BARBOUR DI PLACIDO BERNIER-CORMIER

carol sonjadom carol soniasonja carolbernier-cormier

KFB FRIDAYS | THIS FRIDAY 

Divided from, tucked into. / A part of the whole, / yet severed from the body // that gave her life. / The headless woman floats / in a Cartesian equation. — CAROL BARBOUR “Headless Woman” from Infrangible

Di Placido’s plumb line reaches for impossible depths, a sign of extraordinary resilience, artistic dream, and curiosity for the contradictory realities apposing our world now—Dale M. Smith, Author of Slow Poetry in America

Dominque, your debut will stay with me forever.—KIRBY, KFB BEST OF 2018

CAROL BARBOUR  SONIA DI PLACIDO DOMINIQUE BERNIER-CORMIER

FRIDAY DECEMBER 14TH

knife | fork | book
at The Dark Side Studio | 244 Augusta Avenue | 2nd Floor | Kensington Market | Toronto

Doors 6:30 Poetry 7
Access: We are a second floor walk-up with two all-gender washrooms. Please remove your shoes upon entrance.
SONIA DI PLACIDO is currently completing an MFA in Creative Writing at UBC. She is a member of The League of Canadian Poets, The Writer’s Union of Canada, Canadian Women in The Literary Arts and The Association of Italian-Canadian Writers. An Associate Editor of Juniper Poetry Magazine, she has had poems published by Carousel, Puritan, The White Wall Review, Jacket2, Canthius, The California Journal of Women Writers, and Juniper Poetry Magazine. In September 2016, she was part of the China Writers Association International Writer’s Residency for the cities of Tianjin, Binhai and Beijing. Sonia teaches English for Academic Purposes at George Brown College. Her first book Exaltation in Cadmium Red was published with Guernica Editions in 2012. Flesh is her second full-length book of poetry. Sonia’s current writing updates can be found on her website/blog: diplacido.wordpress.com
CAROL BARBOUR’s poems have been published by Canthius, Sein und Werden, The Ekphrastic Review, Transverse Journal, The Fiddlehead, and The Toronto Quarterly. A graduate of the University of Toronto (MA) and the Ontario College of Art (AOCA), Carol is a poet, visual artist, and art historian. She resides in Toronto.
DOMINIQUE BERNIER-CORMIER was born in Quebec and grew up in Moscow, Paris, and Beijing. His poems have been shortlisted for the Montreal International Poetry Prize, ARC’s Poem of the Year Contest, CV2’s Young Buck Award, and the Frog Hollow Press Chapbook Award. His poem, “Fabric,” won The Fiddlehead’s Ralph Gustafson Prize for Best Poem in 2017. Correspondent is his first book.

“bearers of the urgent form”

KFB THIS SATURDAY 3PM

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My book THE RITUALITES is out today from @bookhug_press ! . . “Nardone’s poetry unsettles territories as it roves through the continent, documenting the neon signs and the billboards, the dinner table conversations, and the overheard terrors of everyday Americana. The book orchestrates unlikely and compelling movements between abstracted, parodic narrative and lyric elegy, which Nardone writes as modulated, cerebral laments for an era’s failure to reach utopia. The poems map what we drive towards, driven mad, driving round the bends in form and through the American landscape— from Pennsylvania to South Dakota to Nevada. Witnessing geographic movement as a kind of living trespass, The Ritualites impressed upon me the need for re-tuning poetry’s ethnographic ear, for transposing attention away from calcified ‘identity’ and toward living, throbbing practices of civilian life across the United States. Nardone’s verses seem to take their cue from Muriel Rukeyser’s citational, attentive documentation of the embodied devastations of corporatized and industrialized belts. In his parodic, aloof prose, the critical lathe seems poised to spin Lisa Robertson’s claim in her succinct poem “Envoy”: “analysis too is a style of affect.” Episodic and variegated, the book’s many voices are by turns ventriloquial and verisimilitudinous— sometimes welcoming a careful and attuned ear, sometimes shunning it; sometimes asking for sympathetic leaning, sometimes ironic distance. This is a book that wants the reader to be many-splendored and nimble. My hope has always been for poets to subscribe not to movements or schools of aesthetics, but to be the bearers of urgent form— form as a thing to be broken and held close, at once. Nardone’s collection seems to carry that urgency, seems to know artifice for what it is—a holding pattern for thought’s flight, so it can land in a stranger place, further, always, from the comforts of habit and home.” –Divya Victor, author of Kith

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“My hope has always been for poets…to be bearers of the urgent form. Nardone’s collections seems to carry that urgency, seems to know artifice for what it is—a holding pattern for thought’s flight, so that it can land in a stranger place, further, always, from the comforts of habit and home.”–Divya Victor, author of Kith

Shiv Kotecha does for the word fucking what Catullus did for the word kissing.  In The Switch, desire travels everywhere to its surprisingly specific destinations—to body parts aroused in their fashion, like a saint’s skull or a cock.  Here love is as artificial as a courtly dialogue, and deeply felt, even spiritual.  Here the arousal of the fragmented body is contemporary practice.  Is one allowed to write such a book?  Among the spectacular effects and turns and startling intimacies in The Switch, the most daring is its no-holds-barred pursuit of love.—Robert Glück

“I had been oscillating between focusing on writing or visuals, and somehow arrived at the point that I didn’t have to choose one over the other,” says Vancouver artist Tiziana La Melia of her digressive approach. “Writing was never something I felt especially strong or good at, but it was something that felt necessary to my sanity.” It’s also an extension of her visual work, displaying different aspects of her research and thought process. La Melia’s writing blends correspondence, intimacy and incantations in an attempt to better understand desires and gripes. Nice Poem (2017) makes an indexical study of flattery, social instrumentalization and liberal feminism; she explains that “these works have been very direct and emotional, and document tiny instances of structural violence, ulterior motives, narcissism and so on.” Candian Art Magazine

KFB IN STORE SATURDAY SERIES

 

MICHAEL NARDONE SHIV KOTECHA TIZIANA LA MELIA

SATURDAY DECEMBER 8TH 3PM

knife | fork | book
at The Dark Side Studio | 244 Augusta Avenue | 2nd Floor | Kensington Market | Toronto

Access: We are a second floor walk-up with two all-gender washrooms. Please remove your shoes upon entrance.

 

BERNICKY PALIWAL SUURKOIVU

KFB | THIS SATURDAY 7PM

soap box chapbook launch

With these three striking, extraordinary new chapbooks, all we can say is, “Welcome, The Soap Box.” – Kirby

The Soap Box: 2018 Chapbook Series Launch

SATURDAY DECEMBER 8TH

knife | fork | book
at The Dark Side Studio | 244 Augusta Avenue | 2nd Floor | Kensington Market | Toronto

Doors 6:30 Poetry 7
Access: We are a second floor walk-up with two all-gender washrooms. Please remove your shoes upon entrance.

NARDONE KOTECHA LA MELIA

KFB | THIS SATURDAY 3PM

Tiziana_Portrait_crop_smallshivphotomichael nardone

KFB IN STORE SATURDAY SERIES

MICHAEL NARDONE SHIV KOTECHA TIZIANA LA MELIA

SATURDAY DECEMBER 8TH 3PM

knife | fork | book
at The Dark Side Studio | 244 Augusta Avenue | 2nd Floor | Kensington Market | Toronto

Access: We are a second floor walk-up with two all-gender washrooms. Please remove your shoes upon entrance.
MICHAEL NARDONE is the author of The Ritualites (2018) and Transaction Record (2014). He is a postdoctoral fellow in the département des littératures de langue française at the Université de Montréal, and an affiliated faculty member at the Centre for Expanded Poetics, Concordia University. His writings, dialogues, and editorial projects have been published widely and are archived at http://soundobject.net
SHIV KOTECHA is the author of The Switch (Wonder, 2018) and EXTRIGUE (Make Now, 2015).  Creative and critical writing can be found infriezeArt in America, and The Brooklyn Rail and on Troll Thread and GaussPDF. He is currently a PhD candidate in NYU English, finishing a dissertation titled Decomposition as Explanation: The Forms of Duration from Poe to Post-Conceptualism.
TIZIANA LA MELIA is the author of The Eyelash and the Monochrome (Talonbooks, 2018) and Oral Like Cloaks, Dialect (Blank Cheque Press, 2015/2018). She has participated in solo and group exhibitions in Vancouver, Toronto, Paris, Geneva, and Los Angeles. Her poetry and criticism has appeared in Art21, The Interjection Calendar, The Capilano Review, and C Magazine.