil did a fabulous job on the cover, typography, design. And I love the ochre yellow inside covers!

A sneak preview of a poem as well!

From "Space-Time Dialogues,"  in Unus Mundus

From “Space-Time Dialogues,” in Unus Mundus

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The reading, unfolding, launching of “Transforium” by Tammy Lu and Mari-Lou Rowley (JackPine Press 2012). Thanks to Lia Pas for helping us decipher the poem-map!


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Transforium – notes on process

When Tammy Lu and I first began to discuss the possibility of collaboration, we were both struck by the interests we shared: the relationship of place (physical, emotional or psychological) to creative content and emergence, the intersection of art/poetry/science, cosmology and cosmogony, and the biosemiotic tango of all living things in and within the dynamic flux of changing environments. Commonalities continue to emerge.

As an eco-science poet who has tumbled, quite gleefully, into the field of biosemiotics the questions that compel me are: What is the nature of poetic and/or creative emergence? What is the zygote and epigenisis of a poem or work of art? How does the poet read and interact with her environment, or semiosphere, in order to translate emotions, memories, sounds, smells, disconnected images, into the phonemes, syllables, words, lines and stanzas of a poems that resonates with the reader/listener. By what mechanisms does a poem or artwork evoke emotional or physiological response? Both Tammy and I believe in the concepts behind biosemiotics. Of course molecules, organisms and animals (human and non-human) communicate in and with the environment. We hear them. We are constantly on the lookout for signs.

The genesis of art, poetry and biological process involves multiple pathways and signals—which involves both an element of chance and of choice. And, in in the case of this collaboration, a psychic/philosophic twinning and echoing. Synchronicity. Not surprisingly, I am currently working on a series of “Echologues,” poems that echo other poems, using ancient Greek lexicons. And a series of poems influenced by alchemical images and texts, creation myths and Jungian psychology.  The poem that Tammy has used to generate the images for this proposal is the first in a recent series of “Feral Verses”—immediate, non-meditated, epigenetic responses to the post-dream, pre-conscious semiosphere. As a “unified collaboration of text and design” our methodology is a simultaneous relinquishing of control and a joint participation in the shaping of content and final outcome, where the visual content of Tammy’s typographical cosmology is indeed “inextricable from the text itself.”

The landscapes and semiospheres of our call-response, echo-chant, poetic and artistic dance will be both process and artefact—a visceral-psychic, cerebral layering and interplay open to multiple readings, interpretations, and ways of interacting with art and text. The physical unfolding of the book by the reader/viewer in turn echoes the unfolding of a mapped landscape, and a metaphorical unfolding of a tactile, physical, dynamic universe.




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Lost in Transition – 21st Century Anchoress…

After two weeks in a hermitage at the edge of the woods at St. Peter’s Abby…. reading strange and obscure text from the college library.. such as..

Very few recluses had chairs at all; at stone bench sufficed as a seat, and the greater number spent their days and part of their nights in prayer, mortification, and manual labour…(Anchoresses of the West, p. 40 )

I, on the other hand, had chairs, tables converted wood stove in which I roasted garlic for  cocktails at the hermitage. Also had expresso pot, wine glasses, toaster, bird food for the chickadees, redpolls. pine grosbeaks, bohemian waxwings. Had a visitation from woodpeckers, heard coyotes, and (according to Dave Carpenter who knows these things) a timber wolf.

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