"This text explores ways in which language constrains the body, shackles it to gender, and proposes instead an altogether different way of reading, where words are hermaphroditic and in turn transform desire (consequence). Suggesting that one body conceals another, JE NATHANAEL lends an ear to this other body and delights in the anxiety it provokes."--Small Press Distribution.

Je Nathanaël is an endangered text. Neither essay nor poem nor novel nor sex-show, what it takes from language it gives back to the body. In this new and updated edition of Je Nathanaël, first published by BookThug in 2006, Nathanaël explores ways in which language constrains the body, shackles it to gender, and proposes instead a different way of reading, where words are hermaphroditic and transform desire in turn. Suggesting that one body conceals another, it lends an ear to this other body and delights in the anxiety it provokes. With parts written in French, other parts in English, this is truly a hybrid text, throwing itself into question as it acts upon itself in translation. It is both originator and recipient of its own echo. In this regard it does not, cannot exist, pulling insistently away from itself in an attempt to draw attention to the very things it seeks to conceal. In this way, Je Nathanaël is a book of paradox, negating itself as it comes into being. With an afterword by Elena Basile, and a postface by the author.

What is the best way to tell a story? In this anthology, the first-ever collection of essays by innovative, cutting-edge writers on the theme of narration, forty of the continent's top experimental writers describe their engagement with language, storytelling and the world. The anthology includes renowned writers like Kathy Acker, Dennis Cooper, Nicole Brossard, Daphne Marlatt, Lydia Davis and Kevin Killian, writers who have spent years pondering the meaning of storytelling and how storytelling functions in our culture, as well as presenting a new generation of brilliant thinkers and writers, like Christian Bök, Corey Frost, Derek McCormack and Lisa Robertson. Contemporizing the friendly anecdotal style of Montaigne and written by daring writers of different ages, of different origins, from many different regions of the continent, from Mexico to Montreal, these essays run the gamut of mirth, prose poetry, tall tales and playful explorations of reader/writer dynamics. They discuss aesthetics founded on new explorations in the field of narrative, the mystery that is the body, questions of how representation may be torqued to deal with gender and sexuality, the experience of marginalized people, the negotiation between different orders of time, the 'performance' of outlaw subject matter. Brave, energetic and fresh, Biting the Error tells a whole new story about narrative. Biting the Error is edited by Mary Burger, Robert Glück, Camille Roy and Gail Scott, the co-founders of the Narrativity Website Magazine, based at the Poetry Center, San Francisco State University.

Translating Montreal follows the trajectories of adventurous cultural translators such as Malcolm Reid, F.R. Scott, and A.M. Klein - pioneers of the 1950s and 1960s - Pierre Anctil, whose translations from Yiddish to French are emblematic of the dramatic reroutings now occurring across the Montreal landscape, and contemporary writer-translators such as Gail Scott, Erin Mouré, Jacques Brault, Michel Garneau, Nicole Brossard, and Emile Ollivier. Simon argues that translation is a dynamic and subtle tool for analysing cultural contact. An original take on cultural relations in the city, Translating Montreal explores the emergence of the "new" Montrealer. No longer "Franco-Québécois," "Anglo-Québécois," "immigrant," or "ethnic," the new Montrealer is a citizen of a mixed and cosmopolitan city.

and the one in the middle which judges as he enjoys and enjoys as he judges. This latter kind really reproduces the work of art anew. The division of our Symposium into three sections is justified by the fact that phenomenology, from Husserl, Heidegger, Moritz Geiger, Ingarden, in Germany and Poland, Merleau-Ponty, Paul Ricoeur, E. Levinas in France, Unamuno in Spain, and Tymieniecka, in the United States, have revealed striking coincidences in trying to answer the following questions: What is the philosophical vocation of literature? Does literature have any significance for our lives? Why does the lyric moment, present in all creative endeavors, in myth, dance, plastic art, ritual, poetry, lift the human life to a higher and authentically human level of the existential experience of man? Our investigations answer our fundamental inquiry: What makes a literary work a work of art? What makes a literary work a literary work, if not aesthetic enjoyment? As much as the formation of an aesthetic language culminates in artistic creation, the formation of a philosophical language lives within the orbit of creative imagination.