I told Jason to avoid the Santa Cruz antibodies!

Ice forms on the inside window; furnace exhaust fleeces frost under soffits, warms the branches for sparrows and chickadees whose metabolisms have adapted to survive the frigid cold. Santa Cruz would be nice this time of year, when joints cease up like river ice, knotted and creaking. Don’t worry, don’t worry the 3-D domino molecular cascade is perfectly safe the rheumatologist says. The only thing to stop the bones from crumbling to dusty meal to spread between the rows of beans and peas in summer to stop the rabbits from nibbling their juicy buds. Take your medicine, injectable monoclonal antibodies¹ harvested from goats and rabbits confined in dank pens and secret barns somewhere in Santa Cruz. It will make you strong and juicy, unlike the goats or rabbits. Tumours and bones protruding, metal feeders, dirty bandages. Definitely no golden fleece here Jason.

1. Prolia, or Denosumab, is a monoclonal antibody aggressively marketed to post-menopausal women as the panacea for osteoporosis. Build your bones back without work or effort. Save time and money by not going to
the gym. The first FDA-approved RANKL inhibitor. At $470 a pop, or injection, twice a year, indefinitely. The National Women’s Health Network says, “Denosumab’s cellular target in bone also exists in the immune system and serious infections requiring hospitalization (eg. heart infections), skin reactions, atypical fractures (of thigh bone). Concerns exist that its immune system effects could include, ovarian and cervical cancer, pancreatic cancer and breast cancer recurrences.” NIH Medline Plus list the following side effects: red, dry, or itchy skin; oozing or crusty blisters on skin; peeling skin; back pain; pain in arms; muscle or joint pain; nausea; diarrhea; headache; runny nose; sore throat; muscle stiffness, twitching, cramps, or spasms; numbness or tingling in fingers, toes, or around mouth; hives; rash; itching; difficulty breathing or swallowing; swelling of the face, throat, tongue, or lips; dizziness; fainting; blurred vision; fever or chills; tiredness; redness, tenderness, swelling or warmth of area of skin; ear drainage or severe pain; frequent or urgent need to urinate; burning feeling during urination; pain, numbness, swelling, or drainage from mouth, teeth, or jaw; slow healing of the mouth or jaw; severe abdominal pain; ongoing pain that begins in the stomach area, but may spread to the back; fast heart rate.

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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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