
Last Saturday Zach Wells read at Collected Works in Ottawa, a well attended event where he recorded his reading. You can listen to it here.


This is, without a doubt, one of the most beautifully produced trade paperback editions of a poetry book I have ever seen published in
by Ted Shaw: Windsor Star
The truckers and the kickers and the cowboy angels will gather tonight at Phog Lounge.
There's a unique event planned linking popular music to the literary arts, celebrating the music of Gram Parsons in song and the spoken word.
Novelist Ray Robertson, who is in town promoting his latest book, David, at Bookfest Windsor at the Art Gallery of Windsor, will slide over to Phog, 157 University Ave. W., at about 10 p.m. to join a Parsons tribute staged by local musicians, Kelly Hoppe and Greg Cox.
The event was put together by Bookfest, Phog's Tom Lucier, and Robertson's local publisher, Biblioasis Press.
Robertson, originally from Chatham, wrote a 2002 novel, Moody Food, which was based on the life of country-rocker Parsons.
The first line of this column was taken from Parsons' 1974 song, Return of the Grievous Angel, one of the tunes Hoppe and Cox will perform during tonight's set.
"I was a big fan of Gram Parsons all through the wilderness years of the 1970s and '80s," said Robertson, 43, who now lives in Toronto.
During that time, Parsons was often mistaken for the British pomp-rockers, Alan Parsons Project.
But Robertson was a purist who was drawn to Parsons' unique talent for blending many styles of American 20th- century music.
"I was drawn to it because, for me, (Parsons' music) consisted of all the stuff that makes up popular music. It had rock, it had country, it had R&B, it had gospel.
"It also had a quirky, psychedelic vibe to it."
Parsons is credited with being one of the originators of the country-rock sound. Born in Florida in 1946, he formed the Boston group, The International Submarine Band, in 1967, then got hired to join The Byrds the following year.
His time in The Byrds resulted in the seminal album, Sweetheart of the Rodeo, which pop musicologists regard as one of the first country-rock records.
Parsons was in The Byrds a mere four months before splitting to form The Flying Burrito Brothers with ex-Byrd Chris Hillman and future co-founder of The Eagles, Bernie Leadon.
The wayward Parsons, whose fast life was fuelled and eventually felled by booze and drugs, was also a friend of Keith Richards, and his influence can be heard on The Rolling Stones' Let It Bleed, Sticky Fingers and Exile on Main Street albums.
Parsons died at the age of 26 of a drug overdose in a motel room in Joshua Tree, Calif.
But in his last two years he managed to produce a pair of stunning solo works -- GP and Grievous Angel -- with the help and guidance of Emmylou Harris.
Today, Parsons is a patron saint of alt-country, and his influence is evident in the likes of Old 97's, Drive-By Truckers, Uncle Tupelo, and The Waco Brothers.
In Moody Food, Robertson used Parsons as the inspiration for his fictional character, Thomas Graham. (In a famous Rolling Stone Magazine article at the time of Sweetheart of the Rodeo's release, Parson's first name was misspelled as Graham.)
The novel is set in Toronto's downtown Yorkville neighbourhood in 1966. It was a time of sex, drugs, and rock 'n' roll, and Yorkville was a mecca for aspiring musicians, American draft dodgers, wannabe hippies looking for a score, and college dropouts -- like Bill Hansen, the narrator of Moody Food.
Those who lived through those times have praised Robertson for his accurate portrait of the Yorkville scene in the late-1960s.
But it was all a work of the imagination -- Robertson was born in 1966, so he has no direct knowledge or experience of the period.
The character of Graham, his band The Duckhead Secret Society (Parsons produced the debut album of short-lived New Jersey band, Quacky Duck and His Barnyard Friends, in 1973), and the formative months in Yorkville are purely fictional.
There is no evidence, said Robertson, that Parsons visited Toronto in the late-1960s, although some of his contemporaries, including Jesse Winchester and Bill King, emigrated north to escape the U.S. draft.
Robertson will read passages from Moody Food at The Phog, and sign copies of the book.
Kelly Hoppe, meanwhile, was only too happy to prepare the musical appetizers.
He and Cox will have acoustic versions of, among others, 100 Years From Now and Hickory Wind, from the Sweetheart of the Rodeo album; Hot Burrito #1 and Dark End of the Street, from The Flying Burrito Brothers' The Gilded Palace of Sin album; and Return of the Grievous Angel and In My Hour of Darkness from the last two solo records.
"I like Gram Parsons," said Hoppe. "But I don't think of him as a huge influence on my music."
For his inspiration, Hoppe goes back to the same sources, namely the Bakersfield sound of Buck Owens and Merle Haggard.
Hoppe also uncovered a passion for covers in his research of Parsons' discography.
He will include many of those in the set, such as The Louvin Brothers' The Christian Life (covered by The Byrds on Sweetheart), The Bee Gees' To Love Somebody, and Haggard's Tonight The Bottle Let Me Down.

1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?
I don’t know yet! I’m hoping astronomically! My first book is very brand new, so brand new, in fact, that I have yet to actually see it. I guess completing it and having it accepted for publication changed my life in that I started to think of myself as “a writer” as opposed to “a student” or “an unemployed hobo,” although I still can’t actually bring myself to say “I’m a writer” when people ask me what I do.
The stuff I’m writing now is different only because I’ve moved on to different obsessions. When I first started writing, I was obsessed with language; I wrote sentences because I liked the way they sounded. Lately I’m more obsessed with story – I really want stuff to happen. And my newer stuff is better, I think. I guess I still think of myself as a student in that way... I like to think I’m not even close to being as good as I could be.
2 - How did you come to fiction first, as opposed to, say, poetry or non-fiction?
I actually came to poetry first, if I’m going to be honest about it, but my poems really sucked, in that sixteen year old self-indulgent kind of way (even long after I was ever sixteen). I needed more room, so I started writing fiction. Non-fiction was never really appealing to me; the main reason I write is to entertain myself, and reality is almost never as entertaining as what’s going on in my imagination... or at least, I can’t write it to be as entertaining. I sometimes tell people that I like writing fiction because I feel like fiction can sometimes be more truthful because it’s not stuck in fact, but in really I just like to make stuff up.
3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?


Dance with Snakes, the novel that Biblioasis is publishing this fall, first appeared in El Salvador in 1996. What was the context -- literary and/or historical -- of the composition of this novel?
I wrote that novel during the months of September and October 1995, in Mexico City. I had just come back from El Salvador, where a very ambitious journalistic project, the weekly newspaper Primera Plana, of which I was editor-in-chief, had failed. We went broke in July of that year. My mood was dark and defeated. Writing Dance with Snakes was cathartic, liberating. A couple of months later I wrote El asco (“Revulsion”).
As you’ve mentioned, journalists appear in your novels on various occasions. In Dance with Snakes, the journalist is a young woman. Was this a way of trying to dismantle some of the literary stereotypes associated with the figure of the journalist?
That novel was written in a very compulsive way, as if the story had already been saved on a hard disk in my head. The truth is that I didn’t set out to dismantle any stereotypes with the character of Rita Mena, but rather that she was the right person to continue the plot development. I constructed a cocktail of a character on the basis of two women reporters and a female designer who had worked with me on the newspaper, and I rushed ahead.
For the full interview please go here.



Today, I'd like to introduce Open Letter Books, the excellent literary translation press run out of the University of Rochester. Some who read this blog will already, no doubt, be aware of their work: I've blogged about them before and talked them up to many. I'm also a daily reader of the press's blog, Three Percent, one of the best online resources for those interested in literary translation.
Translation has always been a big part of what Biblioasis is about. Our second and third titles were translations, of Goran Simic's From Sarajevo With Sorrow, and Yesterday's People. From there we went on to start the Biblioasis International Translation Series, with Stephen Henighan as series editor, and this is now the second year we've put out two translations. These have included Ryszard Kapuscinksi's I Wrote Stone, Ondjaki's Good Morning Comrades, Hans Eichner's Kahn & Engelmann, and Horacio Castellanos Moya's Dance With Snakes; forthcoming titles (2010) will include Mauricio Segura's Black Alley (Cotes des Negres), Mihail Sebastian's The Accident, and Jaime Sabines Love Poems. But I've had an urge to do more for some time, to expand the series to four or six titles a year. For the time being, alas, it simply isn't possible: we don't have the available resources of enough time, money or manpower, so we'll have to continue to develop the series at a more reasonable pace.
In some ways I've been jealous of Open Letter: if I could do more of what they are doing I'd do so. I've been corresponding with Chad Post, publisher at Open Letter for some time now, and we finally got a chance to meet in New York last May for Book Expo. Taking a break from the Kick the Can music festival we were at, we sat down for a few beers and hatched a plan which would allow us to bring some extra international literary titles to Canadian bookshelves and readers.

It is indicative of the sad state of foreign translations that such an intriguing and – terrible word, but here it is justified – original writer had published eleven works before being translated into English, but both New Directions Publishing and Biblioasis should be commended on their courage. Moya is not an easy author, and his novels eschew – at least both that have been published in English – both easy answers, and indeed often an answer at all. Obsession, darkness, the fringe of the fringe of society: these are Moya's stomping grounds. Eduard Sosa is sympathetic while being almost totally alien, he is an enigma both to the reader, the other characters, and himself, but his answer, it seems, is this: there is no answer. Lee Paula Springer's translation handles admirably the shift in tense and perspective, while retaining an overall feel of the novel that remains coherent throughout the most bizarre of happenings.
Dance With Snakes is harrowing and violent, a deliberate and relentless effort to shock the reader. And, you will be shocked. There is something in here for everyone, to the extent that all boundaries are crossed and morals broken into insignificant pieces. Yet it is the ease with which Moya shows this happening that is the novel's greatest strength. We live in societies where we operate under the tacit assumption that most everyone will behave in a mostly orderly, ordinary, and regular manner. When a person shifts too far outside what we expect they are ostracised – witness the antics of teenagers as they jostle for attention and express their identities in an increasingly outrageous manner – and everyone knows someone who “isn't quite right”. Moya turns this concept into a novel, creating a mostly ordinary fellow who forces himself to become extraordinary simply to see what it is like, and succeeds so tremendously because people simply do not and cannot accept that which is so wholly different to their concept of normality.
For Damian's full review go here.
Over at Ron Slate's website, the poet and reviewer comments as favorably on Moya's novel:
Now, Biblioasis has brought out Paula Springer’s taut translation of Dance With Snakes (Baile Con Serpientes, 1996), Moya’s second novel of four parts. Dance With Snakes is a plot-driven story with twists and misunderstandings among its characters. ... Moya has cultivated a unique talent for giving senselessness a screwy depth – and the style and shape of his fictions, often compared to that of Roberto Bolaño, are truly his own. Only Moya could come up with a scene where Sosa and his ladies, spiked on cocaine and a surprising aphrodisiac, have terrific sex. Such is the dance with snakes.
Elsewhere on the internet, Scott Esposito over at Conversational Reading points to an essay -- only available in Spanish -- Moya has recently published on the American creation of the Bolano mythology:
Basically, in order to sell books marketers invented the Bolano myth, which Moya is taking as an act of U.S. cultural imperialism on Latin America. Throughout the rest of the piece, Moya goes on to argue that marketers and journalists created an image of Bolano to fit preconceived U.S. stereotypes of what a Latin American is--and especially what a Latin American author is.
Moya concludes that the Bolano created by American marketers and journalists fits in with a sterotype popularized in recent movies and books about Che...
We expect we'll start to see a lot more coverage of this novel in the coming weeks, so stay tuned. Better yet: pick up a copy, as they should be on shelves across North America any day now.
Sunday October 4th, 2009
4 – 6 p.m.
PLEASE NOTE IT'S A SUNDAY AFTERNOON THIS TIME
The Blue Moon Pub
725 Queen St. E.
That's just East of Broadview on the South side.
http://www.bluemoonpub.com/
Including new work by:
Amy Jones
Lina Medaglia
Sachiko Murakami
Rebecca Rosenblum
Roz Spafford
There will be an open mike. Seven readers, three minutes each. Please arrive at the beginning of the reading to sign up.
With the $5 admission fee you get a copy of Draft, a limited-edition publication available only at these readings.
For info:
416 433-4170

Why confess? Why take the personal and attempt to sanctify it in a poem? Why take what a few friends and family should know, and offer it up to a public?
The working title of my book was “My Manic Statement,” a reference to the granddaddy of the confessionals, Robert Lowell, and his “Memories of West Street and Lepke.” Lowell has been the presiding genius of this collection, not in terms of style but in terms of the confidence of utterance: I tried to do what Elizabeth Bishop said in a letter to Lowell, that Bishop might write about the events in her life but she doesn’t have the historical position that Lowell easily mines. I wanted to take a personal history and make it brittle, I wanted to make that history somehow relevant and pressing to more than just my own need. I wanted soul-excoriating poems that I could at least confirm had the ring of truth.
Many years ago, the first manuscript –drivel- I sent out to publishers was a collection of political poems, mostly about the then-ongoing war in Kosovo. One editor wrote back asking what knowledge I had of war, what legitimacy I possessed; he said it was a basic question that people would ask, how I was positioned to speak, if I was authentic. (What was understood: who was I kidding, really, a boy from New Brunswick.) I was devastated by this comment, and resolved instead to write about things I could verify; the war poems, little trinkets as I look back now, began to fall into the shadow of the only tumult that I really knew, and the only experience I could ever have.
But that doesn’t mean I’m left with a confidence. People have read my manuscript and said, “I think I now know you too well,” which means that there is the cringe factor in the confessional; but what man has not grieved, or longed, or succumbed? A man of serial failures and dogged persistence? One might say, “That’s just biography”, but I like to think that instead it’s authorship: these are the only things known to me, and are therefore the only things I can adumbrate, the only poems I could ever write, and the fantastic, odds-defying nature of the survivorship is the ringing back and front story of the collection, that it was written in spite of an unusual adversity. Rilke said in “Archaic Torso of Apollo” that “You must change your life” but as someone familiar with the confessional I know that the opposite is true, that my life changed me, and the very stuff of poetry is an investigation of states, of crossroad moments, of blunderings. Why not compose statements-in-poems that attest? That wrangle and pratfall? That “say what really happened?”
And then there is that great redeemer, love. It validates, and the book can be read as an in extremis love poem. The “I” of the book, used, I admit, as a function of the bondage of self, is rescued when the “I” looks at the cost: mounting, unmanageable. “I” becomes a love letter, a recognition that I owe all of this kingdom to “you.” Lowell broke the rules here, populating his poems with juiced biography, presenting one of his wives unfairly as a contrast; all of my use of the personal pronoun is an admission of culpability, a springboard to launch into reflection and not pronouncement.
But confessional, yes. A manic statement.

Terry Griggs, author of Thought You Were Dead & Quickening
Ray Robertson, author of our latest reprint, Moody Food
Grant Buday, author of Dragonflies
Kari Grimstad, the wife of Hans Eichner, the author of Kahn & Engelmann
And Leon Rooke, the father of Eden Mills, and author of, most recently, The Last Shot, a damn fine short story collection.
James Naughtie, announcing the Man Booker shortlist on Tuesday in London, spoke euphorically about the “pure, energising stream of talent” he and his team of judges found in their chosen six. October 6, when the winner is announced, is also the date for the announcement in Toronto of the shortlist for the Scotiabank Giller Prize, Canada’s equivalent of the Man Booker.
Reading almost 100 works of Canadian fiction, as one of the judges for this year’s Giller, is a life-enhancing experience, and gives a glimpse into the culture. The Canadian for “gutter” is “eavestrough”, which is picturesque . Everyone is wearing a “tuque”, or “toque”, which in English-English suggests the lofty headgear worn by Queen Mary but is actually a little woolly hat. And in the holiday cottages among Ontario’s northern lakes and forests – evidently, the prime setting for emotional turmoil – they sit, brooding, on Muskoka chairs. (Look those up on the net.)
. . .
There is a convention in Canada of appending to your novel a list of people who are fulsomely thanked for their support, starting with the book’s editor – unfailingly sensitive, creative and patient – plus family, friends and first readers. These last are generally fellow members of a writing group, who have contributed insightful modifications.
But has any major work of art ever been produced by committee? Readers may wonder whether a writer’s vision and voice may not get ironed out by such proactive input, and indeed there is a striking homogeneity in the muddy middle range of novels, often about families down the generations with multiple points of view and flashbacks to Granny’s youth in the Ukraine or wherever.
The US, too, is a nation of immigrants, but American novelists do not bang on so about their heritage and antecedents. Brits do, but differently, less personally. As it happens, all the Man Booker shortlisted novels are set back in time.
Apart from brilliant Giller contestants, there are – as Naughtie boldly said about the Man Booker entries – “unbelievably dreadful” ones. It seems in Canada that you only have to write a novel to get grants from the Canada Council for the Arts and from your provincial Arts Council, who are also thanked. Complaints were once voiced that most shortlisted Giller novels emanated from just three big-name publishers, all owned by Bertelsmann, and that virtually every winner lived in the Toronto area. Now, many of the submitted authors, and their rugged subject matter, hail from Saskatchewan, Manitoba, Nova Scotia, Newfoundland. That’s maybe because small publishers too are now subsidised, and they proliferate. If you want to get your novel published, be Canadian.

It is difficult to properly pin down the novel. At times it is a family saga reminiscent of Thomas Mann's Buddenbrooks, complete with the rise and fall of the family company (though in this case, there are several); other times it resembles a bildungsroman, as Peter Engelmann's young self slowly awakens to the rich intellectual heritage of both his Jewish ancestors and the immensity of German literature. There are scenes devoted to young men escaping the clutches of SS troops, but also letters between estranged brothers-in-law who quarrel as the Austrian kroner rises and the business they are discussing steadily disintegrates. Add to this the slow awakening of the elderly Engelmann that his life has been a lie because he never truly faced the horrors experienced by the Jews during the Second World War, and you have an incredibly complex tale, one in which so many balls are being juggled it seems Eichner must drop at least one, though happily this is not the case.
Engelmann as a narrator is not particularly overbearing intellectually, though at no time are we unaware of his formidable intelligence. Several pages might go by during which Kafka or Rilke are analysed, or on a single page can be found the names of Proust, Mann, Dostoevsky and Neitzsche. Engelmann often wonders at how the German nation could fall under the sway of Hitler and his brutality, a thought he admits isn't particularly original, but he is able to shape it in new and interesting ways. Kahn & Engelmann is rich with Jewish and Austro-Hungarian history. Toward the end of the novel Engelmann visits the grave of his poor father, only to find the cemetery neglected and forgotten by his fellow Jews to the extent that swastikas still remain etched into stone because nobody thought to remove them. The swastikas, like Engelmann himself, bear “witness to the way that world was lost.”
Biblioasis's Translation Series also comes in for some praise:



