Welcome to Pig Squash Press! You have arrived at the cyber-home, alter ego, publishing imprint and creative conduit connecting me – Kim Goldberg – to the rest of the planet (and possibly beyond).  My latest books are:

RED ZONE, a graffiti-strewn poem diary of homelessness in Nanaimo, BC, where I live. RED ZONE has been taught in university literature courses. Reviewers have compared it to the writings of Allen Ginsberg, Marge Piercy, and John Steinbeck….

and Ride Backwards on Dragon: a poet’s journey through Liuhebafa – finalist for Canada’s Gerald Lampert Memorial Award. A collection of 66 linked poems following the 66-move sequence of the ancient martial art of Liuhebafa on a mythic quest for internal alchemy and immortality. Visit my Liuhebafagirl blog for deets.

RefugiumMy current project is: REFUGIUM: Wi-Fi Exiles and the Coming Electroplague. (Where do you go when an invisible matrix spanning the globe is making you sick?)

So make yourself comfy, have a boo at my blog postings about upcoming literary happenings and other current events, leave a comment, walk your dog, follow me on Twitter @KimPigSquash, like me on Facebook.

May the metaphors be with you!

Kim Goldberg

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February blooms & berries in Barsby Park

February blooms and berries in Barsby Park amid the sodden blankets and cardboard of the city’s homeless population before the inevitable 58-unit riverfront condominium development supplants all with synthetic building materials and occupants.

Photos © Kim Goldberg
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Prairie Fire – Latest issue now out

prairie fire (Winter 2014)The latest issue of Prairie Fire magazine just launched, and I’m inside along with a bunch of other fab writers/poets from across Canada. Award-winning dub poet and spoken-word performer Lillian Allen is on the cover. Lillian delivered the 2014 Anne Szumigalski Memorial Lecture, which is featured inside: “Black Voice – Context & Subtext”.

Also inside are:

Lillian Allen
Charles-Adam Foster-Simard
Rilla Friesen

Nadia Bozak
K’ari Fisher
Janice Greenwood
Paula Lemke
Jason Markowsky

POETRYDSCN4851 (10b,10c,x1)
Jessica Bebenek
Jenny Boychuk
George Elliott Clarke
Rocco de Giacomo
Kim Goldberg
Beth Goobie
Lisa Jodoin
M. Travis Lane
Michael Lockett
rob mclennan
Jennifer Zilm

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Cinclus mexicanus (poem)

Cinclus mexicanus

© Kim Goldberg 2014 

Sometimes, when it is all too much,
too great a tonnage to transport, too many tasks

undone, conversations unfinished, relationships
abandoned, expectations pressing on my twig-sprung
chest like a pile of bricks, when every thought of duty
unmet propagates three more, when the dream of
the tiny house on wheels, of the life without facebook,
of days spent wandering through long grass, when it all
grows dim and distant as the shadow of a passion

it is at times like this that I imagine myself
a dipper striding along the stony bottom of a rushing

stream. For this is how the dipper lives and
sustains itself—a bird no bigger than your fist,
foraging the crevices of the river’s rocky floor for
caddisfly larvae and other soft packets of flesh
while the water smashes past forever,
stripping away all clingfasts, all the mistaken
thought-experiments on the time-space continuum.
I tuck my head against the pummel and march
into existence, searching for plump morsels, letting
the river pressure-wash me until there is nothing
left but what I arrived with: feather, bone,
a tiny beating heart.

American Dipper (Cinclus mexicanus_ Source: US Fish & Wildlife Service

American Dipper (Cinclus mexicanus) Source: US Fish & Wildlife Service

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Why I neither offer nor accept feedback on poetry

By Kim Goldberg
November 23, 2014

mom at hemerPeople often ask me if I will read some of their poetry and tell them what I think of it—whether it is any good, how they can make it better. Sometimes they even offer to pay me for this. I always decline these requests because:

No one but YOU can truly answer that question about your own creative manifestation (although many will gladly try). To let others do this to your work (worse yet, to seek it out) pollutes your creative stream and thwarts your development of a unique and authentic voice and vision. If YOU are happy with what you’ve created, then it’s good. If you’re not, it isn’t—keep working it, or abandon it and start fresh. (Believe me, nothing is ever really abandoned. If it was meant to be part of your output, it will reappear somewhere down the line.)

There is no good or bad poem in any absolute sense. It is all subjective, all someone’s opinion. Let that opinion be your own, not someone else’s. That is the source of your power. Don’t give it away. A phone book can be made into a good poem if you’ve got your mojo working. It’s all about your coherence of vision, your conviction, your unwavering belief in yourself and your creative powers, your ability to think laterally, to reach a little farther, to dig a little deeper, to generate a new word or image or phrase instead of larding in the first cliché that presents itself, and to listen to your own instincts. If you feel your poem is good up to a point but derails in the last stanza, then guess what? That’s the part you need to work on. Or cut.

You will only get better at listening to yourself, trusting your instincts, honing your own powers of analysis, when you throw away the crutch of asking others what they think about your work (or worse yet, paying them for their opinion/instruction/mentorship). And even then, even after you have thrown away the crutch, you will still have the problem of those opinions being offered by others unbidden. Learn to avoid it, sidestep it, shut it down. It will only contaminate your creative stream. This holds equally true for praise or criticism. For to whatever extent praise from others elevates you, their negativity or indifference will deflate you.

Worry more about what YOU think of your work, and less or not at all what others think of it. As we say in Liuhebafa: Don’t be Wild Horse Chasing Wind (the wind of outer world distractions including the opinions of others); be Lying Tiger Listens to Wind (the wind of your own inner breath). 

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After the Great Hack (haiku)

Wall of Meters

After the Great Hack
the townsfolk moved into
the darkened shopping mall

Year by year, a new
a new civilization took root
beside the water clock

© kim goldberg


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Day after the vote (haiku)

Belted Kingfisher

Day after the vote:

at the dock the kingfisher

has changed his perch

(poem © kim goldberg)


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Imaginarium 3: The Best Canadian Speculative Writing

Kim Goldberg
October 30, 2014 

Imaginarium 3 coverThe Table of Contents for the latest Imaginarium anthology (Imaginarium 3) from ChiZine Publications has just been announced. And I am delighted to be included with my micro-fable “A Tall Girl”.

Imaginarium is an annual “Best of” reprint anthology featuring the Best Canadian Speculative Writing published in the preceding year. Check out some of the phenomenal company I am keeping in the list below.

My own selection, “A Tall Girl” was originally published in Issue 126 of The New Quarterly. 

What is speculative fiction and poetry, you ask? It is a literary genre that can encompass science fiction, fantasy, horror, magical realism, fabulism, futurism, the supernatural, alternate histories, all the various punks (steampunk, cyberpunk, etc.)  and other reality-bending genres. 

Imaginarium 3 (2014) is edited by Sandra Kasturi and Helen Marshall. It goes on sale November 4, 2014. 


“The Book with No End” by Colleen Anderson
“Frankenstein’s Monster” by James Arthur
“Social Services” by Madeline Ashby
“The Correspondence between the Governess and the Attic” by Siobhan Carroll
“Red Doc” (excerpt) by Anne Carson
“A Charm for Communing with Dead Pets During Surgery” by Peter Chiykowski
“Turing Tests” by Peter Chiykowski
“In the Year Two Thousand Eleven” by Jan Conn
“Jazzman/Puppet” by Joan Crate
“The Runner of n-Vamana” by Indrapramit Das
“Firebugs” by Craig Davidson
“By His Things You Will Know Him” by Cory Doctorow
“Lost” by Amal El-Mohtar
“:axiom: the calling” (excerpts) by Daniela Elza
“Trap-Weed” by Gemma Files
“Oubliette” by Gemma Files
“Ushakiran” by Laura Friis
“A Cavern of Redbrick” by Richard Gavin
“All My Princes are Gone” by Jennifer Giesbrecht
“A Tall Girl” by Kim Goldberg
“Ksampguiyaeps Woman-Out-to-Sea” by Neile Graham
“The Easthound” by Nalo Hopkinson
“Harvesting Lost Hearts” by Louisa Howerow
“Your Figure Will Assume Beautiful Outlines” by Claire Humphrey
“Salt and Iron Dialogues” by Matthew Johnson
“The Salamander’s Waltz” by Catherine MacLeod
“Said the Axe Man” by Tamara MacNeil
“Nahuales” by Silvia Moreno-Garcia
“The Fairy Godmother” by Kim Neville
“Black Hen à la Ford” by David Nickle
“Jinx” by Robert Priest
“Knife Throwing Through Self-Hypnosis” by Robin Richardson
“How Gods Go on the Road” by Robin Richardson
“Conditional Sphere of Everyday Historical Life” by Leon Rooke
“Stemming the Tide” by Simon Strantzas
“Book of Vole” (excerpts) by Jane Tolmie
“Fishfly Season” by Halli Villegas
“Lesser Creek: A Love Story, A Ghost Story” by A.C. Wise

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