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Don't Let It End Like This Tell Them I Said Something

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really liked it 4.00  ·  Rating details ·  27 ratings  ·  7 reviews
Don’t Let It End Like This Tell Them I Said Something — Paul Vermeersch’s fifth collection of poetry — is, as its title suggests, a lyrical meditation on written language and the end of civilization. It combines centos, glosas, erasures, text collage, and other forms to imagine a post-apocalyptic literature built, or rebuilt, from the rubble of the texts that came before.
Paperback, 96 pages
Published October 14th 2014 by ECW Press
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really liked it 4.00  · 
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mwpm
May 04, 2016 rated it really liked it
Shelves: poetry
Don't Let It End Like This Tell Them I Said Something is divided into six parts: "Magog", "The Rediscovery of Architecture", "The Technology of the Future Will Emerge Hungry", "The Toys of the Future Escape Me", "On the Reintegration of Disintegrated Texts: A Manual for Survivors", and "Rubble". The titles accurately reflect the post-apocalyptic and/or dystopian overtone of the poems of this collection, with postmodern undertone.

The first part, "Magog", is a sequence of poems that contain refere
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Maggie Gordon
Jun 27, 2017 rated it it was amazing
Shelves: poetry
And just when I thought dystopias couldn't surprise me anymore, I pick up a poetry book about the end of the world. Vermeersch uses a variety of techniques to put his readers on edge, teasing at the chaos and unpredictability of the apocalypse. It's an uncomfortable, yet striking read with a wide range of different types of poems. Even if you aren't a poetry reader, this is a fantastic volume that is worth a read!
Jacqueline Valencia
Oct 26, 2014 rated it really liked it
Postmodernism finds poetry continually cycling through arguments of the lyrical versus the conceptual. Therefore, it’s refreshing to see a poet dare to play amongst the mudslinging.

Paul Vermeersch’s latest poetry collection Don’t Let It End Like This Tell Them I Said Something, is an ode to language left after the end of civilization. Scouring the poetic landscape with various prose harvesting methods such as cut-ups, centos and erasures, Vermeesch collects work and molds it into new structures
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Hannah Champion
Aug 27, 2017 rated it really liked it
I bought this because I loved the title. I'm not saying you should always do that, but sometimes it's exciting. This time it turned out to be wonderful.

Despite being a book of poetry about the end of the world, the words often feel relevant to the present moment, or the very near future, or even the past. I felt sucked into the depths of it all, hanging where time doesn't necessarily exist, lost in lines about the peculiarities of being human and being alive and what's left when there is hardly
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Margaryta
**this review was first published in Alternating Current's online review column The Coil**

It’s not
their place to hear our prayers. Instead,
they heed the prayers of shrikes, and the shrikes’
saviour is a mouse impaled on a thorn, and
the Messiah of the mouse is the unsweepable
crumb, and the god of that crumb is the ant,
delving in spongiform pathways, scissor-faced
and legion.

(“Magog — 5,” p. 15)

The past several years saw a rise in the popularity of apocalyptic and post-apocalyptic literature, mainly
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Lynn Tait
Nov 20, 2017 rated it liked it  ·  review of another edition
Shelves: poetry
Even though I didn't think every poem worked - for the most part these erasure, glosa and cento poems were great reads,. they were smooth, even and delightful for someone like myself who writes and is interested in these delightful poetry forms; so I find this book an educational, informative read as well.
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Paul Vermeersch is a poet, professor, artist, and editor. He is the author of several poetry collections, including the Trillium–award nominated The Reinvention of the Human Hand (M&S, 2010) and Don't Let It End Like This Tell Them I Said Something (ECW, 2014).

Vermeersch holds an MFA in creative writing from the University of Guelph for which he received the Governor General's Gold Medal. His
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