Win a Date with raincoaster this Friday

I’m cross-posting this from raincoaster, but be warned that the jokes you enter to win have to be put in the comments on the post at, not here. But you’re smart and figured that out already, didn’t you?

Shakespeare Got to Get Paid, Son

Only your taste (or is that “tastes”?) can say whether a date with raincoaster is a prize or booby prize. As you know, we’re all about the boobies lately around these parts. These specific parts, that is.

My parts are superfine, if somewhat bruised lately, just ask anyone who’s seen them, which includes you if you clicked on the link (you just went back and did that, didn’t you?). And they and the rest of me will be going (thanks to an invite from the generous and omnipotent Rebecca Coleman, publicist to…productions successful at getting pimped out on and Twitter) to the West Coast premiere of Eugene Stickland‘s play Queen Lear at Presentation House Theatre. Want to come as my date? It’s easy (unlike me).

All it takes to win is to post the comment that I think contains the funniest literary joke. Tasteless is extra points, Shakespeare is extra points, King Lear is extra extra points, tasteless King Lear jokes posted by Kenneth Branagh are an automatic win. Sorry, boys, I have a weakness for blustery Irishmen.

Queen Lear Poster

Life Lessons and Sh8kspeare: Queen Lear

NORTH VANCOUVER, BC: Presentation House Theatre, in association with Western Gold, are pleased to present the West Coast premiere of Eugene Stickland’s Queen Lear. The older generation has much to teach the younger generation about theatre… and life. Or is it the other way around? Queen Lear runs March 25-April 10 at Presentation House Theatre.

An accomplished aging actress, suffering a dearth of decent roles for older women, is cast in the title role in an all-female production of King Lear and, terrified that her memory will fail her, employs a young girl to help her memorize her lines. Text messaging meets iambic pentameter in this amusing and touching story about courage and the strength of spirit. Both women struggle with fear, loss and challenge, illustrating how time and experience both separate and unite them. This new play, featuring celebrated actor Shirley Broderick, newcomer Jennifer McPhee, and acclaimed cellist Peggy Lee, is not to be missed.

Western Gold Theatre produces outstanding professional theatre that expands horizons and enriches the lives of mature artists and their audiences. The company offers powerful role-modeling, creative opportunity and active engagement to a rapidly growing senior population and provides inspiration to diverse generations of theatre lovers. Artistic Director Colleen Winton is particularly interested in creating mentorships between senior artists and emerging artists and sees this play as a wonderful opportunity to celebrate what the generations have to teach each other.

Queen Lear is part of The Third Street Theatre series. Founded in 2005 by Artistic Director Brenda Leadlay, The Third Street Series is the banner under which Presentation House Theatre (PHT) presents and produces a professional season of plays. The vision for the series entails a fusion of accessibility and artistic risk, in order to achieve a season that is appealing and marketable but challenges and educates our audiences about new artistic practices.

Queen Lear previews Thursday, March 25, and opens Friday, March 26 at 8 pm. It then runs nightly (Sunday evenings and Mondays dark) through until April 10. There will be weekend matinees on Saturdays at 4, and Sundays at 2. All performances are at Presentation House Theatre, 333 Chesterfield, North Vancouver (3 blocks from the Seabus). Tickets are $24 for Adults, $22 for Students/Seniors. All tickets are $2 more at the door, and $2 more on Friday and Saturday evenings. All seats for the preview are $12.

For tickets or more information, please call 604.990.3474 or email boxoffice AT

We’ve done this sort of thing before, so you know how it works: no complaining that it’s arbitrary because…well…this is a dictatorship, and when in the history of the known universe have I ever hesitated to be arbitrary? Deadline is noon Friday, and don’t expect me to phone you: mah Jeebusphone has gone AWOL. I’ll hit you up on email or Twitter.

You know what to do, so do it in the comments. And for god’s sake, clean up after yourselves when you’re finished!

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W2010 Launch at W2

Got this from the W2 email list. Do note this is not this “W magazine,” the glossy monthly version of Women’s Wear Daily. This W is probably much less focused on hem lengths and heel heights and far more focused on…I dunno, things people actually have to go to school for?

Jeremy Crowle by KK

Jeremy Crowle by KK

Time: March 12, 2010 from 8pm to 11pm
Location: W2 Perel Gallery
Organized By: Nikki Reimer

Event Description:
a group reading to launch the new issue of W magazine

readings by

Donato Mancini
Nikki Reimer
Heather McDonald
Jonathon Wilcke
Tony Power
Tomasz Michalak
Emily Fedoruk
Kim Duff
Cris Costa
Edward Byrne
Michael Barnholden
Sonnet L’Abbé

Friday March 12, 2010
W2 Perel Gallery
112 West Hastings
doors 8:00 pm
readings start at 9:00 pm
admission – 5$ includes a print copy of W2010
free admission without magazine
(no one will be turned away )

W2010 features poetry and fiction by Jonathon Wilcke, Nikki Reimer, Tony Power, Tomasz Michalak, Donato Mancini, Heather McDonald, Tiziana La Melia, Reg Johanson, Scott Inniss, Ray Hsu, Emily Fedoruk, Kim Duff, Cris Costa, Stephen Collis, Edward Byrne, Michael Barnholden, Anne Ahmad and Sonnet L’Abbé.

Edited by Anne Ahmad, Stephen Collis, Kim Duff, Emily Fedoruk, Donato Mancini, Tomasz Michalak, and Tony Power.

W2010 is published both in a limited edition print run, and as a free pdf downloadable from the KSW website. The pdf will be available online on March 12.


“W2010 announces a new formation—both for the magazine and the Kootenay School of Writing. KSW, the more venerable of the two, is 25 years old this fall; W is ten. A new collective structure is in place for the School: a cluster of semi-autonomous yet intersecting “pods” (or “cells” if you prefer a more radical conception), each with its own projects or “areas of influence” (readings / pedagogy / publication, etc). W2010 begins a new conception of the magazine as an annual: this first issue gathers work from the present collective (or perhaps we should now say collectives) written this year; future annual issues will be announced with a themed call, for which work will be gathered and published on-line over the course of the year (see below for the call for the next issue). We hope work will be written dialogically as an issue accumulates: an initial selection of material will be posted, and then responses / extensions / contestations /emendations, etc, as they come; at the close of a year/issue, a print run of at least a “selection” of the year’s material will ideally then be issued.

The work in W2010 might surprise some familiar with the magazine and the School. For starters, there is some fiction here. We are doing our cultural work at a time of unprecedented pressures, as the “long neoliberal moment” (to borrow Jeff Derksen’s phrase) grinds on, responding to the current market crisis not by a return to some sort of neo-Keynsean economics, but rather, with bailouts for the rich and amped up privatizations. Meanwhile the public sphere—already just a pool of faint light beneath one last sputtering streetlamp—seems set to finally wink out altogether. In Vancouver, this has a lot to do with the Olympics, its hundreds of new security cameras, its 1 billion dollar security budget, and its “safe assembly areas” (outside of which we can imagine the majority of the city as an “unsafe assembly zone”). Beside this we have the provincial government’s concerted efforts to privatize, expropriate, expel, and otherwise suppress a still-vital cultural sector. In such an environment, we feel it is essential to broaden and strengthen affinities, working towards something of a cultural front to face “a world that seems to hold together only through the infinite management of its own collapse” (The Coming Insurrection 7). From deep in the collapse, we reach out.”

For more information click here :

>>> send your poetry, poetics and contemporary arts listings to info AT for posting to our community calendar

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Front Magazine Call for Proposals

The Western Front

The Western Front

Another from the Instant Coffee email, which you really should be signing up for:

Call for submissions and proposals // Front Magazine // Translation issue,
Summer 2010
Deadline: April 15, 2010

Front Magazine is looking for writing, visual art, design and collaboration
that addresses the idea of what is lost, and what might be gained, in

We are interested in works that address literal linguistic translation, the
movement of cultural objects from one context to another, conversion from
one media to another, transliteration and transmogrification.

For written works (both artistic and journalistic), the suggested word
count is “short” (most pieces will be 500-700 words). Assignments are
available (please send a sample of your writing). Submissions can be
emailed to frontmagazine AT

For full submission guidelines, please see

Front Magazine is published in Vancouver by the Western Front Society and
distributed liberally and for free throughout the lower mainland four times
a year.


303 E 8th Ave
Vancouver, BC V5T 1S1

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Carnival of Books?

Salgueiro samba school celebrate Carnival of books!

Salgueiro samba school celebrate Carnival of books!

I never really understood it to be a literary occasion per se. On the other hand, it’s a natural combination: if you think about it, what are the two things you do in bed besides sleep?

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A Collective Response to arts cuts at the Gallery Gachet

Got this from the highly useful Instant Coffee email:

Restore Arts Funding Now

Restore Arts Funding Now

The Gallery Gachet Collective | A COLLECTIVE RESPONSE | FEB 5


Curated by Lara Fitzgerald | Exhibition runs: 5th – 28th Feb | Opening

Reception: Fri Feb 5th, 7 – 10pm

Dance Party Celebrating the Arts: Sat Feb 13th, 8 – late (With support from

Art Walk 2010 and the Alliance for Arts and Culture)

Exhibition is part of Art Walk 2010,

Gallery Gachet presents the exhibition A Collective Response, featuring The

Gallery Gachet Collective’s response to the current cultural landscape in

Vancouver. The exhibition showcases each artist’s reaction to the arts

funding cuts through their own art-making practice, celebrating and

reinforcing the importance of art as a critical means for achieving a

healthy and flourishing society.

A Collective Response aims to focus on the critical role of art in society.

In particular as a way of responding to contemporary issues. Vancouver is

currently undergoing a massive upheaval, and these changes affect all its

citizens profoundly. Gallery Gachet’s Collective Membership feels strongly

about the importance of community engagement and asserting a response to

these changes, and they believe that art provides a powerful and

significant channel for dialogue.

Based on the idea of Documenta (an international contemporary art

exhibition held in Kassel, Germany every five years), The Collective will

transform Gallery Gachet into a free speech zone offering both commentary

and critique of issues relevant to art and life in Vancouver at this

specific historical juncture. Thematically, the work addresses the massive

funding cuts that most arts organizations have received in BC, as well as

political priorities and how these precedents impact our cultural climate.

The Gachet Collective believes in the expression of art and culture as a

human right, and as a means for achieving social, cultural and economic


The link between A Collective Response and Documenta is one of intention

and spirit. Documenta is known as an exhibition that explores the

intersection between contemporary art and the current critical issues of

the time, inviting people from all over the world to convene, assess the

situation, and enact a dialogic process. Documenta began in the early

1950’s, and was developed as a response to the degenerate art politics of

the Third Reich. In contrast to other international exhibitions that

emerged from the World Fair models, the tradition behind Documenta is one

of theoretical grounding, and a sense of urgency in regards to the role and

meaning of art in society. Inclusivity and dissolution of elitism are

founding values of the festival; these beliefs are also woven into the core

of The Collective’s ideology and integral values that are unanimously held

by The Collective.

A Collective Response will feature multidisciplinary works from Gachet’s

twenty-one collective members, and represents not only the distinct

response of each individual member but also the unique energy and drive

behind The Gachet Collective as a whole.

Artists featured: Benitto, Sharon Burns, Sharon Smith, Kara Lee, Stephen

Long, Jay Peachy, Karen Ward, Bernadine Fox, Bruce Ray, Dylan Wolney, Quin

Martins, W.N. (Bill) Pope, Laurie Marshall, Robert Gardiner, Leef Evans,

Diane Thorn, Cherise Clarke, Lisa Walker, Ariel Kirk-Gushowaty, Geoff

Greene and Youngsin Lee.

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