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81:, who shared an interest in experimental American poetry and European avant-garde literature and art. While they were each distinct in their own writing, and published books as individuals, they were collectively involved in organizing readings, art events, and in controlling their own means of literary production through the development of a variety of periodicals and collective publishing ventures. In 1979, John McAuley’s Maker Press published a collective anthology,
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the cutting edge of mixed media, poetry and video art. They took poetry out of the closet and put it on the buses, in the parks, on the dance floor and in the subway. The
Vehicule Poets were an irreverent, adventurous lot, provoking both praise and vitriol from the public and the critics.” (Introduction to
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was initially interested in gaining access to the means of production. But a funny thing happened on the way to print. The various poets coalesced into a group, feeding off each other's experiences and innovations. Inspired by the experimental environment of the gallery, the
Vehicule Poets worked at
121:“… in the history of recent English-language poetry in Montreal, the Vehicule group, Ken Norris, Stephen Morrissey, Tom Konyves, Claudia Lapp, Artie Gold, John McAuley and Endre Farkas, provided a very welcome radical chapter." (Introduction to
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Left to right: Endre Farkas, Claudia Lapp, Artie Gold, John McAuley, Ken Norris, Tom
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Vehicule Days: An
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Vehicule Days: An
Unorthodox History of Montreal’s Vehicule Poets
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Vehicule Days: An
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