Oubliette

I needed somewhere to put my grief. Not to hide it away and forget, but to articulate it, record it, preserve this “preciously awful” time. It was the grief before mourning, the grief before the death had occurred. Anticipatory. A thing in itself.

Oubliette, a book centred on the vicarious gardener, Ericca Godfrey—my mum. The experience of anticipatory grief is woven with scraps of conversations and memories that were shared over several years between us: two people who loved one another wonderfully and irreplaceably. Published by Nevermore Press, autumn 2023.

Reviewed by Madeline Bogoch for The Uniter.

“The stuttering of fragments from Top Gun to Tracy Emin to Cicero renders a moving present-tense of grief in this text. Godfrey’s keen ear and vivid memory cast shadows that are deftly traced to form an outline of what has been cleft from the writer.” Rebecca La Marre, editor Apophony Press.

Buy your copy here or here.

The Lights of my City

An essay commissioned by Winnipeg Arts Council, October 2022

Hannah Godfrey (hannah_g)

I carry an image in my memory of a place that is real but does not exist. It’s a cave, a sandstone-ish cave and I don’t know how big it is. It’s dry, hospitable, and its walls are uneven, full of nooks, cracks, scoops, and sheers of many sizes. Ultimately, it’s a cave that will not ever be fully known, some of its surfaces will remain forever in the shadows and that’s no bad thing; it’s not always for the good to have absolutely everything in sight. This cave is, of course, within me. When I speak or write about it my hands go to my chest and stomach, so I think that’s where it lives.

I first became aware of this cave at the Fort Whyte Nature Centre. I was with my friend, Azzy. We’d gone there a few weeks after we’d stopped dating and started our friendship. She asked me how I felt about our relationship. The cave swam into my mind as I tried to put into words how she made me feel. As I described it to her the cave grew into a real place, I could see it so clearly. She had been like a lantern held up to reveal beautiful peachy-almond colours and depths I hadn’t seen before. To experience that had been wonderful, a true marvel.

The cave’s illumination is not limited to friendship, romance, or family. Fleeting exchanges—glances, gestures, brief words—those lights may be remembered for years. And it isn’t limited to people either, places can be lanterns too.

For months last year, I walked along the stretch of the Assiniboine River that flows through downtown Winnipeg. Close to the water, I watched seeds sprout into saplings that grew optimistically. I began to recognise the people I passed each morning. Most days I’d see the silver slip of a fish as it broke the water’s surface with a tight flip, and once I’m sure I saw an otter floating on her back. I enjoyed the rogue gardening of a lady who planted cosmos and sunflowers near some unused ornate steps where she hauled water from the river in large ice cream pails. We didn’t share a language but we shared delight in her flowers’ progress. It’s only looking back that I understand that the river and all of the activity around it were lanterns, surprising with me with new patterns of light and movement.

The walks stopped this year with the prolonged flooding of the river path. I made a few half-hearted attempts to reroute through the parks perched atop its banks. In one of these parks is a reflecting pool but in the late spring it was dry with only grit and litter rustling around it. Near one end is a plinth, an empty rectangular cube about a metre high. One morning when passing by I saw a grimy duvet bundled on top of it. I continued for a few steps before the realisation sunk in that there was a person in there. I backtracked and watched for small movements that would tell me the being in the bundle was ok. It remained perfectly still. After a few minutes, I asked softly, “Hallo? Are you alright?” A head with short brown tousled hair suddenly appeared and a face with barely open eyes nodded at me and gave me a sweet, sleepy smile, the kind that’s usually only seen by a lover or a mother.

A lot has changed for me this year, although the river is presently at its more usual level. Maybe the changes are why the cave and lanterns have been in my thoughts and conversations more—it’s an evocative way of describing the effect that people, places, and experiences have on us; as well as their absence. We illuminate different aspects of each other: giddying and gorgeous, it can happen with a new friend or falling in love or visiting somewhere new. The honeylight soaks our stone and illuminates the depth and colour and shapes within us that in turn reflect back onto the lantern bearer. We find ourselves capable of great things, of experiencing the fullest sensations of life, of understanding ourselves in a way different to the one we are habituated to. Amazing, humbling gift of fullness and joy.

From the beginning of our lives we encounter lanterns. It’s not simple at all. For unlucky folks, the lanterns bore down too harshly or cast more shadows than light. I was very lucky. I had a big, beautiful, steadfast one shining on me with an unceasing sunny light as soon as I popped into the world. My mum filled me with such golden love that the walls of my cave are forever glowing with it.

My mum is one the greatest loves of my life and I was one of hers. With her death, the quality of her light within me has changed. Although it is still there, I have to concentrate and close my eyes to feel it instead of giving her a call and hearing her talk. I know her light will always be within me but I miss her gentle lantern, the me-with-her. I miss her so much.

When I reached my home in the UK, I learned she had died before I’d even boarded my flight and terrible mourning fell upon me like a curtain made of treacle. As days passed among the loving lanterns of my family, I was barely aware of some other tiny points of light in the overwhelming darkness that cloaked the future, but by the end of two weeks there was a scattering of persistent white pinpricks poking through. The celebration of my lovely mum’s life took place in the English countryside with those who loved her so very, very much and then—I was back on a flight crossing the gloomy Atlantic again, bound for my other home in Winnipeg, the home where I live.

This city, where many of those tiny, powerful lights twinkled from across thousands of silent miles grew into a quiet chorus of mismatched lanterns held by kind, steady hands, that have been helping me find myself again.  

The Midnight Florists

A hybrid novel and collection of contemporary art essays. Generously funded by The Canada Council for the Arts.

The Midnight Florists is a shadowy organization that once menaced and seduced on behalf of its clients. The plot is driven by artworks featuring plants, which are scattered around an elderly, queer woman’s apartment in Winnipeg. Though the story is fictional, most of the art works are real. Artists include Larry Glawson, Ekene Maduka, Studio Morison, Grace Han …

Being written throughout 2022 …

The Louloudi Birds

A collaboration between hannah_g & Zoe Katsilerou.

Zoe Katsilerou (singer/composer) and hannah_g created a story and suite of songs about the mythical Louloudi birds. Beginning on the small Greek island that is home to the birds, the story takes you to a Cornish forest by the sea and the love and friendship of Bonjay and Nellie, and ends on the rooftops of Toronto for the most beautiful tennis game the world has seen.

Released August 2020.

We gratefully acknowledge the generous support of the Canada Council for the Arts through the Digital Originals grant program.

An Apartment In Lunenburg, Nova Scotia

By hannah_g

With thanks to Derek Dunlop and Bossy & Jayme Spinks and Helah.

Stuff

Last month I found myself in a dim café off Platform 1 of Stroud railway station. After getting my coffee, I stood by a window that repelled light, and idly listened to the chatter of the other passengers waiting for the 9.04 to London, Paddington. I soon realised that the woman who ran the place had quite a few regulars: “Going to the dentist again, John?”, “… you’ll enjoy looking out the window, Barb.” It’s a cosy though chilly nook, with old railway memorabilia on the walls, and newspapers presented on a table. The woman (flyaway hair escaping from a grey-white topknot) dispensed coffee, tea, and bacon sandwiches. Framed cartoons depicting rail service scenes from the 1930s lined one wall, romances and mysteries lined the shelf beneath them. The stuff in this place looked like it had been accrued over time, its purpose only becoming apparent when this café was acquired by the current owner. Or perhaps not its purpose; simply an opportunity.

A partial meaning

Being near strangers and also apart meant that we imagined each other’s company. A new space was formed by the act of communicating. Exchanging thoughts, memories, opinions, snippets of ourselves we furnished this apart space and dwelled in/used it for moments of consecutive days. Like any private place, you have to be there to know, but your there and my there will remain separate. If we should share a space it will simply be another space, related to, perhaps informed by, that which we previously created in our respective minds.

An apartment- a place to shelter from the weather and other people. A place to share an incomplete praecie of who you are, what you know and value, and sometimes who you love and have loved. A home. Above, below, or beside other apartments containing other people using the space in ways most likely similar to you. A place to fulfil the private necessities and luxuries of life in comfort.

Exhibition / exposition / exposure

The original properties of the word ‘curate’ such as caring for, stewarding, sharing thoughtfully and knowledgeably I hold in regard. And I love looking at art objects and object objects and visiting places in which they have been collected and presented with intention. It will not be surprising that, for the most part, I rather like contemporary art galleries and believe in their purpose as places to encounter objects, experiences, texts, bodies, and ideas. They are places to think intimately and usually solitarily, despite the presence of other visitors. Seeing art and objects in a person’s home is a kindred experience though different in important ways. Depending on one’s relationship with the home one is in, one might cast surreptitious glances at things or confidently ask after them. One is exposing one’s level of interest.

A few days ago I asked an artist, “Where would you like people to see your work?” And via the tumble of conversation, I wondered about the setting up of circumstances for people to see art in a home without them realising that that was what was happening. Using cruising apps was my initial thought because of the nature of the artist’s work. The moments of being in unfamiliar domestic settings that precede sex, what would one see in that heightened state? What would one remember? And what about the act of cruising the art itself? The artist described doing this when he visits a gallery. Looking within the mists of intention when anything is possible.

Abigail’s Agenda

Strangers, acquaintances, neighbours, pals, friends are the components of a certain kind of community, usually one defined by geography. How do we get to know one another and when do we want to do this? How can we see what each other does? What if it isn’t on neutral ground? What if we become a guest as well as an acquaintance? What if we become a guest as well as an old friend? What if we become a host as well as an artist?

Let’s find out.

Typesetting and design by Jayme Spinks.

Where and How: a composition for Kristin Nelson’s Sydney/Sidney

Kristin Nelson (Canada) commissioned me and other artists to create new work using the sounds of winches as recorded in the Joan Sutherland Theatre at the Sydney Opera House by Sound Designer Emma Duggan during a Canada Council for the Arts International Residency at Artspace in Sydney, Australia. More info at her website here.

The album is currently available for $40 USD and was produced in an edition of 100. Cost includes shipping within Canada and the US.

The project was made possible by The Winnipeg Arts Council.

Sounds of Curtains (now destroyed) Sydney Opera House, 2020; vinyl, screen print, risograph, duralar, offset printing, book binding; 12.25 x 12.875.

Available for purchase on this discogs page. You can also hear samples there.

Sounds of Curtains (now destroyed) Sydney Opera House vinyl* release date was March 6, 2020, at Garry Street Coffee in Winnipeg (CA) and contains works by crys cole (DE), Christine Fellows (CA), hannah_g (CA), Casey Mecija (CA), Gail Priest (AU), Judith Rice (CA), Kelly Ruth (CA), Andrea Roberts (CA), Süss (CA), and Roger White (CA). Includes a bonus written response in the form of a ficto-criticism by artist and cultural theorist Jeanne Randolph (CA), and a visual response to Jeanne Randolph’s text by artist Kelly Campbell (CA).

Below is the text explaining my composition.

Book design by Kristin Nelson.

Seeing And Knowing – Essayist for Young Lungs Dance Exchange

One writer and one visual artist or photographer are paid to participate in the Research Series by creatively responding to the work of the in-residence artists. The point of the program is to allow for exchange across discipline and to create opportunities to broaden the exploration of the artists in residence by offering multiple in-depth perspectives. Writers and visual artists are invited to participate at various times throughout the year.

In the Autumn of 2017, I was paired with Davis Plett, Alexandra Winters, Warren McLelland, Kayla Jeanson, Brianna Ferguson, and Rachelle Bourget.

Here’s a link to the online essay. Below, the whole text is pasted.

https://younglungs.ca/2018/11/15/seeing-and-knowing/

 

seeing and knowing
Produced as part of Research Series September-November 2017

by hannah_g

I was looking at some reproductions of Torey Thornton’s paintings the other day. Colourful, witty, the paintings contain forms which correlate to things in the world one may be familiar with – tiger stripes, fruit, a herd, furniture. Getting into their specifics, however, places one in the realm of conjecture. Is the tiger dead or alive or someone in a tiger suit? Is that blob a table or a rug? “His work oscillates between legibility and abstraction,” as the Almine Rech Gallery puts it. This oscillation – which occurs across many disciplines – provides the means for recognition, alienation, self discovery, enjoyment, connection, boredom, distraction, contemplation … that is, it provides a means of exchange.

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Alexandra Winters & Warren McLelland
*

Speed, strength, stamina, and repetition are common elements of sport and dance: Winters’ choreography on McLelland and herself sought the crossover between the two and thereby perhaps the epiphany of a common intention.

The cheers from a huge crowd was the work’s soundtrack and accompanied McLelland’s warm up jog which stopped abruptly at one of the studio’s pillars (amongst four of which the piece was placed to infer a sporting frame such as a baseball diamond, the corner of a soccer field, or a ring). Here his body opened into the star shape that often accompanies a sporting moment, such as when a soccer player strikes the ball for a long punt or baseball fielder is in the air straining to make a catch. For the duration of the first half of the piece, McLelland referenced a cluster of sporting gestures from soccer and football players, baseball shortstop and batter, ice hockey goalie, and referees, which the choreography stylised, decontexualising them so that aggression, efficiency, and the need to win made way for a physicality that elicited other references that included voguing and ballet as well as moments that fell entirely out of specific techniques. Winters, dressed in the black t-shirt and shorts most readily associated with referees, signified the second half. Offsetting the ref reference, she engaged McLelland combatively, emulating the intimate, non-sexual physicality of engaging an opponent that is premised on the ability and conditioning of bodies and the technique that has been worked into them over many years. Winters’ body interrupted the assumed masculinity of sport and aggression, emphasising interaction over competition. This allowed for a moment where both performers flowed out of their floor hold and into lying on their backs, fist pumping tiredly in rhythm with the cheering, which accompanied the whole performance. After a few seconds they reengaged and returned to their sparring and teaming.

Both performers maintained a ‘game face’, their expressions telling us that they were concentrating on something outside of themselves that wasn’t necessarily each other or what the audience could actually see. Their movement, which required much strength and created many forms that were almost micro tableaux, ranged around the performance area, filling it. The absence of prescribed emotion heightened the impression that they had stakes in what their physicality was going to achieve in the moment, which, I suspect, led to the audience having an investment in the piece that was not based only in emotional receptivity, but in an abstraction of sport’s movements, techniques, and consequences, and of players’ and spectators’ bodies and relationships.

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Kayla Jeanson, Brianna Ferguson, & Alexandra Winters

In Labyrinthinitis, Jeanson explores the effects of YouTube’s stabilisation tool on the bodies of the dancers she videoed. Learning the movements which would prompt the tool to act most noticeably, Jeanson created choreography that would elicit the greatest intervention by the tool. There is a resemblance between the successful gestures – swinging, swaying, eyes moving slowly from side to side, jumping, hands twisting and pirouetting – and it is tempting to think of them as a little primate-like or as the cause of the simultaneous movement of the background and floor line, but the piece cautions against such interpretation or categorisation, implying that this itself will change the way the work is seen.

Jeanson’s processed videos show bodies that we are watching via something else’s observation. The sensation of being behind some one’s or thing’s eyes is like playing a part in the movie Being John Malkovich but in this circumstance the observer, the Artificial Intelligence behind the stabilisation effect, changes in a real way that which is observed. Although popular consciousness is familiar with the principle that particles change according to whether they are or are not watched (the Zeno effect) and is parallel to research in the social sciences that posits perception can change how the perceived is interacted with, it is still shocking to see what those changes actually look like and how they effect us.

The jerks, the unnatural flow of the bodies whose natural timing has been disturbed, the odd panning in the shots, the slight zooms, and the shudders of the background, all make for an uncanny experience. These once freely moving human bodies, now processed, are assigned an A.I. interpretation of their movement and the bodies are corrected accordingly. Animation techniques are brought to mind, but this stabilisation effect is animating something that is already animated, that is living, in order to create what it calculates is conventional or ‘normal’. One could think of this as a kind of metaphor for the issues of body conventions much of the dance world struggles with. One is also reminded that defining and enforcing ‘the normal’ is a characteristic of tyranny. Thus digitising and editing bodies also raises questions of who or what does the defining and enforcing and what are the implications when we can no longer discern that an image or video is ‘off’ and therefore manipulated and hence what is real, what is not, what is true, what is a false, who is in control.

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Davis Plett & Rachelle Bourget

Rituals are a means of encoding specific sequences of actions that are designed to exert a form of power. They often mark or are attempts at transformation. Bourget performed an intense interiority, her movement communicating a concentration and purpose usually reserved for ceremonies. She slowly crossed the space holding a cardboard box in front of her face and then after setting it down she removed a plastic bag from which in turn she took the dividers common to wine boxes then proceeded to slot them together to make three shapes we knew must be pre-determined given her manner of construction. This was part one and was, among several other things, a witty flirtation with the tedium that accompanies rituals with which we are overly familiar or have no stakes in. But the central preoccupation of the piece seemed more about deconstructing the power structures within bodies that have acquired particular vocabularies from specific training. Such training includes making itself clearly evident in the actions performed by those bodies, thus the bodies are allied to a set of rules created by schools of movement and thought. Plett choreographed the performance to objectify Bourget’s training which led to the disassembling of the meaning of everything she interacted with. The wine bottle dividers stopped being wine bottle dividers and became abstract sculptures; they were separated from their intended purpose (which named them) via a ritual. We still see the divider, and the training, but accept and believe the transformations and the opportunity to become immersed in the spaces that form when meaning expands.

In the second part of the performance, Plett in plain sight, puppeteers a crumpled, thin plastic sheet from the ceiling, fidgeting it’s four sides to make it become a ghostly jellyfish that descends onto an almost full Fanta bottle placed on top of a red sheet of Mylar over an overhead projector. Aside from the phantom/Fanta pun, the performance seemed a reinterpretation of Bourget’s ritual: whereas the first observed transformation was that of the cardboard dividers, the plastic bags in which they had been packed and then carefully folded away were also changed by her performance and were then able to leave the confines of their prescribed purpose to potentially flap away into another. Thus we see Plett’s training, as well as the ripple between accepting one story for another.

 

Playing Ball – Research series story

The waves tumbled over the rocks and onto the beach, muscular and doubtless. A friend of Kenneth’s, a pitcher, had told him how he’d go to the beach when he had the blues and imagine the sea was a cheering crowd willing him to do well. When this pitcher won a chunk of cash on a scratch card, he blew the lot on a couple of crates of baseballs. He took them to the beach and spent a day pitching them into the sea: an offering to the waters.

Kenneth had come into a little money himself and decided to do what his friend had done. He brought his two crates to the beach and as the sun was beginning to set, he pushed his hand into its well worn mitt and limbered up, swinging his arms, rotating his shoulders, twisting his torso, getting the joints lubricated and muscles warm. He’d spent more of his life playing baseball than not and his body was shaped by its rhythms and repetitions. A centre fielder and star batter, he had moulded his body to swing, sprint, catch, and throw with the greatest power and efficiency. The form suited him but he worried his mind had become conditioned into a certain shape too and that he wasn’t thinking and moving in the world with full autonomy.

He threw the first ball far out into the waves. The sound of the sea heightened his awareness of his own movement. Kenneth felt his concentration transform his physicality from utilitarian to ritualistic, a set of repeated gestures that allowed him to experience everything as everything. He was used to concentrating on his body but now it was as if the sea was washing a film away. He experienced himself with a fresh intensity, feeling the ball, his mitt, the breeze, the rising moon and his body as profoundly related to one another.

The moon was at its zenith when he abruptly stopped pitching. He realised he wasn’t exercising oneness at all, he was simply polluting the sea. “Shit,” he groaned, his arms dropping to his sides. He stared at the waves rolling on and on, their cheering sounding more like anger. Even his staring felt like it changed the sea – was that polluting it too? The rhythm of the water now seemed off, too jerky but also too smooth. He switched between staring hard and pretending not to look, trying to discern just what effect, if any, he was having. It made him nauseous and he tightly closed his eyes. In his head a bunch of ball players appeared, each looped on a snippet of their game movement. When he contemplated them as a group their movement was regular, recognisable but when he focused on one, her gesture wobbled and his own perspective rippled in response making him very uneasy. A disturbance in the shallows snapped his eyes open and his mitted hand shot into the air in reflex to the blob flying towards him at speed. He made the catch- a wet baseball. He scanned the waters expecting to see a swimmer but there was none. Taking a few steps forward to scrutinise the surf more closely he saw a dull glowing – a group of jellyfish bobbing like phantoms. Another ball broke the surface above them and Kenneth made the catch. Quickly he pulled off his mitt, grabbed his bat, and ground his back foot into the sand. He waited, bat raised, eyes on the shallows. Another ball hurtled towards him – he made contact – a fly ball. Another came, he made contact again, and the crack told him it was a homer. He watched it land far out into the moonlit waters. ‘What am I doing?’ he thought, throwing down his bat and shoving his mitt back on. He waited. Eventually a ball came, he caught it, and threw it into a crate. Another ball came and he passed it onto the crate again and a pattern began.

Dawn broke, misty and grey. Kenneth’s two crates were full and piled up next to them were enough balls to fill another two. It had been a while since the last ball had appeared but he was still alert and limber for a good while before accepting it was done. He straightened up and took off his mitt, an ancient piece of battered, memoried leather. He walked with it to the water’s edge and drew back his arm in preparation for a final, awesome throw. The jellyfish, with their strange staccatic ballooning, had gone. If he threw his mitt it would not be returned and even if it was it would be changed and no longer be a part of his body as it was now. He turned and threw it onto the top of the pile of balls. Somethings are simply yours.

Critical Fictions

Thinking with the work of Derek Dunlop, Kristin Nelson, Hagere Selam shimby Zegeye-Gebrehiwot, AO Roberts, & Logan MacDonald.

Critical Fictions is a collection of encounters with works by five queer Canadian contemporary artists. The book contains essays, fiction, poetry and experimental text. It is also an investigation into how critical and creative responses to art impact one another, and how they function as ways of understanding, knowing, perceiving, and valuing.

In her bold departure from conventional art criticism, Hannah Godfrey looks to the work of five contemporary queer visual artists, with attention to, and affection for, the wit, subversion, and many complexities of each of their practices. Shifting through written forms as experiential coves, Critical Fictions is a collection of inventive responses that are delicately linked, and devoted to their subjects.

Alongside the five artists—Derek Dunlop, Kristin Nelson, Hagere Selam shimby Zegeye-Gebrehiwot, Andrea Oliver Roberts, and Logan MacDonald—Godfrey shares a keen interest in intricacies of queer power, the body, and abstraction. Her varied approach to criticism embraces stories, poetry, essays, and other textual formations as means of wayfaring through the work of art. In these pages the reader will find not only celebrations of the depth, beauty, and acuity of the artworks discussed, but explorations of the imaginative thoroughfares they open up.—Publisher’s note.

“It’s with a unique, caring voice that Godfrey speaks about, to, and with the artists in this collection. Even if the reader is familiar with an artist’s practice, the writing, in both its abstract and critical forms, offers the time and space so desperately needed to cover the complicated and intimate relationship of a critic engaging with artwork. Critical Fictions is a special, caring, and necessary book where art criticism is written, challenged, turned on its head and back again, interlacing the varying concepts of the featured artists’ practices like thread in a loom. Only when the reader reaches the end does it become apparent the threads have become a tapestry—a rare and beautiful process that will stay with you into the real world.” —Lauren Lavery, Editor of Peripheral Review.

The 2023 Canadian book tour included Esker Foundation, Calgary; Neutral Ground, Regina; Art Metropole, Toronto; Fonderie Darling, Montreal; SFU and OR Gallery, Vancouver; Blinkers/C’cap, Winnipeg; NSCAD, Halifax.
 
The writing received the generous support of The Canada Council For The Arts and the Manitoba Arts Council.

Extracts have been published by Blackflash and The Peripheral Review.

It has been reviewed

by Jaz Papadopolous in the Femme Art Review

by Mielen Remmert in Border Crossings

by Emily G. Doucet in The Brooklyn Rail.

The artists:

Derek Dunlop

Kristin Nelson

Andrea Oliver Roberts

Peripheral Review have published the essay about Derek Dunlop’s work in their Spring 2020 issue. Read it here.


Blackflash magazine have published the essay about Hagere Selam shimby Zegeye-Gebrehiwot in their spring 2020 issue. Read it here.

Peripheral Review will be publishing the essay and other texts related to  Derek Dunlop’s work in 2020.


I gratefully acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country.

Je reconnais avec reconnaissance le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi 153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.

Critical Fictions was written with the generous support of the Manitoba Arts Council.

Not For The World Would I Compare It To Anything

The series of stories and essays in Not For The World Would I Compare It To Anything describe experiences of being alone, being present, and transience, and how this in turn effects fundamental needs, such as the ability to feel at home, to rest, and know oneself.

Read a review of it here.

Written with the generous support of the Winnipeg Arts Council.

Published by Parameter Press, Winnipeg; 2018.

Edition of 150, 48-page Risograph book with screen printed cover.  <<sold out>>

Buy the third imprint, printed digitally, screen printed cover: for $10 + postage. Email me to get the ball rolling.