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"Canadian poetry -- 21st century -- History and criticism"
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Sharing the past : the reinvention of history in Canadian poetry since 1960
\"Sharing the Past is an unprecedentedly detailed account of the intertwining discourses of Canadian history and creative literature. When social history emerged as its own field of study in the 1960s, it promised new stories that would bring readers away from the elite writing of academics and closer to the everyday experiences of people. Yet, the academy's continued emphasis on professional distance and objectivity made it difficult for historians to connect with the experiences of those about whom they wrote, and those same emphases made it all but impossible for non-academic experts to be institutionally recognized as historians. Drawing on interviews and new archival materials to construct a history of Canadian poetry written since 1960, Sharing the Past argues that the project of social history has achieved its fullest expression in lyric poetry, a genre in which personal experiences anchor history. Developing this genre since 1960, Canadian poets have provided an inclusive model for a truly social history that indiscriminately shares the right to speak authoritatively of the past. \"-- Provided by publisher.
Book
We Are What We Mourn
In We Are What We Mourn Priscila Uppal examines why and how the work of mourning has drastically changed in the latter half of the twentieth century, focusing on the strong pattern in contemporary English-Canadian elegy that emphasizes connection rather than separation between the living and the dead. Uppal offers a penetrating reading of Canadian elegies that radically challenges English and American elegy traditions as well as long-standing psychological models for successful mourning. She sets up useful categories for elegy study - parental elegies, elegies for places, and elegies for cultural losses and displacements - and suggests where elegy and mourning studies might be headed post 9/11.
eBook
Time in Time
Edgar Allan Poe, arguing that brevity and intensity were the essence of poetry, declared there was no such thing as a long poem. It can also be said there is no difference between a short and a long poem except duration: a measure of time. Time in Time examines what the difference really is, and investigates the interplay of short and long forms in contemporary poetry. Moving beyond the opposition of lyric and experimental schools, Time in Time constructs a history of recent North American efforts to bring about a more open poetic form. Contributors explore ways in which the work of Louis Zukofsky, William Carlos Williams, Jackson Mac Low, George Oppen, Hannah Weiner, A.R. Ammons, Marjorie Perloff, Erín Moure, Ron Silliman, and Kenneth Goldsmith reconceives, reframes, and sometimes interknits the possibilities of short and long poems. In doing so, the collection offers insight into the affiliative networks and inter-generational lines of avant-gardism on the continent. Attuned to the surprising reversals and unstable categories of the period, Time in Time illuminates the ongoing encounter of literary creativity with the limits and possibilities of form. Contributors include Adam Dickinson (Brock University), Kerry Doyle (York University), Rachel Blau DuPlessis (Temple University), Steve McCaffery (SUNY Buffalo), Erín Moure (Montreal), Michael O'Driscoll (University of Alberta) Jennifer Russo (City University of New York Graduate Center), and J. Mark Smith (Grant MacEwan University).
eBook
Resistant Practices in Communities of Sound
Print – and by extension, visuality – has historically dominated the literary, artistic, and academic spheres in Canada; however, scholars and artists have become increasingly attuned to the creative and scholarly opportunities offered by paying attention to sound.
Resistant Practices in Communities of Sound turns to a particular opportunity, interrogating the ways that sonic practices act as forms of aesthetic and political dissent. Chapters explore, on the one hand, critical methods of engaging with sound – particularly bodies of literary and artistic work in their specific materiality as read, recited, performed, mediated, archived, and remixed objects; on the other hand, they also engage with creative practices that mobilize sound as a political aesthetic, taking on questions of identity, racialization, ability, mobility, and surveillance. Divided into nine pairings that bring together works originating in oral/aural forms with works originating in writing, the book explores the creative and critical output of leading sonic practitioners. It showcases diverse approaches to the equally complex formations of sound, resistance, and community, bridging the too-often separate worlds of the practical and the academic in generative, resonant dialogue.
Combining the oral and the written, the creative and the critical, and the mediated and the live, Resistant Practices in Communities of Sound asks us to attune ourselves as listeners as well as readers.
eBook
Australian Fiction as Archival Salvage
Australian Fiction as Archival Salvage examines developments in the Australian postcolonial historical novel from 1989 to the present, including seminal experiments in the genre by Kate Grenville, Mudrooroo, Kim Scott, Peter Carey, Rohan Wilson and others.
eBook
Recalling recitation in the Americas : borderless curriculum, performance poetry, and reading
Spoken word is one of the most popular styles of poetry in North America. While its prevalence is often attributed to the form’s strong ties to oral culture, Recalling Recitation in the Americas reveals how poetry memorization and recitation curricula, shaped by British Imperial policy, influenced contemporary performance practices.
During the early twentieth century, educators frequently used the recitation of canonical poems to instill proper speech and behaviour in classrooms in Canada, the Caribbean, and the United States. Janet Neigh critically analyses three celebrated performance poets - E. Pauline Johnson-Tekahionwake (1861-1913), Langston Hughes (1902-1967), and Louise Bennett (1919-2006) - who refashioned recitation to cultivate linguistic diversity and to resist its disciplinary force. Through an examination of the dialogues among their poetic projects, Neigh illuminates how their complicated legacies as national icons obscure their similar approaches to resisting Anglicization. Recalling Recitation in the Americas focuses on the unexplored relationship between education history and literary form and establishes the far-reaching effects of poetry memorization and recitation on the development of modern performance poetry in North America.
eBook
Cinema of the Present
\"Robertson proves hard to explain but easy to enjoy. . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully.\"-The New York Times
What if the cinema of the present were a Möbius strip of language, a montage of statements and questions sutured together and gradually accumulating color? Would the seams afford a new sensibility around the pronoun \"you\"? Would the precise words of philosophy, fashion, books, architecture, and history animate a new vision, gestural and oblique? Is the kinetic pronoun cinema?
These and other questions are answered in the new collection from acclaimed poet and essayist Lisa Robertson. The dazzling new collection will feature three different back covers (designed by artists Hadley + Maxwell).
A quorum of crows will be your witness.
And if you discover you were bought?
You note the smell of rain, bread, and exhaust mixed with tiredness.
And if you yourself are incompatible with your view of the world?
And what is the subject but a stitching?
Once again you are the one who promotes artifice.
At 2 am on Friday, you burn with a maudlin premonition.
And rankings and rankings and badges and repetitions.
Lisa Robertson's book Lisa Robertson's Magenta Soul Whip was named one of the New York Times 100 Notable Books of 2010 and was longlisted for the 2011 Warwick Prize. Her other books include Debbie: An Epic, The Men, The Weather, and Occasional Work and Seven Walks from the Office for Soft Architecture. She is the 2014 Bain Swiggett Professor at Princeton University.
eBook
Side/Lines
This anthology offers refereshing, cogent and insightful explanations of why young poets and writers do what they do. The thirty pieces in side/lines - by a unique variety of Canadian writers working in numerous genres - reflect on why writers write. Their reflections are not to be held as gospel or lifelong theories, but can be considered writing strategies drawn up at specific points in time, informed by certain unavoidable material conditions, such as current politics and emotions. Ask these writers to explain their craft in ten years, and you may be surprised by their answers.
eBook
Africa Antetranslation
The publication of African language literature is more firmly established in the 21st century than ever before. Yet as African language literature forges ahead, its translation lags behind. The greatness of African literature in European languages is inestimable, but how could African language literature, both in its original languages and in translation, be any less and not much more? Still, African language literature remains in a state of antetranslation—a small and not the main part, as it naturally could be, of African literature. Achebe's “An Image of Africa: Racism in Conrad's Heart of Darkness” (1977) relates the incalculably adverse legacy of colonialism and neocolonialism, but its near universal assent might also reinforce the antetranslation status quo. Achebe scorns the “African woman who has obviously been some kind of mistress to Mr. Kurtz,” but what if she were invoked as a patron saint or nkisi n'kondi to move beyond antetranslation?
Journal Article
“Communications from Below”: Scalar Transformations in Richard Flanagan's The Narrow Road to the Deep North (2013) and Steven Carroll's A World of Other People (2013)
According to Romei, Flanagan \"does not see literature in terms of homeland or nationality\" (11), while the Australian's chief reviewer, Geordie Williamson, commented that \"Flanagan has broken through to a global readership\" (17). According to Rooney, \"Eliot's appropriation of the pilot's trauma functions . . . as an inverted mirror of Carroll's own fictional capture and recoding, across time and space, of Eliot's high modernist poetics for his own vernacular-modernist prose\" (\"View\"). [...]insofar as a work of art completes the existing order of European or English literature by inter- acting with it, Iris's short story completes Eliot's canonical modernist poem by providing another, more \"personalized\" interpretation of it-a communication from below-just as Jim's presence in London as an Australian at the heart of empire, like Eliot's as an American, \"alters\" its identity. According to Lever, \"the POW experience in Changi and on the ThaiBurma railway has become the dominant legend of Australia's World War II.\"
Journal Article