Submitted by James Lindsay on April 28, 2016 - 10:01am
Michael Fraser is a high school teacher and author of two collections of poetry, The Serenity of Stone, and, most recently, To Greet Yourself Arriving. If you attended NOW Magazine’s Battle of the Bards this year at IFOA, then you had the pleasure of seeing his powerful reading of a selection of poems from his latest collection, a portrait series of significant figures in black history, from Harriet Tubman to Oprah to Basquiat. I wanted to ask him about how he picked these individuals and the relationship between poetry and teaching.
Submitted by James Lindsay on April 27, 2016 - 8:03am
Emma Healey is the poetry critic for the Globe and Mail. Her book, Begin With the End in Mind, is a witty collection of prose poetry, a sort of Young Urbanist’s Guide to being Canadian, a 21st century Lunch Poems. Breezy and conversational, her work is able to touch on national politics and intimate relationships in close motions. I wanted to ask her about poetry criticism and how the Internet has affected it.
James Lindsay: What is it about a book of poetry that draws you to write about it? And how do you start? What's your entry point to writing about poetry?
Submitted by James Lindsay on April 22, 2016 - 8:17am
Chad Campbell’s Laws & Locks is an ambitious debut collection of poetry that is part family history and part memoir. Charting the Campbell family's emigration to Canada in 1827 and shifting to the present, Laws & Locks is an unwavering look at mental health, addiction, and the immigrant experience. Using plainspoken, but moving language, Campbell uses long form sequences to paint a complex picture of the wraithlike way past generations of family affect the future. I wanted to ask him about writing habits and what he’s been working on recently.
James Lindsay: What kind of music do you listen to when you write and do you think it affects your writing?
Submitted by James Lindsay on April 20, 2016 - 8:52am
In a 2011 interview with Guernica Magazine, poet Timothy Donnelly, in response to a question about the influences he had just named (Keats and Shelley) and whether he considered his work in the tradition of the Romantics, replied that he though of himself as a “post-romantic.” If we take Donnelly’s work as an example of what post-romanticism might be, then this is a poetry where the vehicle is the sound and image, is pleasure and liberation, but also something darker as well, something heart broken, watching from the shadows.
Submitted by James Lindsay on April 19, 2016 - 8:22am
Rachel Thompson is author of the poetry collection Galaxy and an editor at Room , Canada’s oldest literary journal by and about women. We both attended Simon Fraser University’s The Writer’s Studio program at the same time, where the very compassionate Miranda Pearson mentored our poetry, and Rachel was one of the first poets I ever met.
Submitted by James Lindsay on April 18, 2016 - 2:49pm
Jacob McArthur Mooney is an author of three collections of poetry, an occasional critic, and the current host of the Pivot reading series. His latest, Don’t be Interesting, explores the cult of personality and spectacle as ritual at the end of history Don’t be Interesting is already one of my favorite books of the year, so I had a few question for Jacob about criticism, spectacle and routine.
Submitted by James Lindsay on April 15, 2016 - 8:24am
There are no other writers in Canada doing what Derek McCormack does. His books are obsessed with history, music, sex, fashion and horror; each one reinventing itself in a new form. Like Kathy Acker, he legitimizes obscenity and smut, combining them with dark comedy and making it his metaphorical fuel that he smears across the page in a way that is both very funny and very sad at the same time. I first met Derek over a decade ago when we both worked at the now defunct Book City at 501 Bloor Street. He’s always been great for recommending new writers, so we had a tête-à-tête about poetry, music and self-deprecation.
Submitted by James Lindsay on April 13, 2016 - 8:40am
Jesse Locke is one of the great unsung heroes of Canadian music journalism. Through his years of work as a writer and editor for Weird Canada and AUX he has helped to expose countless bands and artists from across the country. In full disclosure, I am lucky to call him one of my best friends, so I was ecstatic when I heard that the Canadian-music-centric Eternal Cavalier Press had picked up his book, Heavy Metalloid Music, on the legendary Hamilton psychedelic proto-punks Simply Saucer.
Submitted by James Lindsay on April 12, 2016 - 8:11am
“Somewhere amid the bladdered haze of sleep, I managed to buff a zigzag pathway across two whole floors, faintly resembling my initials—even with the horrors, my subconscious still being raved for acknowledgment.”