Sunday, January 22, 2012

Kingston! Tomorrow!

I've been having a most enjoyable little tour. After Montreal, I read and talked to a first year writing class at the University of Western Ontario in London, which was a lot of fun, as such things almost always are. And tomorrow, I'm reading here in Kingston. Hope you can make it if you're in the area.

Monday, January 23rd, 7:30 PM: Kingston, The Grad Club, with Matt Rader and Anne-Marie Turza. DETAILS

Tuesday, January 17, 2012

Bennett, Eckerlin, Hartman et moi

A fantastic night in Montreal. Up late and out early, en route to London. Here's the audio from last night's event at Argo Bookshop:

Thursday, January 12, 2012

Upcoming Dates

Hey there, sports fans! I have a couple of readings coming up, and if you live in Montreal or Kingston (or within hailing distance), I'd love it if you could make it out.

Monday, January 16th, 8 PM: Montreal, Argo Bookshop, with Kaspar Hartman and John Eric Bennett. DETAILS

Monday, January 23rd, 7:30 PM: Kingston, The Grad Club, with Matt Rader and Anne-Marie Turza. DETAILS

I was supposed to be reading in Perth, ON, on January 20, but that event was cancelled, unfortunately. On the 18th, I'm visiting a class at the University of Western Ontario in London, but I don't believe that one's open to the public.

Tuesday, January 10, 2012

Essay in print: "A Bite out of 'The Bight': Elizabeth Bishop's Diction as Depth"

Just got my copies of The Worcester Review (XXXII: 1&2), a special issue devoted to Elizabeth Bishop, including an essay of mine, which is an excerpt of the (very long) essay I wrote about Bishop's "The Bight" while I was at UNB last year. Lots of other nifty-looking content in the magazine, including an essay by PEI expat poet and scholar Thomas O'Grady on "Elizabeth Bishop as a Maritime Poet."

A bit of love for the Lyrebird

Rhonda Douglas has a very thoughtful review of The Best Canadian Poetry 2010 on the Arc site. She has nice things to say about my contribution to the anthology, which pleases me of course, but reserves her highest commendation for Ross Leckie's mesmerizingly beautiful poem, "The Critique of Pure Reason." Hear, hear.

There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make us almost enamoured of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie. Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleepers and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter that we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness and the memories of pleasure their pain.

Oscar Wilde, The Picture of Dorian Gray