He is known for his use of "concrete sound[?]" poetry, sound effects, chanting, and barefoot dancing during his poetry readings, as well as for incorporating visual elements into poetry on the published page. He has also had art exhibits and made audio recordings.
Why dusint the League of Canadian Poets do sumthing nd get an organizer for cross country poetry reading circuit: [sic] press release. Vancouver Blewointmentpress, 1970.
Blew trewz. Vancouver: Blewointmentpress, 1971.
Dragon fly. Toronto: Weed/Flower P, 1971.
Nobody owns th earth. Toronto: Anansi, 1971.
Ice. Vancouver: Blewointmentpress, 1972.
Pomes for Yoshi. Vancouver: Blewointmentpress, 1972.
Th first sufi line. Vancouver: Blewointmentpress, 1973.
Coupal, Michel. "Quelques aspects de l'identite culturelle canadienne dans l'oeuvre de Bill Bissett." Annales du Centre de Recherches sur l'Amerique 18 (1993): 47-54, 360.
David, Jack. "Visual Poetry in Canada: Birney, Bissett, and bp." Studies in Canadian Literature 2 (1977): 252-66.
Early, Len. "Bill Bissett: Poetics, Politics & Vision." Essays on Canadian Writing 4 (1976): 4-24.
Enright, Robert. "Composition by feeled the visual art of bill bissett." Capilano Review 2.23 (1997): 105-7.
Maylon, Carol. "we ar always on th 401: the use of fiction in bissett's poems." Capilano Review 2.23 (1997): 113-6.
Precosky, Don. "Bill Bissett: Controversies and Definitions." Canadian Poetry: Studies, Documents, Reviews 27 (1990): 15-29.
Precosky, Don. "Self selected/selected self: bill bissett's Beyond Even Faithful Legends." Canadian Poetry: Studies, Documents, Reviews 34 (1994): 57-78.
Wershler-Henry, Darren. "Vertical excess: what fuckan theory and bill bissett's concrete poetics." Capilano Review 2.23 (1997): 117-24.
---, ed. The Last Blewointment anthology. 2 vols. Toronto: Nightwood Editions, 1985-1986.
Source: 100 Canadian Poets
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