Works by bpNichol

Nichol. bp. ABC: The Aleph Beth Book. Ottawa: Oberon Press, 1971.

____. Absolute Statement for my Mother. Toronto: Seripress, 1979.

____. Ad Sanctos: The Martyrology, Book 9. Musical score by Howard Gerhard. Toronto: Coach House Press, 1993.

____. After Winsor McCay: a memoir of reader/writer relations in the mid-’60s. Toronto: Ganglia Press, 1983.

____. Aleph Unit. Toronto: Seripress, 1973.

____. The Alphabet Game: A bpNichol Reader. Ed. Darren Wershler-Henry and Lori Emerson. Toronto: Coach House Books, 2007.

____. Alphabet/Ilphabet. Toronto: Seripress, 1978.

____. Art Facts: A Book of Contexts. Tuscon: Chax Press, 1990.

____. Astronomical Observations. Toronto: Ganglia Press, 1969.

____. Back Lane Letters. Toronto: Ecs, 1994.

____. Ballads of the Restless Are. Sacramento: Runcible Spoon, 1973.

____. Beach Head. Sacramento: Runcible Spoon, 1971.

____. The Book of Quest. Toronto: Eternal Network, 1994.

____. A Book of Variations: Love – Zygal – Art facts. Ed. Stephen Voyce. Toronto: Coach House Books, 2013.

____. The Birth of O. Toronto: Ganglia Press, 1966.

____. bp. Toronto: Coach House Press, 1967.

____. bpNichol Comics. Ed. Carl Peters. Vancouver: Talonbooks, 2002.

____. Briefly. Lantzville: Island Writing Series, 1981.

____. The Captain Poetry Poems. Vancouver: blew ointment, 1971.

____. The Captain Poetry Poems Complete. Afterward by bill bissett. Toronto: Bookthug, 2011.

____. The Chocolate Poem. Toronto: Ganglia Press, 1966.

____. Cold Mountain. Toronto: Ganglia Press, 1966.

____. Continental Trance. Lantzville: Oolichan Editions, 1983.

____. Continuum. Toronto: Underwhich Editions, 1984.

____.  The Complete Works. Toronto: Ganglia Press, 1968.

____. A Condensed History of Nothing. Toronto: Ganglia Press, 1970.

____. Continental Trance. Lantzville, BC: Oolichan Books, 1982.

____. Craft Dinner. Toronto: Aya Press, 1978.

____. A Christmas Vision in the Voice of St Nicholas. Toronto: Ganglia Press, 1980.

____. Cycles etc. Cleveland: 7 Flowers Press, 1965.

____. Dada Lama. London: Tlaloc, 1968.

____. DA Dead. Toronto: Ganglia Press, 1968.

____. Door to Oz. Toronto: Seripress, 1979.

____. Doors: To Oz & Other Landscapes. Exhibition catalogue. Toronto: Ganglia Press, 1979.

____. A Draft of Book IV of The Martyrology. Edmonton: bpNichol, 1976.

____. 8 Lines on / of/ as H’s & 2 Alpha Pairings. Toronto: Letters, 1986.

____. Extreme Positions. Edmonton: Longspoon, 1981.

____. Familiar. Toronto: Eleanor and bpNichol, 1980.

____. Final Concrete Testament. Toronto: Ganglia Press, 1970.

____. First Screening. Toronto: Underwhich Editions, 1984.

____. Fodder Folder. Afterward by Ron Caplan. Toronto: Ganglia Press, 1966.

____. the frog’s obsession with the fly. Toronto: Curvd H&z, 1981.

____. The Frog Variations. Toronto: Curvd H&z, 1982.

____. From My Window. Toronto: Seripress, 1978.

____. Ganglia Press Index. Toronto: Ganglia, 1972.

____. Giants, Moosequakes & Other Disasters. Windsor: Black Moss Press, 1985.

____. Gifts: The Martyrology Book(s) 7&. Ed. Irene Niechoda. Toronto: Coach House Press, 1990.

____. Group. Final Script. Toronto: privately printed, 1982.

____. Group: A therapeutic musical. First Complete Draft. Toronto: privately printed, 1980.

Hide H into I: Devolution. Toronto: Ganglia Press, 1984.

____. An H in the Heart: A Reader. Ed. George Bowering and Michael Ondaatje. Toronto: McClelland & Stewart, 1994.

____. Holiday. Toronto: Curvd H&z, 1999.

____. Journal. Toronto: Coach House Press, 1978.

____. Konfessions of an Elizabethan Fan Dancer. London: Writer’s Forum, 1967.

____. Konfessions of an Elizabethan Fan Dancer. Weed/Flower Press, 1973.

____. Konfessions of an Elizabethan Fan Dancer. Edited and introduced by Nelson Ball. Toronto: Coach House Books, 2004.

____. Lament. Toronto: Ganglia Press, 1969.

____. The Langwage the Langwedge. Toronto: Ganglia Press, 1966.

____. last poem with you in mind. Toronto: Ganglia Press, 1967.

____. a little pome for your fingertips. Toronto: Ganglia Press, 1966.

____. Love: A Book of Remembrances. Vancouver: Talonbooks, 1974.

____. Love Affair. Toronto: Seripress, 1979.

____. The Man who Loved his Knees. Windsor: Black Moss, 1983.

____. The Martyrology. Book I. Toronto: Coach House Press, 1972.

____. The Martyrology. Book II. Toronto: Coach House Press, 1972.

____. The Martyrology. Books 1 & 2. Toronto: Coach House Press, 1977.

____. The Martyrology. Books 3 & 4. Toronto: Coach House Press, 1976.

____. The Martyrology. Book 5. Toronto: Coach House Press, 1982.

____. The Martyrology. Book 6 Books. Toronto: Coach House Press, 1986.

____. Mollie Darling! Toronto: Ganglia Press, 1976.

____. Monotones. Vancouver: Talonbooks, 1971.

____. Moosequakes and other Disasters. Windsor: Black Moss, 1981.

____. Movies. Toronto: Seripress, 1979.

____. New H Blues. Toronto: Curvd H&z, 1983.

____. Nights on Prose Mountain some scraptures sequences. Toronto: Ganglia Press, 1969.

____. Notebooks. There are at least 31 Nichol notebooks at Simon Fraser University’s Special Collections, datable by the dates of their entries.

____. Novel. Toronto: Curvd H&z, 1982.

____. Once: a Lullaby. Windsor: Black Moss, 1983.

____. Of Lines: Some Drawings. Toronto: Underwhich Editions, 1981.

____. The Other Side of the Room. Toronto: Weed/Flower Press, 1971.

PLATES to accompany “The ’Pata of Letter Feet.” Toronto: Ganglia Press, 1984.

____. Portrait of David. Toronto: Ganglia Press, 1966.

____. The Possibles of the Poem. Toronto: Curvd H&z, 1984.

____. Ruth. Toronto: Flye Press, 1967.

____. Sail. Toronto: Ganglia Press, 1970.

____. Selected Organs: Parts of an Autobiography. Windsor: Black Moss Press, 1988.

____. “some words on the martyrology march 12 1979.” In Michael Ondaatje, ed., The Long Poem Anthology. Toronto: Coach House Press, 1979. 335-37.

____. Scraptures, Basic Sequences. Toronto: Massasauga Editions, 1973.

____. Scraptures, fourth sequence. Niagara Falls, NY: Press: Today: Niagara, 1966.

____. Scraptures, second sequence. Toronto: Ganglia Press, 1965.

____. Scraptures 2nd sequence. alternate takes.Vancouver: British Columbia Monthly, 1977.

____. Scraptures, sequence eleven. Toronto: Ganglia Press, 1967.

____. Scraptures, tenth sequence. Toronto: Ganglia Press, 1967.

____. Scraptures, third sequence. Toronto: Ganglia Press, 1966.

____. Some Scapes. Toronto: privately printed, 1986.

____. Still. Vancouver: Pulp Press, 1983.

____. Still Water. Vancouver: Talonbooks, 1970.

____. Theory 1-4. Toronto: Curvd H&z, 1984.

____. Third fragment from a poem continually in the process of being written. Toronto: Ganglia Press, 1969.

____. To the End of the Block. Windsor: Black Moss, 1984.

____. Transformational Unit. Toronto: privately printed, 1983.

____. The True Eventual Story of Billy the Kid. Toronto: Weed/Flower Press, 1970.

____. Truth: A Book of Fictions. Ed. Irene Niechoda. Toronto: Mercury Press, 1993.

____. Two Novels. Toronto: Coach House Press, 1969.

____. Underwhich Checklist 1978-1984. Toronto: Ganglia, 1984.

____. Unit of Four. Toronto: Seripress, 1973.

____. A Vision in the U of T Stacks. Toronto: Ganglia Press, 1966.

____. Wall. Toronto: Ganglia Press, 1983.

____. white sound: a variant. Toronto: Ganglia Press, 1976.

____. The Year of the Frog. Toronto: Ganglia Press, 1967.

____. Zygal: A Book of Mysteries and Translations. Toronto: Coach House Press, 1985.

____, ed. The Cosmic Chef: An Evening of Concrete. Ottawa: Oberon, 1970.

____, ed. Sharp Facts: Selections from TTA 26. Milwaukee: Membrane Press, 1980.

____, ed. Translating Translating Apollinaire: a Preliminary Report. Milwaukee: Membrane Press, 1979.

____, and David Aylward. Strange Grey Town. Toronto: Ganglia Press, 1966.

____, and John Beckwith. Mating Time. Toronto: Canadian Broadcasting Corporation, 1982.

____, and Barbara Caruso. The Adventures of Milt the Morph in Colour. Toronto: Seripress, 1972.

____, and Barbara Caruso. H. An Excursion. TorontoL Seripress, 1976.

____, and Frank Davey. The Prosody of Open Verse. Privately printed, 1981.

____, and Brian Dedora. A B.C. Childhood. Toronto: grOnk, 1982.

____, and Howard Gerhard. The Martyrology: An Oratorio. Toronto: privately printed, 1974.

____, and Howard Gerhard. Prayer. Toronto: privately printed, 1978.

____, and Howard Gerhard. Space Opera. Toronto: privately printed, 1985.

____, and Lea Hindley-Smith. “Notes on Milieu Therapy.” Axis. Vol 1.1 December 24, 1969.

____, and Lea Hindley-Smith. “The Paranoiac and the Paranee.” Axis Vol 1:88 July 9, 1970.

____, Lea Hindley-Smith, Stan Kutz, and Philip McKenna. “Therafields.” The Canadian Forum, January 1973: 12-17.

____, and Steve McCaffery. Collborations.  Toronto: Ganglia Press, 1972.

____, and Steve McCaffery. parallel texts one. Toronto: Anonbeyond Press, 1971.

____, and Steve McCaffery. In England Now that Spring. Toronto: Aya Press, 1979.

____, and Franc Reyes. The Story of the Boat People. Toronto: Operation Life Line, 1980.

Nichol, Barrie, and Adam Crabtree. “Communication and Armouring.” Axis, Vol 3, May 15, 1980: 323-29.


Works about bpNichol

Andrews, Bruce, and Charles Bernstein. The L=A=N=G=U=A=G=E Book. Carbondale, IL: Southern Illinois UP, 1984.

Andrews, Jim, Geoff Huth, Lionel Kearns, Marko Niemi, and Dan Waber. “Introduction to bpNichol’s First Screening.” Open Letter, Thirteenth Series, Number 5 (Spring 2008): 40-43.

Bayard, Caroline, and Jack David. Out-Posts/Avant-Postes. Erin, ON: Press Porcepic, 1978.

Bök, Christian. “Nickel Linoleum.” Open Letter, Tenth Series, No. 4 (Fall 1998): 62.

Davey, Frank. aka bpNichol: A Preliminary Biography. Toronto: ECW Press, 2012.

____. “bpNichol + 10: Some Institutional Issues Associated with the Continued Reading of Texts Known as ‘bpNichol’.” Open Letter, Tenth Series, No. 4 (Fall 1998): 5-13.

____. “Not Just Representation: The Sound and Concrete Poetries of ‘The Four Horsemen’.” Crosstalk: Canadian and Global Imaginaries in Dialogue. Waterloo: Wilfrid Laurier UP, 2012. 127-40.

____. “Thanked by Barrie.” Open Letter 14: 1 (Fall 2009): 52-70.
  
____. “This Gentleman, bpNichol.” In Jean Baird and George Bowering, ed., The Heart Does Break: Canadian Writers on Grief and Mourning. Toronto: Random House Canada, 2009. 99-112.

Doyle, Brenda. “Thoughts on Therafields.”

Dutton, Paul. “bp Anecdotingly.” Open Letter, Thirteenth Series, No. 8 (Spring 2009): 77-91.

Four Horsemen. Horse d’Oeuvres. Don Mills, ON: Paperjacks, 1975.

Goodbrand. Grant. Therafields: The Rise and Fall of Lea Hindley-Smith’s Psychoanalytic Commune. Toronto: ECW Press, 2010.

Hancock, Geoff. “The Form of the Thing: An Interview with bpNichol on Ganglia and grOnk.” Rampike 12:1 (Fall 2001). Also excerpted in Miki, Meanwhile, 396-409.

Huth, Geoff. “First Meaning: The Digital Poetry Incunabula of bpNichol.” Open Letter Thirteenth Series, Number 5 (Spring 2005): 49-58.

Jaeger, Peter. “An Interview with Steve McCaffery on the TRG.” Open Letter, Tenth Series, Number 4 (Fall 1998): 77-96.

McCaffery, Steve. “The Martyrology as Paragram.” Open Letter, Sixth Series, Nos 5-6 (Summer-Fall 1986): 191-206.

____. “The Silent Punster: Nichol’s Semiology of the Saints.” Open Letter, Thirteenth Series, No. 5 (Spring 2008): 97-109.

____, ed. Rational Geomancy: The Kids of the Book Machine: The Collected Research Reports of the Toronto Research Group 1973-1982 by Steve McCaffery and bpNichol. Vancouver: Talonbooks, 1992.

McElroy, Gil. St. Art: The Visual Poetry of bpNichol. Charolottetown: Confederation Centre Art Gallery & Museum, 2000.

McGeachy, Matt. “Therafields: Toronto’s (Nearly) Forgotten Therapeutic Community.” Columbia Undergraduate Journal of History II”1 (Spring 2009).
 
Miki, Roy. “Turn this Page: Journaling bpNichol’s The Martyrology and the Returns.” Open Letter, Tenth Series, No. 4 (Fall 1998): 116-33.

Miki, Roy, ed. Meanwhile: The Critical Writings of bpNichol. Vancouver: Talonbooks, 2002.

____, ed. Tracing the Paths: Reading ≠ Writing The Martyrology. Vancouver: Talonbooks / West Coast Line, 1988.

____, and Fred Wah, ed. Beyond the Orchard: Essays on the Martyrology. Vancouver: West Coast Line, 1997.

Multineddu, Flavio. “An Interview with bpNichol in Torino, May 6 & 8, 1987.” Open Letter, Eighth Series, No. 7 (Summer 1993): 5-35.

Nichol, Eleanor. “An Ordinary Man.” West Coast Line 16 (29:1), Spring-Summer 1995: 113-18.

Niechoda, Irene. “Additor’s Note.” In Nichol. Truth: a Book of Fictions. 1993. 172-75.

____. “Gift / Gifts / Giving: An Afterward.” In Nichol. Gifts. 1990. N.p.

____. A Sourcery for Books 1 and 2 of bpNichol’s The Martyrology. Toronto: ECW Press, 1992.

Rosenberg, David. “Body by Nichol.” Open Letter, Fourteenth Series, No. 1 (Fall 2009): 7-40.

Scobie, Stephen. bpNichol: What History Teaches. Vancouver: Talonbooks, 1984.

Shives, Arnold. Unpublished statement written to accompany letters he had received from Nichol in 1964-66. Simon Fraser University, Bennett Library, Special Collections.

Starnino, Carmine. “Does bpNichol’s once-revolutionary wordplay have staying power?” Maisonneuve. July 5, 2011. http://maisonneuve.org/pressroom/article/2011/jul/ 5/captain-poetry/

Swail, Christopher. “Reading to the Limits: Space-Time and The Martyrology. In Miki, Beyond the Orchard, 1997. 171-83.

Turner, Michael. Three Readings. Vancouver: Western Front Media Arts, 2011.
Wershler-Henry, Darren. “Argument for a Secular Martyrology.” Open Letter, Tenth Series, No. 4 (Fall 1998): 37-47.