Showing posts with label Russell Carisse. Show all posts
Showing posts with label Russell Carisse. Show all posts

Friday, October 25, 2024

new from above/ground press: poetry and labour / is concrete, by russell carisse

poetry and labour / is concrete
russell carisse
$5


published in Ottawa by above/ground press
October 2024
a/g subscribers receive a complimentary copy

russell carisse
is currently living on unceded Wolastoqiyik/Mi’kmaw territory in New Brunswick. Here they have resettled from Tkaronto to an off-grid trailer in the woods, with their family of people and animals, to grow food and practice other forms of underconsumption. Work recently forthcoming or in, Queen’s Quarterly, The Temz Review, Touch the Donkey, also online: website: russellcarisse.carrd.co Mastodon: @russellcarisse@writing.exchange

This is carisse’s third above/ground press title, after English Garden Bondage (2022) and In The Margins. . . . . .of french translations found and remixed by russell carisse (2024).

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9. E-transfer or PayPal at rob_mclennan (at) hotmail.com or the PayPal button at www.robmclennan.blogspot.com

Tuesday, February 27, 2024

new from above/ground press: In The Margins. . . . . .of french translations found and remixed by russell carisse, by russell carisse


In The Margins. . . . . .of french translations found and remixed by russell carisse
russell carisse
$5


draws me toward the
“ego”
  away

without a sign
a crying out

* * *

I expel myself
motion
perhaps
it is thus
an other
which “I”
of sobs, of vomit
the
tears and
perspire
makes me balk at
father who
desires
I expel
who am only
myself

but one that
turns me inside
that “I” am
my own death

* * *
published in Ottawa by above/ground press
February 2024
a/g subscribers receive a complimentary copy

russell carisse
is currently living on unceded Wolastoqiyik and Mig’maw territory in New Brunswick. Here they have resettled from Tkaronto into an off-grid trailer in the woods, with their family of people and animals, to grow food and practice other forms of underconsumption. russell is the author of chapbooks, BRICKWORKS (Frog Hollow Press 2021), and English Garden Bondage (above/ground press 2022). Their work can be found online and in print.

This is carisse’s second above/ground press title, after English Garden Bondage (2022).

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9. E-transfer or PayPal at rob_mclennan (at) hotmail.com or the PayPal button at www.robmclennan.blogspot.com

Thursday, May 5, 2022

new from above/ground press: English Garden Bondage, by Russell Carisse

English Garden Bondage
Russell Carisse
$5

1.Brickwall

head stretcher stretcher stretcher stretcher head stretcher stretcher’s stretcher stretcher stretcher head stretcher stretcher stretcher stretcher head th’qt head head head head head head head th’qt head stretcher stretcher stretcher stretcher head stretcher stretcher stretcher stretcher stretcher head stretcher stretcher stretcher stretcher head th’qt head head head head head head head th’qt head stretcher stretcher stretcher stretcher head stretcher stretcher stretcher’s stretcher stretcher head stretcher stretcher stretcher stretcher head th’qt head head head head head head head th’qt head stretcher stretcher stretcher stretcher head stretchers stretcher stretcher stretcher ‘stretcher.


published in Ottawa by above/ground press
May 2022
a/g subscribers receive a complimentary copy

Russell Carisse
is currently living on unceded Mi'kmaw territory in New Brunswick. Here they have resettled off-grid with their family of people and animals, to grow food and practice other forms of underconsuption. Their writing can be found or forthcoming in Poetry Pause, The Anti-Langorous Project, The Quarantine Review, Funicular, The Utopia Project, The Pi Review, STILL: The Journal, Periodicities, The Paragon Journal, The Babel Tower Board, Talking About Strawberries, as well as in their self-published book, NOMOGRAPHY, on Google Books and New Brunswick Chapbook Series #18, BRICKWORKS from Frog Hollow Press.

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9. E-transfer or PayPal at rob_mclennan (at) hotmail.com or the PayPal button at www.robmclennan.blogspot.com

Monday, November 16, 2020

Russell Carisse reviews Amanda Deutch’s Bodega Night Pigeon Riot (2020) in antilang

Russell Carisse was good enough to provide the first review for Amanda Deutch’s Bodega Night Pigeon Riot (2020) in antilang #8. Thanks so much! You can see his original review here. As he writes:

Arrivals<>Departures

 

Rummaging around Brooklyn’s streetscape with Amanda Deutch’s Bodega Night Pigeon Riot, from above/gound press, one is drawn along and through the accoutrements and fashions of late-capital’s urban millieux. This chap of haiku rattles off with arhythmic comparisons made by the witness in the window of a moving train with words that embark on the dichotomous unrest of jarring the traditional fair of petals, lurching suddenly against the ossified detritus of economic growth - the final excrements of replicative production. There’s a moment hanging on a bridge reaching for itself, but the lul of progress, the lul of onomatopoeic security, of the flashing signs, the monetary venture to work arrives fully stationed for a fresh departure from tradition, again, but with touch of that temporal inflexibility and constraint incorporated in conjunction with the police state - America's cultural soul, as approved religiously over and over again. A soul that is expressed by civil iconographics and neon churches posing in stolen clothes. Pulling into a solipsism that is triggered by the act of naming, a feigned escape materializes from personal reminiscence but tempered with its assurances of willful forgetting and itemized appropriations - the valorized garb of existential valuation. And then it’s off again, with the cycle of storefront-church-mural, uninterupted and augmented by humanity’s popular refrain singing its tune of wealth appreciation. The destination arrives with the traditional fair now blooming and employed with a future naturally littering itself for an immanent return, as one will keep coming back to these poems. Oh, and FUCK the POL(ICE)!