Thanks to the editors and publishers who have supported my work.

Art and Comics

Bar Delicious. Forthcoming from Conundrum Press as part of the CONUNDRUM 25 series.

“Bar Delicious” Carousel Magazine #47 (Spring 2022)

“Art Holes – Creators Diagram Where They Work?” Broken Pencil #94 (Winter 2022).

“You Will Find the Way” Colossive Cartographies #36 (March 2022). Part of Colossive Cartographies Series 6 from Colossive Press.

“Peaceable Cosmos” idontdocomics Issue 5: Another World (July 2021). idontdocomics is an instragram based comics community. Issues are free PDF downloads.

“What to do?” COVID Magazine. Issue 14. (June 2021). Studio Teleocene.

“Stricken”. The Plague Review. Issue 3. (June, 2020) and in The Plague Review Digest. Ed. Ryan Standfest. Detroit: Rotland Press, 2020.

“‘Til Now”. Three excerpts from a series of drawings paired with poems by Roseanne S. Carrara. The Quarantine Review. Issue 2. (July, 2020) Read “Bicylette” online.

“Tower” and “Do Not Want To Be Optimized”. Red Ink. Poetry Comics. Issue 1. (June, 2020)

“Guess or I’ll Devour You”. The Sunday Night Black and White. Issue 8. (February, 2020)

Self-Published Comic and Zines

No One Can Dance Like You Used to Dance When You Used to Dance the City – chapbook of 31 b/w drawings from 2016 – 2019 (purchase online)

References and Reviews (Art and Comics)

Moritz’s style is profoundly developed, his lines and shapes all chunky and clunky in black but full of life and motion. It makes for an aesthetic that is both achingly familiar and utterly unique.

Jonathan Valelly, Broken Pencil

Valelly, Jonathan. 2021. ‘Bar Delicious’ is a masterful zine series where hybrid style meets hypnotic critique. Broken Pencil. 92 (Summer 2021).

Mitchell, Jeff. 2019. Blaise Moritz’s Art is Anything But Boring. Odd Nugget. January 23.


Twilight of Echelon. Forthcoming from At Bay Press in 2023. Contributor to multi-author project centred on a body of work created by Winnipeg artist Robert Pasternak.

Zeppelin. Gibsons Landing: Nightwood Editions. April 2013.

“In Zeppelin, Blaise Moritz subverts subversion, rejects rejection. Like his steampunk muse, he creates a dazzling future for an antique art. He is a celebrant, a builder. His language is current in every sense: fluent, new, and charged with power.”

Paul Vermeersch

Crown and Ribs. Toronto: Fitzhenry and Whiteside Ltd. April 2007.

“This is a large-hearted collection, committed to an ethical singing of the paradox of lives still stitched into economy; and, too often, subordinated to it….Crown and Ribs reminds us how deeply we might yet live our unsold hours.”

– Ken Babstock

References and Reviews (Poetry)

Salach, Darryl. 2013. Blaise Moritz – Zeppelin (an interview)The Toronto Quarterly, June 10.

Cummings, Dorothy. 2007. Catholic poet captures essence of the city. Catholic Register, December 21.

White, Ewan. 2007. The lover, the soneteer and the rookie. The Globe and Mail, June 23, Books section. (This article reviews Crown and Ribs along with two other books of poetry.)

Mueske, Steve. 2001. Mainlining the word. Pop Matters. (accessed November 1, 2007). (This article mentions briefly my contributions to The I.V. Lounge Reader in the context of reviewing the anthology.)

Journals (Poetry)

“The Port of London”. Vallum. 9:2 (Summer 2012)

“Two Women”. The Toronto Quarterly. Issue Nine (August 2012)

“Beautiful People” and “The Flamboyant Dictionary”. Descant. 157 (Summer 2012)

“Saxophone”.  Contemporary Verse 2. 34: 2 (2011)

“The Battle of Cable Street” and “The Dictator’s Mistress”. Event. 40:2 (2011)

“At the Venetian”.  The Antigonish Review166 (2011)

“Across the Grid”. Encore Literary Magazine.  (June 30, 2011)

“Pineapple”. Misunderstandings Magazine. 16  (2011)

“Old Polonius”.  Literary Review of Canada. (May, 2011)

“Blazon”.  Encore Literary Magazine (May 3, 2011.)

“The Street Extends Along Its Axis”, “While the Continent of Users Is Dreaming”. The Fiddlehead. 241 (Autumn 2009)

“A Basketball Player’s Poem”, “Meeting a Boyhood Friend”. Event. Volume 35.3 (December 2006)

“Telemachos”, “The Mad Ones”, The Antigonish Review. 146 (Summer 2006)

“The Builder”, “Wasting”. The Fiddlehead. 228 (Summer 2006)

“To Heap Up and Counterbalance Dead Things”. Grain. Volume 33, No. 3 (Winter 2006)

“I Begin My Journey at Night”. The Malahat Review. 153 (Winter 2005)

“City Plan”. Queen Street Quarterly: Forum for the contemporary Canadian arts. Vol. 7, No.4 (Spring 2005)

“Richmond Hill Memorial Service”. The Fiddlehead. 222 (Winter 2004)

“AM Nocturne”. Event. Volume 33.2 (Fall/Winter 2004)

“The Tic-Tac-Toe Playing Chicken”. Prism International. 42:3 (Spring 2004)

“The Streetcar Driver”. Echolocation. Issue 2 (Spring 2004)

“On Wednesday”. Queen Street Quarterly: Forum for the contemporary Canadian arts. Vol. 7, No.2 (January 2004)

“Eumaios”, “Odysseus”. The Fiddlehead. 218 (Winter 2003)

“The Letters”. Descant. 122 (August 2003)

“Eurykleia”. The Malahat Review. 141 (December 2002)

“Penelope”, “The Sunday Painter”. The Antigonish Review. 130 (Summer 2002)

“The Mastodon”. Queen Street Quarterly: Forum for the contemporary Canadian arts. Vol. 5:4/6:1 (Spring 2002)

“Shining Boats”. Queen Street Quarterly: Forum for the contemporary Canadian arts. Vol. 5:2 (Summer 2001)

“Dancing rhythmically, mechanically”, “Dreams of static and cyclopean walls”, “We are the outer space”, “Calling planet earth via the wireless and the telegraph”. The IV Lounge Reader. Ed. Paul Vermeersch. Toronto: Insomniac Press, 2001.

“Year Zero”. Blood and Aphorisms. 39 (October 2000)

Calling Planet Earth Via Wireless and Telegraph / We Are The Outer Space. Chapbook published in April, 2000 by Junction Books.

Note: Queen Street Quarterly ceased publication with the Spring 2005 issue. Misunderstandings Magazine ceased publication with issue 16. Descant cease publication with its Winter 2014 issue.


I also wish to acknowledge with gratitude the financial support provided to me by both the Canada Council for the Arts and the Ontario Arts Council through their programs for writers.

Home: About : Publications : Readings
Copyright 2007 – 2021. Blaise Moritz. All rights reserved.


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