Impulse Magazine Archive Of Publications.

Volume 12 Number 3, Spring 1986

Publisher / Executive Editor:

Eldon Garnet.

Managing Editor:

Judith Doyle.

Editors:

Carolyn White, Gerald Owen, and Brian Boigon.

Contributing Editors:

Sylvère Lotringer (New York), and Andy Payne.

Art Direction:

Carolyn White.

Assembly Assistant:

Werner Arnold.

Business Manager:

Sharon Brooks.

Business Assistant:

Jonathan Pollard.

Cover Design:

Carolyn White.

Author Photos:

Carolyn White.

Table of Contents:

Rodney Werden, 'Aboo'; Sarah Sheard, 'Will You Hold Them for Me?'; Stephen Hatfield, 'Stand by Your Man'; Judith Doyle, 'Echo (The Constant Nymph)'; John Greyson, 'Take Two Rivers'; Robert Everett, 'Green, Animal Husbandry'; Helen Weinzweig, 'Causation'; Matt Cohen, 'In Search of Inspiration'; Patricia Bradbury, 'The Ship'; Mel Bradshaw, 'Trip to the Waterfall'; Peter Such, 'Certain Findings'; Dot Tuer, 'Mary, Mary is Quite Contrary'; Susan Speigel, 'The Fibonacci Flip'; Donna Lypchuck, 'The Mark Of The Babe'; David Hlynsky. 'Raspberry Crunch Cocktail'; John Bentley Mays, 'Corrigenda'; Eldon Garnet, 'I Shot Mussolini (Section 3)'; Janice Williamson, 'Fundamental Rule'; Tom Sherman, 'Sex and Violence Through Television'; Fred Gaysek, 'The Story'; Chris Dewdney, 'Excerpt From a Continuing Story'; Carol Barbour, 'Interruption Interrogation Interpretation'; A.S.A. Harrison, 'Stories For the Left Hand'; Peggy Gale, 'Beasts'; Arnie Achtman, 'Swimming in Mud'; Ann Ireland, 'The Secret'; Karl Jirgens, 'Argentina Declares Independence'; Katherine Govier, 'Between Men'; Steve McCaffery, 'The Swimmer'; Colin Campbell, 'B. Mode'; Brian Shein, 'Identified Objects'; Andrew James Paterson, 'Passports of Love'; Andrew Payne, 'What Some Call Grace'.

Editorial:

Eldon Garnet: So many have difficulty determining the voice when they read fiction. Too often the reader's first thought is that the author is writing a confessional, at the least a psychological disclosure. Some readers imagine the author is speaking the truth. But these are the fictions of fiction. Its stories.

Judith Doyle: Not so long ago, narrativity per se was suspect, but now a lot of people are rethinking this and using fictive strategies in their work - whether it's film, video or criticism. The question always comes up - where is this voice speaking from? To whom is it speaking?

EG: For the cultural commentator, the basis of fiction is not the self or the identity of the writer, but instead it is history, the conflicts of the individual with culture.

JD: For me as a writer, one of the interesting aspects of editing this issue was to look at very recent fiction, at how it has been changing.

EG: It's been interesting to look at the vehicle of fiction, its ability to carry information, and its attention to the reader. I'm so bored reading criticism. Theory is becoming stale. I've heard it all before. I'm looking for a pleasure of text in my reading. Something warm to read; it's so cold here and the winter is only half over. Why do you think we're calling this issue, "COLD CITY FICTION"!

JD: All the fiction comes from Toronto, but the problem with calling it 'Toronto Fiction', is that it might suggest we chose Toronto for some special reason. We chose it because we live here. We were looking for a generic title. There's no thematic or formal continuity to these stories. Some of them are very conservative, very classical; others are autobiographical, or dream-association pieces. Some are writings by artists which might be used as scripts for their film or video work. Others are like essays that make a crossover between genres. So, we came up with a condition of locale which would reflect an underlying, common interest for the writers.

EG: This is a grouping of writers by their common physical environment. A cold city. It's a grouping within a limited loci - of one magazine, in one area.

JD: In the last few years, we've had an international focus. Our contributors have come from Latin America, Europe, the States, and across Canada. This time we wanted to do something closer to home. At times, 'Toronto' seemed to be almost too general. There are different cultural emphases in different quarters of the city, each with its own writing.

EG: We haven't tried to be rigorously selective. We didn't try to look at who's writing what might be called the "best" fiction in Toronto. We examined the situation and then tried to find out how the younger writers were working, and tried to represent them as best we could. We also solicited work from more established writers, and some who people consider well-known, even though they weren't well-known to us - to the literary community they are establishment figures. All the authors in this issue are included because the editors enjoyed or felt engaged with their writing; our central editorial concern was for text not reputation.

JD: I'd say only a third of the people in the issue have developed reputations as fiction writers. Another third are artists who've used language and writing in their work.

EG: More precisely they've used fiction in their work.

JD: The other third have just started writing, or are better-known as critical writers. They use fiction as a genre of criticism. It's a way of projecting certain opinions, and a certain 'self'.

EG: The inclusiveness of our editorial position reflects the overall diversity of recent writing which we have chosen to describe under the 'cover' fiction.

JD: I like fiction's capacity for a sensuality of language, and for expressing desire, with a very delicate shading. Fiction is well-suited to describe what people want, and what repels them. I've been reading articles by Dot Tuer, and I've seen videotapes by Rodney Werden, but I looked forward more to reading their new stories. I felt I'd find out more about what they're really thinking now by reading their fictional writing.

EG: What interests me is not so much the revealing of 'person', but rather the fiction writer's cultural analysis in the guise of fiction, the narrative structuring of an analysis of a culture, and society.

JD: Yes. What's in it for me - what I want to find out from reading these texts - is different from what it is for you.

EG: This issue represents a circle for Impulse.

JD: A lot of people don't realize that Impulse began as a literary journal that published almost entirely poetry and fiction by people from the Toronto area.

EG: Just by coincidence, this is the fifteenth anniversary issue.

JD: And, coincidentally, we're re-inhabiting the form that we used to maintain.

EG: A paradoxical circle.

Eldon Garnet & Judith Doyle

Volume 12 Number 4, Summer 1986

Publisher / Executive Editor:

Eldon Garnet.

Managing Editor:

Judith Doyle.

Editors:

Carolyn White, Gerald Owen, and Brian Boigon.

Contributing Editors:

Sylvère Lotringer (New York) and Andrew Payne.

Art Direction:

Carolyn White.

Assembly Assistant:

Werner Arnold.

Business Manager:

Sheila Dee.

Cover Photo:

Boyd Webb.

Cover Design:

Carolyn White.

Table of Contents:

Jeanne Randolph, 'Letters to an Authority'; Reese Williams, 'Common Origin'; Albert Russo, 'Tunisian Fever'; Ken Decker, 'Cleaning The Tools'; Judith Schwarz, 'Knossos'; Rebecca Garrett, 'A Peripatetic Soap Opera'; Fastwürms, 'The Perfumed Tadpole'; David Rasmus, 'Photographs'; Susan Schelle, 'The Death and Burial of Poor Cock Robin'; Brian Boigon, 'Murder Architecture'; Lori Spring, 'The Body in Film'; Ken Ludlow, 'Psycho - Lingo'; David Greenberger, 'Duplex Planet'; Marino Tuzi, 'Comic Books and the Neo-cold war Discourse: The Problem of Moral Recuperation'; Carolyn White, 'Midwifery in Canada'; John O'Neill, interview by Andrew Payne and Richard Wellen; Paul Virilio, Interview by Chris Dercon.

Editorial:

A slight moan, he covers his forehead and eyes with both his hands. Rubs his eyes. Rest? Not working? Difficult to remember the moments when the body was not demanded to perform.

"Your eyes," he heard, "are like mine, they are enclosed by red dark rings. Do you think it's a disease?"

And he overheard someone say, "It's so nice to have someone do all this work for me:'

The proletariat body is an absence of rest.

A small hand stretches to grab at a brightly coloured moving object and almost touches, misses, but scores a red ring which is quickly pulled toward the mouth it almost reaches. The hand tugs and the back arches until the lips are moist and the red ring rubs the tongue.

A deep moan: the articulation of an entire body.

He closes his eyes and rubs the skin around the temples.

"Oh no! The blood isn't coming off. Will that show?"

Eldon Garnet

Light reflects from an arm. Details of surface texture and fine hairs fix in chemical emulsion. The line of the arm curves, and flesh succumbs to shadow. In memory and association, there is one skin pressed against another's. A mother's face wrenched by birth, circled by the arms of a woman who supports her. An infant - Lacan's homme-lette, half child and half egg - whose twisting face mirrors appetites exactly. Though there are no words, there is the consolation of language, its materiality, tones and very lack of transparency. Even voices resist description, the attempt to construct a double within.

The camera moves, and it's like touching. Tracing a length of skin, the camera is your hand, lightly caressing, almost floating.

Judith Doyle

Volume 13 Number 1, Storm Corridor 1986/87

Publisher / Executive Editor:

Eldon Garnet.

Managing Editor:

Judith Doyle.

Editors:

Carolyn White and Brian Boigon.

Contributing Editors:

Sylvère Lotringer (New York), and Andrew Payne (Toronto). Theoretical Architecture Guest Editor:

Susan A. Speigel.

Associate Editors:

Eldon Garnet, Judith Doyle, Carolyn White, Brian Boigon (New York) and Andrew Payne.

Art Direction:

Carolyn White.

Assembly Assistant:

Werner Arnold.

Advertising:

Werner Arnold and Janna Levitt.

Business Manager:

John Allan.

Proofreading:

Sabina Harris Dobo.

Cover Design:

Carolyn White.

Table of Contents:

Michael McCarthy, 'The Theoretical Imagination In Piranesi's shaping of Architectural Reality'; Nato, 'Narrative Architecture Today'; Richard Cameron, 'Enemies: My Lives Seem Transparent'; Alexander Pilis, 'A Deadly Conversation'; Gordon Lebredt, 'In A Manner Of Speaking'; Gelsomina Petti, 'Renovations of the Body and World'; Margaret Priest, 'No Exit'; Martin Vahtra, 'Squatters Tactic and the Picturesque'; Janna Levitt, 'The Executive the Braille Mind'; Spring Hurlbut; Brian Boigon, 'Shopping for the Real'; Ed Kin Chan, 'Urban Work Community Ipoh'; Mary Ann Unger, 'Beehive Temple'; Frederic Urban, 'House for Panza'; Margaret Priest, 'NYC in August'; Susan A. Speigel, 'Geometry of the Stain'; Paul Shepheard, 'Phlegm The Trials of Lillibet'; Francois Schien, 'Subway Map Floating on a New York Sidewalk 1986'; Michael Djordjevitch, 'Of Facades and Plans'.

Editorial:

You construct a structure, a working surface between things that speaks across / distance / geographical fatality / selection assembly and interruption.

There is an awkward instance when you step off the known, the accomplished. / And attempt something - a change in sensibility where there is a gulf between / one sure territory and the next. You need. To allow for that moment, that / Awkwardness, that gap in surety, because from this risk comes something / Unexpected.

Theoretical architecture means dealing in the practice of pure theory, built or / Unbuilt.

Is theoretical architecture, architecture that just isn't built? / A few pieces stand as built theoretical architecture. / Built architecture cannot be the pure representation of theoretical architecture. / By the time a thing gets built, thought is elsewhere. A fireplace is a representation of something powerful, no longer / necessary in itself. / Fire is theoretical now. / Inevitably theory gets built, but not in its most concentrated form. / Theoretical architecture takes place in publication.

It is important that architecture be more urgent than plumbing diagrams and / the building code. / But at that even the most conventional architectural drawing is an abstract / code speaking its own language. / Translation of spatial experience to an abstract language is common in / conventional architectural representation and / theoretical architecture.

There is a distended, tenuous but crucial relationship between theoretical architecture and architecture-built. Architecture, once removed, becomes the theory of architecture, then once removed again begins to get built.

To see these two volumes as a complete picture - one is hard pressed to. / Process observations in advance of knowledge. / Proceed toward a metaphysic that enables us to find ourselves on a later plane / In a moment of knowledge wider than the previous one.

The working surface of this publication: theoretical architecture, its obsession / with language, manipulation and appropriation of codes and discourses.

Surpassing of accurate portrayal of existing scenes to create an alternative state which can only exist in the mind.

A city of the mind

Architecture of the mind.

Susan A. Speigel

Volume 13 Number 2, 1986/87

Publisher / Executive Editor:

Eldon Garnet.

Managing Editor:

Judith Doyle.

Editors:

Carolyn White and Brian Boigon.

Contributing Editors:

Sylvère Lotringer (New York) and Andrew Payne (Toronto). Theoretical Architecture Guest Editor:

Susan A. Speigel.

Associate Editors:

Eldon Garnet, Judith Doyle, Carolyn White, Brian Boigon (New York) and Andrew Payne.

Art Direction:

Carolyn White.

Assembly Assistant:

Werner Arnold.

Advertising:

Werner Arnold and Janna Levitt.

Business Manager:

John Allan.

Proofreading:

Sabina Harris Dobo.

Cover Design:

Carolyn White.

Table of Contents:

Nato, 'Narrative Architecture Today'; Joshua Bendah, 'Architecture of the Sensation'; Penny Umbrico, 'House'; Hani Rashid, 'Four Kursaals For Pierrettes and Evacuees'; Gelsomina Petti, 'Renovation of the Body and the World'; Lorenzo Pignatti, 'Forms of Inhabitation'; Margaret Priest, 'Stairwell'; Kathryn Firth, 'Conjectural Landscape'; Graham Owen, 'Of Politics, History and Pleasure: The Theoretical Project as Excavation of the Modern'; Michael Piraino; Robert Stewart, 'Brasilia: Ordem E Progresso'; Gordon Lebredt, 'In a Manner Of Speaking'; Michael Gold, 'Ideal Cities and Demolition'; Nato, 'Narrative Architecture Today'; Adrian Blackwell, 'Essential Hut'. Editorial:

A fine line between collaboration and desperation. A sense of learning that is intellectually erotic imagining a large picture of theoretical architecture, not one theory, proven.

You read the drawing.

There is a gap between theory and theoretical. There are theories of theoretical / architecture, about the whole thing not being revealed at a glance. / Renaissance architecture, where the whole is revealed to a privileged position. / And there is mannerist theory which appropriates renaissance theory and manners it, shifts it. That's where theoretical architecture begins using theory as an / Object. / Appropriating theory to some other end.

Blood fraction.

All these strangers standing side by side. / Everyone knew that to be in the magazine structure meant sharing paper / and fictional space with others of unlike sensibilities, their adjacencies have created something that is / odd.

Adjacency is the most common type of spatial relationship. It allows each space to be clearly defined and to respond, each in its own way, to / functional or symbolic requirements. / The degree of visual and spatial continuity that occurs between two adjacent spaces will depend on the nature of the plane that both / separates and binds them together.

An interlocking spatial relationship consists of two spaces whose fields overlap to form a shared zone. / When the two interlock their volumes in this manner each retains its identity and / definition. But their configuration as two interlocking spaces will be subject to a number of interpretations.

Space theory becomes appropriated and flattened and abstracted.

The capricci are pictures that merge the real and the projected and that assemble the real into new configurations.

Finally we are caught / Labyrinthine / In dark boxes

Using the grand text of history, / Pursued through the relationship of the grid / to the plotting of beliefs

Ordering the contents of the dream into acceptable form.

Susan A. Speigel

Volume 13 Number 3, Summer 1987

Executive Editor:

Eldon Garnet.

Editors:

Brian Boigon, Judith Doyle, Andrew Payne, and Carolyn White. Contributing Editors:

Brendan Cotter, Julia Emberley, Monica Gagnon, Marc Glassman, Sylvère Lotringer, Donna Lypchuk, Alberto Manguel, Andrew James Paterson, Jeanne Randolph, Kim Sawchuk, and Janice Williamson.

Art Director:

Carolyn White.

Production Assistant:

Debbie Willock.

Administrator:

Gillian Leigh. Proofreading:

Sabina Harris Dobo.

Cover Photograph:

George Whiteside.

Cover Design and Concept:

Carolyn White.

Table of Contents:

Donna Lypchuk, 'Ms. Molly'; Andrew James Paterson, 'Andy Warhol: The Starmaker and the Star'; Aldo Walker; Barbara Ess; Carolyn White; Bryan Bruce (Bruce La Bruce), 'Zuzu's Petals'; Judith Doyle, 'Holy Smoke Interview with Guillermo Cabrera Infante'; Julia Emberley, 'Metamorphosis'; Geoff Pevere, 'Peewee and TV'; Donna Lypchuk, 'This is Not a Shoe'; Scott Burton Talks to Peter Day, 'Mutant Design'; Kim Sawchuk and Julia Emberley, 'Fashion in Ruins'; Coco Fusco, 'Cuba'; Janice Williamson, 'Telltale Signs'; Brian Boigon, 'Downtown'.

Editorial:

The square is history. Its over. You can package and analyze it, its dead. Like Warhol, like Beuys, like Cary Grant.

The eighties are over. Impulse impatiently enters the nineties. The ratified hope of a new era. A cultural quickening. Somebody is nervous. Someone else is excited. The last ten years of the millennium. After ten years of the same format. Let's get going. There's no time to waste. And someone shrugs their shoulders and says: so what's the big deal, a new decade, a new century, a new millennium, so what? And I say, if you're that bored and cynical get out.

And Impulse is excited. We want to know everything. We want it to be different. We want it fresh, we want it alive. We'd rather be a part of culture than history.

At Impulse we take it in and give it out. We reflect the mirror in which we reside. You are the image in the mirror of the magazine you hold in your hands.

We want you to know you aren't alone. And we want you to know.

We're curious and we expect you to be.

An art critic friend once told me he considered American culture boring. I couldn't understand what he was talking about. And then he moves to New York and obtains a job in an uptown gallery, makes a lot of money, shops at Comme des Garcons, goes to dinner parties with collectors, and now I know what he means.

We want to know what you're thinking and what you're wearing. And if you're eating at the worst restaurants at least I hope the company is good. And as far as magazines go we'd like to go further. A new Impulse. And we intend to provide you with more.

The older one gets the harder they have to shake to rid their bones of winter. And for us its always spring.

Eldon Garnet

Volume 13 Number 4, Winter 1987

Executive Editor:

Eldon Garnet.

Editors:

Brian Boigon, Judith Doyle, Andrew Payne and Carolyn White. Contributing Editors:

Brendan Cotter, Marc Glassman, Sylvère Lotringer, Donna Lypchuk, Alberto Manguel, Andrew James Paterson, Jeanne Randolph and Kim Sawchuk.

Art Direction:

Carolyn White.

Production Assistant:

Alison Hahn.

Administration:

Gillian Leigh.

Front and Back Covers:

Orion Pictures.

Cover Design:

Carolyn White.

Typography:

Copy Network.

Film Preparation:

Cyan Graphics.

Table of Contents:

Babel's '88 Collection; Andrea Ward Speaks with Frederic Jameson; Judith Doyle Speaks with Brian Wright; Peter Day Speaks with bridge designer Siah Armajani; Three Guys with Nothing to Say, Shadowy Men; Rock On Bambi; Nicole Brossard, 'Certain Words'; Claire Christie, 'Meeting Architecture Head On'; Aidan, 'Noah's Ark'; Toronto's Tom Taylor; Brendan Cotter; California's Lisa Bloomfield; Arthur and Marilouise Kroker, 'Panic God'; Curtis Herbert, 'Robocop; A Scientific Report'; Jeanne Randolph, 'Fifty Normal White Men'; Impulse speaks with costume designer Peter Minshall: King Of Carnival; Geoff Pevere, 'Rock Video: Billion $ Baby'; Stella De Silva, 'Spar City: Home Improvement'; Andrew James Paterson, 'Men Who Don't Drive'.

Editorial:

We tried, we tried to keep pace.

I can't believe how slow some people move. Some in slow motion, some in stop action. Why aren't they rushing between appointments? Is it because they are just too late to care? And worse, when you finally get to your appointment and you're checking your watch not to be too late for the next and the person beside you is talking so slowly and repeating themselves and slowly repeating. Don't you hate people who talk slowly and have to explain everything in minute detail twice?

We trained. Read. Edited. And then we installed a computerized page design system.

In traffic locked. Here are the masses mixed. Classless. Locked in primordial struggle. Get out of my way I'm in a hurry. I'm in a bigger hurry. Get out of my way. Speed. What we have to accomplish to do more, better. Isn't this progress: speed? Doing more quicker. Isn't this culture? What kind of civilization would we be living in that wanted to do less, worse.

We were technology's dog held on a short lease, lunging nervously against time.

There was a small Peruvian tribe who would purposely move in slow motion. Doing as little as possible as slowly as they could. Now extinct.

And if we are late: Just relax.

Eldon Garnet

Volume 14 Number 1, Spring 1988

Excutive Editor:

Eldon Garnet.

Editors:

Brian Boigon, Judith Doyle, Donna Lypchuk, and Carolyn White.

Contributing Editors:

Marc Glassman, Sylvère Lotringer, Alberto Manguel, Andrew Payne, Andrew James Paterson, and Jeanne Randolph.

Art Direction:

Carolyn White.

Production:

Alison Hahn.

Administration:

Gillian Leigh.

Cover Design:

Carolyn White.

Table of Contents:

Impulse Pays Homage To Brazilian Architect Lina Bo Bardi; Eldon Garnet, 'Bridges for Future History'; Detlif Mertins, 'TD Dawn TD Dusk TD Dawn'; Impulse Speaks with J. G. Ballard; Sylvère Lotringer Speaks with Artaud's Doctor; Marguerite Duras, 'The Slut of the Normandy Coast'; Angela Carter, 'The Executioner's Beautiful Daughter'; Geoff Pevere, 'Conventional Warfare'; Michael Roberts, 'Homeopathy An Approach To Health'; Donna Lypchuk Speaks with John Waters; Conversations with Margarethe Von Trotta; Christian Boltanski; Alan Glicksman; Lin Gibson; Fastwürms; Ida Applebroog.

Editorial:

What is appears to be, what isn't.

A newspaper article talks at length about the greenhouse effect. The winters will be less severe: The growing season two months longer. Great news for a cold city. As the planet warms up Toronto will become a better place to live. So what if the melting polar icecaps will flood coastal regions and arid land will turn to desert.

I could have opened the door, but on the other side fire raged. It was safe here, but empty and silent. The door was inviting. Tempting. If I pressed my hand against its surface I could feel the pulsing, the life, the vitality. I was convincing myself that it couldn't be that dangerous, that I had the strength to withstand its force. If I pressed my ear to the door I could hear its siren-like hissing. And when I turned my back and tried to walk away I felt abandoned.

I would say there was no choice: I had to open the door. How was I to know this fire was only a machine.

Why create illusion? Why was it so important that I be deceived?

I was wrong. It wasn't a deception. This was no chimera, but a physical reality, a concrete machine. The fire was unrest. The machine could be touched; it responded to intervention. The fire was the lie. An element of disappearance.

In a newsmagazine I read of an atmospheric spill. A genetically engineered gas molecule has escaped from a lab. At a fixed locale in the lower atmosphere it reproduces then explodes in a flash resembling lightning. Spectacular. It disappears to randomly reappear exploding. At the moment it is harmless, but no one is sure of the effects if it strikes an aircraft, and it appears to be flashing more frequently and in multiple locations.

Eldon Garnet

Volume 14 Numbers 2 + 3, Summer 1988

Executive Editor:

Eldon Garnet.

Editors:

Brian Boigon, Judith Doyle, Donna Lypchuk, and Carolyn White. Contributing Editors:

Marc Glassman, Sylvère Lotringer, Alberto Manguel, Andrew Payne, Andrew James Paterson, and Jeanne Randolph.

Art Direction:

Carolyn White.

Administration:

Jennifer Howey.

New City Fiction Guest Editor:

Donna Lypchuk.

Author Imagery:

Eldon Garnet and Carolyn White.

Table of Contents:

John Copping; Robyn Marie Butt; Meryn Cadell; Wendell Block; Susan Perly; William Power; Colleen Subasic; Ron Giii; Peter McGehee; Winston Kam; Gary Michael Dault; Margaret Hollingsworth; Siobhan Flanagan; Barbara Mainguy; Carole Corbell; Joseph Eglitis; Gary Paul & George Mitolidis; Christine Davis; Anne Milne; Claire Christie; Paulette Phillips; Walker Smith.

Editorial:

Our guidelines were simple: unpublished Toronto fiction writers. We already knew of the famous and the infamous, what we wanted today was the rough beginnings for tomorrow. Donna Lypchuk, as Guest Editor for this double issue of Impulse Magazine, read the unknown texts of the city. The result: New City Fiction.

Eldon Garnet

Volume 14 Number 4, Fall 1988

Executive Editor:

Eldon Garnet.

Editors:

Brian Boigon, Judith Doyle, Donna Lypchuk, and Carolyn White.

Contributing Editors:

Sylvère Lotringer, Alberto Manguel, Andrew James Paterson, Andrew Payne, and Jeanne Randolph.

Art Director:

Carolyn White.

Administration:

Stuart Inglis.

Published Quarterly with the Assistance of the Canada Council, the Ontario Arts Council and the Ministry of Culture and Communications. Special Edition Poster, Artist Monograph by Carolyn White.

Volume 15 Number 1, Winter 1989

Executive Editor:

Eldon Garnet.

Editors:

Brian Boigon, Judith Doyle, Donna Lypchuk, and Carolyn White.

Contributing Editors:

Sylvère Lotringer, Alberto Manguel, Andrew James Paterson, and Jeanne Randolph.

Art Direction:

Carolyn White.

Administration:

Stuart Inglis.

Assistant:

Christopher Webber.

Typography:

Tony Gordon Ltd.

Table of Contents:

Jeanne Randolph, 'Psychoanalysis and Synchronized Swimming'; Edward R. Slopek, 'Collapsing the Interval'; Brian Boigon, 'Kiss Sugar Goodbye'; Georges Bataille, 'The Caves of Lascaux'; Geoff Pevere, 'Forget It'; William Gibson interviewed by Doug Walker; Michel Foucault interviewed by French Radio; Wim Wenders interviewed by Bethany Eden Jacobson; William S. Burroughs, 'Blade Runner'; Sylvère Lotringer, 'The Miracle of Lascaux'; Andrew J. Paterson, 'Authorities'; Garry Neill Kennedy; Leon Golub; Frederick Urban, 'Waiting for Good News from them D. P. R. K.'; Steven Snyder, 'Yorkdale Holiday Inn'; Tom Dean, 'Excerpts from a Description of the Universe'; David Baker; Ivan H. Sladek; Ben Walmsley, 'Serious Bruises'; Paul Laster.

Editorial:

To be held within the bounds of the edifice, safe within the comforts of the expected structure.

Stoke up the fire, place one's feet on the rug, light the pipe. But the fire is polluting the air, the rug is seal skin, and the tobacco is cancerous.

A meeting of distinguish editors, the topic, an exciting series of fiction works by new writers, the daring decision: the works must be good and have a market. The great good. The great market. The art critic spends an entire column discussing the formalistic merits of an etching.

So IMPULSE has no other choice in the North American climate of mercantile conservatism but to produce itself as change. To slide.

Yesterday's mistakes are a quiet growth over the edifice's senses, as ivy over the ivory tower.

So we will attempt to be what we haven't been before.

You go to your newsstand, you open your mail and here is the magazine you didn't expect to be this incarnation of a magazine. Which is what we plan to do for the future, to do what you haven't anticipated.

For the time being we will be more difficult to locate. But all you need to do is look.

We want to be poetic but still read today's news.

Eldon Garnet

Volume 15 Number 2, Summer 1989

Executive Editor:

Eldon Garnet.

Editors:

Brian Boigon, Judith Doyle, Donna Lypchuk, and Carolyn White.

Contributing Editors:

Marc Glassman, Sylvère Lotringer, Alberto Manguel, and Jeanne Randolph.

Art Direction:

Carolyn White.

Administration:

Stuart Inglis.

Editorial Assistant:

Sophia Vayda.

Table of Contents:

Sophia Vayda, 'Ecology'; Eldon Garnet, 'Homeless'; Tom Sherman, 'Nature by Any Other Name Is ….'; Alexander Pilis, 'Architecture Snack Lunch'; Michael Balser and Andy Fabo, 'Survival of the Delirious'; Ron Geyshick and Judith Doyle, 'Cannibal Woman'; Brian Scott, 'Anaesthesia's Room'; Simon Watney, 'Laocoon'; Jocelyn Laurence, 'The Hurricane Party'; Ron Geyshick and Judith Doyle, 'A Windigo'; Graham Coughtry, 'Smoking with Philip Marlowe'; Tony Scherman, 'The Speed of Desire'; Donna Lypchuk, 'Hypergrafea'; Ron Geyshick and Judith Doyle, 'Inside Me'; James Purdy, 'True'; Carolyn White, 'Safe'.

Volume 15 Number 3, 1989

Executive Editor:

Eldon Garnet.

Editors:

Brian Boigon, Judith Doyle, Donna Lypchuk, and Carolyn White.

Contributing Editors:

Sylvère Lotringer, Alberto Manguel, and Jeanne Randolph.

Art Director:

Carolyn White.

Administration:

Stuart Inglis.

Editorial Assistance:

Sophia Vayda.

Table of Contents:

Roger Caillois, 'Mimetism and Psychasthenia'; Robert Flack, 'Vanitas Wheel'; Peter Day, 'Tools Of The Trade'; Drawings by David Nash; Daniel David Moses, 'The Dreaming Beauty'; Sharon Cook, 'Classified Birds'; Alexander Wilson, 'Tourism and Public Landscape'; Joyce Weiland, 'Drawings and Fiction'; Michael Stadtlander interview by Judith Doyle and Gerald Owen; Sylvère Lotringer, 'Hyper Rebel'; Francis Ponge, 'Of Natural Crystals'; Susan Speigel, 'Ha! Ha!'; Gary Michael Dault, 'The Furniture of the 2nd Modernity'; Northrop Frye Interview by Christopher Webber and Stuart Inglis.

Volume 15 Number 4, March 1990

Executive Editor:

Eldon Garnet.

Editors:

Brian Boigon, Judith Doyle, Donna Lypchuk, and Carolyn White.

Contributing Editors:

Sylvère Lotringer, and Jeanne Randolph.

Art Direction:

Carolyn White.

Editorial Assistant Administration:

Lisa Henderson.

Table of Contents:

William Burroughs, 'Tiger Terry'; Arnie Achtman, 'Sub'; William James Power, 'Doctor Galen and the Judo Club'; Jeanne Randolph, 'Hurricane Watch'; Brendan Cotter, 'The Young Geriatric'; McKenzie Wark, 'Seeds of Fire'; Michel Leiris, 'Leiris'; Evan Hanson and Melony Ward, 'Les Palais Ideals'; David Greenberger, 'Duplex Planet'; Keiko Sei, 'The True Japanese Art Form'; Eldon Garnet Interviews William Burroughs; Antonio Mazza interviews D. M. Thomas; Cathy Daley, 'Natural'; Tom Dean, 'Age, Death, Kids, Power'; Tom Dean, 'The Varieties of Hell'; Micah Lexier, 'Micah From Baba Sarah'.

Editorial:

THE LAST EDITORIAL

The fingers close. Pull at the water. Kick. The arms reach. Pull at the water. The hands stretch. How long has it been? When did I enter? What compelled me from shore?

The horizon remains a constant, an image of a line between sky and water and I am constantly approaching the horizon swimming forward to the point.

Sometimes I lift my head, float, enjoy the sun's slow set. Another stroke toward the painted distance. Pull at the water.

Far into the night. The silence. The night. The deep black. The sound of predators, my heart rushes. One to my left, one to my right. They are closing. One behind. I can feel them circling. I freeze. Not even my breath.

A bolt of lightning ignites the sky.

A single star directly over my head.

The shore. The shore. Is this where I am heading, or was it merely the point of my beginning? Am I to arrive at the same shore? No. There must have been a reason, a direction I undertook. Or was there no shore? Entered at a point already at the horizon.

No difference.

Was I forced?

An accident?

No difference.

And finally when I find the shore will I be expected, the crowd, perhaps they will be waiting, watching. They will lift me over their heads and carry me. The smiles on their faces will they be celebratory, are they? Or will it be the empty landscape. Sand stretching from the water, the dunes? Why should I expect more. Perhaps they are waiting armed, ready to force me back into the water. But expect more, how is it possible. The water. The lifting of the mouth out of the water, the breath in. The lowering of the mouth into the water, the breath out.

So.

Eldon Garnet

Volume 16 Number 1, 1990

Editor:

Peter Day.

Editorial Assistants:

Lisa Henderson and Michael Holmes.

Art Direction:

William Lam Design Inc.

Production Assistant:

Greg Van Alystyne.

Table of Contents:

Vikky Alexander, 'Grace'; Gary Barwin, 'Hallelujah'; Jacqueline Benyes, 'Maman'; bill bissett, 'Tree'; Brian Boigon, 'Theory'; Friesco Boning, 'Void'; Christopher Butterfield, 'part/ trap'; Barbara Caruso, 'AN&D'; Karen Cherry, 'Conjugal Rights'; Wes Christensen, 'Concept: U.S. Senator Jesse Helms'; Ruth Cowen, 'Mirror, Mirror'; Stephen Cruise, 'Aloneness'; J.W. Curry, '"Ich"'; Simon Cutts, 'A History Of The Airfields Of Lincolnshire'; Augusto De Campos, 'Rever'; Peter Downsbrough, 'As'; Howard Eaglestone and Wendy Frith, 'Cythera'; Evergon, '"Cheese"'; Douglas Fetherling, 'Mothertongue'; Ian Hamilton Finlay, 'Osez!'; 'Fly'; Yasuo Fujitomi, 'DAY'; John Furnival, 'Convulvulus'; Heinz Gappmayr, '1'; Will Gorlitz, 'V'; Lisa Henderson, 'Disposable'; Dick Higgins, 'Another Maybe'; Michael W. Holmes, 'Darg'; Mendelson Joe, 'Liars'; Brian David J(O(H)N)ston, 'Hugo Ball Abandoning The Future (Surrealism) In Favour Of The Mystical Concepts Of God And/& Immortality'; Nicole Jolicoeur, 'Madeleine'; Alex Katz, 'Alex Katz'; Silvia Kolbowski, 'Man'; Richard Kostelanetz, 'Dipsomania'; Louise Lawler, 'Enough'; Micah Lexier, 'Making'; Attila Richard Lukacs; Steve McCaffery, 'William Tell: A Novel'; John McEwen, 'Naming'; Al McWilliams; Graeme Moore, 'Study for a one word poem'; Michael Morris, 'Souvenir'; Ikuo Mori, 'Earth Of Heart'; Marlene Mountain, 'unaloud haiku'; David Nash, 'Comet'; Mary Margaret O'Hara, 'Egg'; James Pierce, 'Uomo'; Gert Rappenecker, 'Horizont'; Larry Richards, 'Overpopulation'; Toshinori Saito (Shuntoku Saito), 'SAI'; Susan Schelle, 'Witness'; Alex Selenitsch, 'everyone / ever one; Takahashi Shohachiro, 'cosmography for who'; Alison Sky, 'Fading Fur'; Tom Slaughter, 'Boat'; Linda C. Smith, 'Music For John CAGE'; Fiona Smyth, 'Nepenthe'; Frederic Urban, 'A'; David UU, 'Bawdy of Dog for jwcurry'; Lawrence Weiner, 'BREACHED'; Jonathan Williams, '"the least that can be said"'; Christopher Wool, 'Trouble'; Ryojiro Yamanaka, 'Scenery'.

Dedication:

During his brief editorship of Impulse magazine, Peter Day inspired us with his activism and advocacy for contemporary art. Peter died on May 29, 1990, just before this issue was to go to press. He wrote the dedication that follows:

He wrote under variants of his forename: Shaunt Basmajian. Shant Basmajian. Sha(u)nt Basmajian. He died on January 25, 1990, aged thirty-nine, and this publication of one word works is dedicated to him.

He had promised to contribute to it, but never had time to submit a piece. In his self-effacing and humble way he would have apologized profusely for this.

Our personal acquaintanceship was short. We had talked on the telephone a couple of times and met twice. He was modest about his own work, overly so, and surprised that others were interested in it.

The last time we met he gave me a book, not one of his, but a collection of works by Marlene Mountain. It was inscribed: "To Brian from Marlene". He said I should have it.

Sha(u)nt had been given the collection by his colleague Brian David J(o(h)n)ston. Her work was unknown to me. It was Pissed Off Poems and Cross Words (1986). She was a great poet, Shaunt said, someone overlooked and neglected. May day, 1990. l Peter Day

Introduction: It has been a year since our last issue - and for us, like much of the world, it was a year of dramatic transitions and new beginnings.

Here, briefly, is the story: Last winter, after 15 years as the Executive Editor of Impulse, Eldon Garnet transferred his duties to Peter Day. Peter began selecting One Word Works from the many artists, writers, musicians and photographers featured in this special issue. His untimely death, in the midst of production several months later, threw the magazine into grief, shock and disarray. After much dedicated effort by long-time editors Brian Boigon, Judith Doyle and Carolyn White, the issue was recovered, bit by bit.

I accepted the Executive Editorship late last Fall. There was no question that Impulse would resume its publication with Peter's One Word Works. It is presented not only with some pride, as a testimony to his vision and talent, but also as a reminder of the magazine's resilience and collaborative nature.

During its 20 years of publication, Impulse has always stood for creativity and change - and this commitment will continue. To mark this new phase of revitalization and renewal, Associate Editor Gordon Lebredt and I have decided to rename the magazine. Beginning with our next issue, Impulse becomes M5V Magazine. Look for it in September.

David Clarkson