Praise for Renaissance Normcore:
“I love Barclay’s wildness that tames her reader—I love her direct flirtation and unflinching analysis. Her shade, her care, her longing. Nobody else has this precise combination of revelry, wish, and command. I think Adèlele Barclay should become very famous for her poetry—she’s so real and so true to her words that fame itself wouldn’t dare torque or twist anything without this poet’s permission.” — Brenda Shaughnessy, author of The Octopus Museum
“The witty, elegant poems in Renaissance Normcore refreshingly capture the experience of living next to, with, and beside self-revelations, bravely acknowledging the coexistence of truth and denial, through observations that fold in on each other: “Never underestimate my ability/ to gaslight myself.” Barclay writes of touching many cities at once and telling stories in at least four ways, and the effect is somehow lucid as a clean mirror. Reading this book is like carrying on many chats at once and, like her characterization of a contemporary Anais Nin, “never recycling material.” — Monica McClure, author of Tender Data
If I Were in a Cage I’d Reach Out for You, winner of the 2017 Dorothy Livesay Poetry Prize, October 1, 2016 from Nightwood Editions.
Poems in Journals
“Obviously A Shitty Dream” in Vallum, Connections Issue (Spring 2019)
“Self-Portrait of 2018” in Eighteen Bridges, (Spring 2019)
“For Ariss” in The Malahat Review, Queer Perspectives Issue (Winter 2019)
“We Are Stupid Little Animals” & “Bad Women” in glitterMOB (December 2018)
“We All Want Marshmallows” in Cascadia Magazine (Fall 2018)
“Open Relationship with the Moon”, “Open Relationship with the Ocean” & “Borderlines” in Room Magazine 41.3 (The Queer Issue)
“Rainbow Rock-Climbing Club” in Heavy Feather Review (Summer 2018)
“How Do You Respond To Conflict” & “Burn It All Down With Water” in ALPHA (Winter 2018).
“Bridgeland” in The Big Smoke (May 2017).
“I Open the Dryer and a Robin Sails Out” winner of 2016 Reader’s Choice Award for Poetry in The Walrus Magazine. Poem published in The Walrus (January/February 2017).
“When General Anxiety Feels Very Specific,” “Dear Sara VI,” “Vigil,” “Gin Is all the Colours Because It’s Clear” winner of the 2016 Lit Pop Award for Poetry selected by Brenda Shaughnessy. Poems published in Matrix Magazine (Fall 2016).
“Everything in Moderation Especially Spring” in SAD Mag with illustration from Tara Williamson (October 2016).
“Sour Beer for Bitter Hearts” at Plenitude (July 2016)
“Suburban Sonnet” at NewPoetry (2016)
“Dear Sara I” and “Sea Hag” in The Fiddlehead (Spring 2016)
“American Spirit” featured poem at Matrix Magazine (2015)
“Crayfish” in Poetry Is Dead 11: Youth Culture (2015). Print.
“Aubade I” & “Corridors”in echolocation & QWERTY chapbook Doubles (2015). Print.
“Lucky Day” & “Aubade IV” in Cosmonauts Avenue 1.4 (2015)
“What transpires in the night before/after the night” in Print-Oriented Bastards 5 (2015)
“The Flowers of St. Francis” in The Pinch 35.1 (2015). Print.
“Materials” in Branch Magazine 7 (2011)
Poems in Anthologies
“Lucky Day” & “Aubade IV” in Cosmonauts Avenue Anthology.
“Cardinal Versus Mutable” in The Minola Review (Spring 2018) edited by Robin Richardson
“Counting Fish” with Stuart Ross in Our Days in Vaudeville (Mansfield Press, 2013)
5 poems in Lake Effect III (Artful Codger Press, 2007) edited by
Essays & Journalism
“Poetry Is Living Its Best Life Online” in The Tyee, May 2019.
“More Than Cheese” for SAD Mag‘s Cheese issue, featuring illustrations by Aimee Young, May 2017.
“From Impressionism to Punk” for The Media Res, essay on two fashion-as-art-history exhibits at the Metropolitan Museum of Art, June 2013
Review of The Argonauts by Maggie Nelson for Plenitude, November 2015
Review of Pauls by Jess Taylor for The Rusty Toque, November 2015
Review of Femme by Mette Bach for Plenitude, August 2015
“Divas! The voices of Femme City Choir” for VANDOCUMENT, February 2015
Review of Undark by Sandy Pool for The Rusty Toque, November 2013
“Holy, low-fi band highlight” for the Queen’s Journal, September 2008
“Deconstructing the domestic” for the Queen’s Journal, interview with artist Allyson Mitchell, October 2008