Vancouver Special

Once more, with feeling

Again; allocate the land and allot. Can't see the trees for the city. Grace of allotting the coast's front lawn. Felled forest, swept ashore -- then, veneer's drift, drift.  Forest, flatten; become a better forest. Wood sliced into beam becomes the better forest. Wood fallen before its felling. Allocate the felled, before the fall, the connoisseurs who want sheets and surfaces, wood reminiscent of wood, reminiscent of wood, reminiscent of wood. Wood, assign the allotment of reminiscence. Wood, assign reminiscence and live inside yourself. The coast's front lawn, my sophisticated city, glittering bits of glass. How can I live on the fallen allotted to me?

My allotment of veneer. But a house. Again, make yourself abstract. Move westward, up. upward.

How to state the elsewhere of here. All our unceded fictions. The else of this where. But a house. But a house.

Once more, with feeling

Inside the reminiscence of wood before the killing, be your own abstract. How to emulate the look of elsewhere and be here, this house a new sequence, and.

Inside the reminiscence of neutral wood, how do I make do looking like elsewhere. How can I look like me, emulated. How can I be of a house. House, be the allotment of structure. House, be the allotment of land, reminiscent of land, reminiscent of land, reminiscent of land. House, be the abstraction of here. The stucco and the lawn, skin and feet, bits of glass and better beam, how he can he make the loan and the mortgage. The connoisseur approves the papers for how to be here. The house grows like a new tree from the abstraction of homeland. Not a failed statement of beauty, but a unique answer to a specific question of coping.

How can he afford the loan for the question. Again, the glass glitters in the stucco. A little further east, move down and more bedrooms.

Fail make afford the reminiscent in the killing of the wood and feeling.

Once more, with feeling

Not mass produced failures, not Beauty, not failure statements, but unique answers to specific questions.
Q: How may we state the look of elsewhere?
A: Can't see the trees for the city, elsewhere is the front lawn of our imagined graciousness.
Q: What can't I afford?
A: The coast is a road.
Q: Could you move to the east? A little further?
A: I need an allotment of reflection for my family.
Q: How may I fit my family into the question?
A: Become veneer and we will take care of the sparkle in your stucco.
Q: How can he live on earth?
A: Block the surface with glitter, remember the first time this land was abstracted, look at the sense shocked into reflection, you are unique, you are unique, you are here.
Q: Are these unique responses to specific questions?
A: Act like you aren't the wood before the felling?
Q: How do I make me less abstract?
A: Shop at Roots.
Q: How much land will be allotted, and to whom?
A: Connoisseurs emulate the look of the abstraction of hereness but you are unique enough to be of your own killing.

Once more, with feeling

In the larger wood of home, you are an improvement on this house. You will surpass the imbrications and the grid.

She is allotted to a wood that is now a park. At age ten, the specific questions were posed, and the taller humans explained the bloated grid as the "Asian Invasion." She is at home on the coast, but not of it, as before the wood came the killing of the statement, and the abstraction reminiscent of the abstraction reminiscent of the abstraction reminiscent of the abstraction of the old. This is the emulation of elsewhere, a little westward, a little to the east, could you? How to state the trees under the city and the veneer of of.

Not failed attempts at beauty or stating. Unique answers to reflection and failure. This is sophisticated and reflective, for something from here, from this wood. Make it full, the reminiscence.

He can't afford the questions of glass.

Alex Leslie



Daniel Zomparelli

Shannon Rayne


Alex Leslie's book of short stories People Who Disappear will be published by Freehand. Her fiction and non-fiction have won a Gold National Magazine Award and a CBC Literary Award. Recent text/visual work is in Front Magazine and dANDelion's mapping special issue. Her current interests are public art and experimental Queer fiction. She maintains a catalogue of fictions, Objects For The New World.