Category Archives: instructions

CKCU Funding Drive 2011

Once again it’s time for the CKCU funding drive! Only one week left to support a radio station has been providing the best in music, spoken word and multicultural programming since 1975.

SOME CKCU COSTS:
Telephones $4000
SOCAN royalties – $12,000
Rent for CKCU space to Carleton University $50,000
Insurance for equipment and liability $18,000
Tower Rental for our antenna and transmitter $15,000
Web site space, bandwidth etc $4000
Headphones – $200 (we have 10 of these)
Turntables – $600
Turntable Cartridge $50 ( we go through many over the year)
Microphones $100 (always replace 3 or 4 a year)
Computers $500 (just went through one of these, replace at least one a year)
Computer Monitors $150

They’re aiming to raise $111,000. The station is volunteer and donation driven, please consider making a pledge. Pledges can be made online through the CKCU website or by calling 613.520.3920.

Support CKCU! Support Lit Landscapes!

 

Literary Press Group survey for poetry readers

Go forth and answer, you poetry reader denizen.

http://lpg.ca/public/news/lpgturnerriggs_launch_survey_poetry_market

dear Broken Pencil,

I’m not neutral by any stretch of the most nubile imagination (rob mclennan is my partner). But Zachary Houle’s recent ‘Letter to the Editor’ riled me and I’m quite difficult to unrile.

The letter itself is absurd. While I’m very sorry to hear that Mr. Houle had such difficulty getting his ex-partner to attend his readings, it hardly seems fair to blame rob. We are adults and if we wish to be supportive of our (writerly) partners: we go to an event. Period. Perhaps she simply did not enjoy readings. There is nothing that would prevent me from supporting someone that I care about. Ain’t no mountain high enough (etcetera).

To be fair, I wasn’t at that event and can’t comment on the mclennan of decades past. I can only comment on the three years that I’ve known him, during which I’ve seen him be nothing but supportive of visiting and local authors in Ottawa. Just within that period he hosted readings for:

Amanda Earl, Angela Szczepaniak, Aurian Haller, Ben LaDouceur, Brenda Leifso, Bruce Taylor, Cameron Anstee, Chris Turnbull, Christine Leclerc, Christine Stewart, Clint Burnham, David McGimpsey, Diane Tucker, Elizabeth Bachinsky, Emily Falvey, Eva Moran, Faizal Deen, Gary Barwin, Garry Thomas Morse, Gillian Sze, Gwendolyn Guth, Helen Hajnoczky, Janice Tokar, Jason Camlot, Jay MillAr, Jeanette Lynes, Jen Currin, Jon Paul Fiorentino, Ken Belford, Kim Minkus, Laurie Fuhr, Lea Graham, Lisa Pasold, Marcus McCann, Mark Goldstein, Marilyn Irwin, Matt Rader, Michael Dennis, Michelle Desbarats, Mike Spry, Monty Reid, Natasha Nuhanovic, Nicholas Lea, Nick McArthur, Paul Tyler, Pearl Pirie, Peter Gibbon, Peter Midgley, Peter Jaeger, Phil Hall, Roland Prevost, Sachiko Murakami, Sandra Ridley, Shane Rhodes, Spencer Gordon, Stan Rogal, Stephen Brockwell, Steve Zytveld, Stuart Ross, Suzanne Bowness, Teresa Yang, Wanda O’Connor, and Wes Smiderle.

Which to my mind represents a diverse range of writerly voices belonging to different aesthetics, personalites, styles, and regions. He’s published chapbooks by many of these same writers and more through above/ground press. Recently, the Dusty Owl reading series needed some help and mclennan was the one to find them a new venue, book new writers or hosts, and increase their promotion tenfold. I’ve seen him support young writers, give out publications to those he think might like them, and review books that might not be reviewed  elsewhere. He runs a twice-annual small press book fair where small presses, zines, local artists, papermakers, and printers can sell their work. He isn’t paid to do any of this. It’s a gift of time and energy.

A poisonous atmosphere in Ottawa? Writers from all schools mingle here in a whole slew of venues that cater to every aesthetic. mclennan is a vital part of the Ottawa community but he is just one of many writers and reading organizers in this town. If you want to write and participate in Ottawa literary culture, you can do so. Hell, you can do so without even exchanging a single syllable with mclennan if that’s your fancy. (And for the record, I’ve never once heard him say snarky comments from the audience excepting mutual teasing with good friends.)

rob has his critics, as do most figures of any public presence but it is ridiculous to see such a personal screed by someone who hasn’t participated in the Ottawa literary community for years. He seems to have no sense of this city’s character. I agree with only one point in the entire letter. Please do come to a poetry reading in Ottawa. Come to several. Come to VerseFest, the new annual poetry festival in March. 

And I’ll include Houle in this one. If you want to be supportive of indie/small press culture in Ottawa or elsewhere: participate. Don’t throw a hissy fit over one paragraph in a fifty-item list because you have a personal problem with an old acquaintance. Write your own work, make your own books, show up, for Christ’s sake. Else-wise, the only asinine, vitriolic, and spiteful comments that I see in the vicinity of mclennan are yours. 

best,

Christine McNair

conscious choice

Because breath is life. Because love, peace, happiness, forgiveness, and all variants thereof are a conscious choice (sometimes mostly perhaps). Happiness is a warm bell. A mindfulness clock to remind you to breathe. I love setting it to random so I can centre myself: http://www.mindfulnessdc.org/bell/index.html

“Your father said, ‘In little business lies much rest’. This world is but a thoroughfare and full of woe; and when we depart thereform, right naught we bear with us but our good deeds and ill.” (My fifteenth great-grandmother Agnes to her son John Paston in Fleet Prison, 1465.)

Jaap Blonk + playback, a poetry reading

I’m participating in this here upcoming AB series event –

Wednesday, May 25, 2011, 7:30pm
National Arts Centre – Fourth Stage hosted by Alan Neal
Tickets available at the National Arts Centre Box Office.
For more information see: http://abseries.org/node/212

Jaap Blonk
Renowned sound poet and musical vocalist, Jaap Blonk returns to Ottawa for an exclusive A B Seriesengagement. Blonk is a unique figure known internationally for his powerful stage presence. He has performed all over Europe, as well as in the USA, Canada, Indonesia, Japan, South Africa and Latin America.On May 25, Blonk presents a live version of Antonin Artaud‘s To Have Done With the Judgement of God (translated by Clayton Eshleman). This work was commissioned by BBC Radio and premiered in London, England in November 2010. It includes sound poetry by Artaud with Blonk’s variations and electronic sound.
 
As an opening act, the A B Series presents playback, a poetry reading. In this piece, Christine McNair, Sean Moreland, Glenn Nuotio, Carmel Purkis, Sandra Ridley and Grant Wilkins read, reconfigure and respond to artist Michèle Provost’s exhibition, playlist. You can listen to the March 4, 2011 interview with the Playback artists which aired on CKCU radio.

practice when there’s no practice: Messagio Galore take VIII

 

Ages since I’ve been able to update the blog, worn out by all the Many Whatsits. Currently knee deep in practices for Messagio Galore take VIII. It’s part of the Ottawa International Writers Festival on Sunday May 2nd (2pm, Mayfair Theatre).

You can a description for the previous Messagio Galore here, which includes links about previous incarnations. There’s also a round-up of reviews and blogposts here.

For fun, thought I’d list off some of the stuff that I’ve been watching or listening to over the past year or so when I’m not practicing at john’s house. We started practices for Messagio Take VII, in April 2010, perhaps? Even when we’re not practicing: we’re practicing.

Lots of Mary Margaret O’Hara. I like how she tosses her voice around and chirps and I have tried to flourish some of that.

Don’t Be Afraid” Mary Margaret O’Hara

Bulgarian singing. John turned me on to this. I’ve bought a few albums and he played me a tape accompanying the Musicworks magazine (#44) featuring bpNichol/Schwitters and Bulgarian singing. He introduced me this form of singing as a way of trying to get me to sing certain pieces with a more open throat. Particularly the flourish that I had to do in “Mescal Rite”. My first exposure was when he played me Le Mystere des Voix Bulgares. The ninth song on the album, “Sableyalo Mi Agontze”, isn’t online but it’s my favourite. Tears my guts out and I nearly always cry when I hear it. I subsequently wandered through the youtubeisms and through other online videos and into other regional varieties of the same.

Malka Moma” Mystere de Voix Bulgares
Lale li si Zumbiul li si” Galina Durmushliiska
Not Sure, Шопска Китка ” Singers not attributed in English
Title not Listed” Mystere de Voix Bulgares
Zaidi Zaidi jasno slance” Iva Davidova

Random assortment of things. Inuit singing when I was playing with running overtones and undertones and minimidtones, mainly within the privacy of my own home, to the concern of my furniture. The original Robert Ashley piece that was the basis for what we’ve tried with “She Was a Visitor” in the previous take. Four Horsemen.

Inuit Throat Singers, Ottawa 2008
Inuit Throat Singing, Aryaut and Aniksak
She Was a Visitor” Robert Ashley
From “Poetry in Motion” Four Horsemen

There’s also a boatload of sound and video files at UBUWeb that I meander through. And there’s Penn Sound. And Google hunting.

Messagio Galore is next week! Other things!

This week is a special kind of madness as Messagio Galore take VII draws near. I strongly recommend you show up if you’re in the Ottawa environs. Invite your friends! Drag strangers in to the reading while gesturing and/or offering them candy!

I’m still plugging away at the cartwheel chapbook anthology thing. I’m aiming to have it done like dinner for March. Reining in the dream machine.

I had a goodish time at my Voices of Venus reading on Tuesday. Metro Ottawa  had a Metro Minute listing for the show. I panicked and sent them a fairly awkward looking photo of me at a Peking duck restaurant in Beijing. Someone kindly picked up some print copies of the Metro in question for me and my Mum.

It was a good audience and the organisers were sweet. They made a quite nice looking poster using Charles Earl’s photograph of me.  I took one of the posters from the cafe wall after the reading.  Amanda Earl said some nice things about the reading on her literary blog.  I was able to spend time with some of my favourite people. Good all around really.  Nervy with lucky.

rise (By Grand Central Station I Sat Down and Wept)

 

“Under the redwood tree my grave was laid, and I beguiled my true love to lie down. The stream of our kiss put a waterway around the world, where love like a refugee sailed in the last ship. My hair made a shroud, and kept the coyotes at bay while we wrote our cyphers with anatomy. The winds boomed triumph, our spines seemed overburdened, and our bones groaned like old trees, but a smile like a cobweb was fastened across the mouth of the cave of fate.

Fear will be a terrible fox at my vitals under my tunic of behaviour.

Oh, canary, sing out in the thunderstorm, prove your yellow pride. Give me a reason for courage or a way to be brave. But nothing tangible comes to rescue my besieged sanity, and I cannot decipher the code of the eucalyptus thumping on my roof.

I am unnerved by the opponents of God, and God is out of earshot. I must spin good ghosts out of my hope to oppose the hordes at my window. If those who look in see me condescend to barricade the door, they will know too much and crowd in to overcome me.

The parchment philosopher has no traffic with the night, and no conception of the price of love. With smoky circles of thought he tries to combat the fog, and with anagrams to defeat anatomy. I posture in vain with his weapons, even though I am balmed with his nicotine herbs.

Moon, moon, rise in the sky to be a reminder of comfort and the hour when I was brave.”

— Elizabeth Smart (By Grand Central Station I Sat Down and Wept)

it can happen to anyone

male or female or straight or same-sex or or or or or or or or.

SIGNS THAT YOU’RE IN AN ABUSIVE RELATIONSHIP
Your Inner Thoughts and Feelings
Your Partner’s Belittling Behavior
Do you:
  • feel afraid of your partner much of the time?
  • avoid certain topics out of fear of angering your partner?
  • feel that you can’t do anything right for your partner?
  • believe that you deserve to be hurt or mistreated?
  • wonder if you’re the one who is crazy?
  • feel emotionally numb or helpless? 
Does your partner:
  • humiliate or yell at you?
  • criticize you and put you down?
  • treat you so badly that you’re embarrassed for your friends or family to see?
  • ignore or put down your opinions or accomplishments?
  • blame you for his own abusive behavior?
  • see you as property or a sex object, rather than as a person?
Your Partner’s Violent Behavior or Threats
Your Partner’s Controlling Behavior
Does your partner:
  • have a bad and unpredictable temper?
  • hurt you, or threaten to hurt or kill you? 
  • threaten to take your children away or harm them?
  • threaten to commit suicide if you leave?
  • force you to have sex?
  • destroy your belongings?
Does your partner:
  • act excessively jealous and possessive?
  • control where you go or what you do?
  • keep you from seeing your friends or family?
  • limit your access to money, the phone, or the car?
  • constantly check up on you?
http://helpguide.org/mental/domestic_violence_abuse_types_signs_causes_effects.htm

Writing Materials: On Parchment (The Saturday Magazine, vols 12-13, 1838)

A Lively French writer relates, that man having met the sheep wandering, like himself, upon the earth, caressed it, flattered it, and conducted it to his abode, sheltered it under a roof as rudely constructed as that which covered himself, carried it fresh grass for its food, and took care of it. But shortly, man demanded some milk of the sheep; soon after, he asked for a little wool; and, in the course of time, he killed it for its flesh. Having done all this, he melted down its fat to supply his lamp; and, finally, he wrote upon its skin.

The ancients seem to have substituted the skins of animals, for papyrus and other articles, as a writing material, from a remote period. The origin of parchment was due to necessity, the inventive parent of so many of the arts and conveniences of life; the stimulant of man’s ingenuity, when he suffers under present difficulties, or when he anticipates increased comfort and convenience. Some accounts refer the invention of parchment to a distant period, while others maintain that the date of its invention is altogether lost, amid the troubled waves of the broad ocean of distant time. According to the former, Eumenes attempted to found a library at Pergamus, about two hundred years B. C, which was to rival the celebrated Alexandrian library. One of the Ptolemies, a king of Egypt, jealous of the success of the rival library, and manifesting a spirit which, in modern times, would be thought pitiful and intolerant, made a decree, prohibiting the exportation of papyrus. The inhabitants of Pergamus, no longer being able to procure the material on which to transcribe the manuscripts to which their writers had access, adopted the skins of animals, prepared in a peculiar manner, as a substitute. They formed their library of this material, which was named after their city, Pergamena; whence also, it is supposed, we get our modern term parchment. The modern Germans and Italians, however, retain the original term: in the former language it is called Pergament, and in the latter Pergamena. The ancient Latins also applied the term membrana to parchment.

Some authorities, however, deny that parchment was first made at Pergamus; they state that the Hebrews had books written on the skins of animals in the time of David. According to Diodorus, the ancient Persians wrote all their records upon skins. It would appear, therefore, that King Eumenes was the improver, and not the inventor, of parchment. Dr. Prideaux imagines, that the authentic copy of the Law, which Hilkiah found-in the Temple, and sent to King Josiah, was written on parchment; because, he thinks, no other material could have been so durable as to last from the time of Moses till that period, viz. eight hundred and thirty years.’ But the Egyptians wrote on linen; which has been preserved on mummies for ages, and exists at the present day. It has, therefore, been suggested, that the copy of the Law of Moses might have been written on this material. At any rate, however, most of the ancient manuscripts which remain, are written on parchment; and bat few on the papyrus. Herodotus, however, who lived about four hundred and fifty years B. C, relates that the Ionians, from the earliest period, wrote upon goat and sheep skins, from which the hair had been scraped, without any other preparation.

Though the term roll occurs several times, yet parchment is not expressly mentioned more than once, and that by St. Paul (2 Tim. iv. 13), in the first age of the Christian era. Parchment seems to have been rather a scarce commodity until modern times. It was no uncommon thing, in the middle nges, to erase a beautiful poem, or a valuable history, merely for the sake of the parchment or vellum on which it is written. Many of the valuable writings of the ancients have been recovered from beneath a monkish effusion, or a superstitious legend, by carefully following the traces of the pen, or style, which had impressed the former performance upon the membrane; which traces had not been entirely obliterated by the second scribe. Persons who prepared parchment, by erasing a manuscript, were called “parchment restorers;” thus an old French writer says:—

Our parchment makers are very skilful. Our parchment restorers are not less so. Some parchment has been restored three or four times, and has successively received the verses of Virgil, the controversies of the Arians, the decrees against the books of Aristotle, and, finally, the books of Aristotle themselves.
Parchment is like an easy man, who is always of the same opinion as the last speaker.

The preparation of parchment is by no means a pleasant or cleanly operation. Our readers may, probably, have seen carts loaded with sheep-skins proceeding from large markets, or in the vicinity of slaughter-houses. These skins are bought of the butcher by the parchment-maker, in order to prepare, from them, the material in which he deals. The skins are first stripped of their wool, which is sold to the wool merchant, who prepares it for the making of cloth, &c. They are then smeared over with quick-lime on the fleshy side, folded once in the direction of their length, laid in heaps, and so left to ferment for ten or fifteen days.

The skins are then washed, drained, and half-dried. A man called the skinner stretches the skin upon a wooden frame. This frame consists of four pieces of wood, mortised into each other at the four angles, and perforated lengthways from distance to distance, with holes furnished with wooden pins that may be turned like those of a violin. The skin is perforated with holes at the sides, and through every two holes a skewer is drawn : to this skewer a piece of string is tied, as also to the pins, which being turned equally, the skin is stretched tight over the frame. The flesh is now pared off with a sharp iron tool, which being done, the skin is moistened and powdered with fine chalk: then, with a piece of flat pumice-stone, the remainder of the flesh is scoured off. The iron tool is again passed over it, and it is again scoured with chalk and pumice-stone. The scraping with the iron tool is called draining; and the oftener this is done, the whiter becomes the skin. The wool or hair side of the skin is served in a similar manner; and the last operation of the skinner is to rub fine chalk over both sides of the skin with a piece of lambskin that has the wool on: this makes the skin smoother, and gives it a white down or knap. It is left to dry, and is removed from the frame by cutting it all round.

The parchment-maker now takes the skin thus prepared by the skinner. He employs two instruments; a sharp cutting tool, sharper and finer than the one employed by the skinner; and the summer, which is nothing more than a calf-skin well stretched upon a frame. The skin is fixed to the summer; and the parchment-maker then works with the sharp tool from the top to the bottom of the skin, and takes away about one half of its thickness. The skin being thus equally pared on both sides, it is well rubbed with pumice-stone. This operation is performed upon a kind of form, or bench, covered with a sack stuffed with flocks; and this process leaves the parchment fit for writing on.

The paring of the skin in its dry state upon the summer, is the most difficult process in the whole art of parchment-making; and is only entrusted to experienced hands. The summer sometimes consists of two skins, and then the second is called countersummer. The parings and clippings of the skin in the preparation of parchment are used in making glue and size.

Vellum is’a kind of parchment made from the skins of young calves: it is finer, whiter and smoother than common parchment, but prepared in the same manner, except that it is not passed through the lime pit.
Parchment is coloured for the purposes of binding, &c. The green dye is prepared from acetate of copper (verdigris), ground up with vinegar with the addition of a little sap green. Yellow dye is prepared from saffron; a transparent red from brazil wood ; blue from indigo, ground up with vinegar ; black from the sulphate of iron and solution of galls. Virgin parchment, which is thinner, finer, and whiter than any other kind, and used for fancy work, such as ladies’ fans, &c, is made of the skin of a very young lamb or kid.