Every Day in the Morning (slow) is a work that looks and reads like no other. Sam, a composer, reflects on his floundering career, life with his lover, and tensions with his father. Some thoughts, like facial hair and breakfast, are mundane; others, like love, money and war, are often overwhelming. At turns laughable and vain, at others, tender and considered, Sam's feelings and ideas turn continuously. The result is an oddly lyrical stream-of-consciousness that's as conversational as its appearance is unconventional. Spare text and the generous white space invite a distinct interaction with the story, one where every detail, every placement and every repetition influences meaning. The lack of punctuation allows the reader the freedom to internalize this exquisitely crafted work and understand the protagonist's state of mind. The exceptional style of Every Day in the Morning (slow) amounts to a kind of thinging, somewhere between singing and thinking, thing and thought, utter brilliance and complete crap. A novella with long poem features, slow breaks the rules of both genres, while at the same time offering an addictive and compulsive flow that may make it the fastest book you will ever (want to) read.

ADAM SEELIG is a poet, playwright, stage director, and the founder and artistic director of One Little Goat. He is the author of Every Day in the Morning (slow) (2010) and his plays include Ubu Mayor: a Harmful Bit of Fun (2014), Parts to Whole (2014) Like the First Time ( 2011), Talking Masks (2009), Antigone : Insurgency (2007) and All Is Almost Still (2004). He is the recipient of a Canadian Commonwealth Scholarship for drama, and of a Stanford University Golden Award for his study of Samuel Beckett’s manuscripts (published in Modern Drama). Seelig’s writings have appeared in various journals, including World Literature Today, Poetics.ca and Poetry.

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