My lovely, lovely Sony PRS-600 e-book reader with touch screen. Lovely!

Photo: Rob O' Connor (rocshot.com)

Dans les rues d'Arles.

Valeria Cordova, a Rivera Elementary first grader, reads an excerpt from a book at the third annual Readers' Cafe. Cordova, along with many other students, had the opportunity to read passages from their favorite books to Denton ISD faculty members dressed in storybook character costumes. Photo by Brian Maschino.

SD Card reader on macbookpro

Great way of reading all your RSS feeds:

www.acrylicapps.com/times/

readers

Annecy (Èneci / Ènneci in Arpitan language) is a commune in the Haute-Savoie department in the Rhône-Alpes region in south-eastern France.

It lies on northern tip of Lake Annecy (Lac d'Annecy), 35 kilometres south of Geneva

Annecy is located between Geneva and Chambéry. Thus its history was strongly influenced by these two towns between the 10th and the 19th century. Starting as the capital of the county of Geneva, after the demise of the counts of Geneva, it became integrated into the House of Savoy's possessions in 1401. In 1444, it was set up by the Princes of Savoy as the capital of a region covering the possessions of the Genevois, Faucigny and Beaufortain. With the advance of Calvinism in 1535, it became a center for the Counter-Reformation and the bishop's see of Geneva was transferred here.

During the French Revolution the Savoy region was conquered by France. Annecy became attached to the département of Mont Blanc, of which the capital was Chambéry. After the Bourbon Restoration in 1815, it was returned to the Kingdom of Sardinia (heir of the Duchy of Savoy). When Savoy was sold to France in 1860, it became the capital of the new département of Haute-Savoie.

Francis of Sales was born at the nearby castle of Sales in 1567. He was bishop of Annecy from 1602 to 1622.

Annecy was the site of the second round of General Agreement on Tariffs and Trade (GATT) talks in 1949.

Stickapalooza 2008

Principals Ken Essay and Chris Bellmont read Dr. Seuss books to children at Nicollet Commons Park on July 26, 2018 during a Rockin' Readers event through District 191 Community Education.

William Roland Reader was the Superintendent for Calgary Parks and Cemeteries from 1913 – 1942. During that time, William collected 4000 different plant species, making this one of the most interesting gardens created in western Canada.

Narrow stone pathways travel throughout this park like setting that give some great views of the city's growing skyline. Reader Rock Garden is only minutes south of Calgary's busy downtown core.

Learn more here.

www.paymentmax.com/2012/02/best-ipad-2-credit-card-reader/

There's a small books market in Lviv (Lvov), Ukraine, where this guy sells nuts and seeds :D

iRex e-reader on display at the 2010 Taipei International Book Exhibition.

Readers Digest rebound. Custom shrinky-dink bookmark tag. All paper retrieved from shop garbage.

Shivangi Tarot Reader

Evening Leader reader's picture submitted by: Mark Riley from Rhosddu, Wrexham

"A Wrexham and Shropshire liveried DVT (Driving Van Trailer) has been undergoing testing, and is seen arriving at Wrexham on September 26, working from Crewe-Crewe via Wrexham, Shrewsbury and Stafford.

The DVT is designed to operate the rear locomotive, in this case a Class 67 locomotive, and provide electrical power to the coaches, via a series of jumper cables and connectors.

Four DVTs will work in tandem with the company's four dedicated Class 67s in the same livery, and will provide valuable, additional storage for luggage, and provision for bicycles.

The company are still awaiting delivery of their dedicated coaching stock which is being refurbished at Stoke Marcroft."

www.eveningleader.co.uk

I thought I'd try and work-around Twitter's abduction of my tweets by subscribing in Google Reader. Unfortunately that seems to have stopped working a week ago. Seriously worried this isn't accidental breakage.

a bpNichol reader.

by bpNichol; edited by Lori Emerson & Darren Wershler-Henry.

2nd edition. Toronto, Coach House Books, march 2oo9.

ISBN 478-1-55245-187-8.

5-9/16 x 8-3/4, 168 sheets ivory zephyr antique laid perfectbound into glossy white card wrappers, all except inside covers & 7 pp printed black offset with navy addition to covers.

cover photo of Nichol by John Ligoure/design by Justin Stephenson.

other contributors:

Stan Bevington, Barbara Caruso, Lori Emerson, John Ligoure, Jerry Ofo, Libby Oughton, Michael Ondaatje, Andy Phillips, Darren Wershler-Henry.

includes:

i) THE COMPLETE WORKS (pp.11-12; concrete poem in 2 parts:

–1. "H" (p.11; original cover graphic)

–2. THE COMPLETE WORKS (p.12; concrete poem))

ii) NOT WHAT THE SIREN SANG BUT WHAT THE FRAG MENT 9p.14; concete poem)

iii) Poem for Kenneth Patchen (p.15; concrete poem)

iv) Blues (p.16; concrete poem, newly typeset & severely reduced)

v) Easter Pome (p.17; concrete poem)

vi) Early Morning: June 23 (p.18; concrete poem)

vii) Dada Lama (pp.19-24; sound poem in 6 parts:

–1. "hweeeee" (p.19)

–2. "eeeeeeeeeeeeeeeeeeeeeeeeee" (p.2o)

–3. "oudoo doan doanna" (p.21)

–4. "AAAAAAAAAAAAAAAAAAAAA" (p.22)

–5. "tlic" (p.23)

–6. "wwwwwwwwwwwwwwwwwwwwwwwwwww" (p.24))

viii) "nnnnnn" (p.25; visual poem)

ix) "2 leaves touch" (p.26; poem, 2 lines)

x) "st*r" (p.27; concrete poem)

xi) "moon" (p.28; concrete poem)

xii) "em ty" (p.29; concrete poem)

xiii) "cl(( ) ))ds" (p.3o; concrete poem)

xiv) "groww" (p.31; concrete poem)

xv) "blob" (p.32; concrete poem/translation of Matsuo Basho)

xvi) "closedpen" (p.33; concrete poem)

xvii) "POETRY BEING AT A DEAD END POETRY IS" [ie GROUND ZERO] (p.34; prose, here untitled as it appeared in ABC The Aleph Beth Book)

xviii) POETRY BEING AT A DEAD END POETRY (p.35; visual poem)

xix) HAVING ACCEPTED THIS FACT WE ARE (p.36; visual poem)

xx) REE TO LIVE THE POEM. HAVING FREE (p.37; visual poem)

xxi) THE NECESSITY TO BE THE (p.38; visual poem)

xxii) "EE" (p.39; visual poem)

xxiii) IN OUR LIVES (p.4o; visual poem)

xxiv) NOW HAVE BEEN THE (p.41; visual poem)

xxv) Aleph Unit Closed, as redrawn by Barbara Caruso (p.42; visual poem)

xxvi) Aleph Unit Opened, as redrawn by Barbara Caruso (p.43; visual poem)

xxvii) Aleph Unit Surface, as redrawn by Barbara Caruso (p.44; graphic)

xxviii) Aleph Unit Observed, as redrawn by Barbara Caruso (p.45; graphic)

xxix) Aleph Unit Not, as redrawn by Barbara Caruso (p.46; graphic)

xxx) Afterword (p.47; prose notes on Aleph Unit)

xxxi) H (an alphabet), as redrawn by Barbara Caruso (p.48; visual poem, elsewise titled ALPHHABET)

xxxii) from The Chronicle of Knarn (pp.5o-52; pem in 3 parts:

–1. "i've looked across the stars to find your eyes (p.5o; 14 lines)

–2. "the city gleams in afternoon suns. the aluminum walls" (p.51; 17 lines)

–3. "we have moved beyond belief" (p.52; 12 lines))

xxxiii) "drift then as dreams" (p.54; poem, 3o lines)

xxxiv) "as there are words i haven't written" (p.56; poem, 21 lines)

xxxv) "ah reason there is only feeling" (p.57; poem, 24 lines)

xxxvi) "i wanted an image or a metaphor" (pp.58-59; poem, 39 lines)

xxxvii) "ellie & me" (pp.6o-63; 97 lines)

xxxviii) "hot night" (pp.64-7; poem, 95 lines)

ixl) "there is a sign comes" (pp.68-69; poem, 58 lines)

xl) "now that it's over" (pp.7o-72; poem, 5o lines)

xli) "from the lake's edge ontario" (pp.73-74; poem, 35 lines)

xlii) "last take" (pp.75-76; poem, 6o lines)

xliii) CODA: Mid-Initial Sequence (p.77; poem, 11 lines (in fact, only part 1, "faint edge of sleep", of an 11-part sequence))

xliv) THE MARTYROLOGY: BOOK 4 (pp.78-9o; excerpts from a long poem in 3 fragments:

–1. "the wind outside rises" (pp.78-86; lines 2o3-527)

–2. "here" (pp.87-89; lines 729-7830

–3. "'you are dead saints'" (p.9o; lines 892-9o9))

xlv) THE MARTYROLOGY BOOK 5 CHAIN 1 (pp.91-99; lines 1-344 (of 12o2) of the martyrology book 5: chain 1)

xlvi) THE MARTYROLOGY BOOK 5 CHAIN 2 (pp.1oo-1o6; poem, 22o lines)

xlvii) THE MARTYROLOGY BOOK 5 CHAIN 12 (pp.1o7-1o9; poem, 86 lines)

xlviii) A Note On Reading The Martyrology Book V (p.11o; prose)

il) CONTINENTAL TRANCE (pp.111-127; poem in 33 parts (dropping its dedication "For Ellie and Sarah" & epigraph by Gertrude Stein):

–1. "minus the ALL ABOARD" (p.111; 13 lines)

–2. "what i wanted to write:" (p.111; 2o lines)

–3. "crossing the Fraser River" (p.112; 8 lines)

–4. "the old guy who spoke to the porter just now said:" (p.112; 16 lines)

–5. "upper berth swaying in the darkness" (pp.112-113; 11 lines)

–6. "insistent instances" (pp.113-114; 22 lines)

–7. "beginnings & endings" (p.114; 18 lines)

–8. "'because i was raised on trains'" (pp.114-115; 24 lines)

–9. "the conductor takes our luncheon reservations" (p.115; 8 lines)

–1o. "ten minutes outside of Jasper" (p.116; 11 lines)

–11. "'too much like a rock song'" (p.116; 1o lines)

–12. "okay we'll start there" (p.117; 13 lines)

–13. "so there it is" (p.117; 5 lines)

–14. "i don't like the 'symbol'" (pp.117-118; 12 lines)

–15. "whistle" (p.118; 1o lines)

–16. "two hours from Saskatoon" (pp.118-119; 17 lines)

–17. "mist of rain across the far horizon" (p.119; 11 lines)

–18. "later" (pp.119-12o; 22 lines)

–19. "vanishing" (pp.12o-121; 21 lines)

–2o. "the field of sunflowers stretches to the horizon" (p.121; 13 lines)

–21. "two hour delay in the Winnipeg station" (pp.121-122; 9 lines)

–22. "okay saints" (p.122; 16 lines)

–23. "beside the track" (p.122; 6 lines)

–24. "'where is this poem going?'" (p.123; 1o lines)

–25. "this next bit doesn't quite cohere" (p.123; 16 lines)

–26. "in Hornpayne" (p.124; 16 lines)

–27. "blueberry bushes, fruit shrunken, dried," (p.124; 14 lines)

–28. "mile what?" (p.125; 11 lines)

–29. "as night falls" (p.125; 14 lines)

–3o. "is this the poem i wanted to write?" (pp.125-126; 6 lines)

–31. "that's the tone" (p.126; 15 lines)

–32. "who to, Nicky?" (pp.126-127; 12 lines)

–33. "mist again at dawn" (p.127; 14 lines))

l) Part 1: Blues on Green (from JOURNEYING & THE RETURNS, pp.13o-132; poem in 3 numbered parts:

–1. "up on the mountain" (p.13o; 26 lines)

–2. "the woods" (p.131; 17 lines)

–3. "looking out" (p.132; 24 lines))

li) Part 3: Ancient Maps of the Real World (from JOURNEYING & THE RETURNS, pp.133-141; poem in prologue & 8 numbered parts:

–o. "prairie, lakes, trees," (p.133; 14 lines)

–1. "eyes open on colour," (p.134; 2o lines)

–2. "fingers unfolded" (p.135; 6 lines)

–3. "sun overhead" (p.136; 7 lines)

–4. "rolling into night" (p.137; 18 lines)

–5. "eyes close" (p.138; 16 lines)

–6. "train going" (p.139; 1o lines)

–7. "everything gone" (p.14o; 13 lines)

–8. "the sea" (p.141; 1o lines))

lii) Statement (p.142; prose)

liii) circus days (pp.143-144; poem in 3 parts:

–1. "gathering" (p.143; 11 lines)

–2. "remember" (pp.143-144; 17 lines)

–3. "lying on the beach at" (p.144; 14 lines))

liv) stasis (p.145; poem in 2 parts:

–1. "always" (12 lines)

–2. "open" (8 lines))

lv) TTA 4: original version (p.146; ie the poem Translating Apollinaire, 2o lines)

lvi) TTA 7: re-arranging letters alphabetically (p.147; visual poem)

lvii) TTA 13: sound translation (p.148; poem, 2o lines)

lviii) TTA 17: acrostic translation (pp.149-152; poem, 1o3 lines)

lix) TTA 18: 10 views: view 1: walking east along the northern boundary looking south (p.153; concrete poem)

lx) TTA 30: poem as a machine for generating line drawings (p.154; graphic)

lxi) TTA 53: typewriter translation after the style of Earle Birney (pp.155-157; concrete poem)

lxii) Extreme Positions 4 (pp.158-167; poetry/concrete poetry sequence in 1o parts:

–1. "running or sitting or" (p.158; poem, 15 lines)

–2. "sitting laughing" (p.159; poem, 11 lines)

–3. "will shout" (p.16o; poem, 9 lines)

–4. "wave" (p.161; concrete poem)

–5. "happy & sad laughing" (p.162; poem, 11 lines)

–6. "sitting or standing" (p.163; poem, 12 lines)

–7. "the bright boat in" (p.164; poem, 1o lines)

–8. "table fork table plate table knife table" (p.165; concrete poem)

–9. "shadowy shadow" (p.166; poem, 8 lines)

–1o. "road" (p.167; concrete poem))

lxiii) Andy (pp.17o-179; illustrated prose in 8 parts (of 3o) including correspondences by Andy Phillips as indicated:

–1. Dec 4 '64 (pp.17o-172; includes Phillips' () below)

–2. January 21/65 (p.172; includes Phillips' () below)

–3. July 16th, 1944 (pp.173-175; includes 6 graphics:

––a. "ALKABETH TAMIN!!" (p.173)

––b. [untitled landishscape] (p.173)

––c. [untitled portraitscape] (p.174)

––d. "OLD?! NO!" (p.174)

––e. "BUT DEAD!! (p.174)

––f. "SPEECH" (p.174))

–4. Feb.1/65 (p.175; includes Phillips' () below)

–5. july ? 44 (p.175; includes graphic

––a. [untitled roadscape])

–6. Feb. 10 '65 (pp.176-177; includes Phillips' () below)

–7. July ?, 1944 (pp.177-179; includes 2 graphics:

––a. "PO" (p.177, in 5 panels)

––b. "(space)" (p.178, in 4 panels))

–8. Korenski Mountains July 18th, 1944 (p.179))

lxiv) For Jesus Lunatick (pp.18o-185; prose in 4 parts (of 22):

–1. "the river flowed from the door past his bed every morning he waded thru it" (pp.18o-181)

--2. "lean back and listen house awake in the next room below him hurrying past his" (p.182)

--3. "before the heavy green leaves that covered its face existed blurred details in the" (p.183)

--4. "the river flowed from the" (p.185))

lxv) Gorg: a detective story (p.186; prose)

lxvi) The True Eventual Story of Billy the Kid (pp.187-19o; prose in introduction & 4 numbered parts:

–o. "this is the true eventual story of billy the kid. it is not the story as" (p.187)

–1. THE KID (p.188)

–2. HISTORY (p.188)

–3. THE TOWN (p.189)

–4. WHY (pp.189-19o))

lxvii) The Long Weekend of Louis Riel (pp.191-194; prose in 4 parts:

–1. FRIDAY (p.191)

–2. SATURDAY (p.192)

–3. SUNDAY (p.193)

–4. MONDAY (p.194))

lxviii) TWO HEROES (pp.195-199; in 11 numbered parts:

–1. "In the back garden two men sit. They are talking with one another" (p.195)

–2. "Once a long time ago they talked more easily. Once a long time" (p.195)

–3. "When the fight was over & Riel was dead & Dumont had fled into" (pp.195-196)

–4. "Time passed. No one heard much from either of them. In GRIP" (p.196)

–5. "There are some say Billy the Kid never died the story began." (p.196)

–6. "Billy was in love with machines. He loved the smooth click of the" (p.197)

–7. "It was a good story as stories go. Most of their friends when" (p.197)

–8. "The problem with Africa was it was kind of damp & there was no" (pp.197-198)

–9. "When Billy the Kid awoke the clockwork man was very still." (p.198)

–1o. "There are strange tales told of Billy the Kid, of what happened" (p.199)

–11. "One year the two men returned. They were both grayer & quiet." (p.199))

lxix) Journal (pp.2oo-218; prose in 2 numbered parts (of 4):

–1. "as these things are they are only dreams as i have told" (pp.2oo-216)

–3. "i have said everything i can say having started out so" (pp.217-218))

lxx) Two Words: A Wedding (p.219; prose)

lxxi) Still (pp.22o-225; prose; the 39th, final section only, "From the banks of the river, the spray from the rapids making the grass &")

lxxii) The Vagina (pp.226-227; prose in 7 numbered parts:

-–1. "I never had one." (p.226)

-–2. "I lived inside a woman for nine months & inside this male shell all of" (p.226)

-–3. "I thot they all were hairless even tho I bathed with my mother I thot" (p.226)

–4. "I always wanted one. I grew up wanting one. I thot cocks were okay" (p.226)

–5. "When I was eleven this kid I knew took me to the drugstore where" (p.226)

–6. "When sex happened I realized it was all a matter of muscles. I liked" (p.226)

–7. "Doorway. Frame. Mouth. Opening. Passage. The trick is to get from" (p.227))

lxxiii) The Mouth (pp.228-229; prose in 6 numbered parts:

–1. "You were never supposed to talk when it was full. It was better to" (p.228)

–2. "Probably there are all sorts of stories. Probably my mouth figures in" (p.228)

–3. "I must have been nine. I'm pretty sure I was nine because I remember" (p.228)

–4. "The first dentist called me the Cavity Kid & put 35 fillings into me." (pp.228-229)

–5. "It all begins with the mouth. I shouted waaa when I was born," (p.229)

–6. "I always said I was part of the oral tradition. I always said poetry" (p.229))

lxxiv) The Tonsils (p.23o; prose in 7 numbered parts:

–1. "They said 'you don't need them' but they were keen to cut them out."

–2. "I didn't have them long enough to grow attached to them but they"

–3. "Almost everyone I knew had their tonsils out. Almost everyone I"

–4. "I miss my tonsils. I think my throat used to feel fuller. Now my"

–5. "I was told I didn't need my tonsils. Maybe this is the way it is. Maybe"

–6. "What cutting remarks! What rapier wit! What telling thrusts! Ah cut"

–7. "There are two of them & the hang there in your throat. There are")

lxxv) The Lungs: A Draft (pp.231-233; prose in 5 numbered parts:

–1. "This is a breath line. I said. This is a breathline. Line up, he said.Suck" (p.231)

–2. "I was staying at Bob & Smaro's place in Winnipeg. I was sleeping" (p.231)

–3. "We were maybe five, Al Watts Jr and me, no more than five, and we" (pp.231-232)

–4. "When do you first think of your lungs? When you're yound and tiny" (pp.232-233)

–5. "A draft he calls it. Like it blew in through a crack in the mind. Just a" (p.233))

lxxvi) Sum of the Parts (pp.234-235; prose in 5 numbered parts:

–1. "So many things inside me I am not in touch with. So many things I" (p.234)

–2. "If you're unlucky you get to meet them. If you're lucky you never" (p.234)

–3. "It's the old problem of writing about something you know nothing" (p.234)

–4. "I almost got to meet my thyroid. I had been to see the Doctor and" (pp.234-235)

--5. "After I threw my back out I had more X-Rays, X-Rays of of the lumbaar" [sic](p.235))

lxxvii) Frame 2 (p.238; graphic)

lxxviii) Frame 3 (p.239; concrete poem)

lxxix) Frame 4 (p.24o; graphic)

lxxx) Frame 5 (p.241; graphic)

lxxxi) Frame 6 (p.242; concrete poem)

lxxxii) Trans-Continental (pp.243-271; poem in 49 numbered parts:

–1) "an h moves past an m" (p.243; 8 lines)

–2) "x d" (p.243; 7 lines)

–3) "z" (p.244; 7 lines)

–4) "a d in a cloudbank" (p.244; 8 lines)

–5) "a drainage ditch" (p.245; 11 lines)

–6) "this many miles from home" (p.245; 12 lines)

–7) "ness" (p.246; 8 lines)

–8) "crump cring" (p.246; 16 lines)

–9) "snow" (p.247; 13 lines)

–1o) "j" (p.247; 6 lines)

–11) "up & down" (p.248; 17 lines)

–12) "37-3" (p.249; 13 lines)

–13) "snow at the window" (p.25o; 19 lines)

–14) "hornepayne to armstrong" (p.251; 1o lines)

–15) "a lake in a snowstorm" (p.251; 7 lines)

–16) "there is too much white" (p.252; 1o lines)

–17) "a y by a road" (p.252; 1o lines)

–18) "a right a left" (p.253; 8 lines)

–19) "d b f g e" (p.253; 12 lines)

–2o) "empty eyes" (p.254; 14 lines)

–21) "three deer" (p.254; 11 lines)

–22) "trees that are white not brown" (p.255; 12 lines)

–23) "now there is a mountain" (p.255; 12 lines)

–24) "4" (p.256; 17 lines)

–25) "m m m" (p.257; 13 lines)

–26) "if there is lack of light is there no light" (p.258; 14 lines)

–27) "o dreaming" (p.259; 15 lines)

–28) "g in a station" (p.259; 8 lines)

–29) "more music" (p.26o; 11 lines)

–3o) "just another just another" (p.26o; 4 lines)

–31) "ing" (p.261; 14 lines)

–32) "e's in a cloud" (p.262; 11 lines)

–33) "eyes in the dark" (p.262; 6 lines)

–34) "m" (p.263; 15 lines)

–35) "a fantasy that fails to erupt" (p.263; 12 lines)

–36) "a longing for flesh" (p.264; 16 lines)

–37) "dark where there should be light" (p.265; 1o lines)

–38) "a trance state" (p.265; 11 lines)

–39) "a face above a mountain" (p.266; 1o lines)

–4o) "a saint" (p.266; 1o lines)

–41) "a new beginning" (p.267; 11 lines)

–42) "a needle" (p.267; 13 lines)

–43) "hair that is blonde is long" (p.268; 9 lines)

–44) "an ending a beginning" (p.268; 13 lines)

–45) "is this the end" (p.269; 15 lines)

–46) "a b c d" (p.269; 11 lines)

–47) "green & red" (p.27o; 8 lines)

–48) "a sand bar" (p.27o; 13 lines)

–49) "final finale" (p.271; 12 lines))

lxxxiii) Allegory # 1 (p.272; visual poem)

lxxxiv) Allegory # 4 (p.273; visual poem)

lxxxv) Allegory # 6 (p.274; concrete poem)

lxxxvi) Allegory # 8 (p.275; visual poem)

lxxxvii) Allegory # 11 (p.276; visual poem)

lxxxviii) Allegory # 22 (p.277; visual poem)

ixc) Allegory # 29 (p.278; visual poem)

xc) Allegory # 30 (p.279; visual poem)

xci) song for saint ein (p.28o; poem in 2 parts:

–1. "i look at you this way" (4 lines)

–2. "no separation no" (8 lines))

xcii) Self-contradiction (p.281; concrete poem)

xciii) probable systems 8 (pp.282-283; theory in 2 parts:

–1. "given" (p.282; mathematics)

–2. commentary (p.283; prose))

xciv) Pastoral (p.284; concrete poem)

xcv) love song (p.285; prose)

xcvi) love song 3 (p.286; poem, 19 lines)

xcvii) three small songs for gladys hindmarch (pp.287-288; in 3 parts:

–1. "language is or was or has been has been said before i did say" (p.287; prose)

–2. "up is down" (pp.287-288; poem, 15 lines)

–3. "images imagine packages this is the way it is yesterday the" (p.288; prose))

xcviii) probable systems thot probes for rob(p.289; concrete poetry in 5 parts:

–1. "AR"

–2. "ER"

–3. "IR"

–4. "OR"

–5. "UR")

ic) probable systems 15 division of the signified (p.29o; mathematics)

c) THE FROG VARIATIONS (pp.291-292; poetry in 9 numbered parts:

–1) (p.291; untitled poem in 3 titled parts:

––a) Dawn (3 lines)

––b) Noon (3 lines)

––c) Dusk (3 lines))

–2) "fog fog fog frog fog" (p.291; 1 line)

–3) "moonfrog" (p.291; 3 lines)

–4) (definition of a lily-pad) (p.291; 2 lines)

–5) (the frog's obsession with the fly) (p.291; 1 line)

–6) "frog's tongue: fly catcher" (p.291; 5 lines)

–7) "o moon" (p.292; 12 lines)

–8) "splash" (p.292; 8 lines)

–9) "into the sky at night" (p.292; 4 lines))

ci) Three Months in New Yok City (pp.293-3o6; poem, 71 lines)

cii) Sixteen Lilypads (p.3o7; concrete poem)

ciii) "asea ease ease" (p.3o8; concrete poem)

civ) Catching Frogs (p.3o9; concrete poem)

cv) "fr-o-glop" (p.31o; concrete poem)

cvi) Water Poem 5 (p.311; concrete poem)

cvii) probable systems 24 physical contexts of human words (p.312; prose essay)

cviii) Before Closure (p.313; poem, 7 lines)

also includes:

cix) "The Alphabet Game a bpNichol reader", by Justin Stephenson (front cover; graphic; incorporates

–1. [untitled photograph], by John Ligoure (portrait of Nichol from rear))

cx) [Knarn 2], by Jerry Ofo (p.51; graphic)

cxi) [Knarn 3], by Jerry Ofo (p.53; graphic)

cxii) ["1970 - 71"], by Jerry Ofo (p.55; graphic)

cxiii) ["cloud 6"], by Libby Oughton (p.54; graphic)

cxiv) ["ascension sequence 1"], by Jerry Ofo (p.58; graphic)

cxv) ["cloud 3"], by Libby Oughton (p.58; graphic)

cxvi) ["cloud 4"], by Libby Oughton (p.59; graphic)

cxvii) ["resurrection sequence 2"], by Jerry Ofo (p.61; graphic)

cxviii) ["cloud 19"], by Libby Oughton (p.64; graphic)

cxix) ["resurrection sequence 2"], by Jerry Ofo (p.65; graphic)

cxx) ["cloud 2o"], by Libby Oughton (p.67; graphic)

cxxi) ["cloud 23"], by Libby Oughton (p.68; graphic)

cxxii) ["cloud 28"], by Libby Oughton (p.7o; graphic)

cxxiii) ["cloud 34"], by Libby Oughton (p.73; graphic)

cxxiv) ["cloud 44"], by Libby Oughton (p.75; graphic)

cxxv) ["cloud 45"], by Libby Oughton (p.77; graphic)

cxxvi) ["hat sequence 3"], by Jerry Ofo (p.78; graphic)

cxxvii) "Dear Barrie", by Andy Phillips (p.17o; prose correspondence as part of (lxiii1) above)

cxxviii) "Dear Barry:", by Andy Phillips (p.172; prose correspondence as part of (lxiii2) above)

cxxix) "Dear Barrie:", by Andy Phillips (p.175; prose correspondence as part of (lxiii4) above)

cxxx) "Dear Barrie:", by Andy Phillips (p.176; prose correspondence as part of (lxiii6) above)

cxxxi) afterword, by Lori Emerson & Darren Wershler-Henry (pp.317-334; prose in - parts:

–1. This book is a frame. (pp.316-317)

–2. Notes on the Poems (pp.318-321; in 2 parts:

––a. "Nichol's print work demonstrates a particular and exacting commitment" (p.318)

––b. "The version of 'The Complete Works' that begins this volume is a" (pp.318-321)

–3. Select Bibliography (pp.322-325; in 4 parts:

––a. "This is a chronological list of works by bpNichol, including those we have (p.322; prose introduction)

––b. Print Works (pp.322-325; list of 49 titles)

––c. Recordings (p.325; list of 3 titles)

––d. Films (p.325; list of 2 titles))

–4. Permissions (pp.326-327; list)

–5. Index of Poem and Book Titles (pp.328-33o)

–6. Acknowledgements (p.331)

–7. "bpNichol (Barrie Phillip Nichol) was born September 3o, 1944, in Van-" (pp.332-334; with quote by Nichol "This text has not closed" from --?--, 1987))

cxxxii) [untitled photograph], by Stan Bevington (p.332; portrait of Nichol in straw hat)

cxxxiii) bpNichol, by [Lori Emerson & Darren Wershler-Henry] (rear cover; prose with quotes by

–1. Michael Ondaatje, "His wit, along with the seriousness, was there to..." (misquoted from the Afterword to An H in the Heart)

–2. Paul Dutton, "Read him! Read him! Read him!" (from interview by Brian Nash in bp (pushing the boundaries)))

___________________________

• 1st edition, 2oo7

A reader in the Bowman Regional Public Library.

Joan Smith and Kathy Wronkovich . Kathy was a reader

Photo: Rob O' Connor (rocshot.com)

Leica X2

Reader submission for the "flowering outdoor umbrella stand" project via Apartment Therapy.

August 2008

A benchful of readers near the London Eye

www.ejlphotos.co.uk

in chicago on vacation this week.

ralph checks out the comics issue of the chicago reader. downtown. e.grand.st.

read magic

West bound to Perth at Ceduna

This gives you a perspective on the seahorse mural.

Andre Kertescz, one of my all-time heroes, did a little book with the simple title, "On Reading" in which he gathered shots of readers from all over the world. I loved that book. Who would buy a book like that now?

Mark your calendars Flickr's own Mashuga will show his work at 4 PM Saturday, January 21st, at the Positive Focus Gallery in Brooklyn. Read more .

Anoop poring over a map of the Rocky Mountain National Park in Colorado. Picture by Shraddha.

READER \ NOLA