tag:blogger.com,1999:blog-126005832024-03-19T05:42:31.311-04:00ottawa poetry newslettercovering ottawa writing, writers, events and publications; curated by rob mclennan,rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.comBlogger654125tag:blogger.com,1999:blog-12600583.post-76026290767827448422022-03-11T10:00:00.011-05:002022-03-11T10:25:51.972-05:00On Writing #179 : Maw Shein Win<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"><b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">On Writing
Thought Logs </span></b><b><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"><br /></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">I
started writing thought logs in August of 2020. </span><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">A response to the isolation, the scatter of my mind.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">Dreams
& nightmares, observations, random thoughts.</span><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Through these pandemic times, I find the process of writing thought
logs a source of relief, comfort.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">Word
lists, juxtapositions, found language.</span><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Each thought log has 16 lines.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Four of the lines have patterns of three: Fish death, coiffed
leaders, splash cellar.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Sometimes a question: How can we propel you?</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">A fragment: Places with the highest daily reported cases per
capita.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Observation: They colorcoded their bookshelves for social
media consumption.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Instruction: Check the field notes before entering the rodeo.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Feeling: When I get nervous on Zoom, I start a conversation
about hair.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Mantra: Life can’t kill my rainbow.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Listmaking, highlighting, selecting.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">I write by hand, later, I transpose.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;">Thank you for asking, rob mclennan.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhi7_JQ3rBmtfB4LiuGNkxOoUxK2EELA1rcY5bp05eurxQRpw249cU-vOZkQPvg9AsC5imGR_QmEY2uaN7JSx_Qhrjv0m7vzmKHzezBjPfuj1fzVbvXiVeywC9UsCWe0z6uT0Sl9R_usT_Hht--RWP8mfjglNu2cNT1C5jurEl_YXF6LXmOSg=s1512" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1436" data-original-width="1512" height="348" src="https://blogger.googleusercontent.com/img/a/AVvXsEhi7_JQ3rBmtfB4LiuGNkxOoUxK2EELA1rcY5bp05eurxQRpw249cU-vOZkQPvg9AsC5imGR_QmEY2uaN7JSx_Qhrjv0m7vzmKHzezBjPfuj1fzVbvXiVeywC9UsCWe0z6uT0Sl9R_usT_Hht--RWP8mfjglNu2cNT1C5jurEl_YXF6LXmOSg=w366-h348" width="366" /></a></b></div><b><span style="font-size: large;">Maw Shein Win’s</span></b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";"> recent poetry book is <i>Storage Unit for the
Spirit House </i>(Omnidawn) nominated for the Northern California Book Award in
Poetry, long-listed for the PEN America Open Book Award, and short-listed for
the California Independent Booksellers Alliance’s Golden Poppy Award for
Poetry. D.A. Powell wrote of it, “Poetry has long been a vessel, a container of
history, emotion, perceptions, keepsakes.…These poems are portals to other
worlds and to our own, a space in which one sees and one is seen. A marvelous,
timely, and resilient book.” Maw Shein Win's previous collections include <i>Invisible
Gifts, Poems </i>(Manic D Press); her chapbooks include <i>Ruins of a
glittering palace </i>(SPA/ Commonwealth Projects) and <i>Score and
Bone </i>(Nomadic Press). She is the inaugural poet laureate of El Cerrito
(2016-2018). Win often collaborates with visual artists, musicians, and other
writers and was a Spring 2021 ARC Poetry Fellow at UC Berkeley. <a href="http://mawsheinwin.com">mawsheinwin.com</a><br /><br /></span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";"></span><p></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-74247146842981341082021-09-09T10:00:00.031-04:002021-09-09T10:00:00.271-04:00Talking Poetics #43 : Bronwen Tate<p> <!--[if gte mso 9]><xml>
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</span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN" style="font-family: "Garamond", serif;">Spending
Time with Words as Words</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">During my MFA back in 2004, I tried to
explain to my sister what writing poetry felt like: “It’s like spending time
with words <i>as words.</i>” I meant that
writing poems involved engaging with words not just as vehicles to represent
thoughts, feelings, and ideas, but as objects in their own right in all of
their particularity: sounds, patterns, connotations, associations, etymological
roots, and so on. The phrase <i>words as
words </i>still flits into my mind sometimes when I’m sitting down to work on
poems. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">Writing, especially writing poems, requires
a different relationship to time and efficiency than most other things in my
life. With my responsibilities as a teacher and a member of a family, things
have clear deadlines: dinner must be ready for the children to eat or the
assignment sheet needs to be posted to Canvas by 9 am on Monday. I can also
expect a more direct correlation between time and results: an hour spent
commenting on student work will yield a certain number completed, the</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://smittenkitchen.com/2021/06/zucchini-butter-spaghetti/"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><a href="https://smittenkitchen.com/2021/06/zucchini-butter-spaghetti/"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">zucchini butter spaghetti</span></a></span><span lang="EN" style="font-family: "Garamond", serif;"> will take about half an hour
to cook. In contrast, no one is urgently requesting poems. I am accountable to
no one for them. And I have much less clarity about what an hour or five hours
spent writing them might yield. Maybe something? Maybe something I’ll discard
80% of in a few weeks? To write poems, I need to find ways to enter that
uncertain time, that inefficient time. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN" style="font-family: "Garamond", serif;">Now
Entering Inefficient Time </span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">Often, the container of a set amount of
minutes is enough. For thirty or sixty or ninety minutes, I am in it, and I can
set everything else aside. I used to tell myself mean stories about this: that
real writers feel the poem rise up in them and overflow and don’t need
dedicated time, that sort of thing. But now I’m more ok with the idea that
there are many different kinds of writers, and I can just be the kind that I
am. And the kind I am often needs the parameter of dedicated time for being
intentionally unintentional. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">How do we know when the poem is done? If
it’s a sonnet, we can at least say when we’ve achieved the form, even if we may
still be left with big questions about which word belongs in which place and
continue to revise forever. But when we’re not writing into an established
form, so much, everything, is up for grabs. Having a time parameter can let me
stay with a poem and its uncertainties—and return to—it without constantly
asking if it (or I) am done. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN" style="font-family: "Garamond", serif;">Pre-Deciding</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">Another thing that helps is pre-deciding. I
often engage in some kind of daily practice. Having decided ahead of time that
I will spend thirty minutes with my first coffee, writing by hand and just
tracing sound patterns, or that I’ll send my friend a new sonnet before I go to
bed, lets me shift the focus to <i>how </i>I’ll
do that thing rather than <i>whether </i>I’ll
do it or <i>what </i>to do out of the many
possible things that could be attempted. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">Mornings are often a good time for me. I
have lots of optimism and fortitude in the morning, but still a bit of
fuzziness and lack of inhibition that can be good for drafting. And, especially
when I manage to get up early and not check my email, the morning can feel like
time outside of time, like it “doesn’t count yet,” which lets me slip more
easily into inefficient time. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN" style="font-family: "Garamond", serif;">From
Material to Poem: Gathering and Arranging</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">Sometimes when I write, I’m just putting
out feelers—documenting what’s going on, looking for emergent patterns in the
words. Occasionally something will stick this way, but mostly this kind of
writing becomes material I draw on later. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">Other times, I’m working in a mode. Most of
these modes involve a two-step process: gathering and arranging. Once I’ve
found a generative mode, I often try to stay with it for a while. I’ve talked a
bit before about</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="http://touchthedonkey.blogspot.com/2019/06/ttd-supplement-135-seven-questions-for.html"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><a href="http://touchthedonkey.blogspot.com/2019/06/ttd-supplement-135-seven-questions-for.html"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">reading Proust in French and then starting poems from the words
I was unsure about, my guesses, and their dictionary entries.</span></a></span><span lang="EN" style="font-family: "Garamond", serif;"> In this case, the gathering
principle was “read Proust, find opaque or semi-opaque words, make guesses
about them based on context and similarity to other words, look them up in
French-English dictionary (and often a French dictionary too).” And then the
arranging principle was something like “use this material to write prose poems
that speak to your life, however obliquely, or that intuitively give pleasure
by their juxtapositions or patterns.” Then, of course, so many revisions! </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbxMGwGczQUdCuiGU_5bDmo-ffsqBSMubRvVJaMDgoff_b_OpRgXztv-wFyvU9Dzte-roW-tgz31yjGnLDOAQ8Iaw9sAY8p_OrURDKVYQRxHUesr6PvtZlU7F8fGZbaes480VH/s325/revisions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="244" height="601" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbxMGwGczQUdCuiGU_5bDmo-ffsqBSMubRvVJaMDgoff_b_OpRgXztv-wFyvU9Dzte-roW-tgz31yjGnLDOAQ8Iaw9sAY8p_OrURDKVYQRxHUesr6PvtZlU7F8fGZbaes480VH/w451-h601/revisions.jpg" width="451" /></a></span></div><p></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">I can trace recognizable bits from this act
of gathering (above) in at least two different poems in</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://www.bronwentate.com/book"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><a href="https://www.bronwentate.com/book"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">my book </span></a><a href="https://www.bronwentate.com/book"><i><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">The Silk the Moths Ignore</span></i></a></span><i><span lang="EN" style="font-family: "Garamond", serif;">. </span></i><span lang="EN" style="font-family: "Garamond", serif;">Here’s one of them:</span></span></p><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;"> </span></span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCGlxmB5UgzIgu7ujmjjzyQQd972WgLP0uZGJTdZ5BG8wU5P0cF3BycJ4tc8uEN1aCa3KaTaK-PS-kS93EGYmUqaD0c9kenw47-kTrvsjAeQ1GgPTBgtAhRcDzxJtEKFAMlmgC/s563/Picture9.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="540" height="587" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCGlxmB5UgzIgu7ujmjjzyQQd972WgLP0uZGJTdZ5BG8wU5P0cF3BycJ4tc8uEN1aCa3KaTaK-PS-kS93EGYmUqaD0c9kenw47-kTrvsjAeQ1GgPTBgtAhRcDzxJtEKFAMlmgC/w563-h587/Picture9.png" width="563" /></a></span></div><p></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzHYJVT21v0WV3vsftXt9ZCh9w5dQQQhgmFDkjeqb3hoiTBmnghJXppZNbeqauiOOBKQc_eIqewO-sROnnG0sX36qiELOldIv-k3HyUGaSriM6MieM_OU45TkIW6vO1zZvC9WE/s310/silk+moth.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="310" data-original-width="206" height="501" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzHYJVT21v0WV3vsftXt9ZCh9w5dQQQhgmFDkjeqb3hoiTBmnghJXppZNbeqauiOOBKQc_eIqewO-sROnnG0sX36qiELOldIv-k3HyUGaSriM6MieM_OU45TkIW6vO1zZvC9WE/w333-h501/silk+moth.jpg" width="333" /></a></span></div><span style="font-size: medium;">This book—and these prose poems, in
particular,—have had a long revision process with a multitude of changes along
the way. I initially wrote them in prose blocks, and then at some point, I
played with lines in some of them, but eventually, I settled on this “prose
verset” form that doesn’t use line breaks but relies heavily on paragraph
breaks for pacing. In “Creating What We Name,” I see words and phrases that
came out of that initial gathering (zither, remove seeds from a melon), but
then the whole second paragraph I can trace to more recent play with puns and
sound (felt/felt, cut/cut, shear/sheer). There’s often a period in my revision
process that involves writing intuitively into a gap. I picture this as
reaching out slowly with my eyes closed, feeling for something I can’t yet see
but know is there. Sometimes revisions require an opposite impulse: I also like
breaking up continuities to allow a greater leap. </span><p></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">Notebooks of freewriting are often a source
for a gathering step. Other gathering methods include generating anagrams of a
significant word or sketching out a moment from the day and finding a pair of
words connected to this moment that rhyme and might form a kernel to write
around, as in</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://www.thetinymag.com/bronwen-tate"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><a href="https://www.thetinymag.com/bronwen-tate"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">these Lorine
Niedecker-inspired short poems</span></a></span><span lang="EN" style="font-family: "Garamond", serif;">. Other arranging principles might involve
shaping fragments into a set form like these</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://courtgreen.net/issue-19/bronwen-tate"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";"> ten-liners
that shift between couplet and monostich</span></a></span><span lang="EN" style="font-family: "Garamond", serif;"> or repeating the same word
with shifting meanings along a chain of sentences. I’m working on some poems
now that use notebook fragments and anagram word lists as gathering methods and
rely on colors and fairytale tropes as arranging principles.<span> </span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;">Whatever mode I’m working in, I’m
constantly looking for emergent sources of pattern and friction and trying to
draw these out. In any poem, certain elements are marked or activated while
others remain absent or in the background. Friction means change, movement,
tension, something at stake. And patterns—especially where and how we break
them—determine where attention gathers. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; text-indent: 14.0pt;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN" style="font-family: "Garamond", serif;"></span></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheZSUwTEwErvA1aJrSVwtBZvM_13HaYCO4fmwM4cN5N4AUHdvwmxgmmn3h_uszTtqdg_JqjqilMj4RL_wRKR7qal8vy9iDgQcBKOCrmQ1JdMDLu1NawpDp6eiw7ylsK4C4qpEL/s353/bronwen+tate.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="353" data-original-width="265" height="467" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheZSUwTEwErvA1aJrSVwtBZvM_13HaYCO4fmwM4cN5N4AUHdvwmxgmmn3h_uszTtqdg_JqjqilMj4RL_wRKR7qal8vy9iDgQcBKOCrmQ1JdMDLu1NawpDp6eiw7ylsK4C4qpEL/w350-h467/bronwen+tate.jpg" width="350" /></a></b></span></div><span style="font-size: medium;"><b>Bronwen Tate</b><span lang="EN" style="font-family: "Garamond", serif;"> lives in Vancouver, where
she is an Assistant Professor of Teaching in the School of Creative Writing at
the University of British Columbia. She completed an MFA in Literary Arts at
Brown University and a Ph.D. in Comparative Literature at Stanford University.
Before coming to UBC, she was the entire Creative Writing department at
Marlboro College in the Vermont woods. Her poetry collection</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://www.amazon.com/Silk-Moths-Ignore-Bronwen-Tate/dp/1734497777/ref=sr_1_1?dchild=1&keywords=the+silk+the+moths+ignore&qid=1629819961&sr=8-1"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><a href="https://www.amazon.com/Silk-Moths-Ignore-Bronwen-Tate/dp/1734497777/ref=sr_1_1?dchild=1&keywords=the+silk+the+moths+ignore&qid=1629819961&sr=8-1"><i><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">The Silk the Moths Ignore</span></i></a></span><i><span lang="EN" style="font-family: "Garamond", serif;"> </span></i><span lang="EN" style="font-family: "Garamond", serif;">(Inlandia Institute, 2021) is available for preorder. Recent
poems have appeared in</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://www.tinfishpress.org/tate"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><i><a href="https://www.tinfishpress.org/tate"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">Tinfish</span></a></i></span><span lang="EN" style="font-family: "Garamond", serif;">,</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://therumpus.net/2019/12/rumpus-original-poetry-three-poems-by-bronwen-tate/"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><i><a href="https://therumpus.net/2019/12/rumpus-original-poetry-three-poems-by-bronwen-tate/"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">The Rumpus</span></a></i></span><span lang="EN" style="font-family: "Garamond", serif;">,</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="http://www.typomag.com/issue30/tate.html"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><i><a href="http://www.typomag.com/issue30/tate.html"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">Typo</span></a></i></span><span lang="EN" style="font-family: "Garamond", serif;">,</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="http://carouselmagazine.ca/c45-tate/"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><i><a href="http://carouselmagazine.ca/c45-tate/"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">Carousel</span></a></i></span><span lang="EN" style="font-family: "Garamond", serif;">, and</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://courtgreen.net/issue-19/bronwen-tate"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><i><a href="https://courtgreen.net/issue-19/bronwen-tate"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">Court Green</span></a></i></span><span lang="EN" style="font-family: "Garamond", serif;">. Bronwen also has a few new
essays: a brief one on participating in a collaborative homage to</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://post45.org/2021/07/midwinter-tate/"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><a href="https://post45.org/2021/07/midwinter-tate/"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">Bernadette Mayer</span></a></span><span lang="EN" style="font-family: "Garamond", serif;"> (the project is</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://blacklawrencepress.com/welcomemidwinter/"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><a href="https://blacklawrencepress.com/welcomemidwinter/"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">forthcoming
from Black Lawrence Press</span></a></span><span lang="EN" style="font-family: "Garamond", serif;">) and a longer one</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://www.muse.jhu.edu/article/800244"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><a href="https://www.muse.jhu.edu/article/800244"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">in Contemporary
Literature</span></a></span><span lang="EN" style="font-family: "Garamond", serif;"> on how ambivalence, complicity, and feeling can coexist with
critique in the work of Harryette Mullen. You can find her on <a href="https://twitter.com/bronwentate?lang=en" target="_blank">Twitter</a> or <a href="https://www.instagram.com/bronwentate/?hl=en" target="_blank">IG at @bronwentate</a> or on her website at</span><span lang="EN" style="font-family: "Garamond", serif;"><a href="https://www.bronwentate.com/"><span style="color: windowtext; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond"; text-decoration: none; text-underline: none;"> </span></a><a href="https://www.bronwentate.com/"><span style="color: #1155cc; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";">https://www.bronwentate.com/</span></a></span><span lang="EN" style="font-family: "Garamond", serif;">.</span></span><p></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "EB Garamond"; mso-fareast-font-family: "EB Garamond";"> </span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-59960031766957074042021-08-17T14:22:00.001-04:002021-08-17T15:02:58.644-04:00Serial Interview with Renée Sarojini Saklikar : THOT-J-BAP (The Heart of This Journey Bears All Patterns)<p><span style="font-family: times;"><br /><b>BIO:</b><br /><br /><br /><b>Renée Sarojini Saklikar</b> writes the life-long poem chronicle, <a href="https://www.blogger.com/#">thecanada?project</a> and in it are many things, including books, chapbooks, poems published in journals and anthologies, and artistic and musical collaborations. Her books include the ground-breaking, <i>children of air india, un/authorized exhibits and interjections</i> (Nightwood Editions, 2013) about the bombing of Air India Flight 182; and <i>Listening to the Bees</i> (Nightwood Editions, 2018), (with Dr Mark Winston), as well as the anthology, <i>The Revolving City: 51 Poems and The Stories Behind Them</i> (Anvil Press/ SFU, 2016) (with Wayde Compton). Her work has been adapted into <i>opera (air india [redacted])</i> and into music (<i>Bee Studies</i>) both with Turning Point Ensemble. She is the curator of <a href="https://www.sfu.ca/continuing-studies/events/lunch-poems.html">Lunch Poems</a> at SFU and Vancouver’s first free Poetry Phone, 1-833-POEMS-4-U (@downtownvanbia). <br /><br />THOT J BAP is an epic fantasy written in poetry, selections of which have appeared over the years in chapbooks published by <a href="https://www.blogger.com/#">Nous-Zot</a>, <a href="https://www.blogger.com/#">above/ground</a>, and<a href="https://www.blogger.com/#"> Nomados</a> presses. The first book in the series, Bramah and the Beggar Boy, is forthcoming later this spring with <a href="https://nightwoodeditions.com/" target="_blank">Nightwood Editions</a> and is available direct from Harbour Publishing: <a href="https://www.blogger.com/#">https:// harbourpublishing.com/products/9780889714021</a> </span></p><p><span style="font-family: times;">The website for THOT J BAP is <a href="https://thotjbap.com/">https://thotjbap.com/</a><br /></span></p><p><span style="font-family: times;"><span>©Renee Saklikar 2021 <br /><br />**<br /><b><br />This serial interview will take place over several months, with postings that occur in instalments. <br /></b></span></span></p><p><span style="font-family: times;"><span><b> </b><br /><b>PART ONE:</b><br /><br /><b>CT: </b>Before we formally jump into <i>THOT J BAP</i> (<i>The Heart of This Journey Bears All Patterns</i>), tell me a bit more about your blog,<a href="https://www.blogger.com/#"> thecanada?project </a>, which is described as a life-long chronicle and combines essays, interviews, and events/activities related to your own writing practices and that of others in the literary and arts communities. One could say that these forms are all part of one another, including the epic form of <i>THOT J BAP</i>….<br /><br /><b>RSJ:</b> Regarding thecanada?project…over the last two years I wrote an essay fragment about something momentous in the process of this life-long poem chronicle, of which all my creative work including <i>THOT J BAP</i> is a part...I’ve replicated the text here:<br /><br /><u>About thecanada?project</u><br /><br />thecanadaproject is a life-long poem chronicle about place, identity, language. In it are many things, including published material and works in progress such as a prose poem novel, a series of essays about life from India to Canada, coast to coast as well as many sequences of poems, inpart, about the places I’ve lived: Newfoundland, Nova Scotia, Northern Ontario, Northern Quebec, Montreal, Saskatchewan, and British Columbia. The project will end when I end. It is a series of fragments always asking, when does the poem begin?<br /><br /><u>thecanadaproject interviews series</u><br /><br />To interview another is to engage in process: discovery, interrogation. The question as astrolabe can also be weapon. How to leave space for the subject – that’s what I think about when approaching writers and artists…this section is also about gratitude, for those who do the work. Always there is the challenge: how to stay open—what did Martha Graham exhort?— keep the channel open. Is poetry a project? Dorothea Lasky, whose work I love, thinks not. And yet…<br /><br /><u>Essay fragments</u><br /><br />“This is a site of fragments. This is part of a long poem. This is not enough time. This is time, and its dimensions.”<br /><br /><u>Rethinking Canada this new decade</u><br /></span></span> <span style="font-family: times;"><span><br />One of my preoccupations as a creative worker: what does it mean to be Canadian? What layers of being make identity complex: citizen-settler-immigrant—Canada was/is a promised land, a paradise, but it is jagged.</span><span><br /><br />For some time now, as I read and listen to Indigenous writers such as Jordan Abel, Joanne Arnott, Billy Ray Belcourt (A Country is How Men Hunt), Therese Mailhout (Heartberries) and many more; as I observe the pain and discomfort this word and concept, “Canada” carries for many—as I read and reread documents about Indian Residential Schools, I’m becoming more and more uneasy with my own implication in structures, and systems.<br /><br />And this comes to me: Language is a structural system. So, this new decade: thecanadaproject, my lifelong poem chronicle, will now be thecanada?project.<br /><br /> **<br /><br /><b>CT:</b> <i>THOT J BAP</i> is considered a long poem, but it's also described as an epic, as well as a multi-part series emerging in instalments. [<i>Bramah and the Beggar Boy</i> to be published by Nightwood Editions and distributed/marketed by Harbour Publishing in April 2021].<br /><br />What attracts you to the epic, the chronology, the instalment, the life-long, and the blog --all of which have resonance with a notion of a 'public' -- in terms of <i>THOT J BAP</i>, and in terms of your own engagement with forms of cultural expression and how these forms are enacted?<br /><br /><b>RJS: </b>So, about <i>THOT J BAP</i>. Yep. It’s an epic. Epic in that it is long; so long, that it will emerge in a series of books...and epic in scope, in that it encompasses lots of different elements. And it is epic in that it is written within that tradition and playful, too, with the tradition of sagas, story cycles, and mythic texts.</span><span><br /><br />And about thecanada?project (my blog/website)….Indeed, that is my life-long poem chronicle. It will end, alas when I do. Although, hopefully, there will be readers and friends who will, by the act of reading the work, keep it alive.<br /><br />An example of the playfulness [of the epic form], edging around perhaps more complex imaginings, is the title, <i>The Heart Of This Journey Bears All Patterns</i>. Since the start of the poems appearing in journals and chapbooks, that title is represented as <i>THOT J BAP</i>. I love the mouth feel of that! <i>THOT J BAP</i>. To my ear, the sounds are somehow a kind of “Eastern/Asian” influence, with a nod, to my mother’s mother tongue, Gujarati.<br /></span></span> <span style="font-family: times;"><span><br /><i>THOT J BAP</i> started out in 2008 as a long poem but not an epic. The poem was written in the aftermath of my father’s untimely death in 2002. I’d wake, mornings, and after intense morning anxiety, which I still suffer from, I’d sit at a table with a cup of tea and read T.S. Eliot’s<i> Four Quartets</i>. The poem began in response to verses and lines in the <i>Four Quartets</i>. Early on in the writing process, I realized, with a shock, oh, this is going to be way longer. I recall the moment. I was working on a draft of the manuscript of what would become my first book, <i>children of air india, un/authorized exhibits and interjections</i> (Nightwood Editions, 2013). It was August, and I was at my friend Jackie’s place. We were taking a break from a summer work session, she with teacher prep, me with my long poems, and I remember just standing stock still, looking out at a pond in the park we were in, and saying, “oh I can’t do them both at the same time! I’m going to have to choose...and I thought, well, I’ll get through this first book, and then, I’ll get into <i>THOT J BAP</i>. Little did I know how long and intense and all consuming that first book experience would be...and through it, from publication to the intensity of its reception, I kept working away at this epic, much more slowly that I’d intended, and so the months, became years, and the poem lead me deeper and deeper into, well, a kind of altered state, of another time and place...and then,wham, the pandemic happened, and I went deeper even still…<br /><br />[Re: “what attracts you to the epic, the chronology, the instalment, the life-long”…] If I knew the answer I’m not sure I’d still be obsessed with these things! Since I started developing a consciousness of myself as a writer, which happened somewhat later in my life... For example, as a child and young adult I was always scribbling...always trying to understand the world and my place or lack of place, in it, through writing. But only much later, probably when I joined SFU’s The Writer’s Studio, did I permit myself to put the cloak of “writer” around my shoulders. And once that happened, I, too, noticed, this compulsion: to chronicle; to envision the poem both as fragment, incomplete and also, as part of a historical/social context; also just sound, waves of sound; or one image, reoccurring. <br /></span><span><br />Always, the first thing is sound. Then image...I don’t really think too much about meaning. And perhaps the long poem, the epic, the chronicle, is a way to hold fragments of sound and image inside a kind of a vessel? That’s where poetry, all aspects of poetry and dance and movement also come in...and somehow the epic holds a key to how to be in the moment, still and sweet and slow and also right inside the now, the urgency of now, all the things buffeting at once... And the poem, or the act of making poems, sound to sound, with image, in fragments, and then held and documented in the epic, the long form, is about this tension between lack and abundance, belonging, not belonging, which is how I experience, this, my mother – tongue, English.<br /><br />** <br /><br />[You can hear Renée read from a section of <i>THOT J BAP</i> on <a href="https://www.blogger.com/#">Soundcloud</a>. <i>children of air india, un/authorized exhibits and interjections</i> with music by John Oliver and poetry by Renée Saklikar can also be heard on <a href="https://www.blogger.com/#">Soundcloud</a>. Her chapbooks can be ordered from above/ground and Nomados Press.]</span></span></p><p><span style="font-family: times;"><span> ***</span></span></p><p><span style="font-family: times;"><span><b>PART TWO:</b></span></span></p><p><span style="font-family: times;"><span><b>CT:</b> As the person writing <i>THOT J BAP</i>, how are you finding the process of keeping track of the multiple narratives and their fragments?</span></span></p><p><span style="font-family: times;"><span><br /><b>RSS: </b>Keeping track of the <i>THOT J BAP</i> creative process demands mindfulness and a kind of rigour that also sometimes anxiety: over ten years, I’ve accumulated documents and files and paraphernalia and printed articles and notes. These are in boxes, files, charts, notebooks: the <i>THOT J BAP</i> archive has taken over a lot of our small apartment. And because I’ve been working on it for so long, I’ve carted these boxes and files around with me. I’ve had to teach myself how to keep track and have learned the hard way, the folly of not doing so: when I’m on the trail of a story, the “scent” of a poem it can be cumbersome to have to go searching…<br /><br /><b>CT:</b> And, in terms of working with the sonic, do you find sonic elements, expressions, changing between chapbooks/books, or within the books themselves?<br /><br /><b>RSS: </b>The question of sonics really interests me. So much of my creative process and the way that poems arise for me is about sound, and I am but a kind of scribe taking dictation for the sounds that are tapping out their message and rhythms, waiting for me to stop whatever else I’m doing, and just be still enough to try and capture what I’m hearing. So, there is this sensation of a continuing sonic boom, echo, chant, thread, pulling me along. I’ve had to learn to listen carefully and slowly. That’s part of what’s taken me so long. Sometimes I’ve not quite known what I am hearing, and I’ve had to walk and reflect and hold the sounds within me.<br /><br /><b>CT:</b> When you return to drafts, as you compose, how is your 'ear' responding to your work (especially if you haven't looked at a chapbook or draft for awhile)?<br /><br /><b>RSS: </b>My body seems to demand, first, a set of rituals. These have varied over the years and include the following: <br /></span></span></p><p style="margin-left: 40px; text-align: left;"><span style="font-family: times;"><span>-A lot of brewing of tea: rooibos in a mug. <br />-The rubbing and holding of stones/rocks picked up on my walks. <br />-Listening to all kinds of songs, on a loop on my devices and just letting them play. <br />-Then, reading my notes. <br />-Or, often, dusting the <i>THOT J BAP</i> archive. <br /></span></span></p><p><span style="font-family: times;"><span>I kid you not: I spend a lot of time dusting, re-arranging, searching for documents, notebooks, looking up things on the internet, re-reading books that are my companions for the journey. Sometimes, after all that, composition is simply sitting in silence and one word, one word! Emerges. So, I’ve been reckoning with time and its dimensions. Humbling, to say the least.<br /><br /><b>CT</b>: We’ve talked a bit about <i>THOT J BAP</i> transitioning from, structurally, a long poem to an epic, and incorporating components of epics that may be familiar: chronology, tellings of critical figures and events, forms of continuity -- sounds, repetitions within language and the line. Eliot’s <i>Four Quartets</i> sparked a ‘start’ into form, but are there particular epic works that offer direction, resistance, patterns as <i>THOT J BAP</i> evolves? <br /><br /><b>RSS: </b>In addition to T.S. Eliot’s <i>Four Quartets</i>, there is also Eliot’s <i>The Wasteland</i>. As I’ve maybe mentioned, <i>THOT J BAP</i> started out in 2008 as a series of written responses, which were themselves acts of self-care, to help me deal with grief and anxiety. I used prompt-based writing as I read and re-read both <i>The Four Quartets </i>and <i>The Wasteland</i>, as a means to both deal with morning anxiety and also to explore the long poem form. <br /></span></span></p><p><span style="font-family: times;"><span>And although I didn’t understand it at the time I was writing, I see now that I was also resisting Eliot . I love his poems/find him distasteful. Nothing about his life, his mores, his politics is about me at all. Still love his poems, though. So that’s interesting! </span></span></p><p><span style="font-family: times;"><span>I then put much of my <i>THOT J BAP</i> work aside as I went deeper into the work needed to complete my first book, <i>children of air india, un/authorized exhibits and interjections</i>. About ten years ago, I began re-visiting my notebooks and re-connected with the work. Looking over my response here, I’m struck by that prefix, “re”: to return, to go back. Revisit, re-connect, return. That’s an impulse throughout <i>THOT J BAP</i> and I’m only now beginning to see the connection of the prefix to the idea of time, forward and back. </span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><span style="font-family: times;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxe3TxhbOWS59iv8c-rxpYrcLIa2MZ-gleV2PWeILNrXyP80uOlY6mamJe_xMOfjwUxrHQx4YhswZZfTjqq1hAWhNToBKgHIxeMjEh2BQtrxpy2QUC62ZncjSKjm4yWWWHTlp/s640/books+while+writing+THOT+J+BAP.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxe3TxhbOWS59iv8c-rxpYrcLIa2MZ-gleV2PWeILNrXyP80uOlY6mamJe_xMOfjwUxrHQx4YhswZZfTjqq1hAWhNToBKgHIxeMjEh2BQtrxpy2QUC62ZncjSKjm4yWWWHTlp/w240-h278/books+while+writing+THOT+J+BAP.jpg" width="240" /></a></span></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;">Photo credit: ©Renee Saklikar 2021</span><br /></span></span></td></tr></tbody></table><span style="font-family: times;"><span>Other epic works that offer “direction, resistance, patterns”: Robin Blaser’s collected works, <i>The Holy Forest</i>. I credit Meredith Quartermain for first introducing me to…I can remember discussing Blaser with Meredith and then one day, I ordered my own copy of his collected works, <i>The Holy Forest</i>, and have dipped in and out of it many times. I love his idea of Great Companions: just now, in writing this, I got up, went to my bookshelf, and pulled down my beloved copy of <i>The Holy Forest</i>. Do other folks read it as a one long poem? I’ve always done so but now, re-looking at the pages, I wonder? In the section on Dante as a great companion, which I’ve tabbed and earmarked and underlined, I found myself thinking about tradition and the long poem and how much of the field of long poem writing sometimes seems as if it were overtaken by the perception that only men write epics. As if Sappho didn’t exist. </span></span><div style="text-align: left;"><span style="font-family: times;"><span>I’m looking right now at one of the bookmarks I’ve kept in Blaser’s book: purchased in Dublin a few years ago. Laminated. The faces of 12 Irish Writers: Beckett, JB Shaw, James Joyce, Oscar White, J M Synge, Sean O Casey, Flann’O Brien, Oliver Goldsmith, Brendan Behan, W. B. Yeats, Jonathan Swift, Patrick Kavanagh. </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><span style="font-family: times;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmtcp5nn1I4Iz08MviQmMAeuPuxlwUr6_ao4jLkdb7fFIkklxdWf6_63ja02PVmy1n8s_ihLQ6JoQXz7ATbY3meKDmKJiImfiqEg4mtB5FF8webGWTHQXxFA8V82pXGXF-8l0J/s640/Irish+Writers.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmtcp5nn1I4Iz08MviQmMAeuPuxlwUr6_ao4jLkdb7fFIkklxdWf6_63ja02PVmy1n8s_ihLQ6JoQXz7ATbY3meKDmKJiImfiqEg4mtB5FF8webGWTHQXxFA8V82pXGXF-8l0J/w258-h323/Irish+Writers.jpg" width="258" /></a></span></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;">Photo credit: ©Renee Saklikar 2021<br /></span></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;"> </span></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;"> </span></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;"> </span></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;"> </span></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;"> </span></span></span></td></tr></tbody></table><span style="font-family: times;"><span>I’ve read and studied most of them. Imagine, though, you and I, as women poets, staring back at their sepia-toned faces. Perhaps, as I do, loving their work. And yet, not seeing anything of ourselves in that gallery of writers! <br /></span></span></div><p><span style="font-family: times;"><span>That absence, that not seeing oneself in The Line Up, that’s a fierce resistance in me. All those voices. Maybe there are now poets who don’t hear the dry papery whispers: What, you? You, writing a long poem? How dare you!<br />From such readings, and re-readings, and texts, and enquiries, comes direction -- there’s lots to learn from The Greats, and then, that impulse, to resist. And for me, as found in <i>THOT J BAP</i>, resistance takes the form of imaginative dissonance, the creation of worlds. <br /></span></span></p><div style="text-align: left;"><span style="font-family: times;"><span>And here are a few more epic works; or, works that I read as part of an epic/long poem structure, for example, by Bertolt Brecht. Have you ever read any of Brecht’s love poems? I find them queasy making in their sexist violent attitude and don’t much care for them at all; on the other hand, his plays, I love; and his <i>Three Penny Opera</i> is an influence. In the years I’ve been writing <i>THOT J BAP</i>, I keep coming back to Brecht. </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span>I’ve just now pulled out a dusty orange notebook that I keep handy. Compiled between July 2010-Dec 2012. I’m re-reading notes I wrote on Dec.17, Vancouver Public Library, 5th Floor, inter-posed with my notes on Brecht, this,</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: times;"><span>[regarding Ntozake Shange: “‘being alive, being a woman and being coloured is a metaphysical dilemma, I haven’t yet solved.”</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><i>The Arabian Nights</i>. As I write these notes, I have beside me a small paperback, <i>Arabian Nights</i>, Volume 1, of the much-critiqued translation of Sir Richard Francis Burton, one of those not very nicely bound Signet Classics, water stained, curling at the edges, a true “one for the road” long poem writer’s companion. I must add though, the following:</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span>I grew up with a kind of Reader’s Digest version that my father bought me, with these gorgeous colour plate illustrations and a faux mahogany binding. Only later, did I come to understand how much colonialism and the ethnocentric blindness of “the West” created misrepresentations of these Arabic tales. As well, I don’t read Arabic, so the only way I have to enter into the world of the Tales is through these various English translations.This process of reading (and loving) what I think of as “problematic versions” of epic texts informs some the ways I’ve approached my own epic.</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span>My lifelong companions:</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span>At the end of <i>Bramah and The Beggar Boy</i>, which is Book One of THOT J BAP, my publisher and editor at Nightwood, encouraged me to include notes: at first, I resisted. Then, I came to really like the idea and here’s a snippet relevant to our conversation: </span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: times;"><span>“Virgil, Dante, Chaucer, Shakespeare, Milton, plus translations of Homer’s <i>Odyssey</i>, Wikipedia forays into Vedic scriptures, family gossip about Hindu gods, as well as re-readings of Christina Rossetti, Octavia Butler and an old red hymnal.” </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><br /><b>CT</b>: Are there works that you think also pare back the essences of an epic form, that fragment it? </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><b>RSS:</b> Certainly. For instance, I think in my writing process, that paring back can be traced to Marlene Nourbese Philip’s work. I had the great privilege of meeting her in Vancouver many years ago and it was transformative. She was in town to do a reading from <i>Zong!</i> and everything about her reading and then the conversation we had after, continues to resonate. Her work still teaches me to develop a means to interrogate my “slipped tongue” and the pain-complexity of working in the only language I know, this conquistador, English. I grew up in a family where my parents spoke a mixture of English, Gujarati and Marathi. And English, although my mother tongue (such a haunting complex phrase) is also an uneasy fit. I wonder if growing up in an “English speaking” household that includes other spoken languages, might produce in any poet this love for the fragment, the un/spoken, those strange elliptical silences in “mixed tongue” parental conversations…</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span>As I write these notes, here’s a vivid memory of Rachel Blau DuPlessis’ <i>Drafts: Summer</i>, a few years back. Betsy Warland takes me to hear Rachel Blau Du Plessis and then I hear her again at a little reading at The People’s Co-op Bookstore. Maybe you were there too! I’ve been reading “Pitch”, the poem sequences 77-95 in her life-long open poem, <i>Drafts</i>, for several years. I go back to it again and again.</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><br /><b>CT:</b> I would have liked to have been there! There is a sense of ritual in the various chapbooks, a building sense of pattern and repetition, bolstered by various figures moving geospatially ‘in time’ (present) and in a ‘space-time’ (both place and future), and by certain structural forms, like the sonnet or repeated images and line fragments. What are the realities of memory and searching/exploration in <i>THOT J BAP</i>? How important is account and recounting from figures who often leave parts of their stories hanging — ?</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><br /><b>RSS:</b> I think the best way I can approach an engagement with these fascinating questions is to reference Roberto Bolaño. I haven’t actively thought of his work in a few years but certainly at earlier stages of the writing of <i>THOT J BAP</i>, I devoured his disturbing magnum opus, <i>2666</i>. My husband read the book over the duration of his Christmas break several years ago. I was so intrigued by the boxed set of this over 900-page novel, with its five “parts” (printed as books), that I started to read it and then sort of fell into it, feverish and frightened and compelled. Later, we purchased a book of interviews Bolaño gave before he died of liver failure in 2003. From these readings, I started to experience memory and the idea of the quest, as part of the fundamental structure of the poem. These ideas then led me to fantasy! </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span>In <i>THOT J BAP</i> we encounter memory (the past) and memories (nostalgia for the past), and quests (which of their nature, are about forward movement) and searches (which are, often, quixotically, about the past and the future), which culminate in a kind of propulsion which the author Maria Reva says, wonderfully, about <i>THOT J BAP</i> that is both “ancient and futuristic.” Each character has a voice, each voice is rendered in verse, each verse takes a form, each form is often but a fragment, or, a re-telling, or an un/reliable re-counting. Re: to return, to go back. Je me souviens. That sort of thing.</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><br /><b>CT:</b> <i>THOT J BAP</i> describes torture, imprisonment, displacement and migration, detention and surveillance, raw personal and societal loss and persecution, as well as resistance and revolution. Names, titles, and references cross ethnicities and cultures and are intensely relevant: Before-Time, Rentalsman, Revival-Network, Outsider, Abigail, Bartholomew, Investigator, The Tale of the Rani of Jhansi, etc. Individuals are within multi-dimensional, pan geographic realities — what is resistance in <i>The Heart of This Journey Bears All Patterns</i>? </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><br /><b>RSS</b>: I think it was Peter Quartermain who once said (it could have been at that November reading we did, Chris, at People’s Coop), that he saw <i>THOT J BAP</i> as a map history of the world. It is both unsettling and reassuring to read your list of all these societal, political, geo-political, historical, geographical and demographical processes and traumas and inequities that indeed are layered into the dystopian wonder that is the world of <i>THOT J BAP</i>. I suppose all my poetry and my poetics is predicated on my experience of our historical, cultural, economic, and ecological moment. How can it be otherwise? If <i>THOT J BAP</i> comes to be read into the body of work that is, for instance, “CanLit,” then perhaps it will be read as poetry that contains and arises from history. </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span>When world building the epic fantasy, with its myth and magic, I also was called to the readings of scientific reports on climate change and government malfeasance (CIA torture report) and many more documents, including the history of locksmithing, manuals on craft-making, old instruction books on inventions, out-of-date primers on astronomy, and even recordings of the late Robert Fisk as he spoke of world events in front of hundreds in a cathedral in downtown Vancouver. In fact, Chris, layer into all of this, that long conversation you and I had, in your truck, one rainy November night, after we’d dropped off Renee Rodin, after you and I did a reading at People’s! We spoke of many things, including the role of the state in surveillance and the state of the world regarding climate change. </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><br /></span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><b>CT:</b> At the reading in November (2020), I was able to hear you read again, which is always helpful as a way to take in your work, and "A map history" is an apt comment. To follow these thoughts </span><span><i>THOT J BAP</i>....how weighted is your title - <i>The Heart of This Journey Bears All Patterns</i>? </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span><br /><b>RSS:</b> I love this question. Here are a few thoughts culled from those end notes to <i>Book One, Bramah and The Beggar Boy</i>: </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span>The title speaks to…</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: times;"><span>…my obsession with formal poetry and with what I call docu-poetics, the breaking apart of text to create new forms, often in combination with visuals, such as symbols and signs. This obsession finds its creative tension in the investigation of the fragment fused into forms of poetry such as blank verse, the sonnet, the madrigal, the ballad, not to mention, spells, codes and riddles. You’ll find all these in <i>THOT J BAP</i>, plus new forms I’ve created and haven’t yet named! So there I was, working away with all this, and then our pandemic happened. And this story grabbed my fingers and off we went deeper into that ultimate portal, myth and magic. The question is, will I ever return to Before? ♛</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: times;"><span> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;"><b><span>PART THREE:</span></b></span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;"><span> <br /></span><b>CT:</b> What happens to languages across portals or through time, and then to the storytellers across those domains?<br /></span></span> <span style="font-family: times;"><span style="font-size: small;"><br /><b>RSS:</b> <i>THOT J BAP</i> employs different forms of language and different kinds of texts, as we see in book one of the series, <i>Bramah and The Beggar Boy</i>: In this way, language proves to be the ultimate shapeshifter!<br /></span></span> <span style="font-family: times;"><span style="font-size: small;"><br />On one level, we find verse forms often used in epic poetry. Fused with those forms are many other kinds of text and levels of language, with puns and rhyme. Early on into the writing process, I realized that the story demanded attention to a fine level of detail, and I gave myself the time needed to seed each page, with poetry that coheres with layers of things: characters, time, location. Now that the first book exists in print, when I look at the sequences of published poems, I see that language is itself a character. It changes depending on each of these domains:</span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;"> -location<br /></span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;"> -time<br /> -characters <br /></span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;"><br />All these elements seemed to choose me as an instrument: that I would be the poet to arrange the pattern.<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">I love the way the published version of Book One [<i>Bramah and the Beggar Boy</i>] of <i>THOT J BAP</i> materializes language as its own ecosphere: each poem builds into a sequence and each sequence is linked to the whole narrative.<br /><br /><b>CT:</b> Maps. Is “map” the right word for how one might try to describe the movements — of people, of terrain and plants, of time and of language (and oh, there are other things to list here!)? Is a map a kind of constraint of record, archive, reference? A swinging door...?<br /><br /><b>RSS:</b> Yes, to maps! And yes, I think that the epic in particular lends itself to language and map-making, whether literally or imaginatively. Both frames of reference are found in <i>THOT J BAP</i>.<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">For instance, the idea of Perimeter: it’s both a place and it’s also a state of mind, and how one might qualitatively view Perimeter depends a great deal on “what side of the fence” one finds oneself: e.g., beggar boys (outcasts and orphans) v Consoritum (all powerful).<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">During the process of writing this long poem, I often felt as if I was taking dictation from some other world: voices, story bits, snippets of dialogue would arrive, often when out walking or pre-pandemic, riding public transit, especially when crossing the Fraser River, or taking the east bound SkyTrain downtown into the city. <br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">As I delved deeper into the creation process, the layers of sound, the fragments of images, created a tapestry from which the characters and location emerged.<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">In the revision process, my editor asked if I wanted to sketch out a map. I gave this a lot of thought. For now, I chose to let the map be in the mind of the reader.<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;"><i>Book One, Bramah and The Beggar Boy</i>, contains “map poems” and poems that reference maps, records, archives. The front and end material provided a glossary and summary of characters and locations.<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">I might draw a map of the “universe” of <i>THOT J BAP</i> once the series is ultimately completed. When I think of maps, I often think of texture: the way maps feel to the touch when you are holding a map in your hand. (as opposed to holding a phone in your hand).<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">Texture and gesture; rhymes and prose; light and shadow; good v. evil. These dualities all find themselves played with, in the lexicon of <i>THOT J BAP.</i> All these are explored and yes, embodied, in, for instance, the Parchment Scroll poem sequence in <i>Book One, Bramah and The Beggar Boy</i>.<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">I’m interested in your experience of repetition as a device: that is so much a part of how epics work, right? Harking back to the oldest epic tradition of the bard or seer, reciting the tale before an audience.<br />As I’ve mentioned, I gave myself the gift of time in creating this epic fantasy in verse. And part of that gift inspired me to share something that was finely wrought, meticulously crafted, for the joy and edification of the reader. <i>THOT J BAP </i>is baroque, it’s the opposite of minimalist.<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">I didn’t fully realize this when I started out on this journey: that by working on the epic, which of course, I’m still doing (!)—there would arrive in me the feeling we get when we step into the working studio of a master craftsperson: one of delight, awe, gratitude, excitement. I can only hope to offer such to the reader...I guess we’ll see...<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">With regards to a “mixed language household”: I grew up with English as my first language, my mother tongue, although my South Asian parents also spoke other languages (e.g., English inter-mixed with Gujarati, my mother’s mother tongue; little bits of Marathi, my father’s mother tongue).<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">Part of the impetus for this epic fantasy is to weave into the history of English epics, my own stance, to welcome myself into the space of The Great Man tradition.<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">To see “brown, brave, and beautiful,” a hero who looks at least a little like me.<br /> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;">So, the inclusion rather than the exclusion of other epic languages and traditions just felt natural. Normative in fact!</span></span><span style="font-family: times;"><span style="font-size: small;"> </span></span></div><div style="text-align: left;"><span style="font-family: times;"><span style="font-size: small;"><br /><div class="separator" style="clear: both; text-align: center;"></div></span></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlIM1AGiYc8zIHybjdmcS-b97SN-jr1_-6IvVhBzKrVVbPiFD6s2H8BrL7J-YQ3pPc9FzbnLsgypwCfEkkg45bdOUUXzYd37MWq7KUkHPnt-y2KMTQJrA1JbF8GmuM57E2uS1X/s320/language.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlIM1AGiYc8zIHybjdmcS-b97SN-jr1_-6IvVhBzKrVVbPiFD6s2H8BrL7J-YQ3pPc9FzbnLsgypwCfEkkg45bdOUUXzYd37MWq7KUkHPnt-y2KMTQJrA1JbF8GmuM57E2uS1X/w309-h320/language.JPG" width="309" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;">"Language". Photo credit: ©Renee Saklikar 2021</span></span></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV6y6ZNP6chH2fDRUM5dlc5EHgbC4WuvPUaDAKeo8g27JzHte-kml-rBq_NaCd8Ie7WEy38T5MvlnJmTg3XMGzWjWtMdFRunfAkhhzsjRc6KSuu0DNfANDlMZ1KuBWXEfWJHOj/s320/inside+Perimeter.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV6y6ZNP6chH2fDRUM5dlc5EHgbC4WuvPUaDAKeo8g27JzHte-kml-rBq_NaCd8Ie7WEy38T5MvlnJmTg3XMGzWjWtMdFRunfAkhhzsjRc6KSuu0DNfANDlMZ1KuBWXEfWJHOj/w311-h320/inside+Perimeter.JPG" width="311" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;">"Inside Perimeter". Photo credit: ©Renee Saklikar 2021</span></span></span></td></tr></tbody></table><br /></div><div style="text-align: left;"><span style="font-family: times;"> </span></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3feyKOML3s8OF0eoe97ia0OgS2nNHLciwtcmyETrxnbT1e6uMQtrCMnN5Uax6Qr7bpuBYlEjOnYzRX2cvawNxyDmS0O7UIzvPsi3iu5hjj0RNJAWLibNAZvcfBjb3d_GQ-6Vd/s320/Summer+Portal.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="240" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3feyKOML3s8OF0eoe97ia0OgS2nNHLciwtcmyETrxnbT1e6uMQtrCMnN5Uax6Qr7bpuBYlEjOnYzRX2cvawNxyDmS0O7UIzvPsi3iu5hjj0RNJAWLibNAZvcfBjb3d_GQ-6Vd/w304-h320/Summer+Portal.jpg" width="304" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;">"Summer Portal". Photo credit: ©Renee Saklikar 2021</span></span></span></td></tr></tbody></table><p><span style="font-family: times; font-size: x-small;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTS1f1Hq8quZUgBxauBwOnYcLvJrEt7NW0Z1gcC6vetDSrDhIhWz2II7b-0RqeYbdo7CahWT21OWWaFYFFIQ4R_8Q-okQDFsOml_TtN-WB94nldHLcNc-k_weoSeoKJKRz5tnf/s320/Outside+Perimeter.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="240" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTS1f1Hq8quZUgBxauBwOnYcLvJrEt7NW0Z1gcC6vetDSrDhIhWz2II7b-0RqeYbdo7CahWT21OWWaFYFFIQ4R_8Q-okQDFsOml_TtN-WB94nldHLcNc-k_weoSeoKJKRz5tnf/w323-h320/Outside+Perimeter.jpg" width="323" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;"><span><span style="font-size: x-small;">"Outside Perimeter". Photo credit: ©Renee Saklikar 2021</span></span></span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-small;"><br /></span></div><span style="font-family: times; font-size: x-small;"></span></div><div><p><b><span style="font-family: times;"> **</span></b></p><p><b><span style="font-family: times;">**A note from Renee to Readers of This Interview:</span></b></p><div style="text-align: left;"><span style="font-family: times;"> </span></div><div style="text-align: justify;"><span style="font-size: x-small;"><span style="font-family: verdana;">Over
the years, after spending thought and labour both on my work and on how
I choose to talk about my work, I’ve noticed that other readers and
writers, will sometimes do the following, particularly after asking to
be my “friend” on social media: they’ll take my words, and re-purpose
them for their own needs. Sometimes this is subtle and just part of the
process of creators riffing and building on other creators. Other times,
the taking, increasingly, is more along these lines: “hey, here’s
something I can use so I’ll just clip and grab it, ‘cause it’s on the
internet, so who cares.” Not cool. </span></span></div><span style="font-size: x-small;"><span style="font-family: verdana;"> </span></span><br /><span style="font-size: x-small;"><span style="font-family: verdana;">So,
I’m putting it right out here: Please don’t take our words, either from
our creative works, and/or our words about our work without our
permission. </span></span><br /><span style="font-size: x-small;"><span style="font-family: verdana;"></span></span><br /><span style="font-size: x-small;"><span style="font-family: verdana;">I’m
going to write an essay on this kind of taking, using Ursula K LeGuin’s
essay "The Disappearing Grandmothers", as part of my research. <i>Caveat
Emptor</i>! </span></span></div>Chris Turnbullhttp://www.blogger.com/profile/14878207002827081460noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-22291141429371775442021-07-27T10:00:00.033-04:002021-07-27T10:00:00.233-04:00Talking Poetics #42 : Ken Norris<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">ON
THE ROAD TO THE NEXT POEM</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">For
a long time it’s been first lines. I’m washing dishes and a first line pops
into my head. I’m strolling down the beach and a first line pops into my head. I
try not to keep the first line waiting too long. I try to write it down within
twenty minutes of first hearing it. And it is somewhere between hearing it and
thinking it. And it feels given more than it feels formulated.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">In
Hawaii I started writing down the first line in the Notes app of my phone. And
often the rest of the poem just unfolded. I don’t really “work” poems much
anymore. I don’t really write them anymore. They just come to me. The first
line announces itself, and the rest of the poem soon follows. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Thirty-five
years ago, when I was thirty-five, I did a lot of construction. It was a
different way of writing, more craftsmanly. Now it’s more mystical. I follow
the first line till the poem runs out of gas, or it completes itself. It sounds
kooky, but that’s how it happens now.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">LISTENING</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">The
first line makes me listen to it. Then it’s all about listening. I don’t have
to write the poem, I just have to hear it. The duration of the first line sets
the structure. If it’s a long line I start writing in long lines. If it’s a
short line I start writing in short lines. Lately, a number of poems have
arrived as sonnets. I didn’t count the lines until after the poem was written.
My short poems have always been haunted by the sonnet. Sometimes they are two
lines less. Sometimes they are two lines more. But they tend to operate in
sonnet territory. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">When
I was a young poet I worked with the kernel of an idea a lot. Many of my poems
were idea driven. Now I have no idea what a poem is about until after it’s
written. The poem tells <i style="mso-bidi-font-style: normal;">me </i>what it’s
about. I don’t tell the poem what it’s about.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">OTHER
POETS, OTHER MEDIA</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">As
a younger poet, I was prompted by the work of other poets all the time. That
was probably my primary way of getting poems going. Reading to write. Hunks of
newspaper stories wound up in the first book of <i style="mso-bidi-font-style: normal;">Report On The Second Half Of The Twentieth Century</i>. I’d quote
something from a newspaper story and then offer poetic commentary.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Now?
No. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I
don’t write as much as I used to. It isn’t a daily thing anymore. During the
pandemic, months have gone by between poems. That just didn’t happen when I was
younger. But I’m seventy now. Most of what I’m going to write has already been
written. <span style="mso-spacerun: yes;"> </span>So writing has become more <i style="mso-bidi-font-style: normal;">fanciful</i>. I don’t push at poems trying
to get them to arrive. I don’t try to manufacture the poetic moment anymore. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">REMEMBERING
JOE</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I
remember that Joe Rosenblatt used to write down good lines on index cards. That
made no sense to me <i style="mso-bidi-font-style: normal;">at all</i>. But
different writers write in different ways.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Years
ago, I used to sit down and write maybe sixty or seventy lines.<span style="mso-spacerun: yes;"> </span>Then I would set about trying to find the poem
in the poem. Maybe there was a poem in there somewhere; maybe there wasn’t. The
chances were pretty good that the poem <i style="mso-bidi-font-style: normal;">wasn’t</i>
those seventy lines. But maybe poetry happened in there somewhere along the
line; or maybe it didn’t happen at all.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">These
days the first line announces that a poem is happening. Then I just have to
follow it, I just have to hear it. I have to stay out of the way with any ideas
I might have. It’s more like what Spicer called dictation. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">NOTEBOOKS</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I
have been writing in notebooks since 1980. I find them <i style="mso-bidi-font-style: normal;">extremely</i> useful in sustaining the idea of a book. I’m writing a
book in these notebooks. Most of my books occupy somewhere between four and
seven notebooks.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">For
me, notebooks create an atmosphere. All these poems I’m writing are traveling
together. They all have something to do with one another. They’re in the same
notebook, so they’re in the same book. Notebooks tell me when a book starts and
then tell me when it ends. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">LINE
BREAKS</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Early
on, I was intrigued by Margaret Atwood’s line breaks. They didn’t make any
sense to me. So I kept looking at them, studying them. After a while I started
to understand how they were dramatizing things. Line breaks = world view. Or
certainly they can function that way.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">What
I notice lately are lines running past the line break, with more to be said.
That seems to be how I’m breaking lines lately. As I said, the first line tends
to dictate line length, and often the first line doesn’t stop at the end of the
first line—it continues into the second line. So then the poem becomes a
network of lines that are running past their line lengths. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Bowering
said something about how my lines ‘tilt” now, and I suspect that it is <i style="mso-bidi-font-style: normal;">this</i> that he was talking about. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">OTHER
WRITERS AT THE BACK OF YOUR HEAD</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Maybe
five years ago I started trying to do translations of Frank O’Hara poems. I
would take a poem like “A Step Away From Them” and I would try to translate it
into my own experience. The structure of the poem would come from O’Hara, but
all the specifics of the poem would come from my life, not his. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">So
that’s not back of your head—that’s front of your head. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Everything
I’ve ever read is in my head somewhere. Louis Dudek used to talk about the
“word assembler.” Spicer talks about the Martians. Whatever is putting the poem
together has access to whatever is in my head.<span style="mso-spacerun: yes;">
</span>Are there other writers in my head? Of course there are. Do bits and
pieces of other writings make their way into Ken Norris poems? Yes, they do,
and they always have done so.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">A
GOOD OR A BAD EXAMPLE</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Here
is “Early Morning Waves,” from <i style="mso-bidi-font-style: normal;">Hawaiian </i><i>Sunrise</i>,
written in Hawaii back in December.</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">EARLY MORNING WAVES</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I took the Wallace Stevens franchise to another
shoreline.</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><br />Now I’m staring at the early morning waves.<br />They roll in, blue and unafraid, white-capped and
peaceful.</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><br />This ocean and I go back a long way. <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">You can’t expect everyone to write at the Ontario
cottage</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><br />and come up with something different. I travel—<br />to places where the white birds swoop and soar.</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><br />There’s a tin roof waiting for me, there’s a
tropic heart<br />waiting to be born.</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p><p class="MsoNormal" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>When she
sang beside the genius of the sea</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><br />he was there to hear it, and to take it further.<br />The waves are our brave counsellors,</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><br />breaking here, in the lush greenery, at our feet.</span>
</p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">When
I read it this poem seems so logically put together. It’s almost a little
mini-essay.</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><br />There’s
almost a series of thesis statements. <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">But,
for me, writing it, the poem just unfolded. I had <i style="mso-bidi-font-style: normal;">no idea</i> where it was going. I had no idea what it was going to say.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Depending
upon how you want to count lines, it’s either twelve lines or thirteen lines.
It kind of has the propositional formality of a sonnet, but it isn’t quite a
sonnet. It’s an</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> off-sonnet,
an almost-in-the-ballpark sonnet. It gestures towards the sonnet, but it isn’t a
sonnet, even though I have a rather broad sense of what a sonnet can be. </span>
</p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Line
followed line. I didn’t build this poem at all. Or maybe, the building now
takes place at such a rate of speed that it doesn’t look like building to me..
It looks and feels like improvisation or dictation. The poem was written in one
sitting in ten minutes. How it looks on the page is how it looked on the notebook
page.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Little
things I notice. In the title, are we talking about the waves that are breaking
or the early morning waving? In the last line, there is sort of a gesture to
the surround with “the lush greenery.” That is the one bit in the poem that I later
tried to change, and anything I tried just didn’t work. So I just have to trust
the poem and the reader to get it right. Grammar takes you one way, sense takes
you another..</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">The
poem is haunted by the Wallace Stevens poem “The Idea Of Order At Key West.”
Beside the sea is where the action is. In this case there’s no singer and no
listener, except that the last stanza drags them in. The relationship seems to
be more about the waves and the poet who is watching them and listening to
them.<span style="mso-spacerun: yes;"> </span>Instead of an idea of order, then
what? Perhaps the inhuman counselling the human?</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">THE
NEXT POEM</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I
haven’t written any poems in about three months. That is an unusual state of
affairs. In my youth I used to write six poems a day.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">The
last poem I wrote is called “On Spadina Road.” Maybe it will see the light of
day. Maybe it won’t. I still throw out 80% of what I write. I wrote it in late
March or early April. It is now late June.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Maybe
poetry is in the process of abandoning me. It’s been known to happen. </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">It
happens. I’ll sigh a huge sigh of relief when the next poem happens.</span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">June
24, 2021</span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><br />Toronto</span>
</p><p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcRkkmIEYWdYsrzimBTk5IgyJEDzrSMtq-2Jiv_m0LsLzlKSEp505ZHKlBiykVLKH4Y-jvpd_r3ScrUis5J9ht_nNLoBsGp66Ou7CHE14p4zEvDLmDw_kUSNs3MH8FuMlqBs3S/s3088/851306E0-C26E-4995-971F-D3E7D9446631.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3088" data-original-width="2316" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcRkkmIEYWdYsrzimBTk5IgyJEDzrSMtq-2Jiv_m0LsLzlKSEp505ZHKlBiykVLKH4Y-jvpd_r3ScrUis5J9ht_nNLoBsGp66Ou7CHE14p4zEvDLmDw_kUSNs3MH8FuMlqBs3S/w300-h400/851306E0-C26E-4995-971F-D3E7D9446631.jpeg" width="300" /></a></b></div><span style="font-size: large;"><b><a href="https://www.vehiculepoets.com/ken-norris" target="_blank">Ken
Norris</a></b></span><span style="font-family: "Garamond",serif; font-size: 14.0pt;">
was born in New York City in 1951. He came to Canada in the early 1970s, to
escape Nixon-era America and to pursue his graduate education. He completed an
M.A. at Concordia University and a Ph.D. in Canadian Literature at McGill
University. He became a Canadian citizen in 1985. For thirty-three years he
taught Canadian Literature and Creative Writing at the University of Maine. In 2021,
Guernica Editions published <a href="https://www.guernicaeditions.com/title/9781771835732" target="_blank"><i>South China Sea</i></a>, and above/ground press
published <a href="http://abovegroundpress.blogspot.com/2021/07/new-from-aboveground-press-hawaiian.html" target="_blank"><i>HAWAIIAN SUNRISE</i></a>. He currently resides in Toronto.</span><p></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-69261397284442834672021-03-18T10:00:00.021-04:002021-03-18T10:00:00.547-04:00Talking Poetics #41 : Nicole Raziya Fong<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-size: x-large;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">“WELLSPRING,” </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="text-indent: 36pt;"><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">or, where a poem begins</span></span></p>
<p class="MsoNormal"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 36pt; text-indent: 36pt;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">A poem
is always a phenomenological event preceded by a period of relative inaction.
In the past, I would attempt to induce poetry through methodological means—reading
a book by a writer I admired before attempting a mimicry of my own poetry or imbibing
altering substances so as to “trick” myself into the process; such methods
always produced lacklustre results. I’ve come to accept that poetry follows behind
states of patience: patience with myself and with language, through periods of silence
and profusion alike. The time spent in lieu of writing is necessary to any poetry
that is to come and cannot be avoided or otherwise deceived.</span></span><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span><span style="font-size: medium;"></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 36pt; text-indent: 36pt;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">When
I truly begin a poem, authentically begin a poem, another poem follows soon
after. Poetry “appears.” Poetry appears, as though from a wellspring, through engagement
with whatever psychic continuities were previously backgrounding this time of
relative stasis, finally providing a release or means through which my internal
experience can again become an “outside.” That this process often takes the
form of poetry is, I suspect, an arbitrary distinction. These days, it just as
easily takes the form of a painting, theatrical or dramatic writing, or hybrid
prose. Form arises organically, without much premeditation.</span></span><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span><span style="font-size: medium;"></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 36pt; text-indent: 36pt;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">While
poetry initially arises in such an inexplicable way, I am, these days, moving
towards a vastly different approach to composition. Over the course of the
Covid-19 pandemic, all process has been altered. Between artistic practice and
the structures of my daily life, everything has become subject to difficult
interrogation and sometimes breakage. Poetry has likewise been subjected to
this ungrounding. The pandemic has completely changed the ways in which I
relate to composition, poetry— art practice and to perception in general. The
work of other writers has, during this time, become a lifeline, a way of
thinking through my inner experience while maintaining a connection to that
outside we’ve all been distanced from. This past year, I’ve occupying myself
with comprehensive readings of the work of Friedrich Nietzsche and Édouard
Glissant alongside Josef Albers, Arthur Schopenhauer and Johann Wolfgang Goethe’s
writings on colour. I’ve been reading artist biographies and closely looking at
visual reproductions of their work (Etel Adnan, Leonora Carrington, Dorothea Tanning,
Ernst Kirchner, amongst others). I’ve been watching films featuring tragic
heroines, films where form disassembles appearance, films which are paintings and
poems (I repeatedly think to Pier Paolo Pasolini as filmmaker, poet and painter
of light). So yes, I am often prompted by other writers, artists. In engaging
with other’s thought I am able to apply some comprehensible system to my own
process, or at the very least access some means of thinking through this extended
period of difficulty.</span></span><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span><span style="font-size: medium;"></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 36pt; text-indent: 36pt;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">My
compositional process begins as a haphazard overflow, a somatic process of
excision. My poems are never singular, standalone pieces but interconnected in
a vast network of narratives and formal systems. This initial point of
composition once began in physical notebooks— these days I turn directly to the
keyboard. Notebooks are still important starting points to my thought—I have
several in active use. A notebook for my notes on readings or films, a
sketchbook, a bullet journal, one for painting techniques (I am currently
engaging in a material art practice; one whose techniques have been melding
into my writing in unanticipated ways) and another notebook for lineated poetry
(at the moment, disused).</span></span><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span><span style="font-size: medium;"></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 36pt; text-indent: 36pt;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The
second step to this process is, and I use this word conscious of its
implications, a self-cannibalization of all that has been written prior to this
point. While the writing which preceded this state was relatively free,
unbound, this second state is a pained taking apart of all that had been
written to this point, a reformulating and restructuring which is always experienced
as incisive forfeiture. I was recently talking with Cynthia Mitchell, an
incredible visual artist, filmmaker and dear friend, about the process of
painting being a continual loss of a painting’s former image. Such composition is
always an irretrievable replacement with another image, this image then being
replaced in order to progress the work to its final point. This final point is
itself only a sensed decision to cease engagement with what is essentially a practice
of continual loss. I see an affinity here with the practice of writing—though
each loss is not so permanent as it is in a painting (inasmuch one is usually
able to revert to a previous point in the writing if so desired), bringing a
written work to a point where it will be comprehensible to others is always a
kind of loss of that initial mystery, even if it finally results in something
more beautiful and complete to behold.</span></span><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span><span style="font-size: medium;"></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 36pt; text-indent: 36pt;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The
idea of this process of continual loss now informs my process, one which ebbs
and renews as paintings do, in self-erasure and revision before beginning again
with another image, another poem, another book, another—</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 1cm;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 1cm;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 1cm;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 1cm;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 14.4pt; margin-top: 0cm; margin: 0cm 14.4pt 0cm 1cm;"><span style="font-size: medium;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-right: 14.4pt;"><span style="font-size: medium;"><b><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"></span></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg18FN0pCbn__NRRCFtvFQhO29OQU1ozZLTR4anP_0k538vQfsCe5-vBuEASqc6VbW0Q6p2buwKYNXbZuMWqx7ejH1fGuIDLIOhUzjOutb7Y2QdWpMNTv2lz7Qp1heqX4O8RQhj/s1008/Nicole+Raziya+Fong+-+Author+Photo%25281%2529.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="756" data-original-width="1008" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg18FN0pCbn__NRRCFtvFQhO29OQU1ozZLTR4anP_0k538vQfsCe5-vBuEASqc6VbW0Q6p2buwKYNXbZuMWqx7ejH1fGuIDLIOhUzjOutb7Y2QdWpMNTv2lz7Qp1heqX4O8RQhj/w386-h290/Nicole+Raziya+Fong+-+Author+Photo%25281%2529.JPG" width="386" /></a></b></span></div><span style="font-size: medium;"><b><a href="https://www.nicoleraziyafong.com/" target="_blank">Nicole Raziya Fong</a></b><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> is
a writer living in Montréal, Canada. She is the author of <i>PEЯFACT</i>
(Talonbooks, 2019) and <i>OЯACULE </i>(forthcoming with Talonbooks, 2021). Past
work has appeared in publications including <i>Social Text</i>, <i>The Capilano
Review</i>, <i>carte blanche</i>, <i>Cordite</i>, <i>filling Station </i>and <i>The
Volta</i> as well as in translation in <i>Exit</i>, <i>OEI</i> & <i>Revue
Watts</i>.</span></span><p></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-3615403621606223002021-03-11T10:00:00.009-05:002021-03-11T10:00:04.154-05:00Talking Poetics #40 : Jack Jung<p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
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<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
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<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
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Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
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<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hashtag"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Unresolved Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Link"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0cm;
text-align:justify;
text-justify:inter-ideograph;
line-height:107%;
mso-pagination:none;
text-autospace:none;
word-break:break-all;
font-size:10.0pt;
mso-bidi-font-size:11.0pt;
font-family:"Malgun Gothic",sans-serif;
mso-ascii-font-family:"Malgun Gothic";
mso-ascii-theme-font:minor-fareast;
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</span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">How does a poem get started for you, and is that
something that has changed over time? </span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">When I first started writing poetry, I wrote
lines to capture images in my mind. I cannot say for certain, but I think those
images have always been there, and I do not know why they are haunting me.
After a while, I wrote lines that were pleasing to my ears to draw out those
images. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">And then, I started to translate Korean poetry
into English. I came to America when I was twelve years old. I spoke Korean at
home and learned English in school. However, I still do not know what language
I dream in, and when I wake up from my dreams, I am left with afterglow of visions
that transpired in my sleep. Translating poetry taught me how to translate
those images into my languages. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">I do not think my two languages take turns inside
my head. They are always at play or at odds with each other. I also find it
difficult to tell the difference between when I am translating and when I am
writing my own poetry. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">Do you begin with a loose structure, a phrase or
a word, or the kernel of an idea? </span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">I have learned that when I am translating those
images from my head into my languages, the best way is to start with an
assortment of sounds that are unlikely to happen naturally in everyday speech.
For me, this usually means snatching an aggressive rhythmic effect whenever I
hear it. This might turn into some random hums, or I might try to fit it into some
well-known syllabic meter in Korean or accentual-syllabic meter in English. I
keep at it until something get caught in the net of those sounds, and what I
catch is one of those images that have been floating inside of me. I believe it
is a fragment of the whole thing itself that is still buried deep somewhere in
the soul. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">Are you prompted by the work of other poets, or,
say, something you read in a newspaper? </span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">I am not sure, and I do not mean that I somehow
standalone. I only mean that at least when I am in the moment of writing these
days, I start with humming. Some internal music is the prompt, and the words or
phrases that give shape of language, or the form of sense, to this music have
roots in things that I have read or heard or seen. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">Do you start at the beginning, somewhere in the
middle, or work from a scattering of notebook entries? </span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">I start working on what I think will be my first
line, and then I write until I forget what I thought was my first line. I am
terrible at making titles for my poems, even though that is often the true
first line of the poem. </span></span></p><span style="font-size: medium;">
<b><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">
</span></b>
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">Do you utilize notebooks, and how does that help?
</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">I keep a small notebook around to write down anything
that pops in my head. But, for some reason, I never go back and use what I
wrote down and start working from there. When I start a new poem, I always
start with blank page. I think the act of writing something down may be more
important than what I wrote down when it comes to keeping a notebook. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">How are line-breaks (or the choice to ignore
them) chosen? Etcetera. </span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">I tell myself there needs to be a good reason for
a sentence to not end when the line ends on a page. Having said that, I have
translated many prose poems, such as the poems of Yi Sang (1910-1937), I have
always felt that each of his prose poems are in fact an exceptionally long
single line. When I read them, I can see he had no reason to end them with any
breaks. He also does not use the breaks between words that is one of the rules
in Korean grammar. He hardly uses any punctuations. There is an unrelenting
force pouring out from his sequence of syllables. That force gives shape to his
images. His images are dark as shards of obsidian cooled in the aftermath
volcanic eruption. And the shards are sharp enough to pierce through the false
reality that was imposed on him and his people in the wake of colonialism and
fascism. <span></span></span><b><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;"><br /><br />Maybe even focusing on recent threads in your
work, or even a recent (and/or recently published) poem? </span></b></span>
</p><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;">My poem <i>Code</i>, which was published by <i>Afternoon
Visitor </i>on their first issue, is one of the first poems I was ever proud
of. I no longer write poems like it, but I learned a lot about caesura, which
is a type of line break, when I was working on that poem’s last stanza. I
learned that repeating a word after many pauses could create a whole new
sensation for the repeated word: </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><b><span lang="EN-US" style="font-family: "Garamond", serif;">Code</span></b></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">Inside the teacher’s office</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">is a slab of stone, roughly
chiseled</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">with shapes we have no key
for.</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">It is wide enough for me to
lie down</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">and stretch until my
extremities</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">touch the jagged edge.</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">He demands I see a dolphin</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">where he sees one. As his
favorite, I must</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">find the white that swims in
black.</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">The teacher asks I think on
the dolphin,</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">how it floats in the ocean</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">filled with other life.</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">I fail. I tell him I have
found it.</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">He believes me. I fail again.</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 40.0pt; margin-right: 0cm; margin-top: 0cm; mso-pagination: widow-orphan; mso-para-margin-bottom: 0cm; mso-para-margin-left: 4.0gd; mso-para-margin-right: 0cm; mso-para-margin-top: 0cm; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">I lie on the stone and swim.</span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-pagination: widow-orphan; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-pagination: widow-orphan; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-pagination: widow-orphan; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><b><span lang="EN-US" style="font-family: "Garamond", serif;"></span></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2TjRaszcGIKBtaiAxIi4t1a5Y84Ml2JBbeueoxFrGICnnUX-6Sco5EwFQOROYlUepJYIRdNhIHckjYkwdXBrqF3gxv3mof9ZLpRrJl3qAbSV1CWPmgpy7AoIh5sCJgyVf6JU9/s2048/IMG-0381.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2TjRaszcGIKBtaiAxIi4t1a5Y84Ml2JBbeueoxFrGICnnUX-6Sco5EwFQOROYlUepJYIRdNhIHckjYkwdXBrqF3gxv3mof9ZLpRrJl3qAbSV1CWPmgpy7AoIh5sCJgyVf6JU9/w306-h408/IMG-0381.JPG" width="306" /></a></b></span></div><span style="font-size: medium;"><b><a href="https://twitter.com/daybreakjung?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor" target="_blank">Jack Jung</a> </b><span lang="EN-US" style="font-family: "Garamond", serif;">is a graduate
of the Iowa Writers’ Workshop, where he was a Truman Capote Fellow. He was born
in Seoul, South Korea, and immigrated to the United States. He received his BA
in English from Harvard, and an MA in Korean Language and Literature from Seoul
National University. His translations of Korean poet Yi Sang’s poetry and prose
are published in <i>Yi Sang: Selected Works</i> by Wave Books. He is
the American Literary Translation Association’s 2021 Emerging Translator
Mentorship Program Mentor for Korean poetry. He currently teaches Korean poetry
translation at Literature Translation Institute of Korea.</span></span><p></p><span style="font-size: medium;">
</span><p align="left" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-pagination: widow-orphan; text-align: left; text-autospace: ideograph-numeric ideograph-other; word-break: normal;"><span style="font-size: medium;"><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: black; font-family: "Garamond", serif;"> </span></span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-39906826670304363612021-03-02T10:00:00.031-05:002021-03-02T10:00:03.368-05:00On Writing #178 : David Hayward<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQQJ13jxsRztjnG9GUagSZKGc8fRBVa9niut_VVU3EG96qt34CqKaA_qiTZfam_1EY6pDGqpB7vUdrOoiXAv0JBYMvOS9tAOqGzdYvdoAYf_HndLyyZhVTvSpO8oaseksS_KW/s2048/InspirationPeriodicityFinal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1448" height="848" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQQJ13jxsRztjnG9GUagSZKGc8fRBVa9niut_VVU3EG96qt34CqKaA_qiTZfam_1EY6pDGqpB7vUdrOoiXAv0JBYMvOS9tAOqGzdYvdoAYf_HndLyyZhVTvSpO8oaseksS_KW/w599-h848/InspirationPeriodicityFinal.jpg" width="599" /></a></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdE0mittwpo5k0IAfKRtpNBFS9avcFpBBrEetY9X9-_BV1iiRIQVM3Qa8KwNpy2M4UoGqFjO8cZyyN9K3l1_nlDY8JDsLifuJr75zbXbTdHxPP5kc2vCr9kqucm0dfbQG6j-iZ/s1280/thumbnail_WritingWriting_FinalPage1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="905" height="1191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdE0mittwpo5k0IAfKRtpNBFS9avcFpBBrEetY9X9-_BV1iiRIQVM3Qa8KwNpy2M4UoGqFjO8cZyyN9K3l1_nlDY8JDsLifuJr75zbXbTdHxPP5kc2vCr9kqucm0dfbQG6j-iZ/w841-h1191/thumbnail_WritingWriting_FinalPage1.jpg" width="841" /></a></div><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifFPhNbhTNtF_scDkAL5g8L59W2g3s5FLWhLoizCTUFBlYdzJwwED-Z1f64I0jvvyOzBGdOx19_FKBKd8zcR8LVjvnYF0YjrePVJ3enaRZ_IPTVRuqZvrjHLUQdwhtfMeaTK5D/s1280/thumbnail_WritingWriting_FinalPage2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="905" height="1160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifFPhNbhTNtF_scDkAL5g8L59W2g3s5FLWhLoizCTUFBlYdzJwwED-Z1f64I0jvvyOzBGdOx19_FKBKd8zcR8LVjvnYF0YjrePVJ3enaRZ_IPTVRuqZvrjHLUQdwhtfMeaTK5D/w820-h1160/thumbnail_WritingWriting_FinalPage2.jpg" width="820" /></a></div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibvUwXal8SQnby5iqiCgnyb2VrlNfet3tbNWclCt_RHGnGZzKUjZ0KcONxCFzjyET6QMwYF63FHnBkF1xruLkj7FfmhyphenhyphenjaIth4W66k3lpZ33DG_dLcCcn2tTeA_DXcnSV8jB0B/s1280/thumbnail_WritingWriting_FinalPage3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="905" height="1152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibvUwXal8SQnby5iqiCgnyb2VrlNfet3tbNWclCt_RHGnGZzKUjZ0KcONxCFzjyET6QMwYF63FHnBkF1xruLkj7FfmhyphenhyphenjaIth4W66k3lpZ33DG_dLcCcn2tTeA_DXcnSV8jB0B/w813-h1152/thumbnail_WritingWriting_FinalPage3.jpg" width="813" /></a></div><!--[if gte mso 9]><xml>
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<![endif]--><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 16.0pt; mso-ansi-language: EN-US;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWWHcNbWw3OeiSWYbgSb5MoQ_5mHJwePNHKfVIyxk0iFlN7uuUHPIJO_69MUQ16QxwW2QSgTj6i97CvUees6C7gbRZya4uXqpwIcxz1SjZpMUvwio7bMCdlPZy4LK80gwZazV/s1280/thumbnail_Photo_SeenAsRead.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWWHcNbWw3OeiSWYbgSb5MoQ_5mHJwePNHKfVIyxk0iFlN7uuUHPIJO_69MUQ16QxwW2QSgTj6i97CvUees6C7gbRZya4uXqpwIcxz1SjZpMUvwio7bMCdlPZy4LK80gwZazV/s320/thumbnail_Photo_SeenAsRead.jpg" /></a></div>David Hayward </span></b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 16.0pt; mso-ansi-language: EN-US;">is an writer living in Paris. He can be found on Twitter as
<a href="https://twitter.com/Sime0nStylites?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor" target="_blank">@Sime0nStylites</a> and Instagram as <a href="https://www.instagram.com/davidhaywardwriter/?hl=en" target="_blank">@davidhaywardwriter</a></span><span style="font-size: 16.0pt;"></span><p></p>
<p> </p><br />rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-59727493381831347702021-02-23T10:00:00.024-05:002021-02-26T10:42:22.643-05:00Talking Poetics #39 : Michael Lithgow<p><span style="font-size: large;"></span><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
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</p><p class="MsoNormal"><span style="font-size: large;"><b><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US;">Michael Lithgow</span></b><b><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US;"><br />On poetry</span></b></span>
</p><p class="MsoNormal"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US;">One of my limitations as a poet is that I have to write
to the end of a poem in one sitting or it will probably never been be finished.
I might work on the poem for years afterwards, but the beginning and end need
to emerge in the same sitting. I didn’t understand this - altho’ I respected it
- until a short while ago when I realized that almost all of my poems come from
a place, a moment & structure of feeling. The poem for me is a methodology
of sorts for making sense of this junction of sensibilities: place, moment,
feeling, and a chance to revel in it with language, or perhaps <i>through</i> language, or perhaps a chance to
use language to invent something with these three ingredients. A chance to
invent myself through language grounded in affect of a time and place. I’m
drawn to a tension in language between the logics of explanation and the
aesthetics of sensation. Not that they’re necessarily exclusive categories. One
helps give shape to the other (for example, my sense is that “truth” describes
a condition of discursive legitimacy, one determined as much by aesthetic
conditions - senses of belonging, anticipations and rhetorical cøntexts - as by
rules of deductive reasoning), and it is in these liminal spaces between
sensation and logic that I often find what I am looking for, the
in/articulation of mystery, or what I called ‘magic’ as a six year-old and now,
as often as not, call beauty, uncertainty, hesitation, awe. The dragons my six year-old
self once chased, these days, hide among more mundane things. Dusk. Tree limbs.
A small cross by the side of the highway. Jackrabbits in the alley. A crowded
beach. There’s dragons everywhere, but I don’t always see them - rarely, in fact.
Who’s got the time? Let’s face it, poetry <i>takes</i> time as much time as it
records. Takes time away from family. Away from paid work. Time away from
leisure. Among such titans of attention, where does poetry fit in? And for who?
I am white, cis, male, hetero, middle class. A place of blindness. A place
where many crimes have been committed. Reconciling brutality, blindness and
beauty stops me in my tracks. Poetry after Auschwitz? Theodor Adorno asked.
After slavery? After residential schools? After heternormativity? After Head
Tax? After the Katagatamaru incident? After internment camps? After starlight
tours? After missing and murdered indigenous women? Actually, Adorno didn’t
ask: he declared that it was barbaric to write poetry after Auschwitz. Of course,
he’s right. My daughter’s extended family died in the camps, and I saw their
family name written on a suitcase in the pile on display at Birkenau. What
poetry after unfathomable inhumanity? </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US;">The poetry of defiance, perhaps. The poetry of love.
The poetry of truths that upset power. The poetry of grief. The poetry of
trying, even after the swim coach calls you a bum. The poetry of naming the
voices that said you were stupid. The poetry of catching your daughter’s shadow
under the monkey bars. The poetry of chanting on a picket line. The poetry of
holding your father’s hand in the hospital as he dies of lung cancer. It may be
barbaric, but some of us still need the way language can be used to re/create
meaning from the largely inexplicable explosion of stimuli we call being human.
And so I come here, too, looking for a world that feels and thinks closer what
happens inside the sac of my skin.<span> </span></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US;">One of the great irritations and genius of
poststructuralist philosophy is the idea that we make it up. That language is
reality, that discourse creates society, that truth is a condition of
discursive legitimacy rather than an eternal or universal say-so. It helps
explain (to me) why I take the time to write a poem. ‘Making sense’ is
something we start doing very young. First our parents tell us how it is. Then
our friends. And at some point, hopefully, we start trying to figure it out for
ourselves. Then we encounter the Big Other, the matrix of cultural information
that in all its myriad of assemblages is telling us how it is – high school
curricula, Facebook, court decisions, Encyclopedia Britannica, The Wall Street
Journal, NASA, university syllabi, Disney, Democracy Now, #MeToo, Fox News, Apple,
The Bible / Koran / Torah, Treaty No. 6, #Black Lives Matter, Act Up, Financial
Times, World Health Organization, Idle No More, and so on and on. There’s a lot
of ideas to choose from -- some of which of course I respect and admire more
than the others -- and poetry it seems to me is a place I can try to bridge these
inexplicably entangled realities: the Big Other and my own sensations. For
example, I have anxiety about the material conditions of my home – of my life,
in fact: unmade beds, dirty laundry in the hamper, and crayons under every
single piece of furniture; so much dust it’s like a sea; groceries to put away,
industrial food in the cupboard, dying plants; flooding in the basement, gas
furnaces and climate change; mortgage payments and colonial legacies; recycling;
books, piles of paper and files everywhere & ruined forests; electronics
and their toxic remainders; old shingles; grass to mow; bills to pay <span> </span>– and how I can place it somewhere that
resonates with the Wider World Out There and how I feel at the center of my own
little storm. A privileged storm. That’s the sense I’m striving for in A
Falling of Things, a poem in my new collection, one my editor wasn’t sure about
and one I’m not sure anyone will like. It’s certainly one of the least tethered
poems in the collection. But why poetry is my methodology for the feeling I get
sometimes -- of being afloat in a chaotic meaningful dangerous necessary
nurturing arbitrary unavoidable sea of stuff, trying to reconcile the profound
privilege of being here with the profound sense of uncertainty it breeds – is
because with it I can sense my way into meaning, find a bridge or paths between
this tsunami of private sensations and banal tasks and necessities of a life,
and something more significant, or at the very least, more interesting. Poetry
is like a path we can make for ourselves and with the people we love and care
about, through a sometimes terrible imaginative wasteland. Terrible and
unimaginative because the people and organizations largely responsible for what
we experience as culture often want our futures. They want them for political
purposes. For economic purposes. For military purposes. For sexual purposes.
It’s hard to rail against this arrangement -- after all, this is how societies
work, right? Big economies. Big politics. Big celebrities. Big geopolitical
events. Big desires. But it’s not a rail I’m building, but a path I’m looking
for – a path I’d like to forge out of a crippling sense of futility into
meaningfulness. Meaningfulness places me and my allies into positions of
agency, at least I think it does. I hope it does. The more meaningful I
understand the events of my life, and by this I mean the more bridges and paths
I can sense between the events of my life and the Wider World Out There, the
less crazy I feel, the less alone I feel, the less hopeless I feel, the less out
of control I feel. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US;">So in defence of poetry, and in explanation of how I
think about my own poetry, it’s a little like a Maker Space for me, a place
where I can tinker to solve problems with bits and bobs of gear and a little
bit of knowledge, where I can seek out mentors and leaders to teach me what I’m
having trouble learning on my own, where I can experiment with ‘being’ and
subjectivity, imagine myself not at all like Twitter, The New York Times & Readers
Digest say I am, not at all like my boss or those shitty neighbours down the
street say I should be. And I can bring as much of anything I want to the table
to tinker with – a sense of the sacred, a rigorous philosophy and academic
parade of desire, a roar of feeling that has no other safe place, a depth of
solitude that hardly exists outside of it, the photo album of memorable moments
in my life, my outrage my grief my whimsy etc. Where else can all of these
things amount to something together in any order? And if I do it well, I can
share that feeling in all its complexity with someone else. It can be where I
feel the very least lonely. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US;">That’s what goes into a poem, for me; at least, that’s
what comes to mind this morning when I ask myself how I approach a poem. Like a
compass. A poem for me is always like holding a compass shuffling towards home.
</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Garamond",serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Garamond",serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span style="font-family: "Garamond",serif;"></span></b></span></p><span style="font-size: large;"><b><a href="http://cmns.athabascau.ca/faculty/mlithgow.php" target="_blank"></a><div class="separator" style="clear: both; text-align: center;"><a href="http://cmns.athabascau.ca/faculty/mlithgow.php" target="_blank"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqbvvsK2e34VC3IH2FplIAh1kZv-9d8J4fZGVvqNIcjxl9lIbQkKx6AsMZo-z8fa0munl6s0ta-yY-ruNS1ZNNI69idQHkyw1N9Ere_HfMvwll8trZwk5RYrT_kYCBoZ2Q8DSo/s2048/BioPicJune2018.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="487" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqbvvsK2e34VC3IH2FplIAh1kZv-9d8J4fZGVvqNIcjxl9lIbQkKx6AsMZo-z8fa0munl6s0ta-yY-ruNS1ZNNI69idQHkyw1N9Ere_HfMvwll8trZwk5RYrT_kYCBoZ2Q8DSo/w365-h487/BioPicJune2018.jpg" width="365" /></a></div>Michael Lithgow’s</b><span style="font-family: "Garamond",serif;"> poetry and
essays have appeared in various journals including the <i>Literary Review of
Canada</i> (LRC), <i>The t/E/m/z Review</i>, <i>Cultural Trends</i>, <i>Canadian
Literature</i>, <i>Existere</i>, <i>Topia</i>, <i>Event</i>, <i>The Antigonish
Review</i>, <i>Poemeloeon</i>, <i>The High Window</i>, <i>ARC</i>, <i>Contemporary
Verse 2</i>, TNQ and Fiddlehead. His first collection of poetry, <a href="https://www.cormorantbooks.com/waking-in-the-tree-hous" target="_blank"><i>Waking in the Tree House</i></a> (Cormorant Books, 2012), was shortlisted for the A.M. Klein
Quebec Writers Federation First Book Award. Work from this collection was
included in the <i>2012 Best of Canadian Poetry</i> (Tightrope Books).
Michael’s second collection, <a href="https://www.cormorantbooks.com/who-we-thought-we-were-as-we-fell" target="_blank"><i>Who We Thought We Were As We Fell</i></a>
(Cormorant Books, 2021), will be published in the spring. He currently lives in
Edmonton, AB and teaches at Athabasca University.</span></span><p></p>
<br />rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-83434842162723016372021-02-08T10:00:00.018-05:002021-02-08T10:00:03.102-05:00Talking Poetics #38 : Claudia Coutu Radmore<p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
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</p><p class="MsoNormal" style="line-height: normal;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">How do poems start for me?</span></b></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">Many moons ago I began writing poems about the joys and difficulties
growing up in an area of Montreal called Park Extension. My father was French
Canadian and Catholic while my mother was English Canadian and Protestant. Such
a marriage was distinctly frowned upon. </span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">My early years were filled with hospitals for I was not expected to live
long. Children with asthma and weakened lungs had no medication to help them
breathe. The years brought new siblings, new adventures like school, with an
interesting God hovering over our young lives.</span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">They were halcyon years for me, but not so for my parents so different
who struggled with each other as they brought up a family with little money through
the religious, political, educational and sexual revolutions in Quebec.</span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">Enough lead up…In the1990s I wrote poems about my life in those times. I
sent out a manuscript that got rejected several times, and in frustration
decided to rewrite it, centering not on me but on the neighbourhood of Park
Extension, and the gasometer that was integral to its growth.</span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">That probably sounds like a ridiculous thing to do, but as I researched
using Lovell’s Montreal Street directory that gave names, addresses and
occupations for every year from 1842 to 1992 and found that both my mother and
father were born there too, and had known Park Ex for a long time before I was born
there too. I wish I’d started this last collection when they were still around
to answer questions.</span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">But I had lots of material for poems. I began to research gasometers, for
<i>my</i> gasometer was monumental in my small life. It was planted across the
street from the three storey brick building in which my family lived on the top
floor. It reigned like a palace, seventeen stories tall and as wide, shining with
paint that looked like gold, reapplied each year by what we called Indians,
indigenous workers from Kahnawake, then known as Caugnawauga, and I worried
that they could see through my bedroom window and shoot arrows at me. I and my
sisters were the only children living that close to it, and so high up.</span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">I’d never thought about what the ‘gas tank’ contained, or where that gas
came from, but found that gas had been made from coal on the other side of the
mountain and piped underground to our gasometer. Dr. Russell Thomas of
Strathclyde University, Scotland, the world expert on gasometers, was critical
to my understanding of the process, as was a publication, <i>Park Extension
Through The Decades</i>, by the Park Ex Historical Society, and other contacts who
knew about gasometers. </span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">I had tonnes of material to work into poems. Of course, that can be as
much of a block of having nothing to start from. </span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">But I did have experience by then, of having had two collections
published, and I’d done my homework reading other poets. I learned a lot from
Japanese poetry forms. </span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">Finally a collection emerged from what I had. Lovell’s street
directories gave me occupations of early Park Ex inhabitants, when and where
they lived, patterns of movement that still happen today:</span></p>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-bidi-theme-font: minor-bidi;">…the year-long discussions of landlords which
flat has three bedrooms and which a full kitchen which comes with an icebox
and who owns that new brick with the slick green doors and is there room out
back for a garden is the widow Brown still happy at number 3013a can she
handle the outside stairs in the snow and does anyone know if Mr. Grace will
stay where he is since he’s been there for thirty years; there’s a shipper
and a new machinist from Atlantic Steel needing rooms let George Harris know
he has two upstairs flats free and keeps them in good shape for that’s what
carpenters do …</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"></span></p>
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</tbody></table><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">gasometer information led to poems on the importance
of steam to so many early 20<sup>th</sup></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"><br />century advances:</span>
</p><p class="MsoNormal" style="background: white none repeat scroll 0% 0%; line-height: normal; margin-bottom: 0cm;"><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">…</span></p>
<p class="MsoNormal" style="background: white none repeat scroll 0% 0%; line-height: normal; margin-bottom: 0cm;"><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">steam for the
operation of fire pumps</span></p><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">steam for the
operation of water pumps</span><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"><br />steam for the
operation of liquid pumps</span><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"><br />steam for the
operation of tar pumps</span><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"><br />steam for the
operation of ammonia liquor pumps</span><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"><br />steam driving
engines of coal conveyor belts</span>
<p class="MsoNormal" style="background: white none repeat scroll 0% 0%; line-height: normal; margin-bottom: 0cm;"><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">…</span></p><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"> </span>
<p class="MsoNormal" style="background: white none repeat scroll 0% 0%; line-height: normal; margin-bottom: 0cm;"><span style="color: #222222; font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Nostalgia for farmland
becoming housing developments, dirt roads paved, the iceman, and horse and cart
milk and bread deliveries.</span></p>
<p class="MsoNormal" style="background: white none repeat scroll 0% 0%; line-height: normal; margin-bottom: 0cm;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">…</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span></p>
<p class="MsoNormal" style="background: white none repeat scroll 0% 0%; line-height: normal; margin-bottom: 0cm;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">at the sound of the road-making truck</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span><span style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"><br />children of all sizes run to catch up</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span><span style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"><br />hoping for pieces of tar</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span></p>
<p class="MsoNormal" style="background: white none repeat scroll 0% 0%; line-height: normal; margin-bottom: 0cm;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">…</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">And so on, with another central core of becoming a teen,
then young woman struggling with a mother’s depression, finding her place in a
confusing world.</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"></span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">How do the poems start? With an idea, with a rhythm,
with wonder, with passion.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">It is the story of a Park Ex Girl, but the content
applies to the growth of suburbs anywhere in North America, to a girl growing
into a woman, and how her physical surroundings, and more amorphous things like
religion and politics are building blocks in who she turns out to be. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">It was a shock to me how deeply attached I was to
those roots, to the gas tank. I wanted to know all I could about a place, my
place, that is lost, a neighbourhood I barely recognize when I return. How much
it hurts, especially that the gasometer and my family home have been torn down
and built over. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">The collection was published by Shoreline Press in
Montreal a few months ago, the perfect place for <i>Park Ex Girl: Life with
Gasometer</i>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">An aside: Dr. Thomas asked if I’d mind if he did a
review for</span><span face=""Arial",sans-serif" lang="EN-US" style="background: white none repeat scroll 0% 0%; color: #222222;"> </span><u><span style="background: white none repeat scroll 0% 0%; color: #222222; font-family: "Times New Roman",serif; font-size: 12pt;">Historic Gas
Times</span></u><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">. Now it isn’t everyone who should have a review in <u>Historic
Gas Times</u>, and I am honoured. But he also told me that the only other
person he’d ever heard of to publish a poem about gas is Carol Ann Duffy, Poet
Laureate of Britain for ten years, who wrote a poem called ‘Meters’, which he
sent to me.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">I now consider myself to be part of a unique bubble,
just Carol Ann Duffy and me. I hope she finds out one day. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> </span></p>
<p class="MsoNormal" style="line-height: normal;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0BK_-L_3CedkGsipzmuZXmRjINPE8OspvFgSCNfW2CvG2Uu4EgaY9tgdO2JC3FvEuZmQRyhWuVCIzNICJC00Lugf2MWXkPUjRh8ilH1pxw4VSYNVw-veutpPn6JWXAlJTI2F/s855/photo+for+rob.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="855" data-original-width="768" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0BK_-L_3CedkGsipzmuZXmRjINPE8OspvFgSCNfW2CvG2Uu4EgaY9tgdO2JC3FvEuZmQRyhWuVCIzNICJC00Lugf2MWXkPUjRh8ilH1pxw4VSYNVw-veutpPn6JWXAlJTI2F/w331-h369/photo+for+rob.jpeg" width="331" /></a></b></div><b>Claudia Coutu Radmore’s</b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;"> <i>Accidentals</i>
won the bpNichol Chapbook Award in 2011. <i>On Fogo</i>, short-listed for the
2017 Malahat Long Poem Contest, was published by The Alfred Gustav Press in
2018. A poem from <i>Fiddlehead</i> was included in <i>The Best Canadian Poetry
2019</i>. She has several chapbooks, and full collections including <i>rabbit</i>,
published by Aeolus House Press, and <i>Park Ex Girl: Life with Gasometer</i>
by Shoreline Press, Montreal, both in 2020.</span><p></p>
<p class="MsoNormal" style="line-height: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">claudiaradmore@gmail.com</span></p>
<p class="MsoNormal" style="line-height: normal;"><a href="http://claudiaradmore.com"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US;">claudiaradmore.com</span></a></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com1tag:blogger.com,1999:blog-12600583.post-64653715951522797352021-02-06T12:49:00.002-05:002021-02-06T12:49:59.506-05:00Claudia Radmore : Lesley Strutt (March 10, 1953 - February 3, 2021)<p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Losing
Lesley</span></b></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjxJ1zpyFnbnEnoCYvk3TQDXGzag1kkOXPbSH4_0p5aGLJ1Y95yKLsoyouvNomHJFCBv5yHdrCuD-PUQs2_MhPss4kf-YSVc7BbrHYNpZf4Vs68jtjVL2HRcSE7DQT20xiWhxW/s400/my+lovely+Lesley.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="305" data-original-width="400" height="403" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjxJ1zpyFnbnEnoCYvk3TQDXGzag1kkOXPbSH4_0p5aGLJ1Y95yKLsoyouvNomHJFCBv5yHdrCuD-PUQs2_MhPss4kf-YSVc7BbrHYNpZf4Vs68jtjVL2HRcSE7DQT20xiWhxW/w529-h403/my+lovely+Lesley.jpg" width="529" /></a></div><span style="font-size: large;">So
what’s all the fuss about <a href="https://lesleystrutt.ca/" target="_blank">Lesley Strutt</a>. A poet has died, not one who had
published a hundred books, or even poems, or been awarded any of the great
prizes. A poet who does not yet have a trade collection out. We haven’t seen or
heard from her much recently.</span><p></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">And
I say there hasn’t been enough fuss yet, there hasn’t been a parade, balloons
or banners strung across roads.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I
say bring on the parade. The drum majors and majorettes, the floats, the
banners. </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I
wasn’t fortunate enough to have known her for a lifetime, only since 1998, but since
then on so many occasions we would sit and catch up with each other. I had to
pry things out of her, because she wasn’t one to spend time talking about
herself. When we talked family or relationships, we delved deep. Perhaps I knew
more about the interior Lesley than the exterior. </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Lesley
was, for several years, the Associate Members representative on the League of
Canadian Poets council. There’s not enough being done for the associate
members, she declared and so started <a href="https://poets.ca/publications/freshvoices/" target="_blank"><i>Fresh Voices</i>, a space on the
League’s website for poems only by associate members</a>. She<span style="mso-spacerun: yes;"> </span>was one of its first editors, and then found
others to keep it going. The League council never knew what trouble she would
stir up next, trouble meaning the council’s work to get her ideas going. She
had a way of expecting that you would do what she suggested, but it was always
for the good of the League.<span style="mso-spacerun: yes;"> </span>Her voice
was strong in the League’s Feminist Caucus.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Outgoing,
she struck up conversations with poets at League conferences. Joanna Lilley of
Yukon<span style="mso-spacerun: yes;"> </span>was struck by her vivacity and
vibrancy. </span><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Alice
Major wrote that Lesley has been a gift to this world; Brenda Siberras, League
of Canadian Poets representative from Manitoba wrote </span><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">to Lesley ‘what an impact you
made in this world. You will be missed and thought of often’. Lynn Tait, a poet
from Southern Ontario wrote that now Lesley is part of everything, which is
perfect, because that was her ultimate goal, to be one with the earth, the sky,
the universe. </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Ottawa
poets have loved Lesley for many years. Nina Jane wrote about</span><span style="background: white; color: #050505; font-family: "Garamond",serif; font-size: 14.0pt;"> the little conversations they had about poetry in cramped book stores. </span><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Doris Fiszer wrote of the impact she
made on everyone who knew her. <span style="color: #050505;">Sneha Madhavan-Reese
said Lesley was one of the most beautiful and compassionate people she knew. </span></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Another
League council member says that she was a powerhouse, and I know that from
experience. Lesley had an idea to have the League representative of each
province edit a section of poems on trees, and that the books would be sold
with profits going to The League of Canadian Poets, and <i>Heartwood: Poems for
the Love of Trees</i> was born. She went on to launch it with a film by Diana
Beresford- Kroeger, <a href="http://calloftheforest.ca/" target="_blank"><i>Call of the Forest: The Forgotten Wisdom of Trees</i></a>
where many included Ottawa poets read their contributions. She knew Ms.
Beresford-Kroeger and asked for a blurb for the cover of <i>Heartwood</i>. She gave
a presentation online recently; on the shelf behind her was her copy of <i>Heartwood</i>,
which Lesley saw when she was at a low point. It was exactly what she needed,
she said. <span style="color: #050505;">Lesley supported TreeSisters, an
organization that plants trees all over the world. Please feel free to leave a
donation at </span></span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><a href="https://treesisters.org"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">https://treesisters.org</span></a></span><span style="color: #050505; font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Lesley
won the Tree Reading Series Chapbook Contest in 2015 with <i>Small as
Butterflies</i> and was <a href="http://www.treereadingseries.ca/readers/lesley-strutt" target="_blank">a featured reader at Tree</a>. I have an elegant handmade
chapbook, <i>White Bowl</i>, printed in New Haven, a series of poems about her
parents. </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">She and
Chuck had joined Kado, Ottawa’s Haiku group, for a while. They both had haiku
hearts, and wrote haiku, but the reason they left it was because they had
discovered how difficult and how long it would take to learn to write a <i>good</i>
haiku, and they wouldn’t do it unless they had a chance of writing good poems. She
knew herself so well, and made wise, thought-through decisions. Haiku was not
her form. She had other things to do.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Other
projects involved going to reading series and launches, and spreading poetry in
the community she then called home. She held workshops in Merrickville for
poets, started a poetry group, produced a chapbook of their work, and made
plans for further workshops and readings. She and I and Jessica Heimstra also
formed a group we called Poets Three that was so stimulating I would drive home
in an almost euphoric cloud.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Inanna
Press published her Young Adult novel, <a href="https://www.inanna.ca/product/edge/" target="_blank"><i>On the Edge</i></a>, in 2019, and she
blogged about the <span style="mso-spacerun: yes;"> </span>research she’d done
for it. I read the novel and was entranced even though I know nothing of
sailing. I suggest it to anyone, not only young people, who are interested in
sailing, as Lesley has done a great amount of sailing in her life. She knew the
sea and what to do when one is on top of them.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">In
her last weeks she arranged with Inanna that I would see the publication of her
new collection, <a href="https://49thshelf.com/Books/W/Window-Ledge" target="_blank"><i>Window Ledge</i></a>, accepted recently, through its last steps.
Imagine my answering a phone call from this amazing woman who was barely able
to speak for the cancer taking over her throat, asking me if I would do her
that favour. <i>Yes, Yes, I’ll crawl up mountains for you</i>…</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Louise
Schwartz wrote of how Lesley contributed a piece on James Strutt’s Magical
House, on the Mountain Road, for a History Journal called <i>Up The Gatineau</i>,
how Lesley was exceptional and such a pleasure to work with. </span></p>
<p class="MsoNoSpacing"><span style="color: #050505; font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Friends wrote that they felt blessed to have known Lesley and the
bright, beautiful light she was. </span><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Another friend who had met Lesley while they were
becoming certified as journey practitioners, wrote of how they recommended
books to each other, how Lesley shared wisdom and knowledge, how she always
found ways to include laughter, how they would laugh and laugh until they
cried. Another tells how Lesley’s lovely energy held her in a warm embrace
through difficult times, another wrote that she was encouraging and
illuminating, still another notes how selfless she was and generous, full of
consideration of others.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">How many
people referred to the light in her.<span style="mso-spacerun: yes;">
</span>Jazz musician Alrick Huebener wrote that she was a literary and loving
light. </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Mike Beedell,
internationally known </span><span style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">conservation
photographer, wilderness guide and outdoor educator, writes </span><span style="background: white; color: #202124; font-family: "Garamond",serif; font-size: 14.0pt;">that when he </span><span style="font-family: "Garamond",serif; font-size: 14.0pt;">was
working with the film maker John Houston developing a virtual reality platform
celebrating the Arctic world, Lesley brought together professors and
departments, and sought funding. He was amazed at her energy and commitment, saying
she was a fount of ideas.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Nate
Mayer told how he and Lesley worked together at the Social Sciences and
Humanities Research Council. As Program Officer, her role was to go over grant
applications from the top Canadian minds in Social Sciences. Her extensive
knowledge and brilliance in literacy was invaluable, that she had made him, as
a young man, feel at ease and comfortable in the corporate world, making sure
his voice was heard.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Heather
Sims tells of Lesley’s being Program Officer for the Canada Research Chairs
Program, a government funding agency, how she had such excellent relationships
with colleagues and stakeholders, and always welcomed new staff with open arms,
just a sweetheart of a lady with the kindest soul and amazing spirit. </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">I was at
Lesley and Chuck’s wedding, held in their beautiful back yard. Nearly the whole
town was there. I heard comments such as <i>She should run for town council</i>!
Because having moved there, she and Chuck became so involved in community
activities, and were especially active in the <a href="https://www.mag-artists.ca/artist-profiles/lesley-strutt/" target="_blank">Merrickville Artists’ Guild</a>
(MAG). Chuck is a photographer, while Lesley constructed intricate painted
paper vases that contained poetry. She had a leading role in organizing
literary events for MAG. </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">The Guild
has started the Lesley Strutt Poetry Prize fund, and I’m pleased to be
associated with that project. Should anyone wish to contribute, <a href="https://www.facebook.com/MerrickvilleArtistsGuildMediaCoord" target="_blank">please go to the MAG Facebook page</a>. </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Lesley
had a PHD in Linguistics and taught sessions a<span style="background: white; color: black; mso-color-alt: windowtext;">t the Ottawa Universities, but her
heart lay in counseling. She started a new blog in the last two years. </span>In
<a href="https://www.amazon.ca/LIVING-STARTS-LOVE-Learning-Shine-ebook/dp/B07JNMRHWT" target="_blank"><i>Living Starts with Love</i></a>, the publication now on Kindle of her blog posts,
she offers suggestions for when <span style="background: white; color: black; mso-color-alt: windowtext;">we feel life is perilous and full of disappointment. She’s
had much of that in her life too, but suggests that life is an incredible
adventure, and we can live it fully. She believed that to her last morning.</span><span style="background: white;"></span></span></p>
<p class="MsoNoSpacing"><span style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">And I am devasted, lost.
My hours with her when, perhaps we talked poetry and read it or listened to her
daughter Dee Dee Butters’ latest recording, perhaps played with Farley, her dog
or discussed the birds in her garden, were almost magical. </span><span style="background: white; color: #333333; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Her
husband, Chuck Willemsen, wrote that s<span style="color: #050505;">he gave to
all who asked of her willingly with kindness and grace which they gave back in
abundance. She lived her life filled with joy and love in her heart. He wrote that
her joy was infectious, that she never ran out of it. Two days before her
planned medically assisted death, I texted her that I would give anything to
see her face once more.</span></span></p>
<p class="MsoNoSpacing"><span style="color: #050505; font-family: "Garamond",serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Her answer was <i>Me too! Me Too! </i>followed by three heart emojis,
and a smiley face.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Years
ago, a friend of mine was dying from cancer. She and her husband had loved New
Orleans music and so, in her memory, a New Orleans Brass Band made up of
musicians from all over the city, along with hundreds of friends, paraded along
Bank Street.</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I
say bring on the bands and the balloons and the floats. Parade to be held when
the pandemic is over. Or for now, let’s have that parade in our minds. </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0BK_-L_3CedkGsipzmuZXmRjINPE8OspvFgSCNfW2CvG2Uu4EgaY9tgdO2JC3FvEuZmQRyhWuVCIzNICJC00Lugf2MWXkPUjRh8ilH1pxw4VSYNVw-veutpPn6JWXAlJTI2F/s855/photo+for+rob.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="855" data-original-width="768" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0BK_-L_3CedkGsipzmuZXmRjINPE8OspvFgSCNfW2CvG2Uu4EgaY9tgdO2JC3FvEuZmQRyhWuVCIzNICJC00Lugf2MWXkPUjRh8ilH1pxw4VSYNVw-veutpPn6JWXAlJTI2F/w331-h369/photo+for+rob.jpeg" width="331" /></a><a href="https://claudiaradmore.com/" target="_blank">Claudia Coutu Radmore</a></b> is a publisher and poet from Carleton Place, Ontario. Her last
two collections are<i> rabbit </i>(2020, Aeolus House Press, Toronto) and <i>Park Ex
Girl: Life with Gasometer</i> (2020, Shoreline Press).</span></p>
<p> </p><p> </p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com8tag:blogger.com,1999:blog-12600583.post-29578839489406955692021-01-28T10:00:00.007-05:002021-01-28T10:00:00.206-05:00Talking Poetics #37 : Courtney Bates-Hardy<p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
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</span></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">How does a poem start for me? At the
time of writing, I have not written a poem since October. That happens
sometimes. I have Seasonal Affective Disorder, I live in Saskatchewan, and I
find it difficult to write in the winter. Shockingly, this is not my worst
winter, mental-health-wise, stuck at home during a pandemic. My worst winter
was the year of burnout from the small, non-profit arts job where I worked
alone. I didn’t write that winter either, as far as I remember. What I do
remember is feeling trapped and helpless and alone and angry, so angry. I
didn’t know that I could hold that much anger in my body. I was angry with
everyone around me and especially myself. For not being able to make this job
work, for not getting the funding the organization needed, for not getting the
help I needed, for the broken systems that kept the organization barely
functioning instead of thriving, for the way the organization and my personal
well-being had become intertwined. I had just been pronounced “recovered” after
a car accident and extensive physiotherapy the year before, but I woke up every
morning hoping that a horrible accident would prevent me from going to work. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">I did not write. I could not write.
Everything I did write was angry and unrecognizable. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">And then Spring came. I made the
decision to quit my job if I didn’t find another job by Fall. Somewhere in the
darkness, I applied for a summer writing retreat. It was my finish line, my
oasis, the thing I clung to while going through the motions of a job that took
more from me than I had. Finally, the week before the retreat, I interviewed
for a new job and was offered the position the day before I left. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">At my first meeting with the poetry
facilitator, the wonderful Sandra Ridley, she commented on the strong emotions
and traumatic nature of the poems and, very gently, asked if I might consider
writing about healing. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">I began researching the healing
process. I read about how the skin knits itself closed, I read <i>The Body
Keeps the Score </i>by Bessel van der Wolk, I read a surgeon’s manual about
suture thread. I made a note in the corner of a page, “I am writing myself into
a better place.” I wrote poem after poem after poem. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">I started the new job when I got
back, and I kept writing. Writing was natural and easy again. They kept pouring
out of me. When the pandemic started, and I was sent to work from home, I
stopped writing and then started again. I went to online poetry readings, I
attended a virtual anatomy symposium, I participated in a poetry contest, I
submitted, I submitted, I submitted. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">Once again, I have found myself not
writing. So I read, and edit, and submit some more, and do all of the things
that accompany writing, except for the actual writing. It will come back. It
always does. My writing tends to follow the seasons. Spring usually brings a
new burst of energy and creativity. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">I have a stack of my writing
notebooks out on the floor of the living room, currently, in case the bright,
brittle January sun brings new poems. In the meantime, I flip through them
occasionally, placings flags on bits of poems that started and died or a line
that could perhaps go somewhere in the brighter future. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;">So how does a poem start for me? I
still remember, even if I don’t start right now. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span lang="EN-US" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><a href="https://courtneybateshardy.com/" target="_blank"><b><span lang="EN-US" style="font-family: "Garamond", serif;"></span></b></a></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj7px-a-Ci-dQqikld_rgPKoN2FHOIqiARN5gYeC8bPzrvecpbxcbH_fbIOC9_kC26pbCYqhcPST1KzMV0ymOGmYqke-PCiIMfbr1bVW6whQ_PymTIsdKuA1MT9eOdm1_N_Pr1/s2048/C.+Bates-Hardy+author+photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1367" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj7px-a-Ci-dQqikld_rgPKoN2FHOIqiARN5gYeC8bPzrvecpbxcbH_fbIOC9_kC26pbCYqhcPST1KzMV0ymOGmYqke-PCiIMfbr1bVW6whQ_PymTIsdKuA1MT9eOdm1_N_Pr1/w274-h410/C.+Bates-Hardy+author+photo.jpg" width="274" /></a></b></span></div><span style="font-size: medium;"><b>Courtney Bates-Hardy</b><span lang="EN-US" style="font-family: "Garamond", serif;"> is the author of <i>House of Mystery</i> (2016) and a chapbook titled <i>Sea
Foam</i> (JackPine Press, 2013). Her poems have appeared in <i>Room</i>, <i>Carousel</i>,
<i>This Magazine</i>, <i>On Spec</i>, <i>Canadian Medical Association Journal</i>,
and are forthcoming in <i>Juniper</i> and <i>NonBinary Review</i>. She is
currently editing an anthology of pandemic writing, running a lot of online
events, and working on her second collection of poetry, tentatively titled <i>Anatomy
of a Monster</i>.</span></span><p></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-62393870035462067302021-01-18T10:00:00.010-05:002021-01-18T10:00:03.942-05:00Talking Poetics #36 : Nathanael O’Reilly<p><span style="font-size: large;"> </span><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">How does a poem get started for you, and is that
something that has changed over time?</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Poems usually begin for me with an observation, an
image or a phrase. My writing desk is in front of a large window that overlooks
our street, so I see a lot of what happens in the neighborhood. I’m working on
a book-length collection about the street I live on, so I’m constantly watching
and observing. I might see something happen, such as an eagle attack a squirrel
in the oak tree, then use language to turn that event into an image. I also run
most days, so I make a lot of observations while running that spark poems. I’m
also working on a collection of renga with another poet, and that’s a form that
relies on images and brief events, so I’m always on the lookout for interesting
sights and happenings. My poetry has often grown out of experiences I’ve had while
travelling, but the pandemic has kept me home for most of the past year, so
I’ve had to switch my focus to the hyperlocal. Observations, images, events and
phrases have been the impetus for my poems for many years, but when I was my
teens and early twenties my poems usually started with an emotion I wanted to
express. I moved away from that decades ago.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Do you begin with a loose structure, a phrase or a
word, or the kernel of an idea?</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I usually start with a phrase attempting to capture an
observation or image; sometimes a phrase comes along that is not directly
connected to something physical. Either way, once I get that first phrase down,
more words tend to follow. Once I have written a few lines, I can start to see
the shape that the poem wants to take with regard to line length, stanza
structures, or lack thereof. Lately I’ve been writing a lot of eight to ten
syllable lines and using couplets and tercets. I’ve been counting syllables for
a few years now and trying to be really deliberate with my line lengths. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Are you prompted by the work of other poets, or, say,
something you read in a newspaper?</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">My poems are rarely written in direct response to another
poet’s work or something I read elsewhere, although I have written poems in
response to poems by Margaret Atwood, Derek Mahon, Patrick Kavanagh, Seamus
Heaney, W.B. Yeats and Alan Wearne. About half of those poems were written in
poetry workshops where the facilitator gave a specific prompt. My poem
“Homesickness (Remix),” published last year in the Irish journal <i>Strukturiss</i>,
was written in a workshop in Doolin, Ireland, led by Christodoulos Makris. The
poem is composed entirely from words and phrases taken from three or four
articles published on the same day in the <i>The Irish Times</i>.<span> </span></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Do you start at the beginning, somewhere in the
middle, or work from a scattering of notebook entries?</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I always start at the beginning. The first phrase that
I write down usually survives as part of the first line or title. I’m an
organized, structured, ritual-following kind of person, so it wouldn’t make
sense for me to not move from the beginning to the middle to the end. Every few
months I will type all of my accumulated handwritten notebook entries into a
single document – sometimes they coalesce into a single poem, other times I get
the first stanzas for a group of poems. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Do you utilize notebooks, and how does that help?</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Absolutely. I have dozens of notebooks on the
bookshelves in my study, most of them full. Whenever I travel, I make sure I
have a notebook and pen with me so I can write down observations and ideas. I
love the 3.5 by 5 inch Moleskine notebooks and have a stack of those. Without
the notebooks (of the notes app on my phone), I would fail to capture a lot of
material and simply forget some ideas and phrases. I don’t like to carry
anything when I run, so that means I have to memorize any lines I come up with,
but the rhythm of running helps a lot with that. I just repeat the lines over
and over in the same cadence as my stride, then write them down as soon as I
get home.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">How are line-breaks (or the choice to ignore them)
chosen? </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Line-breaks are crucial to me. My students can
definitely attest to that. I’ll never let a weak line-break go without comment.
I spend a lot of time making sure that each line ends with a strong word,
usually a noun or verb, and pay attention to the emphasis the line-break
creates, as well as sound effects, repetition and connections to words in
previous or subsequent lines. I use enjambment a lot too, so that effects my
choice of where to break the line. I think the line is the most fundamental
element of poetry, and the line wouldn’t exist without the line-break, so that
means the line-break is fundamental too. Line-breaks are one of the essential
ways that poets use language differently from prose writers; they are also one
of the few elements of poetry that are essential to a poem (unless one is
writing a prose poem). </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Are there other writers at the back of your head as
you work? </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">There’s a group of poets that are always in my head,
but they are not usually in the forefront of my mind while I write. My biggest
poetic influences are Seamus Heaney, W.B. Yeats, John Keats, Thomas Hardy,
Patrick Kavanagh and Philip Larkin. I’ve been reading their work and learning
from them for more than thirty years. Over the last decade I’ve learned a lot
from the work of Carol Ann Duffy, Eavan Boland, Anna Wickham, Jackie Kay,
Annemarie </span><span style="background: white; color: black; font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-themecolor: text1;">Ní Churreáin,
Michelle Cahill, Ilya Kaminsky, Terrance Hayes and many others. However, I
rarely have another poet’s work in mind while I’m writing – I’m just absorbed
in the text I’m working on. If the writing is going well, I’m totally in the
zone and state of flow and it’s almost like an out-of-body experience. Everything
outside the poem ceases to exist for a while and afterwards I have to come back
down to earth. Being in that creative zone is my favourite part of being a
writer. </span><span style="font-family: "Garamond",serif; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><a href="https://twitter.com/nathanael_o?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor" target="_blank"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif;"></span></b></a></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNz6odCDBoA4phFkIBpjWLxKqwNgIdsd4ivJmo6JFtCciOqHdhFEw8iiXrHhMQnBfs2f7wpnbo31r3PGoN2W0P2VnmoA_OHS7qxWOHDDoiI11gjX0xQ_9SbcWTjd0QipZ2nsIF/s660/Picture1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="660" data-original-width="449" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNz6odCDBoA4phFkIBpjWLxKqwNgIdsd4ivJmo6JFtCciOqHdhFEw8iiXrHhMQnBfs2f7wpnbo31r3PGoN2W0P2VnmoA_OHS7qxWOHDDoiI11gjX0xQ_9SbcWTjd0QipZ2nsIF/s320/Picture1.jpg" /></a></b></span></div><span style="font-size: large;"><b>Nathanael O’Reilly</b><span lang="EN-US" style="color: black; font-family: "Garamond",serif;"> is an Irish-Australian poet; he is Assistant
Professor of Creative Writing at the University of Texas at Arlington. </span><span lang="EN-AU" style="font-family: "Garamond",serif; mso-ansi-language: EN-AU;">His
books include <i>(Un)belonging </i>(Recent Work Press, 2020); <i>BLUE</i>
(above/ground press, 2020); <i>Preparations
for Departure </i>(UWAP, 2017); <i>Cult </i>(Ginninderra Press, 2016); <i>Distance</i>
(Ginninderra Press, 2015); <i>Suburban Exile</i> (Picaro Press, 2011); & <i>Symptoms
of Homesickness </i>(Picaro Press, 2010).</span><span lang="EN-US" style="color: black; font-family: "Garamond",serif;"> More than 200 of his poems
have appeared in journals & anthologies published in thirteen countries,
including </span><i><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-themecolor: text1;">Adelaide
Literary Magazine</span></i><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-style: italic; mso-themecolor: text1;">,</span><span lang="EN-US" style="color: black; font-family: "Garamond",serif;"> </span><i><span lang="EN-AU" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-AU;">Antipodes</span></i><span lang="EN-AU" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-AU;">, <i>Anthropocene</i>,
<i>Apricity</i>, <i>Cordite Poetry Review</i>,
<i>Headstuff</i>,<i> Marathon Literary Review, Mascara Literary Review</i>, </span><i><span lang="EN-GB" style="font-family: "Garamond",serif; mso-ansi-language: EN-GB;">Postcolonial Text, Rochford Street Review,</span></i><i><span lang="EN-AU" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-AU;"> Skylight 47</span></i><span lang="EN-AU" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-AU;">, <i>Snorkel</i>,
</span><strong><i><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Strukturiss,</span></i></strong><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-AU;"> </span><i><span lang="EN-AU" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-AU;">Transnational
Literature</span></i><span lang="EN-AU" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-AU; mso-bidi-font-style: italic;">, </span><i><span lang="EN-AU" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-AU;">Westerly</span></i><span lang="EN-AU" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-AU;"> and</span><i><span lang="EN-US" style="color: black; font-family: "Garamond",serif;"> The Newcastle Poetry Prize Anthology 2017</span></i><span lang="EN-US" style="color: black; font-family: "Garamond",serif;">.</span></span><p></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-1198767472410311482020-12-28T10:00:00.013-05:002020-12-28T10:01:17.500-05:00Talking Poetics #35 : Michael Edwards<p><span style="font-size: medium;"> </span><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hashtag"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="font-family: "Garamond", serif;">I must confess that, for me, a poem
starts when I simply begin to say what I’m seeing. Then comes the much less
simple task of wrapping that sight or vision into a vocal collage of gathered
words, text, image, metaphor. The true labour is in integrating these fragments
with notions and conceptions of what a poem does and how a poem can come
together. Inexplicably, a framework or loose narrative begins to take shape. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="background: white none repeat scroll 0% 0%; font-family: "Garamond", serif;">In
thinking of beginning a poem, I’m reminded that it’s mostly this mysterious
leap across a threshold into language. For me, the words of Seamus Heaney are
helpful here. He spoke of poems as starting in a certain kind of “infancy,” in
an unspoken-ness. Heaney said: “All good poems have been gathered in silence
and have moved from the unspoken need, to the luck of getting spoken right.” I
tend to agree with him. </span><span lang="EN" style="font-family: "Garamond", serif;">I have a line of my own recorded in one
of my notebooks: “Let an unshaped voice spill out.” This is a related
sentiment, my personal attempt at articulating a kind of permission to say what
must be said, in an unencumbered way. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="background: white none repeat scroll 0% 0%; font-family: "Garamond", serif;">To
back up a bit, to begin with, I often scramble, in hopes that I’m expedient
enough to gather the nascent bits of image, metaphor, line, into the “Notes”
app on my phone, or else penciled into the small notebook carried in my back
pocket. It’s imperative I get the notes down before the particular image or
language disappears and in more cases than I care to count, most likely never
returns. In this way, for me, the notebook is an essential tool to corral the useful,
fleeting thoughts, to be recorded for later use. I think this means that my
notebook functions much like a fragmented daydream diary.</span><span lang="EN" style="font-family: "Garamond", serif;"> I recall Matthew
Zapruder described poets somewhere as, “lucid dreamers.” Within my own
experience and mode of coming to poems, I can identify with this label (as much
as a label is of any value).</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="font-family: "Garamond", serif;">Aside from an accumulation of notes,
often the unloading of frequent free-writes is a beneficial precursor to
traveling the path to a poem. I say this, but this the whole process is highly
mysterious. And to embrace this mystery is the crucial part of my practice,
since mystery equates to an abundance of questions (with few obvious answers).
There’s a feeling like every new poem I write is, in some way, questioning or
experimental. Experimental, in the sense that each new poem is a novelty and
I’m testing its limits, putting it through its paces, and sometimes like
building a plane while also flying it. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="font-family: "Garamond", serif;">In making poems, I’ve recently spent
considerable time contemplating the role of metaphor in my work. Specifically,
I’ve been playing around and comparing things like garbage to lasagna or a
mountain to a watermark on paper. I find the figurative elements can require
more time to percolate, brew, steep. The exactness of putting words to this,
for proper effect to a reader’s ear/mind, is where the work is. And as Heaney
expressed, it requires a certain amount of (or often <i>mostly</i>) luck. The language comes or it doesn’t. And if it doesn’t,
I put the poem down and pick it up another day.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="background: white none repeat scroll 0% 0%; font-family: "Garamond", serif;">In
the beginning, especially, I think of poems as objects which are ready to burn.
I find that any and all things can (and perhaps should) be material for a poem.
I like to think of this poem-stuff as a sort of kindling, ready to split, the
material needed to start the fire. It requires taking a hatchet to the loose
structure. I suppose what I’m saying is that, to start with, poems are
incendiary and quite unstable.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="background: white none repeat scroll 0% 0%; font-family: "Garamond", serif;">Reading
is important, so important. As I’m thinking about poems and moving through the
process of making a poem, any smattering of poets might occur to me. The most
beneficial thing I have found is the concurrent practice of closely reading the
work of other contemporary poets. Something happens as I voraciously consume
and digest poems. I notice some similarities in the work I’ve been doing with
the stuff I read from these other poets. I’ll think, “Hey, I like that.’ or
“Oh, I’m doing something a bit like that, too.” It’s a sense of confirmation
that I’m on the right track, that others are also putting stuff out there,
asking the reader how it’s working. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="background: white none repeat scroll 0% 0%; font-family: "Garamond", serif;">I
see the boundaries and conventions of poetry as the thin rubber sides of a
balloon, waiting for the hot air of a poet's voice to stretch, the stuff of
form, into a poem’s final expansion or shape. It is as the edges are pushed,
the really interesting stuff can happen. Think balloon animals. If you picture
a balloon-chicken now, that’s about right. Pecking away at poems, over time, is
my process.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="background: white none repeat scroll 0% 0%; font-family: "Garamond", serif;">And
over time, the most interesting part of developing as a poet is learning the
rules, then leaving them behind. Kayla Czaga, my mentor at SFU’s The Writer’s
Studio, once reminded me of this, in the situational and contextual use of <i>adjectives</i>. Adjectives are typically
frowned upon when used or relied on as ‘poetic devices’ (on the wrong side or
the “Show vs. Tell” paradigm/heuristic). I’m often recalling these rules and
discarding them simultaneously as I revise my work. Her helpful reminder:
“There are no hard and fast rules.” As a poet you must “work it out for
yourself.”</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="background: white none repeat scroll 0% 0%; font-family: "Garamond", serif;">So,
in making a poem, the process is really at the discretion of the poet, governed
by their creative impulses. Of course the other side of the equation matters, a
reader's willingness to engage the poet linguistically and creatively in a type
of conversation. As I work, I’m vaguely aware, there’s this relationality that
must play out, as a poem is filtered by first readers and further outward. But
in this, I try not to forget that making a poem is basically an endless first step,
entangled and wonderfully messy: create, play, engage, subvert.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="font-family: "Garamond", serif;">In the messiness, I try new things and
very often they fail. Which just means I’m getting somewhere. If a poem is ever
finished, I’ll have to tell you when I get there. In the end, which is never
really the end, I think of Jim Harrison, recorded at a reading he once gave. He
spoke of one of his early poems, “Walking,” in a kind of sarcastic
self-criticism to relish in. He said: “Well, you know the great thing about art
is that it doesn’t have to make sense.”</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><b><span lang="EN" style="font-family: "Garamond", serif;">December
27, 2020</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="font-family: "Garamond", serif;"><br /></span></span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span lang="EN" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="background: white; line-height: normal;"><span style="font-size: large;"><b><span lang="EN" style="color: #111111; font-family: "Garamond", serif;"></span></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNnCuymlLe9jUMH4q_2szKsZCenWT9cC2b8orIXDaoaez4WyXfxrVWPEKZFlCEy1RuO6lP01p2N1_CX3HaM72REBLc1JqLCnoAff0RyjM-IGGLc_lKUqrkhQW8m-HfCjSOzk3/s400/Picture1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNnCuymlLe9jUMH4q_2szKsZCenWT9cC2b8orIXDaoaez4WyXfxrVWPEKZFlCEy1RuO6lP01p2N1_CX3HaM72REBLc1JqLCnoAff0RyjM-IGGLc_lKUqrkhQW8m-HfCjSOzk3/s320/Picture1.jpg" /></a></b></span></div><span style="font-size: large;"><b>Michael Edwards</b><span lang="EN" style="color: #111111; font-family: "Garamond", serif;"> is a
poet, writer, editor and busy dad living in Vancouver, BC on traditional,
unceded Musqueam territories. A graduate of The Writer’s Studio Online at SFU
(2020), he has been published in various online journals. Michael is also the
editor of </span><span lang="EN" style="color: black; font-family: "Garamond", serif;"><a href="https://redalderreview.wordpress.com/"><i><span style="color: blue; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Red Alder Review</span></i></a></span><span lang="EN" style="color: #111111; font-family: "Garamond", serif;">, an
online publication focused on building connections between writers and the
wider community. </span><span lang="EN" style="color: black; font-family: "Garamond", serif;"><a href="http://michaelwriter.home.blog"><span style="color: #1155cc; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">michaelwriter.home.blog</span></a></span><span lang="EN" style="color: #111111; font-family: "Garamond", serif;"> //
Twitter: </span><span lang="EN" style="color: black; font-family: "Garamond", serif;"><a href="https://twitter.com/michaelwrites1"><span style="color: blue; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">@michaelwrites1</span></a></span><span lang="EN" style="font-family: "Garamond", serif;"></span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="background: white; line-height: normal;"><span style="font-size: large;"><span lang="EN" style="font-family: "Garamond", serif;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal;"><span style="font-size: medium;"><span lang="EN" style="font-family: "Garamond", serif;"> </span></span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-2218725900072187092020-12-21T10:00:00.015-05:002020-12-21T10:00:03.971-05:00Talking Poetics #34 : Juliet Cook<p class="MsoNoSpacing"><b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">How
does a poem get started for you, and is that something that has changed over
time?<br />
</span></b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;"><br />
Usually my poems get started with a sudden, unexpected inspiration or jolt that
causes a few words or a line or occasionally multiple lines to pop out. Often the
lines are semi-abstract and not based on content so much as on feelings. That
part has changed to an extent over the years. When I was younger, my poems
tended to be a little bit more content-based, sometimes character-based, sometimes
focused on stories or specific ideas worked into poems. But now it's often more
like visuals or emotions worked into poems. Granted, most of the visuals and
emotions are derived from parts of my own life experiences.<br style="mso-special-character: line-break;" />
</span><span lang="EN-US" style="color: #050505; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: #050505; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman";">My poetry STYLE has changed to certain extents over
the years too. I think I used to be more language-based and now I'm more
emotions/thoughts/feelings based. Plus of course some of my
emotions/thoughts/feelings have changed over the years too. I think most if not
all of my styles are mental, visual, and horrific in one way or another,
though.</span></p><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;"></span><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;"></span><p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">
</span><span lang="EN-US" style="color: #050505; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman";">Recently (at least partly because of covid related issues), I've
been having more trouble than usual with concentrating and focusing my energy and
I've even been feeling less inspired.</span><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;"><br />
<br />
But usually my jolts can be catalyzed by any number of things, from reading other
poems to movies to dreams to art to news articles etc... Sometimes it just
seems to come from out of nowhere. </span><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">In the
past, I made more of a purposeful effort to catalyze my own poems (through
writing prompts, setting aside specific time to write even if I wasn't in the
mood, and so on). Now I usually just wait for them to suddenly and naturally
emerge for their own reasons. I still need to set aside time though, because
even if my poems come out more naturally than they used to, that doesn't mean
that a whole poem spurts itself out in less than 10 minutes and is
automatically done. It's more like the initial starting point of a poem come
out faster, but then it still needs to be shaped and completed. </span><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">Do you
begin with a loose structure, a phrase or a word, or the kernel of an idea?<br />
</span></b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;"><br />
I would say a phrase (or several phrases), a word (or several words), and a
very loose structure combined with emotions, thoughts and feelings. I don't
tend to think of my poems as stories, so I don't begin with an idea. I think of
my poems more like art combined with or derived from emotional thematics.
Depending on the poem, the art/emotions can range from abstract to over the top
to broken down diary explorations. It usually feels personal in one way or
another </span><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">Are you
prompted by the work of other poets, or, say, something you read in a
newspaper?<br />
</span></b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;"><br />
I'm not usually prompted by the work of any one particular poet, but am definitely
prompted by particular poems. I can also be prompted by other kinds of writing,
art, music, movies, politics, the news...<br />
<br />
Earlier this year, I was unexpectedly prompted to write a small series of poems
semi-inspired by this year's coronavirus. I don't usually tend to purposely
write poems based on current events or what's in the news today, but these just
surged out, probably in part because I was so stressed out and semi-panicked by
the pandemic and when I'm feeling mentally imbalanced, it often helps to
attempt expressing my feelings poetically.<br />
<br />
Quite a few poems came out faster than usual and I ended up
organizing/formatting them into a small chapbook manuscript, but now I'm not
sure what to do with it, because it seems like the longer bad things last (the
virus, that is), the more people want to ignore them (and/or even if people
aren't ignoring the issues in terms of their behavior that doesn't mean they
want to read poems about it too).<br />
<br />
I think these pandemic-inspired poems happened for similar reasons that a lot of
my poems happen. My brain feels the need to creatively extract negative energy into
poems. If 'm really stressed out or anxious or depressed or sad or angry or
worried or upset, I'm drawn to trying to express that via poetry.<br />
<br />
I'm not very good at writing upbeat or positive or happy or love-oriented poems
- and the few times I have tried, even if they're decently written and involve
genuine expression, they tend to bother me afterwards and seem unimportant. <br />
<br />
I'm not drawn to light-hearted poems. I'm drawn to borderline dark, intense and
emotional. <br />
<br />
<b>Do you start at the beginning, somewhere in the middle, or work from a
scattering of notebook entries?</b></span><b><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">All of
the above in different ways? Initially, I feel like I'm starting a new poem at
the beginning, but as I continue working on it, its order can be somewhat
rearranged - and of course parts of it can be eliminated.<br />
<br />
For years, the most challenging part of a poem for me seemed to be how to end
it. I'd go on too long until it went from feeling interesting to overly obvious
by the time it reached the over-done end.<br />
<br />
In more recent years, I tend to be fine with the end of a poem seeming relatively
random, because that's often life and death.<br />
<br />
Usually the last thing I do with a poem is title it. I'm not a fan of untitled
poems or numbered poems (with nothing else but the number), partly because I
feel like that might be rather lazy because it is sometimes hard to title poems.<br />
<br />
When I'm working on a small series of thematically linked poems, I'm fine with
using the same title for all of them (for example, my small series of virus-inspired
poems are all entitled "Museum of Impending Death"), but with
individual poems, for some reason, it's more challenging to me. </span><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">Do you
utilize notebooks, and how does that help?</span></b><b><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">I used
to for many years, but not nearly so much anymore. I like print notebooks and
journals, both visually and conceptually, but in recent years, I'm increasingly
disorganized with that sort of stuff. I think there might be semi-illogical
mental reasons, because I really have no logical explanation for the facts that
I tend to have multiple different notebooks with different things written in
them, lying all over my house, instead of just sticking to one notebook until
that notebook doesn't have any blank pages left and then moving on to the next
one. <br />
<br />
I'm currently sitting in front of my computer typing this - and if I look to my
left, I see three different in-progress notebooks, in close proximity to each
other.<span style="mso-spacerun: yes;"> </span>Then if I walk into my bedroom, I
see at least six other in-progress notebooks, on the floor, in pretty close
proximity to each other. <br />
<br />
Then there are the piles upon piles of notes written on individual sheets of paper,
all over the place.<br />
<br />
It's almost like I'm some sort of semi-obsessive compulsive notebook/paper hoarder
or something. I mean, I do write in/on the notebooks and paper, but I don't
understand or can't quite explain why I don't finish one before I start another
one (and another one and another one). Thus what seems akin to illogical
hoarding - but a rather unusual sort of hoarding, not based on saving things
for no apparent reason so much as based on my brain being in the moment.<br />
<br />
Maybe that's part of the reason I do most of my poetry writing on my computer
these days. In the past, I always used to start my poems in print notebooks or on
paper until they reached a certain point, but not anymore.<br />
<br />
Maybe some people spend a lot of time organizing and storing their materials,
but I spend a lot of time creating new materials and then moving on to the next
one. <span style="mso-spacerun: yes;"> </span>I <span style="mso-spacerun: yes;"> </span>don't ignore my past, but I don't keep on
organizing it into files, because that would cause me to feel like I was
backtracking.<span style="mso-spacerun: yes;"> </span>In terms of my present
activities, I tend to be very week to week and day to day.<br />
<br />
I'm fine with that for the most part, but I do worry that when I die, my space
will be an unorganized mess (both paperwork-wise and computer-wise) and nobody
will know where anything is or what anything means to me because so much of it
is inside my own head and/or stored in my own odd ways and/or in recent
communication with the very few people I'm close to, and even they don't know
how my poetry stuff is organized/unorganized.<br />
<br />
But I don't want to be one of those people who spends more time cleaning and
tidying and organizing instead of thinking and expressing and creating. <br />
<br />
But even so, I think maybe I should try to find a little bit more of a balance
for organization of my own materials so I don't end up surrounded by my own
unorganized chaos.</span><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">Are
there other writers at the back of your head as you work? </span></b><b><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">No. I'm
certainly sometimes inspired by individual poems/poets (and sometimes visual
art/artists, music/musicians, movies/directors, or TV shows), usually on a
visual or visceral emotional level, but not while I'm in the process of
actually working on a poem. Even if a particular poem or song or art piece catalyzes
my poetic process, once my own process begins, then that's where my focus is. <br />
<br />
<b>Maybe even focusing on recent threads in your work, or even a recent (and/or
recently published) poem?</b></span><b><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-color-alt: windowtext;">Here's
the first Museum of Impending Death poem, which appeared in <i style="mso-bidi-font-style: normal;">Can We Have Our Ball Back?</i> this past
April.</span><span lang="EN-US" style="background: white; font-family: "Garamond",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"></span></b></p><blockquote><p class="MsoNoSpacing"><b><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Museum of Impending Death</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">I now live inside a museum of dead rabbits</span><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br />with entrails cut out and engraved<br /></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Babies crawl inside a giant latex glove.</span><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br />Fluorescent lights drip blood.</span><br /></p><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"></span><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"></span><p class="MsoNoSpacing"><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">
It's hard to fall asleep</span><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br />without knowing I might die. <br /></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">I'm tired all day, half ripped</span><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br />tails hiding behind flickering eyes. <br /></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Exhaustion tries to pull me in, sink me down,</span><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br />drown me in its catastrophic well. </span></p></blockquote><p class="MsoNoSpacing"><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"></span>
</p><p class="MsoNoSpacing"><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> </span></p><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> </span>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: #222222; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> <br /></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"><br />
<b><span style="background: white; color: #222222;"></span></b></span></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMQceIfrP8PqVYxEX8f6djRgUGPOxqPTguFo_ECU78gzbZ1uJ9sFf-EDvhCF1xbp7RhWg2_KUlF0vNbgZRklPcmbrVcgCuxhnlj5zZ2VSoRc5Ibxwyh5vVk5N5lZqeXhsMxtf/s2048/IMG_3481+%25282%2529.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1509" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMQceIfrP8PqVYxEX8f6djRgUGPOxqPTguFo_ECU78gzbZ1uJ9sFf-EDvhCF1xbp7RhWg2_KUlF0vNbgZRklPcmbrVcgCuxhnlj5zZ2VSoRc5Ibxwyh5vVk5N5lZqeXhsMxtf/w307-h416/IMG_3481+%25282%2529.JPG" width="307" /></a></b></div><b><span style="font-size: large;">Juliet Cook's</span></b><span style="font-size: large;"><span style="background: white; color: #222222;"> poetry has appeared in a small
multitude of print and online publications, in the course of over 25 years<i>.</i> She
is the author of numerous poetry chapbooks, recently including <i>From One
Ruined Human to Another</i> (Cringe-Worthy Poets Collective/Dark Particle,
2018), <i>DARK PURPLE </i>INTERSECTIONS (inside my Black Doll Head Irises)
(Blood Pudding Press for Dusie Kollektiv 9, 2019), <i>Another Set of Ripped-Out
Bloody Pigtails</i> (The Poet's Haven, 2019), <i>The Rabbits with Red Eyes</i>
(Ethel Zine & Micro-Press, March 2020) and most recently, <i>Histrionics
Inside my Interior City</i> was a part of Ghost City Press's 2020 Summer
Micro-Chapbook Series.<br />
</span><span style="color: #222222;"><br />
Cook's first full-length individual poetry book, <i>Horrific Confection</i>,
was published by BlazeVOX. She's also included in a full-length collaborative
poetry book, <i>A Red Witch, Every Which Way</i>, with j/j hastain, published
by Hysterical Books in 2016. Her most recent full-length individual poetry
book, <i>Malformed Confetti</i> was published by Crisis Chronicles Press in
2018. Her most recent collaboration is a collection of poetry by four
writers, Cook and Dianne Borsenik and Puma Perl and Jeanette Powers, <i>Heaven
We Haven't Yet Dreamed</i>, published by Stubborn Mule Press in 2019.<br />
<br />
<span style="background: white;">Cook also sometimes creates abstract painting
collage art hybrid creatures. </span></span></span><p></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: #222222; font-family: "Garamond",serif; font-size: 14.0pt;">Cook's tiny independent press,
Blood Pudding Press, sometimes publishes hand-designed poetry chapbooks and
sometimes creates other art. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="background: white; color: #222222; font-family: "Garamond",serif; font-size: 14.0pt;">Find out more at<span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"><a href="http://www.julietcook.weebly.com/" target="_blank"><span style="background: white; color: #1155cc;">www.JulietCook.weebly.com</span></a><span style="background: white; color: #222222;">.</span></span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-23560168199663963292020-12-07T13:00:00.034-05:002020-12-07T13:00:03.436-05:00the ottawa small press book fair : home edition #25 : Bywords.ca<p class="MsoNormal"><a href="http://Bywords.ca"><b><i><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;"></span></i></b></a></p><div class="separator" style="clear: both; text-align: center;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjces5tHlhNYeTZDtXf3M7Kv8VNsrghLqMn8wbqIFTdrOYe8A4xogpdTsarh9tlRys2FvY4QQ3vsBt0dBnDYT0kHzlDXTE6IcVGcVyIFod7NROA8Xuh1TCDCQ5hyrmDQtFNA-OX/s1274/v10n4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1274" data-original-width="848" height="535" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjces5tHlhNYeTZDtXf3M7Kv8VNsrghLqMn8wbqIFTdrOYe8A4xogpdTsarh9tlRys2FvY4QQ3vsBt0dBnDYT0kHzlDXTE6IcVGcVyIFod7NROA8Xuh1TCDCQ5hyrmDQtFNA-OX/w356-h535/v10n4.jpg" width="356" /></a></i></b></div><b><i><span style="font-size: medium;">Bywords.ca</span></i></b><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">, established in 2003, publishes poetry
online monthly by current and former Ottawa residents, students and workers.
The site also includes a calendar of literary, spoken word, storytelling and
nonfiction events taking place in the National Capital Region, news of book and
chapbook publications, workshops, festivals, workshops, contests, calls for
submission, a guide for organizers on accessible venues, and other guides for those
who wish to do readings in Ottawa and those who wish to take creative writing
classes and workshops.</span></span><p></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Amanda
Earl</span></b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">
is the managing editor of <i>Bywords.ca</i> and the fallen angel of
<a href="https://www.angelhousepress.com/" target="_blank">AngelHousePress</a>. She’s a writer, visual poet, editor and publisher. More information
is available at <a href="http://AmandaEarl.com">AmandaEarl.com</a> or connect with Amanda on Twitter <a href="https://twitter.com/KikiFolle?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor" target="_blank">@KikiFolle</a>.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Q:
Tell me about your press. How long have you been publishing, and what got you
started?</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;"><i>Bywords.ca</i>
began in 2003, after <i>Bywords</i>, the monthly magazine that had started in 1990
ceased publication in 2001. I had been a student in two of Seymour Mayne's creative
writing poetry workshops in 2000 and 2001. Bywords had been a magazine run by a
collective of Mayne, Heather Ferguson and Gwendolyn Guth. It was made up of
poetry submitted in the mail from people all over. It also included a calendar
of events. There were also a couple of anthologies. You could pick up Bywords
around town in cafes, pubs and other places. I picked up several in the 90s, so
I knew of it, and appreciated it. After it had to end because the Regional
Municipality of Ottawa-Carleton didn't give them funding, and perhaps because,
i imagine the hard word that the volunteer team did was starting to get to be
too much after 11 years.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Professor
Mayne wanted to continue <i>Bywords</i>, and several of my classmates and I got
together to come up with a plan to do so. Charles, my husband, had tech skill
from a long career in information technology. We purchased the domain, he
designed the site, a number of people from the group volunteered as selectors. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">We
published monthly poems an a quarterly magazine (<i>Bywords Quarterly Journal
</i>(<i>BQJ</i>) 2003-2013), held an award: The John Newlove Poetry Award (Newlove died in
December 2003, we had a memorial online the following April and a print
anthology chapbook, <i>Moments, Not Monuments </i>shortly after, which included some
of his poems and the poems of others. The award, which began in 2004, offers
those published on Bywords.ca to have a chapbook published with us.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Q:
How many times have you exhibited at the ottawa small press fair? How do you
find the experience?</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Pre-<i>Bywords.ca</i>,
possibly in 2002, not sure when exactly, we sold chapbooks for Friday Circle,
the small press Professor Mayne had started for chapbooks by members of his
creative writing class. We loved the fair, meeting the vendors, and in particular
fell in love with the chapbook as an independent, creative way to publish small
work and to engage with fellow chapbook makers. We also heard from people at
the fair that they missed the Bywords monthly magazine, particularly the
calendar. Going to that fair was a big reason why we decided to take on a role
in bringing <i>Bywords </i>into the 21st century and publishing poetry, both online
and in print.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;"><i>Bywords.ca</i>
has had a table at the fair for both spring and autumn ever since, including
when I was just released from hospital in 2009 on the day of the fair. Charles
and I couldn't be there so some kind friends tabled for us. If my math is
correct, this means we've had a table 32 times.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;"></span></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEiMjtCr3_isaCbn3BFdA0SMVAmV0tZ-u7U0m0DAUSQnDdVqjcxM8wnawURrVmxzT5VqAxeSlUQpbNnTCgwzu2sUT0Z1nuxMZwC1P2jpezJrax8l_TT_cccC1z-DtijMlrdeGu/s800/bywordsdotca1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="515" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEiMjtCr3_isaCbn3BFdA0SMVAmV0tZ-u7U0m0DAUSQnDdVqjcxM8wnawURrVmxzT5VqAxeSlUQpbNnTCgwzu2sUT0Z1nuxMZwC1P2jpezJrax8l_TT_cccC1z-DtijMlrdeGu/w386-h515/bywordsdotca1.jpg" width="386" /></a></b></span></div><span style="font-size: medium;"><b>Q:
Would you have made something specific for this spring’s fair? Are you still
doing that? How does the lack of spring fair this year effect how or what you
might be producing?</b></span><p></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">We
ceased publication of the <i>BQJ</i> in 2013 and publish the John Newlove Poetry Award
chapbook in the autumn, so we didn’t have to prepare anything for either the
spring or fall small press fairs; however, we are hoping to be able to
participate in the June, 2021 fair very much and will have copies of David
Groulx’s chapbooks along with our additional titles from the Newlove Poetry
Award Chapbook series. Often there are a few collectors who stop by to pick up issues
of the <i>BQJ</i> that they’ve missed, so we try to have at least one full collection,
all forty issues on hand.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Q:
How are you, as a small publisher, approaching the myriad shut-downs? Is
everything on hold, or are you pushing against the silences, whether in similar
or alternate ways than you might have prior to the pandemic? How are you
getting your publications out into the world?</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;"><i>Bywords.ca</i>
continues to publish the online issue. I am grateful to our selectors for continuing
to read the poems every month, and to the poets who kindly entrust us with
their work.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Q:
Have you done anything in terms of online or virtual launches since the
pandemic began? Have you attended or participated in others? How are you attempting
to connect to the larger literary community?</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Our
sole reading is the John Newlove Poetry Award, which is held in October and hosted
by the Ottawa International Writers Festival. This year the Festival held our
event, and many others virtually through Zoom, with the technical help of the
Ottawa Public Library. We had 7 participants, so our event was more complicated
to co-ordinate than many of the Festival events. Alexine Marier and her team
from the Library were wonderful. Our participants handled having to be in their
own homes and presenting their work in front of a live but invisible audience
very well. The Library hired a company to do the close captioning and provided
a wonderful recording of the event. I am very grateful. You can see the video <a href="https://youtu.be/Af5xWLIL7pI">here</a>:</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">I’m
not attending a lot of live virtual events. The few that I have attended were lovely,
and I’ve gone back to a few I’ve missed and enjoyed watching them, such as some
of the VERSeFest events. I connect to the larger literary community quite well,
mainly through social media, but also through an exchange of correspondence:
snail or e-mail and by reading their work. Also by hosting many writers on the
podcast I run through AngelHousePress, which as become very important to me as
a way of supporting them and sharing their creative work.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;"></span></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7rHGFPD-Wvm0YJu2KbngyqNmxWBTKEEmRixPTtdokpSyaCOhDNhAmAJuDIX3Pl5wGLpkv2oKy-YqLWEbufuBUtii2O2RI2GTjoB1llR9dNZqQ-86AOFlrFlqXkGgYIvToR7JG/s1080/bywordsdotca3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7rHGFPD-Wvm0YJu2KbngyqNmxWBTKEEmRixPTtdokpSyaCOhDNhAmAJuDIX3Pl5wGLpkv2oKy-YqLWEbufuBUtii2O2RI2GTjoB1llR9dNZqQ-86AOFlrFlqXkGgYIvToR7JG/w466-h466/bywordsdotca3.jpg" width="466" /></a></b></span></div><span style="font-size: medium;"><b>Q:
Has the pandemic forced you to rethink anything in terms of production? Are
there supplies or printers you haven’t access to during these times that have
forced a shift in what and how you produce?</b></span><p></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">We
haven’t had any issues. We purchased our supplies for the Newlove Award
(certificates, envelopes etc) online as opposed to going to our local office
supplies company, and we had no trouble at all getting our most recent chapbook
published. Every year we print the Newlove chapbook in September. Our printer,
Elephant Print, is a local small printer. Naheed Davis, its owner, has been
printing our chapbooks since the mid-aughts, even offering ideas on design.
She's marvelous. If people are looking for a really great printer with
experience printing chapbooks, I highly recommend Elephant Print.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Q:
What are your most recent publications? How might people still be able to order
copies?</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Our
most recent publication is <i>What the Haruspex read in the Small hours of my
Body </i>by David Groulx, our 2019 John Newlove Poetry Award recipient. The
chapbook is available for purchase, along with several other chapbooks from the
series and copies of the <i>Bywords Quarterly Journal</i> (2003-2013), in the
Bywords.ca store.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><b><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Q:
What are you working on now?</span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;">Always
working on the next issue of <i>Bywords.ca</i>. Charles and I also have to start
working on the City of Ottawa 2021 Arts Funding Program proposal which is due
on January 11, 2021. And at the end of January, Megan Misztal, who won the
Newlove Award this year, will send her draft manuscript for our editors to begin
working on. All being well, she will launch in next October in person at the
Festival.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-family: "Garamond",serif; mso-bidi-font-size: 12.0pt;"><br /></span></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-76995163838380050192020-12-04T10:00:00.025-05:002020-12-04T10:00:04.382-05:00Talking Poetics #33 : Johannes Göransson<p><span style="font-size: medium;"><b> </b></span></p><p><span style="font-size: medium;"><b>How does a poem get started for you, and is that something that has changed over time? Do you begin with a loose structure, a phrase or a word, or the kernel of an idea? </b><br /><br />There is not one way poems get started. Sometimes I have an idea of an overall shape or narrative, other times it's a mood, or just a combination of words, a sentence structure. My most recent book, <a href="https://tarpaulinsky.com/johannes-goransson/poetry-against-all/" target="_blank"><i>POETRY AGAINST ALL</i></a>, were diary entries I originally wrote for my book <a href="https://tarpaulinsky.com/johannes-goransson/sugar-book/" target="_blank"><i>The Sugar Book</i></a> but then I took them out of the manuscript and, later, I realized they were their own book, a kind of diaristic account narrative. My most recently completed piece, <i>Summer</i>, started with a sentence in translation - "The rabble is at the door," translated from an early poem by Mats Söderlund - but what that sentence meant to me kept changing. I also started letting Swedish words pop into the poems which gave it a glitchy rhythm that I liked and that gave a for me interesting spin on that sentence. Like language could function like a rabble that wants to enter into the pure space of the lyric. Since I finished that sequence (it's about 100 pgs) a couple of months ago, I've been working on sci-fi stories, one of which grew into a kind of novel-poem of sorts, in large part because I felt I had done everything I knew how to do with Summer. I had exhausted myself, had put it all in there and then I had nothing left. So I figured I should write some sci-fi stories in part to try something totally different. <br /><br /><b>Are you prompted by the work of other poets, or, say, something you read in a newspaper? </b><br /><br />Yes definitely from other poets. Often it's poets who have something in common with me but are significantly different - for example Alice Notley always makes me want to write. That difference inspires me because it creates a creative counter-pole for the writing, a force that draws my writing out of its normal orbit. But also non-literary stuff - paintings, the letters of serial killers, movies, ads etc. For the same reason I like poets who are somewhat different, I like the idea of approximating a work in another media (say a painting by Basquiat) because the difference in media creates a counter-pole that pushes my writing into new shapes and ideas. <br /><br /><b>Do you start at the beginning, somewhere in the middle, or work from a scattering of notebook entries? Do you utilize notebooks, and how does that help? </b><br /><br />I start at the beginning but by the time I get to the end it may no longer be the beginning. My writing is I guess itself vert notebook-like. <br /><br /><b>How are line-breaks (or the choice to ignore them) chosen? Etcetera. Maybe even focusing on recent threads in your work, or even a recent (and/or recently published) poem? Are there other writers at the back of your head as you work? </b><br /><br />I feel like my poems choose the linebreaks for me based on the rhythm and shape of the poem. Many of my books are in prose because I often don't like line breaks, preferring poems that keep going. Or often - like in <i>The Sugar Book </i>- the line breaks are awkward and weird, throwing off the very idea of musicality or rhythm. In <i>Summer</i>, the rhythm is very important and the enjambment of the lines is crucial. Often the enjambment functions as a hinge between sentences, languages or images.<br /><br /></span></p><p><span style="font-size: medium;"><br /><br /><br /></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTG7fkKxdNV1nhHF623sTfty3rpguHuSicHdrc-Wd7-1Z6LFPxUC07yy3Jbn1Hr0ZxTUsBtghSUPxUyi0JQak7MsXKUErZnA94ngOqbxS5kui6enSLZpg96OuYQtObdf3uCFmv/s2048/unnamed-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1539" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTG7fkKxdNV1nhHF623sTfty3rpguHuSicHdrc-Wd7-1Z6LFPxUC07yy3Jbn1Hr0ZxTUsBtghSUPxUyi0JQak7MsXKUErZnA94ngOqbxS5kui6enSLZpg96OuYQtObdf3uCFmv/w315-h420/unnamed-1.jpg" width="315" /></a></span></div><span style="font-size: medium;">Born in Lund, Sweden, <a href="https://twitter.com/JohannesGoranss?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor" target="_blank"><b>Johannes Göransson</b></a> now lives in South Bend, Indiana, where he teaches at the University of Notre Dame. He’s the author of eight books, including <i>POETRY AGAINST ALL</i>, <i>The Sugar Book</i> and <i>Transgressive Circulations: Essays on Translation</i>, and the translator of several poets, including Aase Berg, Ann Jäderlund, Helena Boberg and Kim Yideum.</span><br /><br /><p></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-3058040730961868292020-11-23T10:00:00.033-05:002020-11-23T10:50:19.315-05:00Talking Poetics #32 : Rose Maloukis<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">Talking Poetics</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">It seems that I tend to write ‘around’ something before I
actually get to the poem and it’s often the case that I’m trying to answer a
question, an old one, a new one, in order to see how I feel.<span style="mso-spacerun: yes;"> </span>I try to get under that answer to find out if
there’s anything else, and if I’ve expressed the element that’s most important
to me.<span style="mso-spacerun: yes;"> </span>Answers I view as fluid, and the
question serves as only a point of departure.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">I often go back to my ‘reject’ file and can sometimes find an
idea to work with in a new way or at least see why the thing never really made
it as a poem.<span style="mso-spacerun: yes;"> </span>I think that most poets do
that.<span style="mso-spacerun: yes;"> </span>To me it’s helpful not only as a
source for new work, but to see the changes and progress in one’s practice.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">Coming from a background in visual arts, it’s common for a
poem to begin with an image or an object, something I see that moves me.<span style="mso-spacerun: yes;"> </span>If it’s an object, for example, I’ll describe
maybe its shape and purpose, etc.<span style="mso-spacerun: yes;"> </span>I try
to keep the surface simple while I watch what happens in the poem, and if I’m
very attentive I can push it deeper.<span style="mso-spacerun: yes;"> </span>It
helps if there’s some sort of emotional connection to the object.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">I want the poem to be relatively clear to the non-poet
reader, have them be able to take away some part of my offer.<span style="mso-spacerun: yes;"> </span>I use both concrete and abstract nouns,
whatever seems to suit the poem.<span style="mso-spacerun: yes;"> </span>I don’t
mind ambiguity.<span style="mso-spacerun: yes;"> </span>I think that a reader
can make an imaginative leap or two.<span style="mso-spacerun: yes;"> </span>And
it is a thrill for me to hear what they’ve imagined.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">In one poem I used the sound “clic…clic…clic” which one reader
imagined to be the click of my internal camera, another thought it was the
sound of a spoon hitting the edge of a bowl.<span style="mso-spacerun: yes;">
</span>I wrote it as the sound of a gas stove being lit.<span style="mso-spacerun: yes;"> </span>All the readings worked for the poem.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">The poem on the page:</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">I enjoy concrete poetry.<span style="mso-spacerun: yes;">
</span>A relatively recent example that took my breath away, is Derek
Beaulieu’s piece in <i>Arc</i>, Summer 2019 issue.<span style="mso-spacerun: yes;">
</span>I love “Debths” by Susan Howe and was amazed to learn that this book was
first published when she was seventy-six!</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">Usually, I pay particular attention to breath for breaking a
line or stanza.<span style="mso-spacerun: yes;"> </span>When I haven’t</span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"> used punctuation, it is deliberate, as I want the reader to
use their own rhythm for the poem and possibly read it differently if they
choose to read it more than once.<span style="mso-spacerun: yes;"> </span>If I
can get it to work without it sounding awkward, I try to have the last line of
a stanza stand on its own and at the same time, carry over to the next stanza’s
first line—that line reading as complete on its own as well.<span style="mso-spacerun: yes;"> </span>This example is from a poem in <i><a href="http://abovegroundpress.blogspot.com/2020/07/new-from-aboveground-press-cloud-game.html" target="_blank">Cloud Game with Plums</a> </i>(my chapbook published by<i> above/ground press </i>in July
2020).</span>
</p><p class="MsoNoSpacing" style="text-indent: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">Is this my net—</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"> Am I throwing it</span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"><br /> to catch my life—<span style="mso-spacerun: yes;"><br /> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>what matters</span></p>
<p class="MsoNoSpacing" style="text-indent: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">From this distance I
can’t tell</span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"><br /> if you are walking toward
me<br /> or just walking</span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"><span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">I enjoy the layers it creates but only do that for one or two
stanzas, otherwise I think it could become monotonous.<span style="mso-spacerun: yes;"> </span>And, it takes some time to understand what
hurts and what helps a poem’s content, in terms of layout and line break.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">It is experimentation, the idea of, <i>let’s see what happens
if…,</i> that keeps me writing. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">And, once in a while, I find a poem just lying there on the
sidewalk, waiting to be </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;">picked up. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"> </span></p><p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 14pt;"><a href="http://www.rosemaloukis.com/pages/intro.php" target="_blank"></a></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJcqQz6JqZx-lus7Tkr8VH22LoDCnqH_zey4GyviEj2rwvPpSZJ3n-kPX0zUZxh25QCGER7OA1VNoa_fjFaVkbdQt9vba8oFKLqKOFsgFJri_ZKrEB20H9ephCSzgqALABtoqc/s2048/Oct2020.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1719" height="429" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJcqQz6JqZx-lus7Tkr8VH22LoDCnqH_zey4GyviEj2rwvPpSZJ3n-kPX0zUZxh25QCGER7OA1VNoa_fjFaVkbdQt9vba8oFKLqKOFsgFJri_ZKrEB20H9ephCSzgqALABtoqc/w361-h429/Oct2020.jpg" width="361" /></a></b></div><b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Rose Maloukis</span>, </b><span style="font-family: "Garamond",serif; font-size: 14pt;">poet and visual artist,
holds a BFA from Wayne State University, Detroit, Michigan.<span style="mso-spacerun: yes;"> </span>Her poetry was short-listed for the 2015
Montreal International Poetry Prize. She won 2<sup>nd</sup> place in Geist’s
erasure poem competition.<span style="mso-spacerun: yes;"> </span>Her chapbook, <a href="http://abovegroundpress.blogspot.com/2020/07/new-from-aboveground-press-cloud-game.html" target="_blank"><i>CloudGame with Plums</i></a> was published by above/ground press<i>. </i>And, she has a
poem forthcoming in <i>The Fiddlehead</i>.</span><p></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14pt;"><br /></span></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-32252339426250569972020-11-20T13:00:00.042-05:002020-11-20T13:00:03.985-05:00the ottawa small press book fair : home edition #24 : Horsebroke Press<p><!--[if gte mso 9]><xml>
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</p><p style="margin: 0cm;"><a href="https://jeffblackman2001.wordpress.com/" target="_blank"><b><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;"></span></b></a></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgsIKH_BvOCQtazVZ9ER2sUsPIy1lTp5h8BWsNdaX_AK5MEl1Oc6G5Xh1Re8FW3PtEqbr9ZPnKvtOI2GtdRY1vpTLctM1qSijNsfMCgYPuJdTiW8yWqBNJJzHriuEi_JgaLTNw/s2048/zine_spread1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1133" data-original-width="2048" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgsIKH_BvOCQtazVZ9ER2sUsPIy1lTp5h8BWsNdaX_AK5MEl1Oc6G5Xh1Re8FW3PtEqbr9ZPnKvtOI2GtdRY1vpTLctM1qSijNsfMCgYPuJdTiW8yWqBNJJzHriuEi_JgaLTNw/w445-h246/zine_spread1.jpg" width="445" /></a></b></div><b><span style="font-size: large;">Jeff Blackman</span></b><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;"> is a poet and publisher. He has
authored 15 chapbooks of poetry and prose including the <i>Coral Castle Trilogy</i>
with Jusitn Million, <i>BLIZZARD: Ottawa City Stories</i> with Peter Gibbon,
and most recently, <a href="https://www.etsy.com/ca/shop/HorsebrokePress" target="_blank"><i>You Just Proved Poems Work</i></a>, available from Horsebroke
Press. <a href="https://www.youtube.com/watch?v=S3JZ9pcL_Ys" target="_blank">Check out his May 2020 virtual reading here</a> complete
with green screen and lip synching (15 minute mark). <a href="https://meetthepresses.wordpress.com" target="_blank">Register for Meet the
Presses' virtual conference to see him
on a magazines and journal panel Sunday, November 29, at noon EST</a>.</span></span><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;"><br /><span style="font-size: large;"><br /></span></span><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;">Q: Tell me about your press. How long have you been
publishing, and what got you started?<br /><br /> </span></b><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;"></span></span><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;"><a href="https://www.etsy.com/ca/shop/HorsebrokePress" target="_blank"><b>Horsebroke Press</b></a> began around 2010, mainly as a means to
self-publish broadsides and chapbooks. In 2020 I’ve focussed on monthly zine
production.</span></span><span style="font-size: large;"><span style="color: black; font-family: "Calibri", sans-serif;"><br /><br /></span></span><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;">Q: How many times have you exhibited at the ottawa small
press fair?</span></b></span><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">I can’t say how
many times. The first time I exhibited would have been with In/Words Magazine
& Press back in 2007 when the event was at Library & Archives Canada; may
have been a special Ottawa Writers Fest edition. I’ve since been there on
behalf of <i>The Moose & Pussy</i>, Apt. 9 Press a couple times sitting in
for Cameron Anstee, and Horsebroke.</span></span><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;"><br /><br />Q: How do you find the experience?<br /><br /></span></b></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Once you make back
the cost of the table, it’s great.</span></span><span style="font-size: large;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br />Q: Would you
have made something specific for either of this year’s fairs? Are you still
doing that? How does the lack of spring or fall fair this year effect how or
what you might be producing? </span></b></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br />Those are good
questions and I have no answers for them.</span></span><span style="font-size: large;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br />Q: How are you,
as a small publisher, approaching the myriad shut-downs?</span></b><b><span style="color: black; font-family: "Arial", sans-serif;"></span></b></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br />I launched a
zine in March 2020, the week Ontario shut down, titled <i>These Days</i>. The
first one was intentionally intimate. I reached out to a few of my neighbours
plus my immediate family, who all happen to be photographers, artists, and
poets. Plus Justin Million in Peterborough, my life-long collaborator.</span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">I sent copies
to additional family and close friends, and personally invited them to
contribute. I continued this, expanding outward month by month, with issue one
reaching about fifteen households, then twenty, then thirty, and on it’s gone
to now around 50. It’s exclusively a print thing, sent out by regular mail.</span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">I’ve missed a
deadline or two, but as of November 2020 I’d received contributions from about
30 friends and family members, and published a half-dozen issues.</span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br />After a friend
insisted on paying for issue #2, I started accepted donations via </span><a href="https://www.patreon.com/thesedays"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">https://www.patreon.com/thesedays</span></a><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">. The magazine continues to remain free
for everyone I’ve ever asked to contribute, and all the money I raise goes back
to the contributors. Starting with issue #4 I retroactively paid all
contributors an honorarium of $10. As of now I’m now paying $15 honorariums.<br /><br /></span></span><span style="font-size: large;">
</span><p></p><span style="font-size: large;">
</span><p style="margin: 0cm;"><span style="font-size: large;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"></span></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgndjq4sYQ6v9OideHbhPF5KP5AfKM4ulFshWFds0fF047Qg6SXdHsPeUiyclCvxq0IXC2MBVk3D7tdry3tChAE8BeOJi9Hk5Fbziyl1LYESfYObWrKBXI6M8lspRsPkg6Bpg1H/s2048/zine_spread2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1578" height="469" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgndjq4sYQ6v9OideHbhPF5KP5AfKM4ulFshWFds0fF047Qg6SXdHsPeUiyclCvxq0IXC2MBVk3D7tdry3tChAE8BeOJi9Hk5Fbziyl1LYESfYObWrKBXI6M8lspRsPkg6Bpg1H/w362-h469/zine_spread2.jpg" width="362" /></a></b></span></div><span style="font-size: large;"><b>Q: Have you
done anything in terms of online or virtual launches since the pandemic began?
Have you attended or participated in others? How are you attempting to connect
to the larger literary community? </b></span><span style="font-size: large;"></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">The online
workshops the Tree Reading Series run are very good. The whole team at Tree has
just done an incredible job this year. As has the team behind VERSeFest, and
the Riverbed Reading Series, which also launched during the pandemic.</span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">As part of an
ongoing series, I’ve interviewed some of the folks behind all three of these
events. I was driven part by genuine curiosity, and part by a desire to drum up
interest. It’s hard getting anything online going in the endless sea of free
content.</span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">And that was
one of the driving forces behind launching a mail-only print zine in 2020. To
maintain my connections with family and friends, and nurture the connections
between them. With the exception of promotion and sales, I’m keeping content
offline and have no plans to digitize.</span></span><span style="font-size: large;"><span style="color: black; font-family: "Arial", sans-serif;"><br /><br /></span></span><span style="font-size: large;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Q: Has the
pandemic forced you to rethink anything in terms of production? Are there
supplies or printers you haven’t access to during these times that have forced
a shift in what and how you produce?<br /><br /> </span></b></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">For the first
couple issues I was really worried about droplets and would intentionally let
the zines sit for a day before mailing them. I’m not so paranoid now and trust
Canada Post to keep us safe.</span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">This whole
endeavour has all brought me back to my roots, photocopying and stapling black
and white art together and just getting it out there. It feels great.</span></span><span style="font-size: large;"><span style="color: black; font-family: "Arial", sans-serif;"><br /><br /></span></span><span style="font-size: large;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Q: What are
your most recent publications? How might folk be able to order copies? </span></b></span><span style="font-size: large;"><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;"><br /><br /></span></span><span style="font-size: large;"><i><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">These Days</span></i><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"> #6 featured photography by my partner,
Kate Maxfield, prose by a friend from my salad days, Vanessa Davies, and an
interview with Avonlea Fotheringham, VERSeFest administrator, about getting
that festival online. Kate’s photography of Lowertown and Centretown is some of
her best, and Vanessa’s true story of life in the face of death will move even
the most cynical.</span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">I’d also plug
issue #5, also still available. I don’t go out looking for themes, but they
happen sometimes. I wound up with an entire issue about motherhood, with
heartwarming and -breaking poems by Ksenija Spasic, LN Woodward, Gail Blackman
(my mom!), and Peter Gibbon. And just an awesome poem by my son as well.</span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Both of these
issues are available via my Etsy store (</span><a href="https://www.etsy.com/ca/shop/HorsebrokePress"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">https://www.etsy.com/ca/shop/HorsebrokePress</span></a><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">), as are a few other back issues and old chapbooks by
Justin and I.</span></span><span style="font-size: large;"><span style="color: black; font-family: "Calibri", sans-serif;"><br /><br /></span></span><span style="font-size: large;"><b><span style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: Calibri;">Q: What are you working on now? </span></b></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br />Issue #7 will
be out in December. I’m hoping for a big holiday issue, but you can’t predict
these things.</span></span><span style="font-size: large;"></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /><br /></span></span><span style="font-size: large;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">I’ll be
accepting contributions up to Nov 27. You can reach me at </span><a href="mailto:thesedayszine2020@gmail.com"><span lang="EN-US" style="font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">thesedayszine2020@gmail.com</span></a><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">. That won’t change in 2021.</span></span><span style="font-size: large;">
</span><br />
<p></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-49291397684264195572020-11-10T10:00:00.013-05:002020-11-10T10:00:01.559-05:00Talking Poetics #31 : Stephen Collis<p class="MsoNormal"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">thresholds of the poem</span></b></p>
<br /><br />
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">Poems have
so many points of genesis. Mine often arrive through study—through reading,
through being in pursuit of something—some idea, some history, notes
accumulating and suddenly something stands out—a found phrase, a concept, a
problem, a voice—and the poem starts up. Sometimes they feel even more given—a
donated line appearing out of nowhere, when you weren’t even looking for a
poem. “Give me music” began like this—a voice suddenly stepping up to the inner
mic and calling out, “Give me music because I never could understand it.” Now I
have a job: follow where the given line might lead—sometimes a sprint down the
page in hot pursuit, sometimes slower, involving long pauses while listening
for what might come next—walking, thinking—brooding even. </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">I love not
knowing where the poem came from, exactly, and where it might go. The poem’s
strangeness—it’s being a stranger I must entertain, or prove myself a poor
host. The value of the half-understood, the just-glimpsed out of the corner of
the eye. The capacity to be surprised. What I’ve always valued in poetry. </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">And the
permeability of selves. That voice with its demand—“Give me”—is not me—is a
version of me—is a supposed person (as Emily Dickinson called her poetic “I”)—a
“person of the poem” (Robert Duncan). Voice in poetry is a practice of the
outside—a listening to what crosses the thresholds of the self. “Give me”—what?
What do you need? I will try to find it, best I can. I will try to listen—good
listening being the art of making poetry. And that listening, if it’s working,
I find it cycles up and down in register—from “upper limit music,” as Louis
Zukofsky had it, to “lower limit speech”—the poet with their finger on the
fader, riding it up and down at the mixing board. So there’s speechy
things—voices—what I have to hear as something said—and then there’s the turn
away from what feels like a voice, into the densities of language, the unspoken
spoken, the sound of language sounding itself, testing its depths—what are the
“mechanisms / of consanguinity”? Why the ambiguities of “same as struck only
dinosaurs”? Speech and what I’m choosing to call music—the making of meaning
and the making and marking of silences and presenting absences—the void
rendered on the page—the blank from which language rises—gazing back at the
nothing from which it comes and to which it will very shortly return—is the
struggle I turn to poetry to engage in. </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">Somewhere in
the writing of this poem I began to realize what I was writing was a brief
prelude to my forthcoming book <i>A History of the Theories of Rain</i>. I find
how a book begins—where to mark what is outside the book—not the book—and what
will be the beginning of some hundred pages of poetry—is always a tricky thing.
So I like little preludes that are somehow <i>before</i> the book, outside its
main structure and table of contents. Heralds. Beacons we might wander towards.
And yet the book’s main themes are here—especially the sense of being already
in the midst of the disaster of our times—which is in part the rupture of
temporality itself. In terms of the climate emergency—the attempt to name the
cusp we are on, the threshold we are sliding across—<i>forecasting </i>what is
to come involves <i>hindcasting</i> of what has gone before. And science loves
the fantasy of an imagined future science millions of years hence looking back
on us now at the mark we leave in the geologic record. <i>See! I told you you
fucked it up!</i> So—in the poem—dinosaurs, and those dinosaurs who “survived”
the “last collapse”—the ones with wings, the ones which became birds—especially
seabirds, which I read somewhere, all birds today have evolved from (true/not
true—not necessarily poetry’s business). What music comes out of our crumbling?
What speech matters now? I kept Teju Cole’s words in mind—the book’s
epigraph—“The disaster is here, it is just not evenly distributed.” </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">Coming to
the last lines of this poem—“the possibility of song remains / without words to
smother it”—my editor at Talonbooks, poet Catriona Strang, commented: “and yet
words are what’s to come.” Why start a book this way? Good question. It’s a
cliché, I know—that poetry is <i>saying the unsayable</i>—but yeah, I kind of
go in for that. It’s a marking of the threshold again too: the poem is perfect
… until it is written—that music we can hear—that voice just stepping to the
mic inside—all the possibilities of sound and texture—perfect while they remain
nothing more than potential music—and music, I fucking love music, but I have
no real capacity or facility to make music—so these words will have to do, will
have to stand in the place of the music I can’t render. Here’s the song I can’t
sing—every poem, every book—the song I can’t sing.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">Oh yeah, and
that other threshold—the one the scientists can graph for us again and again,
which we keep humming our way across—all our sweet potentialities awaiting the
potential smothering to come. Sorry. It’s kind of dark. But that’s—kind
of—where things seem to be at. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">Give me music because</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">I never could understand its</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">direct connection to</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">that feeling stream</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">squall and water clock</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">washing ideas right out of me</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">taking up the mechanisms</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">of consanguinity rushing </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">toward last light over Pacific</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">and some seabird there</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">gliding and catching moonlight</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">same as struck only dinosaurs</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">to have survived last</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">collapse of intricate order</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">winging now into night</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">as the cellos soar and</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">the possibility of song remain</span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">s</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic;">without words to smother it</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH8R7ZssNwr0RJP-a8bOEhEi-3EqcUAy6AQPgWY5m_H3_oaL3i6T4TNYwXx0q4sQcGx7n8i271LAHJiZ6Mptw98NrALtLSKm2cX-iDaOJtUlYBLMoV7McWofmxUfvnjiKUvUrs/s2048/IMG_E1535.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1539" data-original-width="2048" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH8R7ZssNwr0RJP-a8bOEhEi-3EqcUAy6AQPgWY5m_H3_oaL3i6T4TNYwXx0q4sQcGx7n8i271LAHJiZ6Mptw98NrALtLSKm2cX-iDaOJtUlYBLMoV7McWofmxUfvnjiKUvUrs/w386-h290/IMG_E1535.jpg" width="386" /></a></b></div><b style="mso-bidi-font-weight: normal;"><a href="https://talonbooks.com/authors/stephen-collis" target="_blank">Stephen Collis</a></b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"> is the author
of a dozen books of poetry and prose, including <i style="mso-bidi-font-style: normal;">The Commons</i> (Talonbooks 2008), the BC Book Prize winning <i style="mso-bidi-font-style: normal;">On the Material</i> (Talonbooks 2010), <i style="mso-bidi-font-style: normal;">Once in Blockadia</i> (Talonbooks 2016) and <i style="mso-bidi-font-style: normal;">Almost Islands: Phyllis Webb and the Pursuit
of the Unwritten</i> (Talonbooks 2018). In 2019 he was awarded the Latner
Writers’ Trust of Canada Poetry Prize in recognition of his body of work. In
2021 Talonbooks will publish <i style="mso-bidi-font-style: normal;">A History of
the Theories of Rain</i>. He lives near Vancouver, on unceded Coast Salish
Territory, and teaches poetry and poetics at Simon Fraser University. </span><p></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-42177213895655750242020-11-05T13:00:00.019-05:002020-11-05T13:00:02.256-05:00the ottawa small press book fair : home edition #23 : Doris Fiszer<p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmlcoL6aR7IBfTVAjf2pAlzbMRmfO-VS2bVkIDh1mkzYrhR5AML7jvH9RMS1AaGuFJlMbFRAJKlRMWWMnVQZbnVY8zjFl6oHikI_e7mDo7-az8ugaCZiMH0YlZQvVtjae98RzJ/s1080/thumbnail.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="810" height="473" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmlcoL6aR7IBfTVAjf2pAlzbMRmfO-VS2bVkIDh1mkzYrhR5AML7jvH9RMS1AaGuFJlMbFRAJKlRMWWMnVQZbnVY8zjFl6oHikI_e7mDo7-az8ugaCZiMH0YlZQvVtjae98RzJ/w355-h473/thumbnail.jpg" width="355" /></a></b></div><span style="font-size: medium;"><b>Doris
Fiszer</b></span><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> has
won awards for her poetry including the 2017 John Newlove Award and the 2016
Tree Reading Series Chapbook Award for <i>The Binders</i>. <i>The Binders</i>
was also shortlisted for the bpNichol Chapbook Award. Her poems have appeared
in journals and anthologies in Canada and the United States. <i>Locked in
Different Alphabets</i>, is her first full-length poetry collection. Doris is
happily retired, lives in Ottawa with her husband Bruce and enjoys spending
time with her grandchildren.</span><p></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Q:
Tell me about your writing. How long have you been publishing, and what got you
started?</span></b></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Writing
poetry has been my focus for as long as I can remember. Since retiring, I have
devoted more time to this passion. <span style="mso-spacerun: yes;"> </span>I have
also occasionally dabbled in writing children’s short stories and may attempt to
do so again. One of my first poetry acceptances was with Bywords which at that
time was still producing print journals. Over the last twenty years, I have
also had work published in other online and printed journals and anthologies in
Canada and the United States. Past membership in several poetry groups under
the expert guidance of Stephanie Bolster and the late Barbara Myers has
expanded my knowledge of the publishing world. <span style="mso-spacerun: yes;"> </span>The publication of my first chapbook, <i>The
Binders </i>(Tree Press’s 2016 Chapbook Award)<i> </i>and the launch of <i>The
Binders</i> at the Tree Reading Series<i> </i>motivated me to keep writing and
sending my work out for publication. Winning the 2017 John Newlove Award was
another huge boost for my publishing history. The award also offered me the
opportunity to publish a chapbook, (<i>Sasanka,</i> <i>Wild Flower</i>,
Bywords) and a launch at the Ottawa International Writers Festival. Thanks
Amanda Earl! The publication of these two chapbooks encouraged me to complete a
full-length poetry manuscript and submit it to different publications. I was fortunate
to have<i> Locked in Different Alphabets</i>, published by Silver Bow
Publishing in Vancouver in June.</span></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Q:
How many times have you exhibited at the ottawa small press fair? How do you
find the experience?</span></b></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I
have exhibited at the Ottawa small press fair on three occasions and try to
regularly attend the spring and fall fairs. These fairs offer writers the
perfect venue to display their work, check out new titles and network with
fellow poets. An occasional book sale is a bonus too. Thanks, rob for giving
writers this opportunity to exhibit their work! <span style="mso-spacerun: yes;"> </span>I will miss the excitement of attending the
fair this fall.</span></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Q:
Would you have made something specific for this year’s fairs? Are you still
doing that? How does the lack of spring or fall fair this year effect how or
what you might be producing?</span></b></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">I
would have exhibited my new poetry book, <i>Locked in Different Alphabets,</i>
as well as my two chapbooks. Launching during a pandemic is not an easy
endeavour and has motivated me to find alternative ways of making my writing
accessible to readers.</span></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Q:
How are you, as a literary writer, approaching the myriad shut-downs? Is
everything on hold, or are you pushing against the silences, whether in similar
or alternate ways than you might have prior to the pandemic? How are you
getting your publications out into the world?</span></b></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Ruby
Tuesdays the poetry group I belong to has been meeting weekly on Zoom since the
shut-down in March. Initially, meeting virtually was quite an adjustment for
everyone. This group of talented and supportive writers, however, has adapted
well to this new format. Weekly writing exercises and the group’s constructive
feedback on each other’s poems have helped me adhere to a fairly regular
writing practice. The shut-down has proved to be a challenging, yet an
unexpectedly productive writing and publishing period for me. The shut-down in
March gave me ample uninterrupted time to edit and submit my manuscript which
was accepted by Silver Bow Publishing in Vancouver at the end of April. The
editing process moved extremely quickly and my book was published in June. I
have used social media to promote my book and have mailed out copies to those
interested in purchasing a copy. As well, I have approached independent book
stores in Ottawa who have agreed to carry my book.</span></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Q:
Have you done anything in terms of online or virtual launches since the
pandemic began? Have you attended or participated in others? <span style="mso-spacerun: yes;"> </span>How are you attempting to connect to the
larger literary community?</span></b></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Virtual
launches offer the possibility of participating in a wide variety of literary
events and supporting poet friends and colleagues who have released new books,
or have been nominated for awards. <span style="mso-spacerun: yes;"> </span>I
enjoyed Claudia Radmore’s, Frances Boyle’s and Pearl Pirie’s book launches. The
Ottawa Book Awards and the Ottawa International Writers Festival were also
highlights. The Tree Reading Series and other online readings and events keep
me connected to the poetry community. I am also looking forward to VerseFest in
November. <span style="mso-spacerun: yes;"> </span>Silver Bow’s publisher,
Candice James is in the process of organizing a virtual launch for Susan
Atkinson, <i>The Marta Poems</i> and me on December 6th. Our manuscripts were
accepted for publication within weeks of each other. We are delighted to be
able to share our debut full-length collections with the literary community.</span></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Q:
What is your most recent book or chapbook? How might folk be able to order copies?</span></b></p>
<p class="MsoNoSpacing"><i><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Locked
in Different Alphabets</span></i><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> is my first full-length poetry collection. It is available
from Silver Bow Publishing: <span style="mso-spacerun: yes;"> </span><a href="http://www.silverbowpublishing.com">www.silverbowpublishing.com</a> and
Amazon. Copies can also be purchased directly from me at <a href="mailto:dorisfiszer@rogers.com">dorisfiszer@rogers.com</a>.</span></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Q:
What are you working on now?</span></b></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Publishing
my book has given me the freedom to explore a more diverse range of subjects
and experiment with different forms of poetry. I am curious to see where these
new poems will take me<b>!<br /><br /></b></span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-6448065543224506702020-10-29T13:00:00.044-04:002020-10-29T13:03:14.342-04:00the ottawa small press book fair : home edition #22 : Kees Kapteyn<p><b><a href="https://coffee-salt.blogspot.com/" target="_blank"></a></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMaplcmoBB37C0BGeQu6b1BS8fkVrIlvbZRSom7304vXkhMclfZ4yuiPO9gWDBohi6nuGZZ1UPAbVmnAWHX5kcJa88yOvYdHuPQ-ReZmPBYbShhnnbDWgNih1-zIQiaEcm-fIF/s2048/Kees+Birthday.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1535" height="489" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMaplcmoBB37C0BGeQu6b1BS8fkVrIlvbZRSom7304vXkhMclfZ4yuiPO9gWDBohi6nuGZZ1UPAbVmnAWHX5kcJa88yOvYdHuPQ-ReZmPBYbShhnnbDWgNih1-zIQiaEcm-fIF/w367-h489/Kees+Birthday.jpeg" width="367" /></a></b></div><span style="font-size: medium;"><b>Kees Kapteyn: </b>I was raised in Niagara-on-the-Lake, Ontario, and now live in Ottawa, Ontario, Canada where I work as an educational assistant. I have a published chapbook entitled <i><a href="http://greybordersbooks.jigsy.com/kees-kapteyn" target="_blank">Temperance Ave</a>. </i>through Grey Borders Books as well as having been published in such magazines as <a href="https://www.blankspaces.ca/contributors-list/kees-kapteyn" target="_blank"><i>Blank Spaces</i></a>, <i>Wordbusker</i>, <i>Writing Raw</i>, <i>In My Bed</i>, <i>blue skies</i>, <a href="https://www.ditchpoetry.com/keeskapteyn.htm" target="_blank"><i>ditch</i></a>, <i>Novella</i>, <i>Corvid Revue</i> and <i>Revolution 21</i> as well as various editions of Canadian Author’s Association Niagara’s poetry and short story anthologies. Self-publishing adventures include the fiction chapbooks <i>Holocene</i> and <i>A Hierarchy of Needs</i>. Most recently, my short story “Geosmin” was included in the Alanna Rusnak Publishing fiction anthology <a href="https://www.amazon.ca/Just-Words-4-Alanna-Rusnak/dp/1999290372" target="_blank"><i>Just Words 4</i></a>.<br /><br /><b>Q: Tell me about your writing. How long have you been publishing, and what got you started?</b><br /> <br />A: I write fiction of varying lengths. Until recently it’s been short stories and flash fiction but in the last year I’ve been committed to a full length novel. I’ve been publishing since the early nineties, running along with the zine phenomenon that had tied itself to the indie scene back then. I would hijack the photocopier at work late at night and churn out a hundred or two copies of whatever cut and paste thing I’d contrived at that point. These were fiction chapbooks, poetry chapbooks and an arts and culture mag that I put out somewhat regularly. It was pretty fun joining this community of other creative people across Canada. I got to connect with people that I never would have even known about otherwise, being pre-internet and all. I was invited to conferences, zine shows, benefit concerts and other cool things. It was a great start. In 2016, I set up Smidskade 9 Press as a vehicle to participate in shows like the ottawa small press fair, and to act as an umbrella under which to keep my published works.<br /><br /><b>Q: How many times have you exhibited at the ottawa small press fair? How do you find the experience?</b><br /> <br />A: I’ve been part of the ottawa small press fair twice now and it was a great experience both times. They were opportunities to network with different presses and individuals in the community and it was also a way to educate myself in what other people were doing with their presses. It was also a way to get a feel for what the industry (can we call it that?) was up to. People were so open to talk shop and have been just as curious as I was about the whole thing. You, rob, you embody that attitude and I’m so glad you present these opportunities because they’re crucial for this community.<br /> <br /><b>Q: Would you have made something specific for this year’s fairs? Are you still doing that? How does the lack of spring or fall fair this year effect how or what you might be producing?</b><br /> <br />A: I have a couple stories that I was going to slap together as chapbooks for the next show. I want to do it in a more professional manner rather than just street-level cut, paste, xerox and staple. That will take money, but I think it’s what I have to do to present a sellable product. Gone are the days of the 5th-generation-image punk zines. The lack of public displays like the press fair this year only makes me switch to other modes of creating. It hasn’t really slowed me down.<br /> <br /><b>Q: How are you, as literary writer, approaching the myriad shut-downs? Is everything on hold, or are you pushing against the silences, whether in similar or alternate ways than you might have prior to the pandemic? How are you getting your publications out into the world?</b><br /> <br />A: Working in education, the shutdown gave me the precious opportunity to dive into forming my novel. Every day I did a little bit of something and at this point I can say that I have about ¾ of the rough draft done. As far as hard copy output, I’m just promoting my fiction chapbook. Since it looks like we are about to slip into another mass shutdown, I’m not keen on putting anything more in stores, since they all look like they will sink into temporary obscurity, being deemed as non-essential services. Quarantine without books? Seriously?! They sound pretty essential to me!!<br /> <br /><b>Q: Have you done anything in terms of online or virtual launches since the pandemic began? Have you attended or participated in others? How are you attempting to connect to the larger literary community?</b><br /> <br />A: I like to keep up with new releases and support my friends and colleagues. I’m glad we have the online platforms to do readings because I was really missing them. It’s so great to see people like Pearl Pirie, Phil Hall and Heather Haley putting works out and going public despite the restrictions.<br /> <br /><b>Q: What is your most recent book or chapbook? How might folk be able to order copies?</b><br /> <br />A: My most recent professionally published work is a book of flash fiction called <i>Temperance Ave</i>., and it’s available from Grey Borders Books. <a href="http://greybordersbooks.jigsy.com/kees-kapteyn">http://greybordersbooks.jigsy.com/kees-kapteyn</a><br /> <br /><b>Q: What are you working on now?</b><br /> <br />A: Right now I am working on a novel I’m calling <i>LefTturn</i>. It’s about a fella whose wife has been unfaithful and the ensuing separation puts him into a kind of existential tailspin. The universe is trying to give him clues as to what he should do to get his life back on track, yet he either ignores them or simply does not see them. As the book progresses, the signs become more and more apparent and outrageous, to the point where strange, supernatural things start to happen. I’m having a lot of fun with it, and as I’ve said I’m about ¾ through the rough draft, so hopefully it will be ready for the streets in a year or so. Maybe by then we’ll be done with this pandemic? I sure hope so!<br /><br /></span><br /><p></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-740468468573585102020-10-28T10:00:00.000-04:002020-10-28T10:00:07.868-04:00Talking Poetics #30 : Valerie Coulton
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<div class="MsoNoSpacing">
<b><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">four words and a quote</span></b></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70m7WaXgHRNtq1EwL3bx8R82uwckZZXVKBbQbwp7rs9eKJF2WSw1Xd6zSb_7msVfVzu1_Lz2mxeqFmBHBOWqh07Wt4jFHwjF6y2BXfkwGT18C3nmZPwknoI_fCEKYMIQUQeAe/s1600/notebook+and+postcards.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70m7WaXgHRNtq1EwL3bx8R82uwckZZXVKBbQbwp7rs9eKJF2WSw1Xd6zSb_7msVfVzu1_Lz2mxeqFmBHBOWqh07Wt4jFHwjF6y2BXfkwGT18C3nmZPwknoI_fCEKYMIQUQeAe/s640/notebook+and+postcards.jpg" width="640" /></a></div>
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<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">When I started writing with
intention, I would go to a café in Berkeley on a Saturday morning for two
hours. I would take my notebook and some books that were in play for me, by
writers like Kathleen Fraser. I was still living with my then husband but
falling deeply in love with my poetry teacher. I would drink a little coffee,
swim around in the books, and then, filled up with language, do what I called
“dipping the bucket”, which was writing whatever showed up for me for about
twenty minutes. Even though I called it “dipping the bucket”, my mental image
was more like casting and hauling in a big net of silvery fish. Then I would
sort through the fish and make some poems. These I would “type up”, often at
work on Monday, and take into the poetry workshop. </span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">Now I have lived in Barcelona for
many years with my poetry teacher, who is also my favorite poet, Edward
Smallfield. He invented a writing prompt that has served me unfailingly for the
last 24 years. It consists of a personalized postcard with four words and a
quote. He used to pass these out in workshops, and then everyone would write
for 15 minutes, with the option to read our pieces aloud if we were so
inclined. The writing that came out of this exercise was often astonishing, and
sometimes led to book-length projects. </span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">We continue with our postcards every
week, in our private two-person Sunday workshop and in the four-person workshop
we have with our friends and <i style="mso-bidi-font-style: normal;">parentheses </i>co-editors.
We also use it, among other prompts, in the generative monthly workshop we
teach, and it tends to be everyone’s favorite. </span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">So, a poem often starts for me with a
postcard. It might seem to be the image that sparks something, or the
words/quote, but my sense is that it’s really the tension between the elements
that makes something happen. Sometimes even the postcard fine print is
important. Sometimes I use all the words, sometimes none of them. Whatever
happens, though, feels like it couldn’t have happened if I’d simply sat down to
write. </span></div>
<div class="MsoNoSpacing">
<br /></div>
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<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">Here’s an example from our Sunday
workshop on August 2<sup>nd</sup>.<span style="mso-spacerun: yes;"> </span>The
postcard was of a woodcut by José Guadalupe Posada titled “Gran Fandango y
Francachela de todas las Calaveras” The words were: sweet, battle, smoke and
clatter. The quote was “we’re all dead men conversing with dead men”. Here’s
the first poem that came from this:</span></div>
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<br /></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">el
día de los muertos</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">the
sea is not our home</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">someone sang</span></i></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">a
floor of monsters</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">in
the mind</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">something
speckled, adrift</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">spine
without body</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">swimming
to nowhere</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">in
our world </span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">there
is one bat</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">maybe
two</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">small
leather hunters</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">in
the air between</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">us
& everyone else</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">you
have written of sweet wine</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">&
the dead</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">those
sugar skulls for sale</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">terra nova</span></i></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRfpGeZabmCRnPM6T34w3_qCh0CIiQCEiVF-sPhlQvybrDyXrcbnKpM940SRx-OZ-PgT7crTifnYkx3BpC8WzIc4kmPyvcVaExxB7ZCBWCqOBvvFL9cF5TWYKZlpoUj3azpOJx/s1600/postcard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRfpGeZabmCRnPM6T34w3_qCh0CIiQCEiVF-sPhlQvybrDyXrcbnKpM940SRx-OZ-PgT7crTifnYkx3BpC8WzIc4kmPyvcVaExxB7ZCBWCqOBvvFL9cF5TWYKZlpoUj3azpOJx/s640/postcard.jpg" width="640" /></a></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">As I’d been inspired mainly by the
image up to this point, I decided to make another pass, trying to use all the
words this time:</span></div>
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<br /></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">sweet</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">in
the battle</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">to
remain ourselves</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">smoke</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">sink
clatter</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">skateboards</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">dogs</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">our
neighbourhood bat</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">&
the voices</span></div>
<div class="MsoNoSpacing" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">of
our bones</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-GB;">So, what happens to these “postcard
poems”? Sometimes they’re stand-alone pieces, sometimes the beginning of a
conscious series, and sometimes the beginning of an unconscious series whose
pattern and coherence emerge over time. Lately I’m aware of new strands coming
into my poems, different voices, memories, dreams and fears. I notice once
again that whatever the prompt, the work is always my work, a product of
whatever is under the surface waiting to be brought to shore.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZYkr6davhw_v0o79YlvmYaYAf5fxfOMEEKALpGQXnt6UZadxFOPAJGGS1I439e7wRa9F-KdG94rYC_JLkCcEVWLXk6gN3ygQo8w7n1nw1iqNTzI6j3TCxyrSOZhQgD8kpn3ng/s1600/Valerie+Coulton+photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1203" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZYkr6davhw_v0o79YlvmYaYAf5fxfOMEEKALpGQXnt6UZadxFOPAJGGS1I439e7wRa9F-KdG94rYC_JLkCcEVWLXk6gN3ygQo8w7n1nw1iqNTzI6j3TCxyrSOZhQgD8kpn3ng/s400/Valerie+Coulton+photo.jpg" width="300" /></a></div>
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<a href="https://twitter.com/coultonv?lang=en"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Valerie Coulton’s</span></b></a><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> books include <i style="mso-bidi-font-style: normal;">small bed & field guide</i>
(above/ground press), <i style="mso-bidi-font-style: normal;">open book </i>(Apogee
Press), and <i style="mso-bidi-font-style: normal;">The Cellar Dreamer</i>
(Apogee Press). With husband Edward Smallfield, she’s the co-author of <i style="mso-bidi-font-style: normal;">lirio</i> and <i style="mso-bidi-font-style: normal;">anonymous</i>, both from Dancing Girl Press. She lives in Barcelona and
co-edits <a href="https://www.facebook.com/parenthesesbcn/"><i style="mso-bidi-font-style: normal;">parentheses</i></a>, an annual
journal of international writing. </span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 14.0pt;"></span></div>
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<![endif]-->rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-40213730478582165472020-10-16T13:00:00.026-04:002020-10-16T13:00:02.443-04:00the ottawa small press book fair : home edition #21 : Brian L. Flack/Point Petre Publishing,<p class="MsoNormal"></p><div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="493" data-original-width="329" height="558" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguPqU2i9cCTqBv_86EIQSuNQlhr0yDBlvGF6fm0Q7emfzAQMEQOGwd6eLy6zBRq25gHwIvv1IHQH1dxUpWz-h_GIp4Ya80WZRjQ3hG-ll3bbZ229DL2T4BIknwhyphenhyphensXwtkVjc8p/w373-h558/Cover+%25281%2529.jpg" width="373" /></div><b><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";">Brian L. Flack</span></b><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";">
is the publisher of <a href="pointpetrepublishing.ca" target="_blank"><b>Point Petre Publishing</b></a>. The novels <i>In Seed Time</i>,
<i>With A Sudden & Terrible Clarity</i>, and <i>When Madmen Lead the Blind</i>,
and a collection of poems -- <i>36 … Poems</i> -- are among his published
works. He is also a contributor to several other books, among them <i>Nino
Ricci: Essays on His Works</i> and <i>Discourse and Community: Multidisciplinary
Studies of Canadian Culture</i>. He has contributed, over the last 50 years,
literary & social criticism to periodicals, and academic journals, and
written many reviews for newspapers. For several years, he was the host of a
weekly radio programme, “Bookviews”, on Q-107 <span style="mso-spacerun: yes;"> </span>in Toronto. In another life that he enjoyed
for almost 40 years, he was a Professor of English Literature. He is married to
the painter <a href="http://maddoggallery.ca/Mad_Dog/Our_Artists/Pages/Susan_Straiton.html" target="_blank">Susan Straiton</a>. </span><p></p>
<p class="MsoNormal" style="background: white;"><b><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Q: Tell me
about your press. How long have you been publishing, and what got you
started? </span></b></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Point
Petre Publishing (PPP) was established in 2017.</span><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"> </span><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">It’s designed to be a small operation, publishing
only 2 or 3 books a year. What lies behind its existence is the publisher’s
understanding of the incredibly difficult time first-time writers have breaking
through the bulwarks of mainstream publishing. The deck is stacked and there is
not much “give”. The idea was and is to help out in that area as well as
publish writers who already have a track record. </span></p>
<p class="MsoNormal" style="background: white;"><b><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Q: How
many times have you exhibited at the Ottawa small press fair? How do you find
the experience? </span></b></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">PPP
has been to the OSPF 3 times over the last 3 years. It’s a fine way to connect
with readers and writers. And, of course, sell a few books! The reading at the
Carleton on the Friday evening is a highlight.<span style="mso-spacerun: yes;">
</span></span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Q: Would you have made something specific for
this spring’s fair? Are you still doing that? How does the lack of spring fair
this year effect how or what you might be producing? </span></b></p>
<p class="MsoNormal" style="background: white;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">PPP would have had a new book of poems in time for
the Spring Fair, but that was shelved … not because the Fair was cancelled but
because of COVID-19. At the time the book would have appeared, every bookstore
in the country was closed. The author, an older writer, decided against even trying
again in the Fall as her desire to be out and about in the community in the
midst of this pandemic was, in the Spring, and remains to this day, less than
encouraging … and quite rightfully. As a result, a launch, visits to
bookstores, and readings at several venues could not have happened. The book
probably won’t see the light of day until the Spring or Fall of 2021 … if then.</span><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Q: How are you, as a small publisher,
approaching the myriad shut-downs? Is everything on hold, or are you pushing
against the silences, whether in similar or alternate ways than you might have
prior to the pandemic? How are you getting your publications out into the
world? </span></b></p>
<p class="MsoNormal" style="background: white;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">PPP is effectively shut down for the time being … at
least as far as releasing new titles. The publisher continues to be amenable to
receiving manuscripts that will fit PPP’s publishing preferences – poetry and
literary fiction, so that when this is virus has been tamed PPP will be able to
jump right back into the game. Submissions, though, have slowed to something
less than a trickle. PPP suspects that many writers simply do not want to play
chicken with this virus and be “out there”. But … prospective authors can still
send manuscripts. They should go to PPP’s website (<a href="http://pointpetrepublishing.ca">pointpetrepublishing.ca</a>) for
submission guidelines. </span></p>
<p class="MsoNormal" style="background: white;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Bookstores, hurting from the long shutdown have
also pared back … they are stocking fewer books than they used to because
customers are scarcer and most are not hosting book launches. For the time
being, orders of books from the backlist are going to have to sustain PPP. This
can be done by e-mail. People can write for a book or books – send an email to <i>pointpetrepublishing
@gmail.com</i> or go to the website at <a href="http://pointpetrepublishing.ca"><i>pointpetrepublishing.ca</i></a> where
pricing is available – and they will be shipped. </span><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Q: Have you done anything in terms of online
or virtual launches since the pandemic began? Have you attendeor participated
in others? How are you attempting to connect to the larger literary
community? </span></b></p>
<p class="MsoNormal" style="background: white;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">PPP has had no virtual launches because there have
been no new books. Nor has PPP attended any other Fairs. For the moment, PPP does
not have much connection to the larger literary community … this is at least partially
due to PPP’s remote location in Prince Edward County, Ontario. </span><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Q: Has the pandemic forced you to rethink
anything in terms of production? Are there supplies or printers you haven’t
access to during these times that have forced a shift in what and how you
produce? </span></b></p>
<p class="MsoNormal" style="background: white;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">It has. PPP’s printer shut down for some time.
Suppliers for other materials – paper, ink, etc. – also shut down. As did PPP.
Almost everything went on hiatus … except for the internet.</span><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Q: What are your most recent publications?
How might folk be able to order copies? </span></b></p>
<p class="MsoNormal" style="background: white;"><span lang="EN-US" style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">A backlist of PPP’s recent books can be found at <a href="http://pointpetrepublishing.ca"><i>pointpetrepublishing.ca</i></a>.
Those titles can be ordered at <i>pointpetrepublishing@gmail.com</i>.</span><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span></p>
<p class="MsoNormal" style="background: white;"><b><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Q: What
are you working on now? </span></b></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">PPP
is reading and assessing all manuscripts that come its way, hoping to find a
gem or two that can be made ready for publication when the virus emergency
comes to an end.</span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-76370389898308366442020-10-13T10:00:00.000-04:002020-10-13T10:00:02.300-04:00Talking Poetics #29 : Chris Banks
<br />
<div class="MsoNormal">
<i><span style="font-family: "Garamond",serif; font-size: 14.0pt;">On
Power Ballads And Poetics</span></i></div>
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<br /></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt;">Where
does the nesting essence of a poem come from for me? Not sure I really want to
pin down an answer seeing as my most favourite poems are the ones where the
poem moves in unexpected directions along unexpected pathways. For me, the
kernel of an idea that becomes a poem can begin with a title, a simple casual
line thrown out like, “Some days my heart is a wolf caught in a steel trap”, or
maybe even a piece of music, the opening distorted chords of Joan Jett’s cover
of “Crimson and Clover” – Ta Dum Ta Dum Ta Dah!<span style="mso-spacerun: yes;">
</span></span></div>
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<br /></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt;">When
I was younger, the form of a poem, the actual nuts and bolts of putting a poem
together was a laborious enterprise as I worked in tercets or quatrains. Each
line break was scrutinized for its overall aesthetic “look”—and poems slowly
took shape. They were an amalgam of image and line. At first, I wrote small
lyric poems, and then later densely packed narrative and meditational poems.</span></div>
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<br /></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt;">Now,
I write very quickly and recklessly. The forms I choose are stanza-less, giant
block-like passages that river down a page. My line breaks I like to keep as
uniform as possible, but I no longer count syllables as I did, say, in my book
“Winter Cranes”. The rush of ideas, the quick shoe-horning of surprise, these
things are much more important to me now as I began to move away from my
childhood autobiographical material into lightly surreal territory. As I wrote
in a recent poem, what do you find when you run out of childhood in a poem? The
goods.</span></div>
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<br /></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt;">My
poems now feel like love letters to the imaginary world. A world that saves us
from the despair and ennui of this one. I love when I can’t keep up with the
ideas that are falling through me onto a page. Each line a jumping off point to
some new strange “turn” in a poem. </span></div>
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<br /></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt;">Other
poets are still important to me but those writers who influence me have changed
over the years. At first, as a poet in my twenties, I was obsessed with
Gwendolyn MacEwen and Patrick Lane—and then later Larry Levis, Dave Smith, Jack
Gilbert, and Philip Levine—most recently, I have been reading Dean Young, Bob
Hicok, and Kim Addonizio. There are many others but these are my seminal
influences.</span></div>
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<br /></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt;">If
someone was to look at the whole expanse of my writing, they would see a myriad
of layouts and approaches so I’m not sure I have really any fixed definition of
“form” in poetry anymore. I like what the American poet Hayden Carruth said
about form. Something to the effect that the form of an orange is not just its
appearance, but the fruit inside also makes it an orange. I guess I believe
that.</span></div>
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<br /></div>
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<i><span style="font-family: "Garamond",serif; font-size: 18.0pt;">Ta Dum!<span style="mso-spacerun: yes;"> </span>Ta
Dum!<span style="mso-spacerun: yes;"> </span>Ta Dah!</span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">I’m all
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">of
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">the
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">my crush
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">off in a
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">in the
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">this
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">changing
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<i><span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">such a
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">and
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">demanding
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<i><span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">and I’ll
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">English
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">The verse
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flight plans. The melody changes the pH levels</span></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">in the
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">of bills
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">least
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">no
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">with new
condo builds and Pay Day loan stores.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="font-family: "Garamond",serif; font-size: 14.0pt; line-height: 150%;">Thank-you
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
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<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
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I never told anyone about until now.</span></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8U0K2YLdIJlbd5Bh4_-aJwd5etTHSu-qhqpoi9G1pBlj4JFFspIzvXM1MhEmYpQ__sAvQA0vNFA1HkEaJlhmVfq66KASMbZh6Ip7jQDIrij_moXgrtPEkCHiwtJCbOSZ9K400/s1600/Banksphoto.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8U0K2YLdIJlbd5Bh4_-aJwd5etTHSu-qhqpoi9G1pBlj4JFFspIzvXM1MhEmYpQ__sAvQA0vNFA1HkEaJlhmVfq66KASMbZh6Ip7jQDIrij_moXgrtPEkCHiwtJCbOSZ9K400/s400/Banksphoto.JPG" width="300" /></a></div>
<div class="MsoNormal">
<a href="https://chrisbankspoetry.com/"><b><span style="font-family: "Garamond",serif; font-size: 14.0pt;">Chris Banks</span></b></a><span style="font-family: "Garamond",serif; font-size: 14.0pt;"> is
a Canadian poet and author of five collections of poems, most recently <i>Midlife
Action Figure</i> by ECW Press 2019. His first full-length collection, <i>Bonfires</i>,
was awarded the Jack Chalmers Award for poetry by the Canadian Authors’
Association in 2004. Bonfires was also a finalist for the Gerald Lampert Award
for best first book of poetry in Canada.<span style="mso-spacerun: yes;">
</span>His poetry has appeared in <i>The New Quarterly</i>, <i>Arc Magazine</i>,
<i>The Antigonish Review</i>, <i>Event</i>, <i>The Malahat Review</i>, <i>GRIFFEL</i>,
<i>American Poetry Journal</i>, <i>Prism International</i>, among other
publications. His next collection <i>Deep Fake Serenade</i> is forthcoming from
Nightwood Editions in the Fall of 2021. He is the poetry editor at <i>The
Miramichi Reader</i>. He lives and writes in Waterloo, Ontario.</span></div>
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<![endif]-->rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-12600583.post-41040564930172290162020-09-30T10:00:00.000-04:002020-09-30T10:00:06.585-04:00Talking Poetics #28 : Dina Del Bucchia
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<b><span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";">I Got Some Shit on My Mind and I Think
About it for a Long Time</span></b></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";">I’ve said this before and I’ll say it
again. I do not sit down to write every day. I don’t have set times or hours
for this. I have jobs, and no separate office space and a poet is rarely paid
to write, so I usually wait. Because no one is ever waiting on me to finish a
poem or a book. </span></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>But
before the writing, I’m mulling something over, an idea. I spend some time
living with it. I obsess. I consider what I’m really trying to do. Then one day
I need to push the idea out of my brain to prevent a tension headache. I open
my 12” laptop and I write. I never use paper anymore. I know it’s what a more
thoughtful person might do, but it slows me down and by the time I need to
write I need to get it out quickly before I forgot all the work from my mulling
and obsessing. I type quickly. I have tendonitis in my wrist from years of
shelving books. It hurts to write with a pen for too long. Gifted notebooks sit
unused in an IKEA storage box.</span></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>And
I write with an explosion, writing like I can’t stop throwing up and also I
have diarrhea at the same time. That is the kind of writing I’m doing. It’s
built up and I am putting it all into the document. I don’t care too much about
the shape, the form, the line breaks, the stanzas. I just gotta go hard. I am
leaving notes for myself so I don’t get tripped up and stop writing.</span></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";"><br />
<span style="mso-tab-count: 1;"> </span>“PLEASE WRITE A JOKE HERE ABOUT
A DOG”</span></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“MAKE
THIS MORE INTERESTING AND GOOD”<br />
<span style="mso-tab-count: 1;"> </span>“THIS IS WHERE A GOOD POET WOULD
HAVE A TURN, YOU JACKASS”</span></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Everything
is fast until it’s not. And I go back to thinking about the writing. Sometimes
I write a quick note or line in my phone for later. Then I copy and paste the
note or line into the document. I revise slowly. I work out what needs to
change. Often something really needed to be a prose poem all along. Or it didn’t
need to be a prose poem, but I rely on them so much that sometimes it’s the
only way to finish a draft.</span></div>
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<span style="font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>And
then it’s slow. For a time. Going back in and out. Leaving more notes. It
grinds to a halt sometimes. But the energy from the original output is still
there. And I plod along. Until I finish the thing. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwXC9sNwXlBaWw359aw81gFEPveQjWBZxJ64R28dxcABYuixN_OYk0CS_kyl4_F4oHeoEXEOkpkKOTHJrxxjJlKj94a5iqFpalkfoWHp4dwLZg_MTyaeFzaXFlv5RbvvOm2gH/s1600/001A8021.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwXC9sNwXlBaWw359aw81gFEPveQjWBZxJ64R28dxcABYuixN_OYk0CS_kyl4_F4oHeoEXEOkpkKOTHJrxxjJlKj94a5iqFpalkfoWHp4dwLZg_MTyaeFzaXFlv5RbvvOm2gH/s400/001A8021.jpg" width="400" /></a></div>
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<a href="http://dinadelbucchia.com/"><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">Dina Del Bucchia</span></b></a><span style="color: black; font-family: "Garamond",serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;"> is a writer, podcaster, literary event host,
editor, creative writing instructor and otter and dress enthusiast living in
Vancouver on unceded territory of the <span style="background: white;">Musqueam, Squamish
and Tsleil-Waututh people</span>. She is the author of the short story
collection, <i style="mso-bidi-font-style: normal;">Don’t Tell Me What to Do,</i>
and four collections of poetry: <i style="mso-bidi-font-style: normal;">Coping
with Emotions and Otters</i>, <i style="mso-bidi-font-style: normal;">Blind
Items,</i> <i style="mso-bidi-font-style: normal;">Rom Com,</i> written with
Daniel Zomparelli, and, <i style="mso-bidi-font-style: normal;">It’s a Big Deal!</i>
She was a senior editor of <i style="mso-bidi-font-style: normal;">Poetry Is Dead</i>
magazine, is the Artistic Director of the Real Vancouver Writers’ Series and
hosts the podcast, <a href="https://cantlit.ca/">Can’t Lit</a>, with Jen Sookfong Lee. She is the co-creator and
co-host of Sound On InstaReadings. </span></div>
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<![endif]-->rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0