i've discovered there's a thrill in publishing raw talent, ragged edges, rule breakers.
We are no longer considering chapbooks for publication. Our last chapbooks will be published in June, 2019. Please see the list of titles to purchase existing chapbooks by our amazing poets.
Update: November 19, 2018
Dear friends, supporters and contributors,
After much thought, I have decided that AngelHousePress will stop publishing chapbooks after our spring 2019 release. I am proud of the 31 chapbooks we have published and will publish by Spring 2019 and am glad we gave the writers space to explore and share their work with AngelHousePress readers.
The chapbook is a wonderful form and I am grateful that AngelHousePress has contributed to the printed conversation. We may publish the occasional one off solicited project, including some self-published work of mine, but we are no longer considering unsollicited manuscripts.
We have numerous ongoing online projects, including Experiment-O, which is late this year, but the 11th issue will be online sometime in December. the 2019 edition of NationalPoetryMonth.ca will be online in April. Our AngelHousePress essay series is alive and well and looking for contributions as is our DevilHouse 6 interview. The Small Machine Talks podcast i co-host with a.m. kozak will have new episodes monthly.
AngelHousePress is a busy and active press. I hope you support us by purchasing existing titles, including our latest chapbook, Ruth Zuchter's the Mother Suite and our upcoming DevilHouse chapbooks by Liam Taliesin and Paddy Scott.
Please take a moment to visit angelhousepress.com and http://devilhousepress.com/ to read through our catalogue and purchase chapbooks.
Thank you for your support of AngelHousePress and your support of micropresses everywhere. Keep buying those chapbooks!
yr fallen angel,
Hannah Rodabaugh’s We Traced The Shape Of Our Loss To See Your Face catalogues loss, loneliness, desire and melancholy in the dark palette of cave crickets and night beetles, burst stars, fuchsia as tarnished blue, scaly fish, clotted fibre. The chapbook considers mortality and permanence, the role of language, symbols, movement, materiality, pain and silence.
hiromi suzuki’s Andante invites you to imagine every tear of paper, every texture, the delicate pressure of words, the play of light. Andante is a still life version of a 35 mm black and white film with light and shadow briefly flickering on tree, bridge, piano, wall, crowd, phrase, letter, shape, then gone.
Through letters, diary entries, snippets of remembered conversations and post cards, Ruth Zuchter collages together a portrait of a complicated mother-daughter relationship in The Mother Suite.
The chapbook will be available at the Meet the Presses Indie Market in Toronto on November 17 and the ottawa small press book fair on November 24, 2018. Ruth will launch the Mother Suite on Friday, November 23, 2018 at 7pm at the pre fair reading at the Carelton Tavern in Ottawa
The Tale of the Clam Ear is the story of a mermaid and her struggle to accept her deformity. In 20 poems, Christine Stoddard offers a child’s magical rationale for not fitting in. These poems are for anyone who has been told that their body is wrong. They offer ways of coping and articulate feelings of shame, of loneliness and of celebration and love. If you listen closely you will hear the mermaid’s cries.
A review by Jan Conn appears in Arc Poetry Magazine 89's print edition. Christine Stoddard's response to the review is in the Essays section of our site.
In YOU’RE GOING TO HAVE TO KEEP THIS UP FOREVER, Ian Martin writes of societal malaise and failure, robots, insecure sex swings, a cuckolded employee, monotony, sanity, escape, masc top aspirations, lack of communication and the sacrifices of the moon. These humorous and humble poems are insightful. They’re the most gorgeous crushed soda cans in the pile.
"This is an unfailingly clever collection, and maybe all (or partly) in jest or an experiment. If so, Martin plays the role of malcontent well. Read this to feel better about your own life." Scott Bryson, Broken Pencil Magazine, Winter 2019
Story of Lilith is an excerpt from an experimental novel called Eros, which retells Romeo and Juliet through a variety of avant-garde constraints. Part Two of Eros tells the story from the “Juliet” character’s perspective—who is named “Lena” here—and is presented as a lipogram that negates the vowels “A” and “E.”
The work is a playful account of the day-to-day life of a young woman. Don’t be surprised to find Virgil and Milton showing up alongside bikinis and Oxycodon, while Sisyphus sings with Björk. In Story of Lilith, you will find amusement for mouth and mind.
The echoing question of the mark that language leaves on us all and makes of us all is celebrated here in Dick's lyrical recall of the invention of drawing, while her English/French parallel enacts the question of presentation vs representation in yet another way. The parts all come together in a marvelous tumult, endlessly breaking down and endlessly rebuilding. —Cole Swensen, author of On Walking On.
The ideal creator: Jennifer K Dick articulates the inventor/invented myth of Dibutade in delicate charcoal words that revel in the limits of language. -Lisa Pasold, author of Any Bright Horse.
Engager une réflexion sur le langage avec une intrication audacieuse - et rare - de l'anglais et du français, au travers de la légende mythologique de Dibutade, voilà le projet poétique d'Afterlife. Dans une écriture kaléidoscopique, Jennifer K.Dick s'attache avec virtuosité à interroger ce qui fait trace et ce qui nous trace, nous forme, nous silhouettes humaines. Un livre tout en "point d'ombrelumière". Virginie Poitrasson, auteure d'Il faut toujours garder en tête une formule magique.
Howie Good’s “Robots vs. Kung Fu” is a collection of dark and delightful prose poems that subvert the real. Good is a close observer of the infinitesimal and the infinite. Within these pages you will encounter the surreal bumping up against the ordinary: honey-haired frauleins in Nazi bling vs the clock; trees on fire vs anti-crazy pills; globes crushed by tractors; beasts with seven heads vs sad little funerals in the rain, nagging black flies vs shopping, an angel with brilliant black wings vs school cafeterias. There’s no denying there’s some dark matter here: “What’s been called my heart serves also as a wine glass, a highway, a urinal, a grave.” It would be ham-handed to offer up a general statement about the humour, sadness and absurdity in everyday life, at this point. Better you should read “Robots vs Kung Fu.”
In 17 Reasons, skeleton mariachis and ghosts wander through the life of a young punk who attempts to navigate the urban circus in all its leopard print and electrified red neon.
House of Many Words is a thoughtful, absurd, playful and imaginative work in the spirit of Ionesco and Beckett.House of Many Words is a thoughtful, absurd, playful and imaginative work in the spirit of Ionesco and Beckett.
"this is an odd work, and one that intrigues; after years of poems playing off surrealism, brevity, landscape and the narrative “I,” his foray into script is entirely curious. " rob mclennan, "Ongoing notes: the ottawa small press book fair." Friday, July 29, 2016.
jettison/collapse by Francesco Levato is a mash-up of poetry, linguistics and critical/cultural theory. Imagine Ferdinand de Saussure colliding with Walt Whitman or Emily Dickinson in a fender bender with Benedetto Croce. The result is as delightful as peanut butter and chocolate, and ice cream in July. Levato’s mash-up results in heady imagery and quirky combinations. In this work, Levato offers readers an investigation into the noise of language, language as song and prayer, the body as minimal unit of meaning, the unreliable, traitorous I. The fallen angels adore Levato’s sense of play and innovative engagements with the living and the dead.
"Given this is the first of Levato’s work I’ve seen, the introduction is interesting, and the collection is constructed as a sequence of short poems that blend the lyric and collaged fragment. The effect is lively, precise and even slightly disorienting, as the mind sets the pieces together of his deliberately-worded jumble of words, phrases and ideas, set just as much as a “translation” of a variety of sources into a single text." rob mclennan on Francesco Levato's chapbook "jettison/collapse"http://www.robmclennan.blogspot.ca/…/ongoing-notes-ottawa-s… .
"Contrasting affect with intellect, Levato activates “the orbic flex of his mouth, pouring and filling” in order “to defend against the tide of conceptualism.” It is this enacted debate that gives this collection its vigour. When language explores its lingual potential
“to give, as in fellatio,” it activates the openness of personhood in opposition to pure enunciation.
"The poetic language that results is more immersed and dynamic than Levato’s theoretical musings might suggest. “I take part, I see and hear the whole,” he writes, “the cries, the curses, the fall of grenades, the whizz of limbs, heads, stone and iron.” Alongside his
ideas—which consider topics like etymology, Walt Whitman and Julia Kristeva—there is a sonic and tactile pleasure in saying that becomes the book’s underdog hero, if only because Levato identifies this spirit as a species of subterranean hunger, its “velvet mason
a sweet assault.” Nikki Sheppy, Arc Poetry Magazine 83. For more of the review, please purchase the issue here.
AngelHousePress is pleased to present “phases of the harpsichord moon” by Gary Barwin, a rerelease of his first chapbook, and his first individual publication, published by Gary’s micropress, serif of nottingham in 1985 when he was 21. We fallen angels are pleased to be part of this heavenly harpsichordacious delight where Laura Secord fugues with Bach and Jimi Hendrix’s lix are transcribed into imaginative world play. In his introduction, Gregory Betts talks about how Gary’s writing offers readers an alternative to the dreariness of the world. I would also add that “phases of the harpsichord moon” celebrates the beauty of the earth’s minor chords.
"This is an easygoing, unselfconscious and complex sequence of threads that engage a wordplay in and around each other." rob mclennan.
"A pretty neat object, beautifully made and the story of preface and postscript interesting as well. " Pearl Pirie
In Worm’s Saving Day, a worm is infatuated with a Spanish señorita. Language continues long after we have turned to ash. Evocative of Sartre’s Being and Nothingness, this long poem continues the debate over essence vs existence. Steadman has a penchant for the picaresque. Our hero is a lowly worm, his rival is the Ash Man. Worm is a tunneller and a dreamer.
Chapbook launch: Friday, June 12, 2015, 7pm, The Factory Reading Series, Carleton Tavern, 223 Armstrong Street, UPSTAIRS
the Ottawa Small Press Book Fair Pre Fair Reading featuring Marilyn Irwin (Ottawa), Dean Steadman (Ottawa), Alicia Cumming (Kemptville) andStuart Ross (Coburg)
In “Where No One Can See You,” Anita Dolman describes carnage in the half-light, fallen ballerinas, bleak urban & prairie environments, muffled echoes, confined spaces, battered fedoras, wall-flat moments & the possibility of an open door.
[cover photo: Elizabeth Dolman]
Anita will launch the chapbook at the Ottawa Small Press Book Fair Pre-Fair Reading on November 7, 2014, 7:30pm, the Carleton Tavern, 223 Armstrong, Upstairs. The chapbook will be for sale at the Fair on Saturday, November 8, 2014.
Steven Artelle's long poem "Four Hundred Rabbits" is simultaneously imaginative & philosophical. There are red rabbits, shy rabbits, rabbits into soft core porn, rabbits with foot fetishes, filthy creatures who become deities of dust, robot rabbits, masked rabbits. Above all "Four Hundred Rabbits" has a poignant lyricism with descriptions which bring to mind Albrecht Dűrer's Apocalypse & William Blake's illuminated books. This work is full of energy, heat, humour & creativity. If John Updike, Dante Alighieri & Lewis Carroll were to have a love child, his name would be Steven Artelle.
"one rabbit cried/our divinity was nothing without the cities/the cities with their night fires and their cavernous days/and praise and praise and praise was the pulse of our dancing"
a scrappy commonplace book containing incantatory delights with a dark edge, piceous pit shadows, turquoise ballerinas, unlaced violins, bad dreams & lost maps. printed on distressed & glossy paper.
Apt. 9 Press publisher & poet Cameron Anstee has written a thoughtful and engaging review of Christine McNair's chapbook, "Notes from A Cartywheel" being launched on Thursday, December 1 at the Factory Reading Series, which takes place at the Carleton Tavern, 7pm UPSTAIRS. Christine will be sharing the stage with local publishers & writers Bardia Sinaee & Matthew Firth.
The review is here:
Event info is here: http://robmclennan.blogspot.com/2011/11/span-o-presents-factory-reading-series.html
"Notes from a Cartywheel" will be for sale at the reading, or for those who are not in Ottawa or unable to attend, on the site via Paypal.