Note: In W. Mark Sutherland’s Code X (2002), a born-digital sound poetry machine that allows users to create their own sound poetry performances, a line is drawn between the work and a history of sound poetry, performance art, and concrete poetics. Code X is a digital game that marks a point of convergence between many art forms. As Paul Dutton writes of Code X in a brochure for Sutherland’s Scratch exhibit at the Koffler Gallery in 2002 (archived on Sutherland’s webpage), the work “fuses poetry, music, and visual art” to reveal the tenuous boundaries between art forms.
Given the amount of activity Toronto poet, editor, critic and professional triathalete Suzanne Zelazo has been involved with over the past decade, one can understand why we haven’t seen much in the way of new poetry from her since the publication of her remarkable first trade collection, Parlance (Coach House Books, 2003). Editor-in-Chief of the late, lamented literary journal Queen Street Quarterly (1997 – 2005), she held a three-year postdoctoral fellowship at Ryerson University under Irene Gammel, exploring experimental writers and poets including Mina Loy, Elsa von Freytag-Loringhoven and Florine Stettheimer.
Montreal writer and musician David McGimpsey has been the author, for about 20 years now, of what he calls “chubby sonnets,” each sonnet consisting of sixteen metred lines instead of the usual fourteen. The author of a critical study on baseball writing and a collection of short stories as well as five poetry collections — Lardcake (ECW Press, 1996), Dogboy(ECW Press,
Nicole Brossard is one of Québec’s leading poets, novelists, and literary theorists, and has published more than thirty books since 1965, including These Our Mothers, Lovhers, Mauve Desert and Baroque at Dawn. Brossard also co-founded La Barre du Jour and La Nouvelle Barre du Jour, two important literary journals in Québec.