From the Archive: Mallory Tater (CAROUSEL 37)

From the Archive: Mallory Tater (CAROUSEL 37)

MALLORY TATER The Last Nickel Geraldine’s black bather sticks to her chapped skin. Her thighs burn rogue with saltwater rashes. The water isn’t good to her but she loves it anyway. She walks her path to the seawall, one-at-a-times each stone step down to the shore. She feels a shifting in the land, but she isn’t afraid of it. Kelp and purple claw-weed accumulate in bundles, thick and dirty like doll’s hair. Geraldine wades until

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USEREVIEW 014 (Capsule): Tiny Ruins

USEREVIEW 014 (Capsule): Tiny Ruins

Nicole Haldoupis Tiny Ruins (Radiant Press, 2020)ISBN 978-1-989274385 | 88 pp | $20 CAD #CAROUSELreviews#USEREVIEWEDNESDAY How many novels do you get to read that are composed entirely of linked flash fiction? That alone is reason enough to peruse Nicole Haldoupis’ debut, Tiny Ruins (Radiant Press, 2020). The action is largely commonplace — anecdotes of minor embarrassments that threaten to become neuroses, ambivalent infatuations, prickling familial conflicts — the sort of tales we tell only our

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USEREVIEW 013: Tiny Ruins of Reality

USEREVIEW 013: Tiny Ruins of Reality

Conyer Clayton assembles the fragments of narrative in Nicole Haldoupis’ Tiny Ruins (Radiant Press, 2020) to construct and construe the themes of surrealism, memory and queerness in this traditional review of a debut flash fiction novella. ISBN 978-1-989274385 | 88 pp | $20 CAD #CAROUSELreviews#USEREVIEWEDNESDAY Tiny Ruins, Nicole Haldoupis’ first book, is a novella built through flash-length (usually one page or less) stories; snapshots that create a somewhat jolting, and effective as such, sense of

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From the Archive: Justin Stephenson ‘The Complete Works’ Interview (CAROUSEL 37)

From the Archive: Justin Stephenson ‘The Complete Works’ Interview (CAROUSEL 37)

Filmmaker Justin Stephenson took fifteen years to carefully create The Complete Works — a labour of love that creatively adapts the work of internationally acclaimed avant-garde poet bpNichol. From comic book detective stories & westerns to documentaries & magic realism, and from hand-drawn animation to computer-generated images, The Complete Works wrestles Nichol’s writing off the page and projects it onto the screen. It uses bpNichol’s poetic methods on Nichol himself to create a film that

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USEREVIEW 012: Blistering Words for a Burning World

USEREVIEW 012: Blistering Words for a Burning World

Hollay Ghadery both employs and subverts the expected repetitions of a pantoum to confront the shifting recurrent patterns that  characterize humankind’s ambivalent responses to environmental disaster in this experimental review of Blaze Island (Goose Lane Editions, 2020), the fifth novel of Catherine Bush. In both content and form, Ghadery’s review at once affirms the concerns at the crux of Bush’s work while also grappling with the daunting reality that words are not action, that text

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USEREVIEW 011: Where Words Touch

USEREVIEW 011: Where Words Touch

Amanda Earl transforms prose poetry into visual poetry in this experimental review of Bahar Orang’s debut collection Where Things Touch: A Meditation on Beauty (Book*Hug Press, 2020). By cutting open the text and twisting it to a new shape, Earl brings forth a rush of stunning blood that calls attention to the crucial elements of Orang’s essays on aesthetics. ISBN 978-1-77166-569-8 | 114 pp | $20 CAD #CAROUSELreviews I chose an excerpt from a passage

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USEREVIEW 010: Engaging the Emporium

USEREVIEW 010: Engaging the Emporium

The word emporium conventionally refers not only to a commercial centre, but also to the centre of the brain where nerves and sensations meet. These disparate connotations coalesce and transform in Sanchari Sur’s traditional review of Aditi Machado’s sophomore book of poetry Emporium (Nightboat Books, 2020). Sur shows us how Machado envisions the poet as a radical barterer, plying her trade in the immaterial and invaluable realm of words and meaning. ISBN 978-1-64362-029-9 | 112

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From the Archive: gustave morin ‘Clean Sails’ interview (CAROUSEL 36)

From the Archive: gustave morin ‘Clean Sails’ interview (CAROUSEL 36)

Canadian ‘para-literary agent provocateur’ gustave morin has been working in the fields of composition & performance for the last twenty years. As a maker of concrete, found, collage, typewriter & sound poetry, his creative practice always manages to the blur the borders between poetry & visual art, offering up startling hybrid works that resist conventional reading. Clean Sails, a 164 page volume of visually complex, next-generation typewriter poems composed using dozens of different typewriters — the

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From the Archive: Little That Can Be Done with the Pen Cannot Be Repeated with the Typewriter (CAROUSEL 36)

From the Archive: Little That Can Be Done with the Pen Cannot Be Repeated with the Typewriter (CAROUSEL 36)

“The paper has to be turned and re-turned, and twisted in a thousand different directions, and each character and letter must strike precisely in the right spot. Often, just as some particular sketch is on the point of completion, a trifling miscalculation, or the accidental depression of the wrong key, will totally ruin it, and the whole thing has to be done over again.” — Pitman’s Phonetic Journal, October 1898 The typewriter has long signified

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From the Archive: Paul Dutton (CAROUSEL 36)

From the Archive: Paul Dutton (CAROUSEL 36)

Paul Dutton is a poet, novelist, essayist & oral sound artist, who, over the course of 5 decades, has uncompromisingly challenged the borders of literature & music. Internationally renowned for his solo sound performances, Dutton’s otherworldly voice works have helped redefine the potential of human utterance. CAROUSEL is pleased to present the first appearance in print of a selection of works from this innovative explorer of language in the following profile section — which includes

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From the Archive: Ben Ladouceur (CAROUSEL 36)

From the Archive: Ben Ladouceur (CAROUSEL 36)

BEN LADOUCEUR 461 Margueretta Street There’s the house there’s the way into the house.Hot head blood a difficult decision being responded to.We are hurting men we house and cause great woe.The moss growing by one millimetre every warm year.Harder to tell when you’re away plus I care less too.Inert things proceed no regard for human assent.God will not fail to take such a martyrdom into account.You create a fluid place it inside me leave it

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From the Archive: Chad Campbell (CAROUSEL 36)

From the Archive: Chad Campbell (CAROUSEL 36)

CHAD CAMPBELL At the Surabaya Zoo The last eyes retreat. A shiftworkof waiting for food until morning starts, when she’s led from the brickhutch to the pens. Nearby, a bear stares brokenly at some apples.She stretches out again. Day opens. White tigers are especially rare. Lookhow white she is, how fine her tail, how black the stripes that leapbrail for violent majestic force — the titillation of a hungry shadowloping for you through a field

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From the Archive: Klaus Pichler ‘All Dressed Up with Nowhere to Go’ (CAROUSEL 35)

From the Archive: Klaus Pichler ‘All Dressed Up with Nowhere to Go’ (CAROUSEL 35)

Viennese photographer Klaus Pichler’s intimate photo series, Just the Two of Us, aims to reveal the people beneath a variety of costumes without unmasking them. For adults, the act of dressing up in costume is most often associated with some form of social activity. It’s a spectacle, a transformative activity that grants us permission to temporarily play out a fantasy role in the everyday world. Costumes and disguises permit people to act in ways that

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From the Archive: Daniel Scott Tysdal (CAROUSEL 35)

From the Archive: Daniel Scott Tysdal (CAROUSEL 35)

DANIEL SCOTT TYSDAL Inside Job – Composed on the occasion of the release of the 9/11 conspiracy theory documentary Tight Resistance The doc shocks; its evidenceis as disturbing as its claim: 9/11was not an inside job. Bush could nothave known X. The CIA could nothave orchestrated Y. The “terrorists” were notactors working from a script by Z (a rumouredOscar winner) and doctored by otherHollywood A-listers. Tight Resistance mounts a new founding alphabetto articulate the tragedy,

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From the Archive: Leah Jane Esau (CAROUSEL 35)

From the Archive: Leah Jane Esau (CAROUSEL 35)

LEAH JANE ESAU Letters to Your Brother Hour One: we aren’t sure what happens in the first hour he goes missing, because we aren’t there.       Does it happen because we aren’t there? • Hour One for you: a phone call.       You don’t answer because your shirt is on the floor of your boyfriend’s apartment. You let it ring three times and go to voicemail.       A few seconds later, it rings again.       Your boyfriend says, “Maybe you should see who

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From the Archive: Cara Evans (CAROUSEL 35)

From the Archive: Cara Evans (CAROUSEL 35)

CARA EVANS Fractal i.nothing disappearsevery action fracturesinto a million splinters of the sameaction happening over andover there is no erasureonly variation ii.the word or is nestledin word and eachword is a thresholdthe breath or the storythe sound or the sign the word more is truncatedand trapped withinmemory memorycannot exceed or replicatetwists vainly towarddoubling redoubling redoing all wholes are completed by lack Fractalappeared in CAROUSEL 35 (2015) — buy it here

From the Archive: Eduardo C. Corral + Jim Johnstone (CAROUSEL 35)

From the Archive: Eduardo C. Corral + Jim Johnstone (CAROUSEL 35)

EDUARDO C. CORRAL + JIM JOHNSTONE Alternating Landscapes (Sonoran Desert / High Park) I roll into a high shoulder stand, allknees and elbows —saguaro. • Forget the beautifulmoments:               the theatre drenched              with rain a fox swinging              its cutlass between the sunand sun-              glassed              eyes • Dust devil, tattered sail.              Stray tenderness              stay. • My gaze is directedby counterweights               that mount              like a bruise: birch, hickory,basewood. • To escape the rain I leap                                   into a book.              Terra-cotta warriors,                            gunpowder, a buck:                 its antlers              the Chinese character                            for deer. •

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From the Archive: Robin Richardson (CAROUSEL 35)

From the Archive: Robin Richardson (CAROUSEL 35)

ROBIN RICHARDSON We’re Just Beasts with Big Brains Tipsy on the stoop beside a stone dog, faithful as the hurricane       that claimed his face. It’s okay. The sidewalk’s arching orangetowards a chanting patch of shrubbery; it chants your name. Or does it state the ways of gods, or god, or something worse?I have misread myself for years: open as an infant crow below the worm. At my feet some German Shepherd, older than his owner, begsto

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From the Archive: Michael Morris ‘City Deluxe’ portfolio (CAROUSEL 34)

From the Archive: Michael Morris ‘City Deluxe’ portfolio (CAROUSEL 34)

Certainly one of Canada’s most recognized artists, Michael Morris first came to prominence in the 1960s as a leading member of Vancouver’s burgeoning avant-garde. Inspired in part by the ideals of Fluxus and Pop Art, he became associated with a generation of artists who consciously rejected the national lyrical landscape tradition that had dominated the region’s art making, opting instead to work in a fully international idiom. As a creator, Morris has worked in a

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