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    Search Results: Returned 6 Results, Displaying Titles 1 - 6
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      2021., McGill-Queen's University Press Call No: NEW QWF 811.6 Cl72v    Availability:1 of 1     At Your Library Series Title: Hugh MacLennan poetry series.Summary Note: "In the early 2000s flarf poetry emerged as an avant-garde movement that generated disturbing and amusing texts from the results of odd internet searches. In Vlarf, Jason Camlot plumbs the canon of Victorian literature, as one would search the internet, to fashion strange, sad, and funny forms and feelings in poetry. Vlarf pursues expressions of sentiment that may have become unfamiliar, unacceptable, or uncool since the advent of modernism by mining Victorian texts and generic forms with odd inclinations, using techniques that include erasure, bout-rǐm, emulation, adaptation, reboot, mimicry, abhorrence, cringe, and love. Erasures of massive volumes of prose by John Stuart Mill and John Ruskin become concise poems of condensed sadness; a reboot of Christina Rossetti's "Goblin Market" is told from the perspective of a ten-year-old boy with an imaginary albatross pal; recovered fragments from an apocryphal book of Victorian nonsense verse are pieced together; a Leonard Cohen song about Queen Victoria is offered in a steampunk rendering; and a meditative guinea pig delivers a dramatic monologue in the vein of Robert Browning."--
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      2013., Mansfield Press Call No: QWF 811.6 C183w    Availability:1 of 1     At Your Library Summary Note: When not-very-religious Montreal poet Jason Camlotœs father died, he decided to practice the strict one-year period of mourning of the religious Jew, which included attending synagogue every single day. What The World Said, Camlot's fourth full poetry collection, is an updated Kaddish for the post-google age, exploring the meaning of ignorance in the face of deathignorance of how to practice sadness and rituals of mourning, and of how properly to experience longing and loss. Camlot manipulates a wide range of forms to mine the relationship between the most intimate kinds of grief and the impersonal flood of discourse that the world pours upon us.